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+The Project Gutenberg eBook, Journeys Through Bookland, Vol. 10, by
+Charles Herbert Sylvester
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Journeys Through Bookland, Vol. 10
+       The Guide
+
+
+Author: Charles Herbert Sylvester
+
+
+
+Release Date: March 16, 2008  [eBook #24857]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK JOURNEYS THROUGH BOOKLAND, VOL.
+10***
+
+
+E-text prepared by Juliet Sutherland, Julia Miller, and the Project
+Gutenberg Online Distributed Proofreading Team (https://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 24857-h.htm or 24857-h.zip:
+      (https://www.gutenberg.org/dirs/2/4/8/5/24857/24857-h/24857-h.htm)
+      or
+      (https://www.gutenberg.org/dirs/2/4/8/5/24857/24857-h.zip)
+
+
+Transcriber's note:
+
+      Obvious typographical errors have been corrected. A list of
+      these changes is found at the end of the text. Inconsistencies
+      in spelling and hyphenation have been maintained. A list of
+      inconsistently spelled and hyphenated words is found at the
+      end of the text.
+
+
+
+
+
+JOURNEYS THROUGH BOOKLAND
+
+A New and Original
+Plan for Reading Applied to the
+World's Best Literature
+for Children
+
+by
+
+CHARLES H. SYLVESTER
+
+Author of English and American Literature
+
+VOLUME TEN--THE GUIDE
+
+New Edition
+
+
+For parents, teachers, and all who have
+children under their charge; for adults
+who wish to renew their acquaintance
+with the friends of their youth, or to
+open for the first time the world's great
+treasure house of literature; for youthful
+readers who must study the classics
+
+
+
+
+
+
+
+[Illustration: OLIVER WENDELL HOLMES
+NATHANIEL HAWTHORNE
+HENRY WADSWORTH LONGFELLOW
+WASHINGTON IRVING
+JOHN GREENLEAF WHITTIER
+JAMES RUSSELL LOWELL
+WILLIAM CULLEN BRYANT]
+
+
+
+
+Chicago
+Bellows-Reeve Company
+Publishers
+
+Copyright, 1922
+Bellows-Reeve Company
+
+
+
+
+CONTENTS
+
+
+                                                                  PAGE
+      I. INTRODUCTION                                                1
+
+     II. JOURNEYS THROUGH BOOKLAND--ITS CONTENTS AND PLAN            7
+           The Masterpieces                                          9
+           Arrangement and Grading                                  10
+           The Studies and Helps                                    13
+             Studies                                                15
+             Notes                                                  15
+             Introductory Notes                                     15
+             Biographies                                            16
+             Pronouncing Vocabularies                               16
+             Pictures                                               17
+             Tables of Contents                                     17
+             Index                                                  17
+           The Nursery Rhymes                                       18
+           Discussion of each Volume                                24
+             Volume One                                             24
+             Volume Two                                             26
+             Volume Three                                           28
+             Volume Four                                            29
+             Volume Five                                            29
+             Volume Six                                             30
+             Volume Seven                                           31
+             Volume Eight                                           33
+             Volume Nine                                            34
+             Volume Ten--The Guide                                  35
+
+    III. PICTURES AND THEIR USE                                     36
+           What Should We Notice in a Picture?                      36
+             Line                                                   36
+             Light and Shade                                        37
+             Tone and Color                                         39
+             Composition                                            39
+             Atmosphere and Perspective                             40
+             Application of Principles                              41
+               _Bob and Tiny Tim_                                   41
+           Pictures and Their Value in Literature                   44
+           On the Use of Pictures in _Journeys_                     48
+             _Nursery Rhymes_                                       51
+             _Jack and the Beanstalk_                               52
+             _Nurse Helps Me when I Embark_                         52
+             _Wynken, Blynken, and Nod_                             53
+             _Shuffle-Shoon and Amber-Locks_                        54
+             _Tom and the Dragon Fly_                               55
+             _The Swallow and the Stork Came_                       55
+             _Down Tumbled Wheelbarrow_                             58
+             _Geraint Hears Enid Singing_                           60
+
+     IV. TELLING STORIES                                            63
+             _The Fairies of the Caldon-Low_                        68
+             _Little Giffin of Tennessee_                           71
+             _The Ballad of Agincourt_                              74
+             _Hervé Riel_                                           78
+
+      V. READING, AND THE BUILDING OF CHARACTER                     85
+             _Who Stole the Bird's Nest?_                           95
+             _Lead, Kindly Light_                                   98
+             _Poor Richard's Almanac_                              101
+
+     VI. FATHER AND SON                                            107
+
+    VII. MEMORIZING                                                128
+           One Hundred Choice Quotations                           131
+
+   VIII. HOW TO READ FICTION                                       143
+           Different Kinds of Literature                           143
+           Reading Stories                                         145
+             Plot                                                  149
+               _Cinderella_                                        150
+             Persons                                               156
+               _The Hardy Tin Soldier_                             158
+             The Scenes                                            162
+               _The Dog and His Shadow_                            164
+               _The Fox and the Stork_                             166
+               _A Christmas Carol_                                 168
+             The Lesson and the Author's Purpose                   170
+               _The Fir Tree_                                      173
+             The Method and Style of the Author                    174
+             Emotional Power                                       176
+               _Rab and His Friends_                               177
+             General Principles and Reflections                    181
+             Completed Studies                                     185
+               _The Hare and the Tortoise_                         185
+               _The Fox and the Crow_                              187
+               _The Drummer_                                       193
+               _Tom, the Water Baby_                               198
+               _The Passing of Arthur_                             214
+
+     IX. CLOSE READING OR STUDY                                    224
+               _Rab and His Friends_                               225
+               _Braddock's Defeat_                                 227
+               _Industry and Sloth_                                229
+               _Why the Sea is Salt_                               231
+               _Faithless Sally Brown_                             232
+               _The Definition of a Gentleman_                     234
+               _Adventures in Lilliput_                            235
+               _The Heart of Bruce_                                238
+               _Annie Laurie_                                      243
+               _The Lost Child_                                    243
+               _David Crockett in the Creek War_                   244
+               _The Impeachment of Warren Hastings_                248
+               From _The Death of Cćsar_                           253
+
+      X. CLOSE READING (Concluded)                                 256
+           The Author                                              257
+           Sentences                                               258
+           Figures of Speech                                       259
+             Allusions                                             259
+             Basis of Figures                                      262
+             Simile                                                263
+             Metaphor                                              264
+             Synecdoche and Metonymy                               265
+             Apostrophe and Personification                        266
+           Studies in Figures                                      268
+               _Ode to a Skylark_                                  268
+               _A Visit from Saint Nicholas_                       270
+               _The First Snowfall_                                270
+
+     XI. READING POETRY                                            272
+               _The Reaper and the Flowers_                        272
+               _The Brown Thrush_                                  276
+               _The Child's World_                                 277
+               _Seven Times One_                                   278
+               _The First Snowfall_                                281
+               _The Potato_                                        285
+               _Origin of the Opal_                                285
+               _The Barefoot Boy_                                  286
+               _The Bugle Song_                                    287
+               _The Petrified Fern_                                291
+               _The Forsaken Merman_                               295
+               _The Cloud_                                         301
+               _Ode to a Skylark_                                  306
+
+    XII. READING ALOUD                                             311
+           Articulation and Enunciation                            311
+           Emphasis and Inflection                                 312
+           Emotional States                                        312
+             Pitch                                                 312
+             Rate or Time                                          313
+             Quality                                               315
+             Force                                                 315
+
+   XIII. LITERATURE AND ITS FORMS                                  317
+           Prose                                                   318
+             Methods of Expression                                 318
+               Narration                                           318
+               Description                                         321
+               Exposition                                          321
+               Argumentation                                       322
+             Forms of Prose                                        322
+               Fiction                                             322
+               Essays                                              322
+               Orations                                            324
+               Drama                                               325
+             Poetry                                                327
+               Structure of Poetry                                 328
+               Rhythm                                              328
+               Rhyme                                               329
+               Alliteration                                        330
+             Kinds of Poetry                                       331
+               Epic                                                331
+               Lyric                                               333
+                 Songs                                             333
+                 Ode                                               335
+                 Elegy                                             335
+                 Sonnet                                            337
+                   _Victor and Vanquished_                         338
+               Dramatic                                            339
+                 Miracle Plays                                     340
+                 Morality Plays                                    340
+                 Masques                                           341
+                 Tragedies and Comedies                            341
+
+    XIV. JOURNEYS IN ITS RELATION TO THE SCHOOL--READING AND
+           LANGUAGE                                                345
+           Reading                                                 348
+           Language                                                349
+           Oral Lessons                                            352
+               _The Wind and the Sun_                              357
+           Written Lessons                                         360
+             Introduction                                          360
+             Literature in Written Lessons                         363
+               Narration                                           363
+                 _Robin Hood and the Stranger_                     363
+               Description                                         365
+                 _The King of the Golden River_                    366
+               Exposition                                          368
+                 _Cid Campeador_                                   368
+               Argument                                            370
+                 _The Boston Massacre_                             370
+               Conclusion                                          376
+                 _An Exciting Canoe Race_                          376
+
+     XV. JOURNEYS IN ITS RELATION TO THE SCHOOL--NATURE STUDY      380
+           Seven Long Selections                                   381
+               _Tom, the Water Baby_                               381
+               _Robinson Crusoe_                                   382
+               _The Swiss Family Robinson_                         382
+               _Brute Neighbors_                                   383
+               _The Pond in Winter_                                384
+               _Winter Animals_                                    384
+               _Trees and Ants that Help Each Other_               385
+           Classified Selections                                   386
+             Flowers and Plant Life                                386
+             Birds                                                 387
+             Four-footed Animals                                   389
+             Reptiles                                              391
+             Insects                                               391
+             Denizens of the Water                                 391
+             Natural Phenomena                                     392
+             Geography in Nature                                   392
+           Complete Study                                          393
+               _The King of the Golden River_                      393
+
+    XVI. JOURNEYS IN ITS RELATION TO THE SCHOOL--GEOGRAPHY AND
+           HISTORY                                                 400
+           Classified References                                   402
+           Model Geography Lesson                                  411
+             The Wind                                              411
+           Model History Lessons                                   413
+             Alfred the Great                                      413
+             Burgoyne's Campaign                                   419
+
+   XVII. JOURNEYS IN ITS RELATION TO THE HIGH SCHOOL               425
+           Classification of Studies                               427
+           Type Studies                                            431
+
+  XVIII. RECITATIONS AND SPECIAL DAYS IN SCHOOL                    436
+           Bird Day                                                437
+           Memorial Day                                            438
+           Christmas                                               438
+           Birthdays                                               438
+           Dramatization                                           439
+           An Old-Fashioned Afternoon                              440
+
+    XIX. HANDY LIST OF THE STUDIES IN JOURNEYS THROUGH BOOKLAND    441
+           Volume One                                              442
+           Volume Two                                              443
+           Volume Three                                            445
+           Volume Four                                             446
+           Volume Five                                             446
+           Volume Six                                              447
+           Volume Seven                                            448
+           Volume Eight                                            449
+           Volume Nine                                             449
+
+     XX. SUPPLEMENTARY BOOK LISTS                                  451
+           For the Separate Volumes                                454
+             Volume One                                            454
+             Volume Two                                            455
+             Volume Three                                          457
+             Volume Four                                           458
+             Volume Five                                           459
+             Volume Six                                            460
+             Volume Seven                                          461
+           Classified Lists                                        462
+             Fiction                                               463
+             Poetry and Drama                                      464
+             Essays                                                464
+             Nature                                                465
+             Biography                                             465
+             History                                               465
+             Travel and Geography                                  466
+           Miscellaneous                                           466
+
+  APPENDIX--
+           Handy Table of English Writers                          469
+           Handy Table of American Writers                         473
+
+  GENERAL INDEX                                                    475
+
+
+
+
+ILLUSTRATIONS
+
+HALFTONE PORTRAITS OF AUTHORS
+
+
+                                                                  PAGE
+  GROUP ONE                                               Frontispiece
+        _Henry Wadsworth Longfellow_
+        _Oliver Wendell Holmes_
+        _Nathaniel Hawthorne_
+        _Washington Irving_
+        _John Greenleaf Whittier_
+        _James Russell Lowell_
+        _William Cullen Bryant_
+
+  GROUP TWO                                                         52
+        _William Shakespeare_
+        _Alfred, Lord Tennyson_
+        _Robert Browning_
+        _Sir Walter Scott_
+        _William Wordsworth_
+        _Geoffrey Chaucer_
+        _Joseph Addison_
+
+  GROUP THREE                                                      100
+        _Cardinal Newman_
+        _Sir Francis Bacon_
+        _Jonathan Swift_
+        _Daniel Defoe_
+        _Cardinal Wiseman_
+        _Cervantes_
+        _Father Ryan_
+
+  GROUP FOUR                                                       148
+        _Julia Ward Howe_
+        _Benjamin Franklin_
+        _Henry David Thoreau_
+        _Patrick Henry_
+        _William H. Prescott_
+        _Francis Parkman_
+        _James Fenimore Cooper_
+
+  GROUP FIVE                                                       198
+        _Edgar Allan Poe_
+        _Donald G. Mitchell_
+        _James Whitcomb Riley_
+        _Thomas Buchanan Read_
+        _Eugene Field_
+        _John Howard Payne_
+        _John G. Saxe_
+
+  GROUP SIX                                                        246
+        _Elizabeth Barrett Browning_
+        _Phoebe Cary_
+        _Alice Cary_
+        _Lucy Larcom_
+        _Felicia Hemans_
+        _George Eliot_
+        _Jean Ingelow_
+
+  GROUP SEVEN                                                      294
+        _Robert Burns_
+        _Robert Southey_
+        _William Cowper_
+        _Lord Byron_
+        _John Keats_
+        _Percy Bysshe Shelley_
+        _Samuel Taylor Coleridge_
+
+  GROUP EIGHT                                                      342
+        _Rudyard Kipling_
+        _Robert Louis Stevenson_
+        _Paul Du Chaillu_
+        _Thomas Hughes_
+        _Hans Christian Andersen_
+        _Jakob Grimm_
+        _Wilhelm Grimm_
+
+  GROUP NINE                                                       400
+        _John Ruskin_
+        _Oliver Goldsmith_
+        _Matthew Arnold_
+        _Thomas Babington Macaulay_
+        _John Bunyan_
+        _Thomas De Quincey_
+        _Charles Lamb_
+
+  GROUP TEN                                                        454
+        _John Tyndall_
+        _Charles Kingsley_
+        _Thomas Moore_
+        _Alexander Pope_
+        _Thomas Campbell_
+        _David Livingstone_
+        _George MacDonald_
+
+
+
+
+CHAPTER I
+
+INTRODUCTION
+
+
+Everyone who associates with children becomes deeply interested in them.
+Their helplessness during their early years appeals warmly to sympathy;
+their acute desire to learn and their responsiveness to suggestion make
+teaching a delight; their loyalty and devotion warm the heart and
+inspire the wish to do the things that count for most. Everything
+combines to increase a sense of responsibility and to make the elders
+active in bringing to bear those influences that make for character,
+power and success.
+
+Every worthy teacher in every school gives more than her salary commands
+and puts heart power into every act. By example and precept the lessons
+are taught and growth follows in response to cultivation. But the
+schools are handicapped by lack of time for much personal care, by lack
+of facilities for the best of instruction and by the multiplicity of
+things that must be done. Under the best conditions a teacher has but a
+small part of a child's time and then instruction must be given usually
+to classes and not to individuals. Outside of school for a considerable
+time each day the child falls under the influence of playmates who may
+or may not be helpful, but the greater part of every twenty-four hours
+belongs to the home.
+
+Parents, guardians, brothers and sisters, servants, consciously or
+unconsciously, wisely or unwisely, are teaching all the time. It is from
+this great complex of influences that every child builds his character
+and lays the foundation of whatever success he afterwards achieves.
+
+Undoubtedly the home is the greatest single influence and that is
+strongest during the early years. Before a boy is seven the elements of
+his character begin to form; by the time he is fourteen his future
+usually can be predicted, and after he is twenty, few real changes are
+brought about in the character of the man. The schools can do little
+more than plant the seeds of culture; in the family must the young
+plants be watered, nourished and trained. Then will the growth be
+symmetrical and beautiful.
+
+When the school and the home work together, when parents and teacher are
+in hearty sympathy, the great work is easily accomplished. But this
+harmony in interest is difficult to secure. In the first place it is not
+possible frequently for parents and teachers to become acquainted;
+usually is it impossible for them to know one another intimately. Here
+there are two forces, each ignorant of the other, but both trying for a
+common end. Again, parents in many, many instances are not acquainted
+with the schools nor with the methods of instruction which are followed
+therein. What is done by one may be undone by the other. If there could
+be a common ground of meeting, much labor would be saved and greater
+harmony of effort established.
+
+When fathers and mothers are willing to take time enough from their
+other duties to show that sympathetic interest in juvenile tasks which
+is the greatest stimulus to intelligent effort, when they wish to know
+what work each child is doing and where in each text book his lessons
+are, when the multiplication table and the story of Cinderella are of as
+much importance as the price of meat or the profit on a yard of silk,
+then will the parents and the teachers come together in whatever field
+appears mutually acceptable.
+
+Everybody reads, and reading is now the greatest single influence upon
+humanity. The day of the orator has passed, the day of print has long
+been upon us. No adult remains long uninfluenced by what he reads
+persistently, and every child receives more impressions from his reading
+than from all other sources put together.
+
+Someone has shown forcibly by a graphic diagram the ideas we are most
+anxious to establish. In this diagram of _Forces in Education_, the
+circle represents the sum total of all those influences which tend to
+make the mind and character of the growing child. That half of the
+circle to the right of the heavy line represents the forces of the
+school; the half to the left, the forces that come into play outside the
+teacher's domain. In school are the various studies taught; reading,
+writing, language, nature, geography, history, arithmetic. Other things
+such as morals, manners, hygiene, etc., come in for their share of force
+in the division "Miscellaneous." Out of school the child's work
+influences him; his playmates affect him more; the example and
+instruction of his parents form his habits, thought and character to a
+still greater extent; but more than any one, as much as the three
+combined, does his home reading shape his destiny.
+
+[Illustration]
+
+That this last statement is no exaggeration is proved by the testimony
+of many a wise and thoughtful man, by the observation of teachers
+everywhere. When a child has learned to read, he possesses the
+instrument of highest culture, but at the same time the instrument of
+greater danger. Bad books or bad methods of reading good books lead the
+reader's mind astray or stimulate a destructive imagination that affects
+character forever; but good books and right methods of reading make the
+soul sensitive to right and wrong, improve the mind, inspire to higher
+ideals and lead to loftier effort.
+
+Here is the one fertile field wherein teacher, parent and every other
+person interested in the welfare of children and youth may meet and work
+together in the noblest cause God ever gave us the grace to see.
+
+"I have a notion," said Benjamin Harrison, "that children are about the
+only people we can do anything for. When we get to be men and women we
+are either spoiled or improved. The work is done." One of the best
+things we can do is to create a taste for good reading and cultivate a
+habit of reading in the right manner. It is an easy and a delightful
+task.
+
+How many parents do it? Let them live with their children in the realm
+the little ones love. Let them read the fairy tales, the myths, the
+stories, the history that childhood appreciates, not in a spirit of
+criticism or in the role of a dictator but as a child of a little larger
+growth, a man or woman with a youthful mind.
+
+How many teachers assist? By so teaching that reading becomes an
+inspiration in itself; that only mastery contents; that beauty, high
+sentiment, lofty ideals may be found and followed; by making the reading
+recitation the one delightful hour of the day.
+
+If any mature person at home can spend each week a few hours in reading
+and talking with the children about what has been read he will be
+surprised to find how lightly the time passes and how quickly his own
+cares and anxieties are dissipated. He will find greater delight than he
+has ever known in the society of his equals; and the younger ones, whose
+minds glow with helpful curiosity and absorbing interest will be kept
+to that extent from the street and its attractions, while at the same
+time they are learning those things that count for most in life's great
+battle.
+
+Let no one feel in the least uncertain of his power to interest and
+delight. Let him have no hesitation in joining in with the children, in
+meeting them on their level and in sharing thought and feeling with
+them. By being a child himself he most easily makes of himself a wise
+and inspiring leader.
+
+
+
+
+CHAPTER II
+
+JOURNEYS THROUGH BOOKLAND--ITS CONTENTS AND PLAN
+
+
+_Journeys Through Bookland_ is what the title signifies, a series of
+excursions into the field of the world's greatest literature.
+Accordingly, the base of the work is laid in those great classics that,
+since first they found expression in words, have been the education and
+inspiration of man. But these excursions are taken hand-in-hand with a
+leader, whose province it is to explain, to interpret, to guide and to
+direct. Suiting his labors to the age and acquirement of the readers he
+helps them all, from the child halting in his early attempts to
+interpret the printed page to the high school or college student who
+wishes to master the innermost secrets of literature. In no small sense
+is this leadership a labor of love, for it follows an experience of
+twenty years of personal instruction in the public schools and among the
+teachers of the country.
+
+_Journeys Through Bookland_ must be considered as a unit; for one plan,
+one purpose, controls from the first page of the first volume to the
+last page of the tenth. The literary selections were not chosen
+haphazard nor were they graded and arranged after any ordinary plan. In
+this respect they differ in character and arrangement from the
+selections in any other work now upon the market.
+
+Moreover, the notes, interpretations, original articles and multifarious
+helps are an integral part and are inseparable. In this respect, again,
+is the work original and unique.
+
+Further, the pictures, of which there are many hundreds, were drawn or
+painted expressly for _Journeys Through Bookland_ and are as much a part
+of the general scheme as any other help to appreciation. Again, the type
+page, the decorations, the paper, binding and endsheets, all combine to
+give an artistic setting to literary masterpieces and a stimulating
+atmosphere for literary study.
+
+The masterpieces which make the field of the _Journeys_ naturally fall
+into three classes. First, there is the literature of culture, those
+things which you and I and everybody must know if we expect to be
+considered educated or to be able to read with intelligence and
+appreciation the current writings of the day. To this class belong all
+those nursery rhymes, lyrics, classic myths, legends and so on to which
+allusion is constantly made and which are themselves the legal tender of
+polite and cultured conversation. Next, there are those selections whose
+power lies in the profound influence they exert upon the unfolding
+character of boy or girl. As a child readeth so is he. Masterpieces of
+this type abound in the books and it is by means of them that the author
+hopes and expects to exert his greatest influence upon his unknown
+friends among the children. The third group consists of the masterpieces
+which lend interest to school work and make it pleasanter, easier and
+more profitable. It is what some may call the practical side of
+literature. It is what, at first, appeals most strongly to those who
+have read little, but which ultimately appears of less value than the
+influence of cultural and character-building literature.
+
+Any treatment of _Journeys_ that is worthy of the name must consider the
+masterpieces themselves in their three great functions, as well as the
+devices by which the selections are made effective.
+
+
+_1. The Masterpieces_
+
+The table of contents at the beginning of each volume shows a wide
+selection of the best things that have ever been written for
+children--not always the new things, but always the best things for the
+purpose. The masterpieces are the tried and true ones that have long
+been popular with children and have formed a large part of the literary
+education of the race.
+
+There are a host of complete masterpieces and many selections from other
+works which are too long to print here or which are otherwise
+unavailable. It has often happened that something written for older
+heads and for serious purposes has in it some of the most charming and
+helpful things for the young. For instance, _Gulliver's Travels_ is a
+political satire, and as such it is long since dead. Yet parts of it
+make the most fascinating reading for children. Moreover, Swift and many
+other great writers defiled their pages with matter which ought to be
+unprintable. To bring together the good things from such writers, to
+reprint them with all the graces of style they originally possessed, and
+yet so carefully to edit them that there can be no suggestion of
+offense, has been the constant aim of the writer.
+
+The books contain, too, many beautiful selections translated from
+foreign languages and made fresh, attractive and inspiring. Many of the
+old fables and folk stories have been rewritten, but others which have
+existed long in good form have been left untouched. In the great
+masterpieces no liberties have been taken with the text without making
+known the fact, and in every case the most reliable edition has been
+followed. It is hoped that children will have nothing to "unlearn" from
+the reading of these books.
+
+There are not a few old things in the set that are really new, because
+they have heretofore been inaccessible to children except in musty books
+not likely to be met.
+
+This is no haphazard collection made hastily, and largely at the
+suggestion of others. Everything in the books has been read and reread
+by the writer. True, he has availed himself of the help of others, and
+to many his obligations are deep and lasting; but in the end the
+responsibility for selection and for the quantity and quality of the
+helps is wholly his.
+
+
+_2. Arrangement and Grading_
+
+The contents of the books have been graded from the nursery rhymes in
+the first volume to the rather difficult selections in the ninth volume.
+In the arrangement, however, not all the simplest reading is in the
+first volume. It might be better understood if we say that one volume
+overlaps another, so that, for instance, the latter part of the first
+volume is more difficult than the first part of the second volume. When
+a child is able to read in the third volume he will find something to
+interest him in all the volumes.
+
+What has been said, however, does not wholly explain the system of
+arrangement. Fiction, poetry, essays, biography, nature-study, science
+and history are all fairly represented in the selections, but no book is
+given over exclusively to any subject. Rather is it so arranged that the
+child who reads by course will traverse nearly every subject in every
+volume, and to him the different subjects will be presented logically in
+the order in which his growing mind demands them. We might say that as
+he reads from volume to volume, he travels in an ever widening and
+rising spiral. The fiction of the first volume consists of fables, fairy
+tales and folk stories; the poetry of nursery rhymes and children's
+verses; the biography of anecdotal sketches of Field and Stevenson; and
+history is suggested in the quaintly written _Story of Joseph_. On a
+subsequent turn of the spiral are found fiction from Scott and Swift;
+poetry from Homer, Vergil, Hay, Gilbert and Tennyson; hero stories from
+Malory; history from Washington Irving.
+
+If, however, some inquiring young person should wish to read all there
+is on history, biography or any other subject, the full index in the
+tenth volume will show him where everything of the nature he wishes is
+to be found.
+
+Another valuable feature of arrangement is the frequent bringing
+together of selections that bear some relation to one another. A simple
+cycle of this sort may be seen where in the eighth volume the account of
+Lord Nelson's great naval victory is followed by _Casabianca_; a better
+one where in the fifth volume there is an account of King Arthur,
+followed by tales of the Round Table Knights from Malory, and _Geraint
+and Enid_ and _The Passing of Arthur_ from Tennyson. By this plan one
+selection serves as the setting for another, and a child often can see
+how the real things of life prove the inspiration for great writers.
+Again, in the fourth volume is _The Pine Tree Shillings_, a New England
+story or tradition for girls; this is followed immediately by _The
+Sunken Treasure_, a vivid story for boys; next comes _The Hutchinson
+Mob_, a semi-historical sketch, followed in turn by _The Boston
+Massacre_, which is pure history. The cycle is completed by _The Landing
+of the Pilgrims_ and _Sheridan's Ride_, two historical poems.
+
+_Graphic Classification of Masterpieces_ on page 14 will show more
+clearly what is meant by the overlapping of subjects. In the column at
+the left are given the names of the subjects under which the selections
+have been classified, running from _Fables_ to _Drama_, and _Studies_,
+the last name including all the varied helps given by the author. Across
+the top of the table the Roman numerals, I to X, indicate the numbers of
+the ten volumes. The shading in the squares shows the relative quantity
+of material. In using the _Classification_, "read across to learn in
+which volume the subjects are treated; read down to find what each
+volume contains." Thus: The first volume contains (reading down), a
+great many fables, many fairy stories and much folk lore, a few myths
+and old stories, a little biography, some biblical or religious
+material, selections that may be classified under the heads of nature,
+humor and poetry; but there is no account of legendary heroes, no travel
+and adventure, no history, nothing of a patriotic nature and no drama.
+On the other hand (reading across), there are many fables in the first
+volume, a few in the second but none thereafter; a few myths and some
+classic literature are found in the first three volumes, more in the
+fourth and fifth, but the number and quantity decrease in the sixth and
+do not appear thereafter; nature work is to be found in all the volumes
+but is strongest in the seventh; drama appears in the eighth and the
+ninth. Biography has a place in all volumes, but is strongest in the
+seventh; while the Studies, appearing in all volumes, reach their
+highest point in the tenth.
+
+
+_3. The Studies and Helps_
+
+As has been said, the chief factors in making _Journeys Through
+Bookland_ unique and of greatest value are the many helps that are given
+the readers, young and old. These helps are varied in character and are
+widely distributed through the volumes. They must be considered one at a
+time by the person who would assist others to use them to the best
+purpose. These helps consist of what are technically known as studies,
+notes, introductory notes, biographies, pronouncing vocabularies,
+pictures, tables of contents and index. The following comments will make
+clear the purpose of each.
+
+  GRAPHIC CLASSIFICATION OF MASTERPIECES
+  --------------------------------------------------------------------
+  |               |    |    |    |    |    |    |    |    |    |     |
+  | Analysis      | I  | II |III | IV | V  | VI |VII |VIII| IX |  X  |
+  |               |    |    |    |    |    |    |    |    |    |     |
+  ----------------+----+----+----+----+----+----+----+----+----+     |
+  |               |++++|----|    |    |    |    |    |    |    |     |
+  | Fables        |++++|----|    |    |    |    |    |    |    |  V  |
+  |               |++++|----|    |    |    |    |    |    |    |  o  |
+  ----------------+----+----+----+----+----+----+----+----+----+  l  |
+  | Fairy Stories |++++|++++|----|    |    |    |    |    |    |  u  |
+  | Folk Lore     |++++|++++|----|    |    |    |    |    |    |  m  |
+  |               |++++|++++|----|    |    |    |    |    |    |  e  |
+  ----------------+----+----+----+----+----+----+----+----+----+     |
+  | Stories Old   |----|----|----|++++|++++|++++|++++|----|----|  X  |
+  | and New       |----|----|----|++++|++++|++++|++++|----|----|     |
+  |               |----|----|----|++++|++++|++++|++++|----|----|  i  |
+  ----------------+----+----+----+----+----+----+----+----+----+  s  |
+  | Myths and     |----|----|----|++++|++++|++++|    |    |    |     |
+  | Classic       |----|----|----|++++|++++|++++|    |    |    |  a  |
+  | Literature    |----|----|----|++++|++++|++++|    |    |    |     |
+  ----------------+----+----+----+----+----+----+----+----+----+  G  |
+  | Legendary     |    |    |----|++++|++++|++++|    |    |    |  u  |
+  | Heroes        |    |    |----|++++|++++|++++|    |    |    |  i  |
+  |               |    |    |----|++++|++++|++++|    |    |    |  d  |
+  ----------------+----+----+----+----+----+----+----+----+----+  e  |
+  |               |----|----|----|----|----|----|++++|++++|----|     |
+  | Biography     |----|----|----|----|----|----|++++|++++|----|  f  |
+  |               |----|----|----|----|----|----|++++|++++|----|  o  |
+  ----------------+----+----+----+----+----+----+----+----+----+  r  |
+  | Travel and    |    |    |    |----|----|----|----|++++|----|     |
+  | Adventure     |    |    |    |----|----|----|----|++++|----|  P  |
+  |               |    |    |    |----|----|----|----|++++|----|  a  |
+  ----------------+----+----+----+----+----+----+----+----+----+  r  |
+  |               |    |    |    |----|----|----|----|++++|++++|  e  |
+  | History       |    |    |    |----|----|----|----|++++|++++|  n  |
+  |               |    |    |    |----|----|----|----|++++|++++|  t  |
+  ----------------+----+----+----+----+----+----+----+----+----+  s, |
+  | Biblical,     |----|----|    |----|----|----|----|    |----|     |
+  | Moral,        |----|----|    |----|----|----|----|    |----|  T  |
+  | Religious     |----|----|    |----|----|----|----|    |----|  e  |
+  ----------------+----+----+----+----+----+----+----+----+----+  a  |
+  |               |    |    |----|----|----|----|----|++++|++++|  c  |
+  | Patriotism    |    |    |----|----|----|----|----|++++|++++|  h  |
+  |               |    |    |----|----|----|----|----|++++|++++|  e  |
+  ----------------+----+----+----+----+----+----+----+----+----+  r  |
+  |               |----|----|----|----|----|----|++++|----|----|  s  |
+  | Nature        |----|----|----|----|----|----|++++|----|----|     |
+  |               |----|----|----|----|----|----|++++|----|----|  a  |
+  ----------------+----+----+----+----+----+----+----+----+----+  n  |
+  |               |----|----|----|----|----|----|----|----|----|  d  |
+  | Humor         |----|----|----|----|----|----|----|----|----|     |
+  |               |----|----|----|----|----|----|----|----|----|  S  |
+  ----------------+----+----+----+----+----+----+----+----+----+  t  |
+  |               |----|----|----|----|----|----|----|----|----|  u  |
+  | Poetry        |----|----|----|----|----|----|----|----|----|  d  |
+  |               |----|----|----|----|----|----|----|----|----|  e  |
+  ----------------+----+----+----+----+----+----+----+----+----+  n  |
+  |               |    |    |    |    |    |    |    |----|----|  t  |
+  | Drama         |    |    |    |    |    |    |    |----|----|  s  |
+  |               |    |    |    |    |    |    |    |----|----|     |
+  ----------------+----+----+----+----+----+----+----+----+----+     |
+  |               |----|----|----|----|----|----|----|----|++++|     |
+  | Studies       |----|----|----|----|----|----|----|----|++++|     |
+  |               |----|----|----|----|----|----|----|----|++++|     |
+  --------------------------------------------------------------------
+
+  Read across to learn in which volumes the subjects are treated;
+  read down to find what each volume contains.
+
+_a. Studies._ Every volume contains a large number of helps of different
+kinds for young people. Usually these are in connection with some
+selection and are adapted to the age of the boy or girl most likely to
+read the piece. As each study is presented in an interesting and
+informal manner and does not cover many points, it is felt that young
+people will enjoy them only less than the masterpieces themselves.
+
+The studies are arranged as systematically as the selections, and are
+graded even more carefully. Their scope and method will be more fully
+explained in subsequent sections of this volume.
+
+_b. Notes._ These consist of explanatory notes, that are placed wherever
+they seem to be needed. They explain words not usually found readily in
+the dictionaries, foreign phrases, and such historical or other
+allusions as are necessary to an understanding of the text by youthful
+readers. These notes are placed at the bottom of the page that needs
+explanation, and so are immediately available. In such a position they
+are more liable to be read than if gathered together at the end of the
+volume. They are neither formal nor pedantic, and are as brief as is
+consistent with clearness. Their purpose is to help the reader, not to
+show the writer's knowledge.
+
+_c. Introductory Notes._ At the heads of selections from longer
+masterpieces are introductory notes which give some little account of
+the larger work and enough of the context so that the selection may not
+seem a fragment. In some instances this note gives the historical
+setting of a masterpiece or tells something of the circumstances under
+which it was written, when those facts help to an appreciation of the
+selection. Sometimes an acquaintance with the personality of an author
+is so necessary to a clear understanding of what he writes that a brief
+sketch of his life or a few anecdotes that show his character are given
+in the note preceding what he has written. These notes are printed in
+the same type as the text, especially in the first four volumes, for
+they are felt to be worthy of equal consideration.
+
+_d. Biographies._ Besides the biographical notes appended to selections,
+there are not a few more pretentious sketches that have been given
+prominent titles in the body of the books. These have been prepared
+expressly for this work, either by the editor or by some one fully
+acquainted with the subject and accustomed to writing for young people.
+These biographies are written from the point of view of young people,
+and contain the things that boys and girls like to know about their
+favorite authors or some of the noble men and women whose lives have
+made this world a better and a happier place in which to live. In the
+earlier volumes they are brief, simple, and largely made up of
+anecdotes; later they are more mature, and show something of the reasons
+that make the lives interesting and valuable material for studies. There
+are, also, in the books a few lengthy extracts from some of the world's
+great biographies. Care has been exercised in the selection of these, so
+that in each case, while the extract is of interest to young people, it
+is also fairly representative of the larger work from which it has been
+taken.
+
+_e. Pronouncing Vocabularies._ Children often find difficulty in
+pronouncing proper names, and not many have at hand any books from which
+they can obtain the information. At the end of every volume is a list of
+the important proper names in that book, and after each name the
+pronunciation is given phonetically, so that no dictionary or other
+reference work is necessary. Since each volume has its own list, it is
+not necessary even to lay down the book in hand and take up the last
+volume.
+
+_f. Pictures._ The illustrations in the several volumes form one great
+feature in the general plan. They alone will do much to interest
+children in the reading, and if attention is called to them they will be
+found to increase in value. The color plates in each volume, the
+numerous fine halftones of special design, and the hundreds of pen and
+ink drawings that illuminate the text have been painted and drawn for
+these books, and will be found nowhere else. More than twenty artists
+have given their skill and enthusiasm to make the books brighter,
+clearer, and more inspiring. The initial letters and the many fine
+decorations also belong exclusively to the set, and combine to give it
+esthetic value. Everything of this nature will command attention and
+hold interest.
+
+_g. Tables of Contents._ Beginning each volume is a table showing the
+contents of the volume and the names of authors. It forms a means of
+ready reference to the larger divisions of the work and is a handy
+supplement to the index.
+
+_h. Index._ At the end of the tenth volume is an index to the whole ten
+volumes. There may be found not only each author and title in
+alphabetical order, but also a complete classification of the
+selections in the set. To find the history in this series, look in the
+index under the title "History." When a topic has as many sub-divisions
+as has "Fiction," for instance, or "Poetry," cross references are given.
+
+
+_4. The Nursery Rhymes_
+
+When a child is taught the little nursery rhymes which to us may seem to
+be meaningless jingles, he is really peeping into the fields of
+literature, taking the first steps in those journeys that will end in
+Shakespeare, Browning and Goethe. When his infantile ear is caught by
+the lively rhythm and the catchy rhymes, he is receiving his first
+lessons in poetry. That the lessons are delightful now he shows by his
+smiles, and in middle life he will appreciate the joy more keenly as he
+teaches the same little rhymes to his own children.
+
+Most children know the rhymes when they come to school and they will
+like to read them there. A child's keenest interest is in the things he
+knows. Later, perhaps in the high school or the grammar grades, he will
+be interested again in learning that the rhymes are not wholly frivolous
+and that there may be reasons why these rhymes should have survived for
+centuries in practically unchanged forms. Some of the facts that may be
+brought out at various times are the following:
+
+I. There is a hidden significance in some of the nursery rhymes. For
+instance:
+
+_a. Daffy-Down-Dilly_ (page 47). In England one of the earliest and most
+common of spring flowers is the daffodil, a bright yellow, lily-like
+blossom, with long, narrow green leaves all growing from the bulb. The
+American child may know them as the big double monstrosities the florist
+sells in the spring, or he may have some single and prettier ones
+growing in his garden. The jonquil and the various kinds of narcissus
+are nearly related white or white and pink flowers. This picture on page
+47 of _Journeys Through Bookland_ shows a few daffodils growing. Miss
+Daffy-Down-Dilly, then, in her yellow petticoat and her green gown, is
+the pretty flower; and the rhyme so understood brings a breath of spring
+with it.
+
+_b. Humpty Dumpty_ (page 55). This is really a riddle of the
+old-fashioned kind. There are many of them in English folk lore. Usually
+a verse was repeated and then a question asked; as, "Who was Humpty
+Dumpty?" The artist has answered the question for us in the picture.
+Possibly many people who learned the rhyme in childhood never thought of
+Humpty as an egg.
+
+What answer would you give to the question, Who was Taffy (page 54)? For
+similar riddles, see _Nancy Netticoat_ (Vol. I, p. 72), _The Andiron_
+(page 245) and _St. Ives_ (page 202).
+
+II. Some were intended to teach certain facts. For instance:
+
+_a._ When children were taught the alphabet as the first step to
+reading, _The Apple Pie_ (page 43) gave the letters in their order,
+including the obsolete "_Ampersand_."
+
+_b._ As children grew a little older and could begin to read what they
+already knew, things in which the same words were many times repeated
+were helpful. Two examples are _The House that Jack Built_ (page 56)
+and _There Is the Key of the Kingdom_ (page 45).
+
+_c._ The numbers from one to twenty were taught by _One, Two_ (page 41).
+
+_d._ The days of the week were taught by _Solomon Grundy_ (page 42),
+which with its amusing provision for repetition is sure to catch the
+fancy of a child and keep his thoughts on the words.
+
+III. Some of them teach kindness to animals:
+
+_a. Dapple Gray_ (page 22).
+
+_b. Ladybird_ (page 12). This is sometimes known as ladybug, and the
+_bug_ is the little, round, reddish beetle whose wings are black dotted.
+It is a pretty, harmless beetle that gardeners like to see around their
+plants. Children repeat the rhyme when they find the beetle in the house
+and always release it to "fly away and save its children."
+
+_c. Poor Robin_ (page 16).
+
+_d._ Old Mother Hubbard's amusing adventures with her dog (page 24)
+leave a very kindly feeling toward both.
+
+IV. Some are philosophical, or inculcate moral precepts or good habits,
+in a simple or amusing way.
+
+_a. Early to Bed_ (page 34).
+
+_b. Little Bo-Peep_ (page 9). Is it not better to let cares and worries
+alone? Why cry about things that are lost?
+
+_c. Three Little Kittens_ (page 13) suggests care for our possessions.
+
+_d. There Was a Man_ (page 60) has the same idea that we often hear
+expressed in the proverb "A hair from the same dog will cure the
+wound."
+
+_e. Rainbow in the Morning_ (page 48) has some real weather wisdom in
+it.
+
+_f. There Was a Jolly Miller_ (page 47), gives a good lesson in
+contentment.
+
+_g. A Diller, A Dollar_ (page 59).
+
+_h. See a Pin_ (page 59) suggests in its harmless superstition a good
+lesson in economy.
+
+_i. Little Boy Blue_ (page 33) makes the lazy boy and the sluggard
+unpopular.
+
+_j. Come, Let's to Bed_ (page 34) ridicules sleepiness, slowness and
+greediness.
+
+V. Mother's loving care, at morning and evening, when dressing and
+undressing the baby or when putting the little folks to bed, has
+prompted several of the rhymes:
+
+_a. This Little Pig_ (page 5) the mother repeats to the baby as she
+counts his little toes.
+
+_b. Pat-a-Cake_ (page 4) is another night or morning rhyme; and here
+mother "marks it with" the initial of _her_ baby's name and puts it in
+the oven for her baby and herself. Another of similar import is: _Up,
+Little Baby_ (page 7).
+
+_c. Diddle, Diddle, Dumpling_ (page 7) has kept many a little boy awake
+till he was safely undressed.
+
+_d._ What an old rhyme must _Bye, Baby Bunting_ be (page 6)! It goes
+back to the days when "father went a-hunting, to get a rabbit skin to
+wrap Baby Bunting in." Some one, more recently, has added the idea of
+_buying_ the rabbit skin.
+
+_e._ The simple little lyric, _Twinkle, Twinkle, Little Star_ (page 44)
+has filled many a childish soul with gentle wonder, and many a
+night-robed lassie has wandered to the window and begged the little
+stars to keep on lighting the weary traveler in the dark.
+
+VI. Some of the rhymes are pure fun, and even as such are worthy of a
+place in any person's memory:
+
+_a. There Was an Old Woman_ (page 36); _Great A_ (page 14); _Jack Be
+Nimble_ (page 28); _To Market, to Market_ (page 6), and _There Was a
+Monkey_ (page 14); _Goosey-Goosey_ (page 21); _Hey, Diddle, Diddle_
+(page 23); _There Was a Rat_ (page 14), and others, belong to this
+category.
+
+_b. Three Blind Mice_ (page 12) is an old-fashioned _Round_. Many a band
+of little folks has been divided into groups and has sung the
+nonsensical rhymes until every boy and girl broke down in laughter. Do
+you poor modern people know how it was done? The school was divided into
+a half-dozen sections. The first section began to sing and when its
+members reached the end of the first line, the second section began; the
+third section began when the second reached the end of the first line,
+and so on till all sections were singing. When any section reached the
+word "As--" they began again at the beginning. The first line was
+chanted in a low, slow monotone, the others were sung as rapidly as
+possible to a rattling little tune on a high pitch. Imagine the noise,
+confusion and laughter. Many a dull afternoon in school has been broken
+up by it, and countless children have returned to their little tasks
+with new enthusiasm. The old things are not always to be scorned.
+
+_c. Old King Cole_ (page 52) is a jolly rhyme, and the illustration is
+one of the finest in the books. Everybody should study it.
+
+VII. Two, at least, of the rhymes are of the "counting out" kind. Often
+children want to determine who is to be "It" in a game of tag, who is to
+be blinded in a game of hide-and-seek, or who takes the disagreeable
+part in some other play. They are lined up and one begins to "count out"
+by repeating a senseless jingle, touching a playmate at each word. The
+one on whom the last word falls is "out," safe from the unpleasant task.
+One at a time they are counted out till only the "It" remains.
+
+_Wire, brier_ and _One-ery, Two-ery_ (page 51) are examples. The artist
+has shown a group being counted out, in her very lifelike picture on
+pages 50 and 51.
+
+VIII. There are some errors in grammar in the rhymes, many words you
+cannot find in a dictionary, and some of the rhymes may seem a little
+coarse and vulgar; but they have lived so long in their present form
+that it seems almost a pity to change them. Encourage the older children
+to find the errors and to criticise and correct as much as they wish.
+Probably they will not like the rhymes in their new form and correct
+dress any better than we would.
+
+IX. There is really a practical value, too, in a knowledge of the
+nursery rhymes. Allusions to them are found in all literature and many a
+sentence is unintelligible to him who does not recognize the nursery
+rhyme alluded to. It would be safe, almost, to say that not a day passes
+in which the daily papers do not contain allusions to some simple little
+lines dear to our childhood. They are not to be sneered at; they are to
+be loved in babyhood and childhood, understood in youth, and treasured
+in middle life and old age.
+
+
+_5. Discussion of Each Volume_
+
+Our _Journeys Through Bookland_ contains a wealth of material and a host
+of studies and helps. It is not an easy matter to get even the plan of
+it into one's mind in a few minutes. The object of this volume is to
+guide the parent, teacher or student and to show as many of the
+important phases of _Journeys_ as is possible. In other chapters we take
+up different methods of reading or show ways in which the books can be
+used to accomplish certain definite purposes, and how to select the
+material needed for any occasion. By means of cross references to the
+other books this volume serves as a key to them all.
+
+_Volume One._ The first sixty pages of this volume are given over to the
+best known of the old nursery rhymes. That they are old is one of their
+great merits. That all cultured people know them is proof of their value
+and interest. The words are old words but the pictures are new. Every
+one was drawn expressly for _Journeys_ and all show the conception of
+artists who have not lost the appreciation of childhood. Little children
+love the rhymes and will learn them and repeat them at sight of the
+pictures long before they can read. Elsewhere in this volume are
+suggestions which show how the rhymes may be used profitably.
+
+_Journeys_ does not pretend to teach reading in the sense in which it is
+understood in the kindergarten and the early primary grades. Rather it
+begins to be of service as a reader only after the child has been
+taught how to read for himself. Children in the third grade will read
+many stories for themselves; from the fourth grade on they are nearly
+all independent readers. Every teacher knows, however, that children
+like to listen to stories which it would be utterly impossible for them
+to read, and that later they best love to read the things which they
+have heard from the lips of parent or teacher. Therefore, the literature
+of the first volume forms a treasure house from which the parent may
+draw many a good story to tell, and where he may find more that will be
+excellent for him to read aloud. The taste for the best literature is
+often formed in early childhood. So no child is too young for _Journeys_
+and no child is too old. The real things we read over and over with
+increasing interest as the years go on. Elsewhere in this volume are
+directions for story-telling, and many especially good selections are
+named. What the parent shall read aloud is best left to him to
+determine; at first he will do well not to read aloud any of the
+comments with which the books are fitted. If he finds that the interest
+warrants it he can use the comments for himself and ask questions that
+will lead to thoughtful consideration of what is being read, even by
+very young children. The only thing necessary is that the reading should
+be taken seriously and that the parent should be as much interested as
+the youthful listener.
+
+There are stories and poems, fairy tales and folk lore, biography in
+simple anecdotes of the great favorites of children and toward the end
+of the volume a few rather difficult selections for older children. In
+this volume as in all of them it is hoped that parents will look over
+the table of contents again and again, select the things that seem best
+and suit them to the occasion. How beautiful the lullabies are for the
+babies, and how much the older boys and girls will enjoy them when read
+at baby's side! When the children are interested in the whimsical rhymes
+of Stevenson, his biography should be read; and Eugene Field's life is
+interesting when his sweet poems are lending their charm to the evening
+by the fireside. Some of the fables contain deep lessons that may be
+absorbed by the older children while the younger ones are interested in
+the story only.
+
+_Volume Two._ The selections in the first part of the second volume are
+intentionally simpler than the last ones in the first volume. It is a
+good thing for a child to handle books, to learn to find what he wants
+in a book the greater part of which is too difficult for him. Oliver
+Wendell Holmes thought it was an excellent thing for himself that he had
+had the opportunity to "tumble around in a library" when he was a
+youngster. Every student who has had the opportunity so to indulge
+himself has felt the same thing. There are so many books published every
+month and so much reading to be done that a discriminating sense must be
+cultivated. No one can read it all or even a small part of it. Older
+people will discriminate by reading what they like. Children must learn
+to handle books and to find out what they are able to read. To put into
+their hands all they can read of the simple things they like is not
+wise. Most children read too much. Fairy stories are all right in their
+way, but to give a child all the fairy tales he can read is a serious
+mistake. Hundreds of pretty, inane, senseless stories in attractive
+bindings with pretty, characterless illustrations tempt the children to
+vitiate their taste in reading, long before they are able by themselves
+to read the best literature.
+
+Because they are valuable, there are fairy stories in _Journeys_;
+because their use may be abused, there are few of them; because
+something else should be read with them, they are not all in one volume
+nor in one place in a volume. The same rule of classification applies to
+other selections than fairy tales.
+
+This is the volume in which the myths appear in the form of simple
+tales: three from the northland, two from Greece. Each story is
+attractive in itself, has some of the interest that surrounds a fairy
+tale and serves as the fore-shadowing of history. That they are
+something more than fairy tales is shown in the comments and elementary
+explanations that accompany them.
+
+Little poems, lullabies, pretty things that children love are dropped
+into the pages here and there. Children seem to fear poetry after they
+have been in school a little while, largely because they have so much
+trouble in reading it aloud under the criticisms of the teacher and
+because the form has made the meaning a little difficult. It is,
+however, a great misfortune if a person grows up without an appreciation
+of poetry when it is so simple a matter to give the young an abiding
+love for it. A little help now and then, a word of appreciation, a
+manifestation of pleasure when reading it and almost without effort the
+child begins to read and love poetry as he does good prose.
+
+The beginnings of nature study appear in the second volume in the form
+of beautiful selections that encourage a love for birds and other
+animals, and _Tom, The Water Baby_, is a delightful story, half fairy
+tale, half natural history romance.
+
+In this volume also is found _The King of the Golden River_, perhaps the
+best fairy story ever written.
+
+_Volume Three._ A glance at the table of contents in the third volume
+will show the general nature of the selections. Fairy stories or tales
+with a highly imaginative basis predominate. There are some that are
+humorous, as for instance the selections from the writings of Lewis
+Carroll, and one or two of the poems.
+
+The long selection from _The Swiss Family Robinson_ is a good
+introduction to nature literature and contains all of the book that is
+worth reading by anyone. The two tales from _The Arabian Nights_ are
+among the best in that collection and are perhaps the ones most
+frequently referred to in general literature and in conversation. The
+story of Beowulf and Grendel is a prose rendering of the oldest poem in
+the English language, and valuable for that reason. While it is rather
+terrifying in some of its details its unreality saves it from harmful
+possibilities. Parents and teachers are inclined rather to overestimate
+the unpleasant consequences of reading terrifying things when they are
+of this character. Few, if any, children will read the story if it
+displeases them and those who do will not retain the disagreeable
+impression it makes for any great length of time.
+
+In this volume we begin our acquaintance with the legendary heroes of
+the great nations. _Frithiof_, _Siegfried_, _Robin Hood_ and _Roland_
+are all in this book, to be followed by _Cid Campeador_ in Volume IV.
+
+_Volume Four._ In this volume, with many fine poems and tales
+interspersed, is found the continuation of the legendary hero stories
+begun in Volume III, also as a natural sequence, a cycle of history that
+begins with a story and ends in a narrative of an actual historical
+occurrence. These may be found in the six selections beginning with _The
+Pine-Tree Shillings_. The article on _Joan of Arc_, the story of
+_Pancratius_ and the account of _Alfred the Great_, though not related
+in any way, yet still serve to carry out the idea that this volume is
+largely an introduction to readings in history.
+
+_The Attack on the Castle_ is a stirring account of a medićval battle.
+It prepares the way to the medićval spirit made more prominent in the
+next volume. In _The Arickara Indians_ the boys will begin to find the
+interest that the aborigines always have for our youth.
+
+_Volume Five._ The legendary great, the half-historical personages that
+have been for so many centuries the inspiration of youths of many lands
+are found again in this volume in the person of the Greek heroes and, at
+much greater length, in England's famous King Arthur. The story of his
+Round Table and its knights is told in an extremely interesting way. The
+spirit of Sir Thomas Malory is retained in his quaint accounts and
+Tennyson's noble poems show how great a factor the legends of Arthur
+have been in literature. Besides the articles that are instructive there
+are a few that are highly entertaining or merely humorous, for every
+child has a right to read sometimes for amusement only. It will be seen
+that some classes of literature have ceased to appear and that others
+are coming into view. The "spiral arrangement" is nicely illustrated in
+the reappearance of history and the legendary heroes and in the
+disappearance of myths and fairy tales, for which there is, however,
+some compensation in the highly imaginative _Gulliver's Travels_, an
+extract from Dean Swift.
+
+In this volume are also included a little cycle on one of the great
+heroes of the Scotch, Robert Bruce. These carry on the series of
+selections on legendary heroes, begun in Volume Three. These are
+followed by stories of adventure, of frontier life in the Central West,
+tales from the early history of our country. _Reminiscences of a
+Pioneer_, _The Buccaneers_, _Captain Morgan at Maracaibo_, and
+_Braddock's Defeat_ are examples of this kind of literature. These
+selections are authentic accounts from original sources and are among
+those things which boys really like, but which have not heretofore been
+accessible to them. Patriotic Poems, somewhat in the same vein, are
+given where they will be noticed and read.
+
+_Volume Six._ In this volume the series of legendary and semi-historical
+selections is completed. It includes the best of the legends concerning
+the national hero of Persia, also the story of _The Tournament_ from
+_Ivanhoe_, inserted here as a fitting introduction to Scott's novels.
+There are several examples of nature studies in literature and several
+fine stories that have their place in the education of everyone. The
+best of these stories and one of the finest ever written is _Rab and His
+Friend_. A cycle of a religious nature is found in those selections
+which are named _The Imitation of Christ_, _The Destruction of
+Sennacherib, Ruth_, and _The Vision of Belshazzar_.
+
+The longest and best story in this book is _A Christmas Carol_ by
+Charles Dickens. This is a model in construction and furnishes the basis
+for all the studies that would naturally accompany the most elaborate
+piece of fiction.
+
+The sixth volume is one of interest and one that will give plenty of
+opportunity for study to those who have the inclination to follow out
+the suggestions that accompany the selections. Close study should be
+upon those things which are already somewhat familiar. The high school
+student will find his time more profitably spent in working on the
+things in this volume than in poring over the more difficult
+masterpieces that are sometimes prescribed in courses of study. What we
+desire is power to read, understand and appreciate, and that is obtained
+by study upon those things that interest us and about which we know
+enough to enable us to use our minds to best advantage.
+
+_Volume Seven._ On the whole, this is a more mature volume than any that
+has preceded it and yet there are some selections of a simple character
+inserted for the purpose of interesting those who cannot yet read very
+heavy literature. From this point on, however, there is little
+difference in the grade of the volumes. The way in which the literature
+is studied marks the difference in rank. In fact, when a person can read
+intelligently and with appreciation such selections as appear in this
+volume he can read anything that is set before him. There may be some
+things that will require effort and perhaps explanation, but it is
+merely a question of vocabulary and parallel information. Besides the
+stories, there are selections in every department of literature except
+those that have been passed in the progress of the plan of grading. The
+legendary heroes, the myths and the stories of classic literature are no
+longer to be found. In their place are more selections on nature, more
+of biography and history and the real literature of inspiration. Some of
+the last group appear in the form of fine lyrics which everyone loves
+but which are made more attractive and inspiring by proper setting and
+helpful interpretations.
+
+In this volume biography, which has had its share of attention in every
+volume, becomes a strong feature, especially in the fine sketches that
+are given of famous writers. It is a fact that most writers have lived
+so quietly and in such comparative seclusion that their lives are devoid
+of the exciting events that make the liveliest appeal to young people,
+yet every one has done so much for the world and in such varied ways
+that there are things in their lives that interest and enthrall the mind
+if only they are properly presented. Our great American writers have
+been noble men and women and their lives are models worthy of imitation.
+That is the thing for us to glory in and for our young people to know,
+for it is not by any means a universal fact that people who wrote
+inspiring literature have lived inspiring lives. The literature of
+nature is probably stronger in this volume than in any other and the
+selections are of the most absorbing kind. It is not expected to give a
+vast amount of information but to create a love for reading about the
+great facts in nature and an appreciation of the beauties in the
+writings of those who love it. This is the last volume in which there is
+much fiction and it marks the beginnings of the really fine essays which
+form a large part of the succeeding volume. The history is of a higher
+type and includes excerpts from the writings of some of our greatest
+historians.
+
+_Volume Eight._ The notable feature of the eighth volume is the
+selection from the plays of Shakespeare. Nothing is more important in
+the literary education of a child than his proper introduction to the
+greatest of our great writers, and this has been accomplished in the
+following manner. _The Tempest_ was selected as the play, because it is
+simple and lively in its style, appeals to young people and has in it
+just enough of the marvelous, the beautiful and the terrible to make a
+decided impression on one who reads it for the first time. There are
+other plays that are greater but none that may be taught so easily to
+juvenile readers. In this volume there is a brief article on the reading
+of Shakespeare; this is followed by the inimitable tale of _The Tempest_
+by Charles and Mary Lamb; this by the play, _The Tempest_, practically
+as it was written; and this, in turn, by a long series of interesting
+studies on the drama. The whole is attractive from start to finish and
+the studies are certain to lead the reader to think.
+
+The drama, then, is the new feature of the ninth volume, but this is
+also the volume of fine essays, the highest type of prose. The essays
+are best represented by the following titles, all of which may be found
+in the table of contents of the eighth volume: _The Alhambra_ by Irving,
+_A Bed of Nettles_ by Allen, _Dream Children_, by Charles Lamb. These
+titles, too, show how broad is the field covered by the essay and how
+delightful a variety there may be in the one style of composition. The
+departments of Travel and Adventure, Patriotism and History have not
+been neglected. On the whole it is a serious volume, one which will give
+the high school student and the older members of the family a plentiful
+supply of good reading material and a suggestion of study for the
+evenings of many a winter day.
+
+_Volume Nine._ Most of the selections in this volume are rather
+difficult reading for young people but there are helps enough to make
+the task a pleasant one. The series of essays, begun in Volume Eight is
+here continued, with _The Ascent of the Jungfrau_ by Tyndall, _A
+Dissertation upon Roast Pig_ and _The Praise of Chimney Sweepers_ by
+Charles Lamb, and two representative essays by Sir Francis Bacon. The
+studies are of an advanced nature and if carried out as intended will be
+of decided service to high school students. In a few cases the
+selections are simple, like _Robert of Lincoln_, for instance, but the
+studies that accompany it are the more complete. It is hoped by such an
+arrangement to show how inexhaustible a field for study literature
+offers and how many things there are to be known about the least of our
+fine lyrics. _The Ode on a Grecian Urn_ is of a different type. This
+poem makes no direct appeal to sentiment or to the knowledge of the
+average young person, yet by study it is seen to be a lyric of
+exquisite beauty. This volume introduces the writings of several authors
+who have not before appeared because of their slight appeal to young
+people. Among them may be mentioned particularly Addison, Boswell, and
+Bacon. The volume contains also orations that should be studied as
+models, viz: _The Gettysburg Address_, _The Fate of the Indians_ and
+_The Call to Arms_. Each has a series of studies following it. As a
+relief from the serious work of the volume there are included an extract
+from _Pickwick Papers_; that fascinating story, _The Gold-Bug_; and the
+delightful essay, _Modestine_, an extract from _Travels with a Donkey_,
+by Stevenson.
+
+_Volume Ten._ At the end of this volume are given two tables; the first
+arranges the leading English writers chronologically, and the second
+follows a similar plan with the American authors. The index with which
+the book closes is for the entire series and enables the reader to find
+the selections readily, if he knows either the title or the name of the
+author; to find all the selections on any given topic; and to find the
+studies quickly if they are wanted. The index should prove as useful as
+any of the devices with which the books are filled.
+
+
+
+
+CHAPTER III
+
+PICTURES AND THEIR USE
+
+
+_I. What Should We Notice in a Picture?_
+
+In his excellent little book, _How to Judge of a Picture_, Van Dyke
+speaks of the things that constitute a good painting as follows: "First,
+it is good in tone, or possess a uniformity of tone that is refreshing
+to the eye; second, it is good in atmosphere--something you doubtless
+never thought could be expressed with a paint-brush; third, it is well
+composed, and a landscape requires composition as well as a figure
+piece; fourth, 'values' are well maintained, its qualities good, its
+poetic feeling excellent." A second writer has said that beauty is
+manifested in four ways: by line, by light and shade, by color and by
+composition. We will consider these characteristics in order.
+
+_a. Line._ We define the boundaries of objects and limit space by means
+of lines, and the use of lines constitutes drawing in pictures. These
+lines so used may be narrow or broad, straight or curved, perfect or
+broken, and definite or vague and undetermined. Upon their proper use,
+however, depends the beauty of proportion, the strength of personality
+and the impressions of truthfulness and reality. There are few rigid
+lines in nature. What we see is an impression of line, not sharp lines.
+If you look at a book you may see the sharp lines that bound its edges
+but if you move it away a little or put it in shadow its boundaries are
+a little hazy and gradually you lose the impression of the lines that
+bound it and see only a book. A tree has no sharp outline except when it
+stands on a horizon and looks like a silhouette against the light.
+Ordinarily it is a mass of moving light and shade, of color. The leaves
+are not separately limited by lines and yet we know that leaves are
+there. If the artist drew each leaf separately and accurately the
+general effect would be extremely unnatural and instead of a tree we
+should see only the minute carefulness of a painter who had failed.
+Perfect lines, then, are rare in good pictures. The artist does not
+intend to make exact representations of reality but to convey the
+_appearance_ of reality, and just in so far as he succeeds in conveying
+that appearance of reality is he successful. This does not mean that
+good drawing is not necessary in a picture; it merely tells you what
+constitutes good drawing. If the lines of the human figure are perfect
+it is almost certain that the figure will be strained, unnatural and
+without the appearance of life or motion. In a good picture the lines of
+good drawing are present but they are broken, subdued and lead into one
+another as do the lines we see in nature.
+
+_b. Light and Shade._ It is the distribution of light and shadows in a
+picture that gives it the appearance of reality. A mere outline drawing
+is flat and has no semblance of life. The paintings of the ancient
+Egyptians are good examples of pictures that have no light and shade,
+and we all know how flat, stiff and unreal they appear. In pen and ink,
+and charcoal drawings, light is indicated by white and shadow by black,
+but between the two extremes are introduced various shades and tints of
+gray that make the variety of tone in shadows. This varying of the
+strength of shadows is everywhere in nature, though most of us are blind
+to it. In looking at any object for the purpose of distinguishing the
+lights and shades upon it we should half close our eyes and look
+intently at all parts of it. Under an inspection of this sort the
+building which we thought to be all of even light is seen to be dotted
+with patches of shadow of different intensity, showing that there are
+projections where the light from the sun strikes clearly or depressions
+into which it cannot enter so freely. A picture should give the same
+effect, and it is this effect, which includes also the distance from the
+eye as well as the shades from the light source, that we call "values."
+If we look at a tree in the way described we see that it is covered with
+patches of green in light or dark tints and that these color values are
+the lights and shades of which we are speaking. There will be one point
+of highest light and an opposing point of deepest shadow, and upon the
+proper arrangement of these as well as upon the patches of minor
+importance depends the lifelike appearance of the objects in the
+picture. Van Dyke says there are three things concerning light and shade
+that should be looked for in every picture, viz.: that everything, no
+matter how small it be, has its due proportion of light and shade; that
+there be one point of compass from which the light comes; that there be
+a center of light in the picture itself, from which all other lights
+radiate and decrease until they are lost in the color or shadow.
+
+_c. Tone and Color._ The first thing that seizes the eye in a painting
+is color, and the brightest, gayest colors are the ones that are most
+likely to attract. In fact they are the only colors that the
+inexperienced may see, for many a person is blind to the subdued tints
+and shades that are really the most attractive to the trained eye. Good
+coloring, then, does not mean brightness alone. It is the relationship,
+the qualities and the suitableness of colors one to another, whether
+they be in shadow, half-tint or light, that constitute good coloring.
+Brilliant dresses and inharmonious ornaments strike the refined eye with
+displeasure, the wearer is "loud" in her dress. Subdued colors relieved
+here and there with a harmonious dash of brightness show correct taste.
+So in pictures those that have the low or deep tones, that are rich and
+harmonious, are the ones that are most appreciated by the experts, and
+are the ones usually found to have been painted by the masters.
+Nevertheless if high color combines richness and harmony it shows a fine
+skill. Tone has to do with the quantity of color used in the painting,
+and harmony with the qualities of colors. Tone and harmony must combine
+to make perfect coloring.
+
+_d. Composition._ If we study any great poem, drama or novel, one that
+is constructed with a due regard for unity, we find there is one central
+character or idea and that all other persons, all incidents, scenes and
+all the little devices that go to give reality to the conception are
+subordinated to the central person or idea. Unless this is done the
+creation lacks unity and therefore lacks force, beauty and coherence.
+The same facts hold true of a picture. Every good picture is so
+arranged and drawn that the important idea is centralized and the parts
+are unified and harmonized until the whole is single in its effect. This
+is accomplished by what is called in the language of the painter,
+"composition." Important things are recognized and lesser things
+subordinated to give beauty, clearness and brilliancy to the central
+idea. While these facts are most obvious in pictures that contain
+figures, it is no less true in landscapes or other pictures which
+contain no figures. For instance, a moonlight scene on the Hudson would
+have as its central idea the beauty of the light on the water and the
+mountains. To secure this the artist would keep down the lines of the
+mountains, subordinate the details in the foreground and place as the
+central idea in the picture the pale shimmering light from the moon
+whether that body be itself visible or not. Oftentimes in looking at a
+picture it is difficult to tell wherein its excellent composition lies,
+but the absence of strength and unity is unerringly felt.
+
+_e. Atmosphere and Perspective._ We are all familiar with the diminished
+size of objects seen at a distance and realize that the apparent coming
+together of two parallel lines, as those of a railway track, is owing to
+the same cause. We know, too, that this diminishing must be shown in a
+picture or there is no sense of distance for the spectator. What is not
+so clear to us usually, is that there is as great a difference in color
+and the appearance of objects. The diminution of size is linear
+perspective and the change of color due to distance and atmospheric
+conditions is commonly called aerial perspective. The tendency among
+amateurs is to paint a tree green no matter how far away from the
+spectator it is, while a little observation and study would show the
+veriest tyro that the green of a distant tree has faded till to the eye
+it looks a bluish gray. Moreover, outlines have faded and seem to flow
+into those of other objects, and all combine to give to the picture the
+true appearance of distance, which is what the artist seeks and the one
+who looks at the picture has a right to expect.
+
+_f. An Application of the Foregoing Principles._ What has been said on
+this subject of judging a picture may be made clearer by an application
+to one of the pictures in _Journeys_. Let us take, for instance, the
+color plate facing page 304, in Volume VI. It is a reproduction in color
+of the painting in water colors, _Bob and Tiny Tim_, and will show what
+is meant by the comments above almost as well as the original painting
+would have done.
+
+1. Tone and color. Are the colors in the picture bright and gay or are
+they subdued? What are the brightest colors? Are the colors harmonious
+or do they "quarrel" as they come to the eye?
+
+Are the shades of blue and purple and lighter colors in the clothing of
+the various persons glaring or subdued? Do you observe any inharmony
+which offends the eye, or are you pleased with contrasting colors and
+tones? The harmony in color is due to the choice of colors that do not
+contrast too strongly. The artist knew which were complementary colors;
+that is, which, united, form white. Which colors in the picture do you
+think show warmth, and which show cold, as suitable to out-of-door
+scenes? What effect on the rest of the picture does the olive green of
+the interior of the room have? What effect does the gray green of the
+open door have?
+
+2. Light and Shade. Is the picture flat and without appearance of life,
+or do the persons and objects stand out in a life-like manner? Are parts
+of the picture in shade, so that outlines are lost? The artist has shown
+the left of the building in the foreground as in shadow; how is this
+effect produced? Do you observe gradations of tone in the shawl on Tiny
+Tim, which indicate relative light and shadow? Where is the highest
+light in the picture, and where the darkest shadow? Are the lights
+strong as if the sun were shining, or soft and diffused, as is
+noticeable on a snowy winter's day?
+
+3. Line. Although you cannot see Bob's feet in the picture, do you feel
+that his body is well supported? Is his position natural, as of one
+carrying a burden on one shoulder? Are the lines of the figures in the
+foreground clear and distinct? How do they compare with the lines of the
+figures and building across the street? In both cases the artist gives
+us all that is necessary to convey the impression of reality. In the use
+of oils and water colors, sharp lines are avoided. Colors are used so
+that different surfaces and effects flow into one another; the lines are
+concealed and we have the very counterfeit of reality. This constitutes
+good drawing.
+
+4. Composition. What is the central idea of the picture? The artist has
+brought the principal figures into the immediate foreground; do the
+arrangement of color, contrasts of tone values, and the smaller figures
+in the background give life and significance to the figures of Bob and
+Tiny Tim? Would the effectiveness of the picture be greater or less if
+the artist had failed to show the snowy outdoor scene, with its holiday
+spirit? Do you recall the incident in the story portrayed by the
+picture? Are the characteristics of Bob and Tiny Tim, as described by
+Dickens, faithfully followed by the artist? Do their faces show the
+spirit of Christmas? If you had not read the story, would you not feel a
+glow of sympathy for the little boy, and a wish that you could join in
+making a happy holiday for him? Has not the artist succeeded in bringing
+the scene described by the author more vividly and beautifully to us?
+
+5. Atmosphere and Perspective. How far from the figures of Bob and the
+little boy are the people on the sidewalk? How does the artist express
+the idea of relative distance? Are there any lines in the picture which
+help us to determine distance? If the eye follows the lines of the cross
+pieces on the door, will they not come together if extended far enough
+to the left? Of course the buildings across the street are not very far
+away, but their outlines are a little hazy. Does this haziness help to
+give the effect of distance? Do you think the door was really a
+gray-green? Has the artist used this tone to show the effect of the
+outdoor light on a gray, or possibly a white door? The building across
+the street, at the left, has yellow and red and purple tones; do you
+think these were the actual colors? If not, why has the artist selected
+these particular shades? Do parts of buildings or other objects in
+shadow take on different shades from parts in bright lights? What
+colors appear most frequently in the picture? Has the artist succeeded
+in giving the picture the atmosphere of Dickens's story?
+
+
+_II. Pictures and Their Value in Literature_
+
+Pictures are in themselves a language--the oldest as well as the most
+universal tongue of the world. The primitive man of all races resorted
+to a picture-writing in his first efforts to transcribe his thoughts and
+emotions into a more lasting form than the oral expression. Our earliest
+authentic history of the customs, beliefs and life of the ancient
+Egyptians, the Babylonians, the Chinese and even our own American
+Indians comes to us from the pictured records they left on stone, wood
+or clay.
+
+In the present age, what child does not yield to the magic rhythm and
+the compelling lilt of the old nursery rhymes! With what added joy does
+he discover that there are pictures for these treasured jingles! And
+long before the printed words can be recognized he enters the alluring
+world of books by "reading" the illustrations. With glowing eyes on the
+picture he repeats the rhyme he had learned from its many demanded
+repetitions.
+
+By giving him simple, clear, realistic conceptions through pictures, we
+influence the child to read eagerly the text, to discover the whole
+story, of which such a fascinating hint is given in the portion
+illustrated. These first pictures must satisfy the child's love of
+action and movement, and portray only the most dramatic scenes, the big
+important facts with all superfluous happenings omitted.
+
+In fables, where the primary purpose is to convey an abstract truth, a
+something bigger and broader than the mere interesting events described,
+the illustrations add much to the meaning and purpose of the text. Here
+the artist shows not only the physical attributes of the real animal,
+but in a subtle way goes a step further and through the features or the
+attitude suggests the characteristics attributed in the fable. Thus
+unconsciously the little reader gets from the picture an increased
+conception of the sly, clever, crafty ways of the fox or the slow,
+plodding, steadfast patience of the tortoise.
+
+As literature develops from the simple nursery rhyme and the brief,
+abrupt fable to the fairy tale with its illusive beauty, so the pictures
+should advance in a parallel and a closely related manner. The
+illustrations now take on a mysterious, unreal, esthetic quality, in
+harmony with the world of fairy lore, and train the imagination as much
+as the direct words of the author. The child realizes that the forest
+scenes which furnish the background for so many of his favorite fairy
+tales have a subtle beauty which has never been seen by him. Gradually
+through such pictures he is led to seek an ideal beauty in the real
+world. He also becomes able not only to appreciate the poetic rendering
+of this expression of the ideal but is capable of forming more varied
+mental images of things about which he reads; to put more of his own
+individuality, his own conceptions, into his mental picture.
+
+The passing ages have so completely revolutionized the customs and ways
+of life that the child of today finds comparatively little in his
+familiar surroundings which he can link with the world of history and
+legend. Literature should be supplemented by pictures to bridge this
+chasm and to bring legendary and historical heroes into the child's own
+world and enable him to follow their thoughts, interpret their emotions
+and appreciate their actions.
+
+The child who sees a picture of court life where the cavalier is attired
+in richly colored velvet, silk, lace, and jewels, and surrounded by the
+luxuries of the court, and compares it with another of the same period
+which portrays a Puritan in his somber-hued, severe suit, stiff linen
+collar and cuffs, broad-brimmed, plain hat and not a single jewel or
+ornament used for mere decorative or esthetic value, realizes the vast
+difference in the types and character of the two men. He is furnished
+with an appropriate mental atmosphere in which to follow their history
+and in which to comprehend the inevitable clash that came between the
+Cavaliers and the Roundheads. He will then eagerly and sympathetically
+follow the Pilgrims in their lonely stay in Holland and in their brave
+struggle in the new country. Here, again, the various pictures portray a
+land and climate as vigorous, uncompromising and stern as the characters
+of the Pilgrims themselves. Then the great forests, the felling of the
+trees, the erection of the log houses and forts, the meeting of Puritans
+with the neighboring Indians, with their curious costumes, homes,
+customs and occupations, introduce other phases of life that put the
+child in a receptive mood for the reading of colonial history, Indian
+legends and stories of pioneer life.
+
+Familiarity with the author's portrait, with pictures of his home or his
+favorite scenes, brings a something of the writer's personality to the
+child. He feels the story is told _more directly to him_. A sympathetic
+bond is established that leads him to a more intimate and a more
+intelligent acquaintance with the author's emotions, thoughts, style and
+purposes as expressed in his works. He reads Thoreau's _Journal_, and
+notes uncomprehendingly, the potent sway of nature over the heart and
+life of the man. It requires the keen vision and the genius of the
+artist to give him a realization of the mesmeric influence nature
+frequently exerts.
+
+If this author's portrait is the work of a great artist it will perform
+a double service. For example, the reproduction of the _Aesop_ of
+Velasquez not only gives the child an idea of the appearance of that
+creator of the wonderful fables, but it also introduces the great
+Spanish artist who has depicted marvelous interpretations of life on
+canvas and has so wonderfully influenced the style and method of the
+work of many of the artists who succeeded him.
+
+The world of literature is filled with poems and stories which emphasize
+abstract truths, teach needed lessons or give universal principles of
+beauty. Many of these have been the subject and the inspiration of
+pictures. And, in the re-telling of the poem or story with brush or pen,
+the artists have added a something of their own individuality and
+character which serves not only to emphasize and perpetuate themselves
+through their pictured translation of these noble thoughts, but also
+makes the principles inculcated by the author become a part of the
+child's moral creed.
+
+All have long realized the value of pictures in connection with stories
+involving scientific knowledge, but the co-operation of the artist with
+the author in presenting literature to children is of equal importance.
+The picture arrests the interest of the child and wins his love for
+books long before he can read; it arouses his desire to master the
+meaning of the printed forms, that he may discover the story for
+himself; it gives him facts regarding unfamiliar things without which
+knowledge the printed symbol means little; it leads him to the discovery
+of unseen beauties in his environment; it develops his imagination; it
+arouses his creative faculties; it aids him to grasp the deepest,
+highest meaning of the world's literature; it opens up the undreamed
+beauties of the vast world of art; it interprets abstract thoughts until
+they become a part of his character, and CHARACTER is the true end of
+all READING and of all EDUCATION.
+
+
+_III. On the Use of the Pictures in "Journeys"_
+
+Children love pictures, and they love to make them. We of riper years
+are inclined to forget how very strong was our pictorial instinct when
+we were young. A little girl may make on a sheet of paper a few
+irregular lines not very well connected, wholly meaningless to us, and
+see in them very plainly every lineament of her favorite doll. She sees
+no lines, no paper, only her own precious doll. A little later she will
+draw pictures to illustrate a story, and while we may see nothing in her
+work, she sees enough to make the story more real, and is in this way
+preparing herself to read more intelligently and with greater
+appreciation as she grows older. We should not laugh at these crude
+drawings, nor try to make them better. They express her ideas in her
+way, and that is enough. On the other hand, we should encourage her to
+try other pictures for other stories till she learns herself to distrust
+her drawings, or finds a way to express herself so that others may
+understand what she thinks and feels.
+
+Pictures mean something, always. In the first place they show to him who
+can read them what some one else has thought and felt. If they are meant
+to illustrate something in literature, they may fail because the artist
+has not caught the spirit of what he is trying to depict, or because he
+lacks in execution. On our side, they may fail because we cannot
+interpret his work, either from lack of understanding or from the
+dullness of our sensibilities. Again, we may object to the artist's
+interpretation of the literature, and his pictures may merely excite our
+opposition. Usually, however, we see through the artist's eyes from a
+new point of view, so that, even if we do not altogether approve what we
+see, we are led to question and find for ourselves something new,
+pleasing and helpful.
+
+Children are harsh critics, not only of pictures but of literature
+itself, and the critical spirit is a good one to cultivate, if it is not
+allowed to fall into captious fault-finding. On the whole, however, it
+is far better to point out the good things in a picture than to call
+attention to poor execution or poor conception. Leave criticism
+generally to those infrequent cases in which the artist has actually
+blundered because he has not read the selection closely or accurately,
+or has been careless in the things he ought to know. For instance, it
+would be absurd to show King Arthur in a modern dress suit, or to put
+fire-arms in the hands of the Indians who met Columbus for the first
+time. But such faults occur infrequently. Usually the pictures are
+careful studies, and give many a hint on costuming, manners and customs,
+as well as on the proper surroundings of the characters.
+
+Some selections are so universal in their nature, so freely applicable
+to all times and places, that the artist may be allowed to delineate any
+people, anywhere, at any time. Nursery rhymes, so often alluded to, lend
+themselves to an endless variety of imaginary people and places. The old
+woman might be living still in her shoe and whipping her children
+soundly, in a twentieth-century wrapper, or clothed in skins she might
+send them supperless to bed in pre-historic ages. Whether Jack and Jill
+wore wooden shoes or patent-leather pumps we shall never really know;
+perhaps their little feet were encased in moccasins, or they may have
+been bare and ornamented with rings: what we do know is that Jack broke
+his crown and Jill came tumbling after.
+
+So we will give the artists all the latitude they wish, as long as they
+keep the facts straight, and we will try to help the children to see
+what the artist saw, and so get clearer visions for themselves.
+
+The pictures in these books are from many artists, all of whom have
+given an interpretation of the selection they were working upon, and
+have given it in such a way as to be helpful and inspiring to their
+youthful readers. Every time the artists have tried to get a child's
+view of things and to draw so that a child will like their work. Their
+enthusiasm has been boundless, and their execution remarkably good. Some
+of their pictures are gay, some are grave, a few sad; some are highly
+imaginative and others very realistic. Not a few are wonderfully
+beautiful. Among so many designs, so many kinds, everyone will find
+something to admire.
+
+Among the many, let us take a few for a brief study to show that they
+may be used with children to make literature clear, to give interest and
+keener appreciation.
+
+The very first picture in Volume One (sub-title, _Nursery Rhymes_, page
+1) is frankly intended as an introduction to the rhymes which follow,
+and is also a good illustration of many of the principles stated in this
+chapter.
+
+The little boy is fond of his playthings and especially of his toy cat,
+but you see he is giving his chief thought just now to the rhymes and
+jingles which his mother is repeating, while the baby is absorbed and
+happy in looking at the pictures. Do you see the sewing-basket with the
+knitting which the mother has laid aside while she devotes an hour to
+play? Do the other books on the table suggest that she sets a value on
+good reading as an important element in the training of children even as
+young as these in the picture? The idea is carried out further in the
+decorations of the draperies around the window. You see there in simple
+outline characters which appear in fuller detail with the rhymes which
+follow in this volume. The color tones are subdued and restful, not loud
+and glaring, but they are so happily blended, or contrasted, that both
+persons and objects are clear and distinct. It tells without words the
+story of happy childhood.
+
+_Jack and the Beanstalk_ (Volume One, page 159) is a picture which will
+repay study. A child's imagination reaches out more or less vaguely,
+though often to his satisfaction, for a visualization of the
+exaggerations of nature which appear in almost all fables and fairy
+tales. Our artist has given this subject a realistic touch, which makes
+Jack's adventure seem almost possible.
+
+Does the beanstalk look natural? Does it look like the beanstalk which
+grows in your garden? Are the bean pods like those you have seen? Is the
+color natural? Does the stalk look strong enough to bear Jack's weight?
+How high up do you think he must go to reach the giant's home? How is
+the impression of height given? Do you see the landscape stretching away
+in the distance? Do the fields and the stream look far away? Do you
+think Jack became frightened or dizzy as he went on--up and up? Doesn't
+the picture help you to understand his courage and determination to
+carry out his purpose?
+
+  [Illustration: ALFRED TENNYSON
+  ROBERT BROWNING
+  WILLIAM SHAKESPEARE
+  SIR WALTER SCOTT
+  WILLIAM WORDSWORTH
+  GEOFFREY CHAUCER
+  JOSEPH ADDISON]
+
+_Nurse helps me when I embark_ (Volume One page 127) is a fine picture
+for study. Ask questions like the following: What toys do you see in the
+picture? Do boys like toys which suggest adventure? Do you think he
+likes his small boat? Why? Did it suggest to his mind that he would call
+his bed a boat, and sail away in it to dreamland? Is he saying his
+prayer? Will the small candle give light enough? Why does it smoke? What
+kind of a bed is it? What is the canopy over the bed made of?
+Interesting questions may be asked about the poem: What is a prudent
+sailor? What do prudent sailors have to take on board? What is a pier?
+What is the pier beside which the boy finds his vessel fast?
+
+On page 262 of Volume One is printed _Wynken, Blynken, and Nod_, Eugene
+Field's musical lyric for little ones. The attractive picture may be
+looked at before the poem is read. Questions help the children more than
+explanations and comments, particularly where they are logically asked.
+The natural order is to ask about the prominent things first, and then
+about minor details, thus: How many children are there? Where are they?
+What does their boat look like? What is the child nearest the toe of the
+shoes doing? Where are the other two standing? What have they in their
+hands? What are they doing with the net? Are they catching any fish?
+Where is the moon? What can you see in the moon? Is the face laughing?
+Now let us read the poem, and when we have done so, let us see what
+lines in particular the artist was thinking about. Who are the three
+children? "Wynken, Blynken, and Nod." What did they do? "Sailed off in a
+wooden shoe ... into a sea of dew." What did the moon say? "'Where are
+you going and what do you wish?'" What did the children answer? "'We
+have come to fish for the herring fish.'" What kind of nets have they?
+"Nets of silver and gold." What did the old moon do? "The old moon
+laughed and sang a song." What were the herring fish? "The herring fish
+were the little stars." How long did they fish? "All night long their
+nets they threw." Where did they throw their nets? "To the stars in the
+twinkling foam." * * * * Were there really three little children? No.
+How many were there? Only one. Who, then, were Wynken and Blynken? The
+little child's eyes. And who was Nod? His head. What was the wooden shoe
+that sailed the skies? Only a trundle-bed. What then was all this story
+about fishing from a wooden shoe for herring fish with nets of silver
+and gold? Only a wee one's dream. How can you see the "wonderful sights
+that be"? By shutting our eyes while mother sings. Don't you suppose the
+artist shut her eyes when she thought of the picture, and perhaps
+dreamed of the time when she lay in her little bed and her mother sang
+of the wonderful sights that be? Wasn't that just why she made such a
+beautiful picture, and thought even of putting wings to the shoe, so it
+could sail through the sky? After such a talk as that with a little
+child, do you not think, dear parent, that he would come nearer to you,
+and while you read the poem softly and smoothly to him he would learn to
+like its music, and through its refining influence learn to love you a
+little better? When he has grown to manhood, do you not think there will
+come times when his heart will be touched, when he will long for the
+loving arms around him and the sweet mother voice to sing once more of
+the wonderful sights that be? There are holier things to be done for
+children than to feed and clothe them.
+
+In Volume Two, on page 121 may be found the picture _Shuffle-Shoon and
+Amber Locks_. How many persons are shown in the picture? How is the old
+man dressed? In what is he sitting? How is the boy dressed? Where is he
+sitting? Can you sit comfortably that way? What does he hold in his left
+hand? What is the little boy doing? How many blocks are there in his
+building? How many blocks are on the floor? What is the old man placing
+on top of the blocks? What is on the wall back of the chair? Of what is
+the curtain made? Which is Shuffle-Shoon? Why is he called
+Shuffle-Shoon? Why is the boy called Amber-Locks? What is the color of
+amber? Do you think the old man has a kind face? How old do you suppose
+he is? How old is Amber-Locks? Do you like his face?
+
+From Volume Two, page 264, _Tom and The Dragon Fly_: What is the first
+thing you notice when you look at this picture? What is the second
+thing? Where is Tom standing? Where is the dragon-fly? How many wings
+has it? How many legs can you see on the dragon-fly? Does Tom's hair
+look as though he had just come from the water? What is he looking at?
+Does he seem to be afraid, or happy? Can you tell where the surface of
+the water is? Is any part of Tom in the water? Can you see sky or clouds
+in the picture? Does any land show?
+
+From Volume Two, page 69, _The Swallow and the Stork Came_: After a
+picture has been examined, as has been explained, it is sometimes a good
+thing to study the way in which the artist has produced his effects. The
+effects in this picture are remarkably fine and Mr. Rudeen has
+accomplished his purposes very skilfully. What effect is given by the
+mass of white in the center of the picture? Does it help to give
+emphasis to the principal figures? Does the artist use his colors in
+proper tones and shadings? Does he succeed in making the birds seem
+really to fly? Do you see the face in the fir tree? How are the eyes
+indicated? Are the lines and patches that make the face any different
+from those that indicate other leaves on the tree? Why then does it look
+like a face? Does the face have an expression of surprise? If the
+branches and leaves on the left side of the tree were curved downward
+instead of upward, would the expression be changed? Is there any
+indication of feathers on the swallows? How are feathers indicated on
+the stork? The artist drew the original of this picture with pen and
+black ink. The engraver made one plate for this drawing in black, then
+another plate for those portions of the picture which have any shade or
+tone of orange, and still another for the blue tones. The green is
+produced by printing from the orange and the blue inks over the same
+surface. Facing page 82, Volume Two is the portrait of Hans Christian
+Andersen. This was taken from a photograph, and under a microscope it
+can be seen that the ink is put on in fine dots. The border was drawn
+with pen and ink. The original photograph of Andersen was photographed
+through a screen and reduced to the size you see it. The pictures in the
+book are printed from the metal plates which put the ink on the paper in
+little dots. These prints are called _halftones_: the pen and ink
+drawings in the texts are called _zinc etchings_. The original of the
+colored frontispiece of the same volume was a water-color painting by
+Mr. Henderson. This was reduced in size by photography and four plates
+were made, one showing all the black, and another all the red, a third
+all the blue and a fourth all the yellow in the original. Then the paper
+was run through the press four times, each time with the color of ink
+for which each plate was etched. By printing one color over another this
+way, the different shades were made. No better way is known for
+reproducing colored pictures. The border was drawn with pen and ink. The
+title page was drawn with pen and ink and a zinc etching made by
+photographic process, from which an electrotype plate was made. The end
+sheets are decorated by a zinc etching reduced from a large drawing made
+by Mr. Mitchell. The title and ornaments on the back of the books are
+made from strong brass dies that were engraved from drawings made by
+special artists. Gold leaf is laid over the section to be lettered and
+the dies are pressed upon it with such force as to fasten the gold upon
+the cover. Then the parts of the gold leaf that have not been pressed
+into the cover are brushed away and the design is perfect.
+
+To learn what a picture really contains, to appreciate its purpose and
+merit, we should study it systematically. The following topics suggest
+themselves:
+
+  1. The general view.
+  2. The details.
+  3. The center of interest.
+  4. The purpose.
+  5. The artists' conception and its appropriateness.
+  6. Elements of beauty.
+
+As in other cases, the best way to explain a method is to apply it.
+Accordingly, let us study by this method the picture _Down Tumbled
+Wheelbarrow_, on page 46 of Volume One.
+
+1. _The general view._ Here is a picture of a man wheeling his wife
+through a London street, and the breaking down of his wheelbarrow.
+
+2. _The details._ The man, and his wife sitting in the wheelbarrow; the
+cobbled street, the sidewalk, the houses on one side of the street, the
+arch-way with the house above it, and the street showing through the
+arch-way; the man in the distance. A shop in the middle ground, with
+fruit and vegetables displayed outside the window. The man with the
+wheelbarrow is dressed in the fashion of the past, with tall hat, blue
+cut-a-way long-tailed coat, black breeches and blue stockings, white
+vest and white gloves. His neckerchief and shoes are orange color. His
+wife is also fashionably gowned. Her bonnet has blue and orange
+feathers, she has an embroidered shawl of orange color, with a blue
+overdress and a gray skirt; her blue parasol is in the air, dropped in
+the shock of the breaking of the wheelbarrow. Her arms are extended in
+effort to save herself. The wheel is bent under the barrow.
+
+3. _The center of interest._ The center of interest of most pictures is
+found near the center of the picture. It is plainly so in this picture;
+the man with the wheelbarrow, and his bride engage our attention, while
+secondarily we note the rough cobbled pavement and the narrow street.
+
+4. _The purpose._ The artist's intention is to show the dramatic moment
+when the wheelbarrow broke, and the bride got the fall.
+
+5. _The artist's conception and its appropriateness._ In choosing the
+line "Down Tumbled Wheelbarrow," the artist selected the moment which
+was the climax of the adventure, and in so doing he shows the shock of
+surprise and alarm in the attitude and expression of both bride and
+groom as contrasted with their very fine holiday costumes, which show
+how much care they had given to their preparation for their wedding
+journey. The artist has not overlooked the opportunity to show us a
+typical London street of the olden time, narrow and paved with cobble
+stones. The arch-way gives us the assurance that the street was very
+narrow, so that the wheelbarrow had to go over the rough cobbles. The
+conception seems appropriate and true to the story in the simple rhyme.
+
+6. _Elements of beauty._ There are two main elements in this picture,
+which contribute to the pleasure it gives us, aside from the story it
+tells. In the composition of the picture, the artist has placed the main
+figures in the foreground and drawn them in full detail. Note the
+contrast of the masses of black with the open spaces of white and light
+shadings. The walls of the houses are indicated by few lines which are
+sufficient but which do not draw the eye from the center. The rough
+street is skillfully indicated by a few deftly drawn round cobbles,
+leaving the larger white space to give air and light to the central
+figures. The treatment of color is the second element of beauty to be
+noticed. Not all the picture is colored; in this class of illustration,
+the white spaces have the effect of giving background to the colors, and
+bringing out their best values.
+
+Another profitable study can be made on the full-page illustration that
+appears on page 159, in Volume Five. Questions best induce interest in a
+picture, but the questions should be asked systematically. The following
+is a model on the picture named above, _Geraint hears Enid singing_.
+
+1. _General view._ How many men are in the picture? What do they appear
+to be doing? What is the building at the right?
+
+2. _Details._ Who is the man on horse-back? How is he dressed? What is
+hanging from a chain on his breast? What is he looking at? What is the
+expression on his face? What is the color of his horse? Have you ever
+seen a bridle and a harness like these in the picture? Do you think the
+man loved his horse and took good care of him? Who is the man standing
+beside the horse? How would you describe his garments? What has he in
+his right hand? What is its use, and what does it signify? What does the
+gesture with his left hand indicate? What do you think of the building
+on the right? Is it new or old? What seems to be growing on the walls?
+What does this mean? What seems to be growing up between the stones of
+the pavement?
+
+3. _The center of interest._ Are the men talking together? If so, why
+are they not looking at each other? Does the attitude and expression of
+the man on the horse suggest an interesting topic? (Tell the story in
+part, and read the lines covering this episode, page 156. Is the center
+of interest now made clear?)
+
+4. _Purpose._ What did the artist mean to do by means of this picture?
+Did he select an important and interesting event in the story?
+
+5. _Conception and appropriateness._ Has the artist followed the text
+truthfully in his conception? Do you think there is a dramatic interest
+in this scene, which made it appropriate for illustration? Would it have
+been as effective without the old man in the picture? Why? Does the man
+on the horse show his character in his bearing? Has the artist succeeded
+in portraying the old man in the character described in the text? Does
+the picture please you? Do you think it is a success?
+
+6. _Elements of beauty._ Do you like the soft, even tones of the
+picture, the heavy touches of the pen in the main figures and the light
+touches in the background? Is the day bright or gloomy? Is the effect of
+light on the wall, balcony and doorway pleasing? From what direction
+does the light come? How does the artist indicate surfaces in shadow?
+Does the outline of the castle through the arch add interest and beauty
+to the picture?
+
+After the children have been taught to observe properly, you have in the
+pictures numberless interesting subjects for language exercises. A good,
+clear-cut description of a picture is worth reading, and to write one
+means thought and study. The exercise may be varied by asking the child
+to describe the picture before he has any knowledge of the subject and
+then asking him to call his imagination into play and write a story to
+fit the picture. Later you may read him the story the artist meant to
+illustrate.
+
+       *       *       *       *       *
+
+Besides the color plates and halftones which are found in their proper
+places in the several volumes, the following pen and ink drawings are
+good examples of the kind of pictures that best repay study:
+
+  Volume I,    page  22.
+  Volume I,    page  30.
+  Volume I,    page  35.
+  Volume I,    page  67.
+  Volume I,    page 159.
+  Volume I,    page 203.
+  Volume I,    page 375.
+  Volume I,    page 391.
+  Volume II,   page 111.
+  Volume II,   page 228.
+  Volume II,   page 384.
+  Volume III,  page 141.
+  Volume III,  page 324.
+  Volume IV,   page 452.
+  Volume V,    page  97.
+  Volume V,    page 253.
+  Volume VI,   page 145.
+  Volume VI,   page 361.
+  Volume VII,  page 281.
+  Volume VII,  page 439.
+  Volume VIII, page 160.
+  Volume VIII, page 321.
+  Volume IX,   page 118.
+  Volume IX,   page 248.
+
+
+
+
+CHAPTER IV
+
+TELLING STORIES
+
+
+Before a child can read he develops a passion for stories, and nothing
+delights him more than an interesting tale from the loving lips of
+father or mother. In good kindergartens and primary schools, there are
+teachers who tell stories to the little ones and do it well, but parents
+will not wish to delegate it entirely to teachers, for story-telling is
+the best way of getting at the hearts of children and planting those
+germs which later grow into refined taste in reading as well as ripen
+into real character. On the other hand, the teachers may neglect to tell
+stories to their pupils or are not skilled either in selection or in
+manner of telling. Parents who are interested in the welfare of their
+small boys and girls will wish to know what is being done and how it is
+accomplished, but may have little idea of the material it is wise to use
+or where to find good subjects for their tales.
+
+Proper selection is highly important, for taste and appetite for certain
+kinds of literature may be created long before the child can read for
+himself. Strong-minded, courageous little boys will love to hear of
+giants and ogres, and will revel in adventures that may terrify their
+more delicate sisters. George hates the fierce foes that Jack the
+Giant-Killer meets, and dreams of the time when he can overpower and
+slay his own ogres. Alice listens tremblingly, and when she goes to her
+little bed at night lies in fear and trembling, while hideous faces leer
+at her from out the shadowed recesses. George never wearies of our
+oldest poem, _Beowulf_, while Alice wants only _Cinderella_, or at most
+_Bluebeard_. It is nothing less than cruelty to fill the imaginations of
+sensitive children with deeds of violence and tales of sadness and woe.
+Yet it is no less true that some young folks are the better for their
+giants, their knights and their battles. On the whole, it is wiser to
+keep the giants, the ogres and the suffering people in the background,
+or to dwell upon them only when there seems a demand for them; later,
+lead the young imaginations into the realms of history and real life
+where giants are very real and ogres yet remain to be subdued. Do not
+tell sad or exciting stories in the evening. Keep the quiet, peaceful
+things for bed-time stories.
+
+Here, then, is the great opportunity for the parent. The teacher has
+thirty or more children of as many different temperaments from homes as
+varied in culture as the children are different in appearance, and to
+them she must tell her story as to one. The parent has but his own
+little flock, whom he has known every day of their lives, and whose
+souls are as transparent as glass to his watchful and sympathetic eye.
+How certain may he feel in his selection of material, how powerful in
+his recital!
+
+Perhaps, however, he may find the pleasant task an unaccustomed one, may
+have forgotten what he knew as a boy, and may not know where to turn for
+material. Here these books come to his assistance with material for
+every taste and suited to every occasion. In the beginning of the first
+volume are the nursery rhymes which children have enjoyed for ages,
+which are read, or far better told, to infants who rejoice in the
+pictures. Between the nursery rhymes and the literature that follows is
+quite a gap, intentionally left by the editor. There are no pretty
+little tales in words of one syllable for beginners to read, but there
+are good fables and stories to be told while the children are learning
+to read, and later, to be read by the young people themselves. No parent
+can go astray in selection if he knows his own children.
+
+Do not be afraid to _tell_ the story--reading it aloud will not be half
+so effective. Select a fable or a short story first. Read it carefully,
+and then shut the book and think about it. Be sure you have the plot in
+your mind, make the hero and the other characters seem very real to
+yourself, picture the scenes vividly in your mind's eye, and you are
+ready to begin.
+
+1. _Use Your Own Words._ Simple words, graphic, commonplace words, are
+the best. The older children will be just as much entertained, and the
+younger ones can understand better. On the other hand, do not talk
+_down_ to their level; they will resent the idea and laugh at you. _Keep
+on their level._ That means that you must be sure you know your audience
+before you begin to talk.
+
+2. _Talk Naturally._ Forget that you are telling a story for the effect
+it will produce. Forget yourself. Tell the story as you would tell them
+an incident you have just seen.
+
+3. _Look Your Children in the Eyes._ Find the responsive eyes and get
+your inspiration from them; seek out the dull and uninterested eyes and
+talk to them till they brighten up and respond to your enthusiasm. Let
+every child know that many times you have looked him square in the face
+and make everyone feel you are talking straight at him.
+
+4. _Supply Many Details._ Children love them; their lives are made up of
+little things. Don't think you are ignoring the real story by your
+additions. The details you give are probably the very ones the author of
+the original story intended you to supply from your own imagination as
+you read. Under this head comes the giving of names to characters;
+descriptions of clothes, of facts, of feelings; the addition of new
+incidents.
+
+The recital of a bare plot is not an interesting story. For instance: "A
+boy on his way to school found a yellowbird's nest with four little
+birds in it," is the recitation of a bare plot. Is it interesting? Would
+the story appeal to children? What do you think of the form following?
+
+"John told me an interesting story this morning. As he was coming to
+school today he saw a little yellowbird fly from the bushes by the big
+tree at the corner of Mr. Brown's yard. He parted the leaves and looked
+into the bush, but for quite a while he could see nothing. At last,
+however, he spied a pretty little nest in the fork of a limb and so low
+that he could look right down into it. John must have made some noise,
+because when he looked in he saw four little, wide-open red mouths, and
+that was about all. Of course, there were little half-naked bodies under
+the gaping mouths, but he couldn't see them, for each little bird was
+shaking his head about, stretching it up higher and higher and opening
+his mouth wider and wider. You see, to each little bird a rustling sound
+meant that the mother bird had come back with a bit of tasty breakfast
+in her mouth. When the wee babies found that they had made a mistake
+they closed their mouths, drew down their heads and packed themselves
+away so tightly that I'm sure they can't be cold while their mother is
+away."
+
+5. _Be Intimate and Personal with Your Audience._ Express your opinion
+now and then as your own; interrupt the story occasionally (not often
+enough to spoil the interest) by asking for the ideas of the children.
+Let them guess, sometimes, at the outcome of the story. Make them feel
+that they are an important part of the exercise. Sometimes they will
+help you wonderfully.
+
+6. _Use Direct Discourse Wherever Possible._ Make your characters speak
+in their own words. Say, "John said, 'I saw the nest,'" rather than,
+"John said that he saw the nest."
+
+7. _Keep the Climax Out of Sight as Long as Possible._ Curiosity is a
+large factor in interest, and if the children know "how the story is
+coming out" you are liable to lose their attention. However, you will
+find that some stories will prove such favorites to young children that
+they will call for the tales again and again. Occasionally small
+children are very particular about the way in which a story is
+repeated--there must be no deviations from the way in which it was first
+told. You may congratulate yourself on having told the story well, if
+the children ask for its repetition; and if they criticise your second
+telling you may know you did very well in your first attempt.
+
+8. _Be Enthusiastic; Be Dramatic._ Throw yourself into the tale; _see_
+what you are describing; _feel_ what your characters feel, and _enjoy_
+the story itself. Speak distinctly; use clear, sympathetic tones; speak
+slowly or rapidly as the action demands, and use pauses effectively.
+Don't be in a hurry. See that your face expresses your feelings, that
+your attitudes are easy and your gestures appropriate and graceful. Act
+your part.
+
+9. _Do not Preach._ Tell the story so the moral, if there is any, may be
+seen and felt without your striving to point it out.
+
+10. _Talk the Story Over Freely with Your Children._ Try to get their
+ideas, rather than to give your own. You can tell whether you have
+succeeded and what your faults in narration have been.
+
+
+_The Fairies of the Caldon-Low_
+
+The difference between poetry and prose may be shown in rather a
+startling manner with such a selection as _The Fairies of the
+Caldon-Low_ (Volume II, page 395). Children like Mary Howitt's little
+narrative, but what does it really say? Let us put it in plain prose and
+see!
+
+"Where have you been, Mary?"
+
+"I've been to the top of Caldon-Low to see the midsummer night."
+
+"What did you see?"
+
+"I saw the sunshine come down and the winds blow."
+
+"What did you hear?"
+
+"I heard the water-drops made and the ears of corn fill."
+
+"Tell me everything, Mary, for you must have seen the fairies."
+
+"Then take me on your knee, mother, and listen. Last night a hundred
+fairies danced on lively feet to the merry music of nine harpers, but
+the merriest thing was the sound of the fairy talk."
+
+"What did you hear them say?"
+
+"I'll tell you, but let me do it in my own way. Some rolled water down
+the hill and said, 'this will turn the poor old miller's wheel, and a
+busy man he will be by morning. There has been no rain since the first
+of May, and how the jolly old miller will laugh till the tears fill his
+eyes when he sees the water rise in the milldam.' And some seized the
+winds and put horns to their mouths and blew sharply. 'And there!' said
+they shrilly, 'the merry winds go from every horn to clear the damp
+mildew from the blind old widow's corn. Though she has been blind for a
+long time she'll be merry enough when the corn stands up stiff and
+strong without any mildew!' Then some brought flax seed and flung it
+down, saying, 'by sunrise this will be growing in the weaver's field,
+and how the poor lame fellow will laugh when he sees his vacant field
+filled with blue flax flowers in a single day.' Then a brownie with a
+long beard spoke, 'I have spun all the tow and I want more. I have spun
+a linen sheet for Mary's bed and an apron for her mother.' I couldn't
+help but laugh out loud, and then I was alone. On the top of Caldon-Low,
+the mists were cold and gray and I could see nothing but mossy stones
+lying about me. But as I came down I heard the jolly miller laughing
+and his wheel going merrily. I peeped into the widow's cornfield and,
+sure enough, the golden corn was free from mildew, and at the gate of
+the croft stood the weaver, whose eye told the good news about his flax
+field. Now that's all I heard and all I saw, so please make my bed,
+mother, for I'm as tired as I can be."
+
+Rather a pretty story, even in plain prose, is it not? It is re-written
+just about as it would be told to a little child for the first time, a
+child interested in the good fairies who do good things for the poor and
+the suffering. Then a little later, when the child reads for himself he
+can see how much better Mary Howitt tells the story in verse.
+Nevertheless, some children will prefer it in prose and often may ask to
+have other poems "told in prose." There is no reason for refusing. Story
+first, poem afterward, is a good rule to follow if you want to create a
+taste for poetry. Sometimes just a remark, "Let us see how this sounds
+in poetry," will create enough interest to enable the parent to begin
+reading aloud to an attentive audience. Most children will not learn to
+like poetry if left to their own devices. It must be read aloud to them
+and its beauties pointed out occasionally to create a love for so
+artificial a thing as metrical composition.
+
+Parents will find in the General Index at the end of this volume not
+only reference to the contents of _Journeys_ by title and author, but
+also a classification of subject matter, so that it will be easy to find
+different examples of poetry,--lyric, ballad, sonnet,--and of
+prose,--fiction, adventure, history, etc., offering a wide range of
+selection for story-telling purposes.
+
+
+_Little Giffin of Tennessee_
+
+This little narrative poem (Volume IV, page 461), is intensely dramatic.
+Too abrupt in style for easy reading and filled with words the children
+may not understand, it is not well adapted to the very young. But
+there's a story in it of courage and deep patriotism that will be an
+inspiration to every child who can hear it. What better subject can a
+parent find for his son's encouragement than a tale told in his own
+words or read in the following?
+
+Little Giffin of Tennessee was only a boy, only a boy of sixteen, not
+bigger nor stronger than Charlie, Thomas or George Jones whom you see
+going by to school every day. Yet he wasn't running along bareheaded
+carrying a bat or swinging his books by a strap. Little Giffin was a
+poor wounded soldier boy who had been already in eighteen battles; more
+than one, you see, for every year of his short life.
+
+In the last terrible charge, a grape shot had struck him in the leg and
+arm and torn the flesh from his broken bones. Over him his comrades
+swept up to the face of the enemy's guns, and little Giffin was left to
+fight his battle with cold, and rain and hunger. All night long he lay
+moaning on the ground, and it was late in the forenoon of the next day
+when he was found and taken to the hospital.
+
+There they laid his mangled body among the hundreds of others who had
+met with a fate as hard as his own. It was hours before the surgeons
+could come to him, and then so hurried were they by other calls upon
+them that only a hasty dressing of his poisoned wound was possible.
+
+Some kindly visitors found him there, his fair young face flushed with
+the deadly fever, and begged the surgeons to do something for him.
+
+"We can do nothing," they said. "Our hands are full. His case is
+hopeless. We must help where it will do some good."
+
+"But may we take him with us? May we see what we can do for him? Perhaps
+we can find a doctor who can cure him."
+
+"Take him and welcome," the surgeon replied. "But you can find no doctor
+who can save the dead. Little Giffin can never get well."
+
+But the good people lifted the broken form and carried it out from the
+hospital's deadly air, into the golden sunshine and away to a clean
+little cot in a humble home where a good doctor treated him and a kind
+motherly nurse hung over him and soothed his feverish brain for many a
+weary hour. For days it seemed that every breath would be his last and
+for months his sufferings wrung the hearts of his friends.
+
+But at last there came a day when he could sit up a little, and then for
+weeks he hobbled about, an almost helpless cripple with a rude crutch
+for his only support.
+
+But his new friends had known that he would get well, for even during
+the days of burning fever and the weeks of weary recovery his heart had
+been filled with courage and his steel blue eye had glinted with a
+dauntless spirit that would not die.
+
+The crippled right arm and mangled fingers were slow in healing and
+nearly useless when the wounds were closed and only ugly scars remained.
+In spite of all, though, he learned again to write, and you can imagine
+that the first letter, in its scraggly writing, began, "My Dearest
+Mother," and the next, "Dear Captain."
+
+Mother's answer came first and brought warmth and love to the heart of
+the brave little cripple who dreamed now only of home--home, which he
+had not dared hope to see again. But then the Captain's letter came:
+
+"Dear Giffin:
+
+"Your letter reached me tonight. God bless you, my boy. I thought you
+were gone with the others. Of the eighty-five who made that fatal charge
+only you and I are now alive. They say that Johnston is hard pressed and
+needs every man----"
+
+Little Giffin never finished reading the letter. He was up and ready to
+start away to the front, to his Captain and to Johnston.
+
+"Johnston needs every man," he said, as the first tears he had shed came
+to his brave blue eyes. "He needs every man and I'll be some help. I'll
+write to you, if I'm spared. Good bye. God bless you, kindest of
+friends."
+
+He was gone. Long his friends waited for word from Giffin, little Giffin
+of Tennessee. But there came only the news of a terrible battle with
+Johnston, where indeed every man was needed.
+
+And little Giffin? Little Giffin never wrote.
+
+But I'd rather have one loyal Giffin, in a nameless grave on a southern
+battle field, than all the cowardly men who would fawn around me if I
+were a king.
+
+Now I'll read you a little poem which tells better than I can the story
+of brave little Giffin of Tennessee.
+
+
+_The Ballad of Agincourt_
+
+By telling the story and giving some explanation of difficult terms, we
+are often able to create an interest in poems that would otherwise
+remain unread. The best of old English ballads are so full of martial
+spirit that they may well prove an inspiration to many a boy in these
+days when war has so recently rent the whole world and proved the
+courage of our own young men. Back of the action that brought bloodshed
+and suffering is a spirit of loyalty, a genuine patriotism that is as
+much needed now as when it animated the souls of the British soldiery in
+those days of long ago. It is part of our inheritance, and may not be
+forgotten. It is to be hoped that we may never need it again amid the
+smoke and carnage of the battlefield, or in the silent horror of the
+trenches, but we have each for himself conflicts to wage with foes more
+insidious than the armed forces of rival nations, and we can win them
+only by the same spirit of devotion that brought victory at Agincourt.
+_The Ballad of Agincourt_ (Volume V, page 95), is followed by notes that
+make clear its historical setting, but a few comments may help to a
+better appreciation of the inspirational value of the selection.
+
+It is natural that in verses written about three hundred years ago there
+should be found some crudities in style, some lapses in syntax, and not
+a few words strange to us or having a meaning somewhat different from
+their present significance. Among such lapses in syntax we find the
+slight confusion of tenses in the first stanza, caused in the poet's
+mind by the necessity of making a rhyme for France, though this might
+have been obviated by writing "stands" for "stood" and using the present
+tense throughout. The necessities of rhyme troubled Drayton not a
+little: he must pronounce "Agincourt" as it is written to rhyme with
+"sort," which, by the way, is not a perfect rhyme for "fort" in the
+sixth stanza, and "great" does not rhyme with "seat" nor "feat"; in the
+seventh, "rear," "there" and "were" do not rhyme; other instances are
+easily found. Of words not now familiar, or used in an unfamiliar sense,
+the following are examples: We do not frequently speak of the wind
+"standing" in a certain direction; we do not often "advance" our sails
+nor "prove" our chance; "vaward" and "bilboes" are old words; "ding" in
+the sense used here has long been forgotten; of "archery" except as a
+sport we know nothing; "Spanish yew" is no longer valuable for bows, and
+few can tell how long a "clothyard" (the English ell, 45 inches long)
+is, or whether it differs from any other "yard" as a measure of length.
+
+If the things just mentioned are defects they are of little moment and
+add to the quaintness of the verses without detracting from their force.
+Anyone who reads for inspiration and for his own betterment puts aside
+the critical spirit, places himself in the position of the writer,
+harmonizes thoughts and reads for the message without much concern for
+the medium. But there are force, action, rhythm, clearness and beauty
+in this old ballad. Let us see what we can find without carrying
+analysis to the point where it destroys the spirit. All we need is an
+understanding of the meaning of the sentences and an expressive reading
+aloud. The former, we can supply here, the latter the reader must
+contribute. Poetry must be read aloud to be appreciated by any but those
+who can listen to their thoughts and hear the words their eyes garner
+from the printed page. Such readers are few.
+
+Here is the paraphrase that makes the meaning clear.
+
+With a wind blowing straight for France the English soldiery spread
+their sails to try one more campaign against their ancient enemies.
+Crossing the open sea they landed at the mouth of the Seine river,
+following King Henry and his noble courtiers.
+
+There was fighting all the way, and many a strongly garrisoned fort was
+taken, to the joy of all the English. Every day had its skirmish with
+the French, who stoutly defended the way to Agincourt where lay their
+commander with all his great army of fifty thousand men. Here the
+Frenchman sent to King Henry the sarcastic message: "You are going to
+your doom. Better get your ransom ready before you advance further." To
+this insult the English king made no answer, but an angry smile that
+foreshadowed the fall of his vile opponents flashed from his eyes.
+
+Turning to his men, however, the brave king spoke: "Don't be alarmed if
+they do outnumber us ten to one. We have begun nobly. Battles so bravely
+won as these we have fought, have always been lauded to the skies. Your
+fame shall never die. And as for myself, this is my task. I shall not
+ask England to mourn for me nor to praise me. If I am not victor here,
+or if I am slain, never shall she be asked for one penny to redeem me.
+From the great battles of Poitiers and Cressy we learn that when the
+French were the most swollen with pride they fell beneath our swords.
+Our skill is none the less than that of those who fought under our great
+grandsire when he defeated the French and cut their national emblems to
+the ground."
+
+What a battle array it was! The vanguard was led by the dread Duke of
+York; the king himself in the midst of his brave guards sped in the
+center with the main body of the troops, while the valiant rearguard was
+captained by Excester, courageous as any man in the great army.
+
+And now the fight begins! Armour on armour shines; drum now to drum does
+groan,--to hear is wonder; that, with the cries they make, shakes the
+very earth; trumpet to trumpet speaks, thunder to thunder.
+
+From the ambuscade of our hidden forces the noble Erpingham gives the
+signal for the English archers to fire. Now like a storm the
+cloth-yard-long arrows sped by the strong bows of Spanish yew strike the
+French horses, stinging them like serpents through the withers. Every
+bowman stands to his place, not one deserting; every true English heart
+rejoices in the slaughter.
+
+Down go the bows when the arrows are shot, out spring the great swords,
+as the English fly on the French, not one laggard in the company;
+straight from their shoulders spring the blows that cleave the heads of
+the French peasants and drop them in the dust of trampling feet.
+
+Meantime the noble king, brandishing his broad-sword, dashes along the
+French line as though to overwhelm it with his mighty blows, while many
+a wound sheds blood on his arms and many a cruel dint sinks into his
+helmet.
+
+The good duke Glo'ster, next of the royal blood, fights side by side
+with his brave brother, and the youthful Clarence in this almost the
+first of his battles fights as furiously as any experienced knight;
+Warwick wades in blood, and Oxford adds to the cruel slaughter of the
+foe. Suffolk plies his axe manfully while Beaumont, Willoughby, Ferrers
+and Fanhope, names for the English to conjure with, bear themselves as
+bravely.
+
+
+_Hervé Riel_
+
+Let us take, as a final example, Browning's poem _Hervé Riel_ (Volume
+VIII, page 168). We will set about the preparation of it together. First
+we will read the note and then the poem. * * * It is a stirring thing, a
+noble monument to a noble man. It is worth the telling. We will read
+through it again and mark the passages that contain the incidents that
+make the story, so that we may not have to hesitate for ideas after we
+begin to talk. * * * Really, the plot is more simple than we thought. It
+is merely this: "The French fleet, defeated by the English, arrives off
+the harbor of Saint Halo. They call for pilots, but none will try to
+conduct the big ships through the dangerous channel, and the captains
+decide to wreck and burn their ships, so the English may not capture
+them. Just at this time a simple Breton sailor offers to pilot the
+vessels through, under penalty of death. The commander puts him in
+charge of the fleet and he takes them safely into the harbor. The
+English arrive just too late to do any damage, and the French commander,
+grateful to his deliverer, offers him any reward he may wish. The Breton
+laughs and asks for one day's leave to go and visit his wife who lives
+near by."
+
+Let us consider the persons. Evidently Hervé Riel is the only one we
+need mention by name. We could give him a simpler name, but if the story
+is true, everyone ought to remember him. We must try to make him seem
+alive. We must make his deed seem great and must make a point of his
+patriotic devotion and of his beautiful love for his wife.
+
+Now we are ready to talk, as soon as we have thought a little and
+assured ourselves that we are in the right spirit. So, facing our
+audience of small children, we begin:
+
+I've just been reading _Hervé Riel_, a story that I like so much I must
+tell it to you. A long time ago, before there was a (name your town),
+really before there was a United States, there was a long war across the
+ocean between the great nations, England and France. There had been a
+bloody battle between their navies, and the French had been beaten.
+Still twenty-two of their ships escaped, sailed to their own country and
+arrived outside the harbor of Saint Malo. But they were not safe, by any
+means. The English were close behind and could soon overtake and capture
+or destroy all the French vessels, and put to death many of their
+crews. Inside the harbor the French knew they would be safe, for no
+English vessel could get through the long, crooked channels without a
+pilot, and no Frenchman would lead the English.
+
+Without even waiting to anchor, the captains made signals for pilots and
+many skilled ones came off to the ships. When the pilots heard that the
+French were crippled and must get into the harbor they laughed at the
+captains.
+
+"Go through there now?" they said. "Why, you can't do it. Don't you see
+it's low tide and the rocks are showing everywhere? The channel is
+crooked and very dangerous at high water and now you could not get your
+smallest ship through safely, let alone such a large ship as the
+_Formidable_ here, with her ninety-two big guns. It can't be done."
+
+Nothing could change the minds of the pilots. They knew their business
+thoroughly. So the captains met to decide what they should do. The
+commander addressed them, saying:
+
+"The English are at our heels. What shall we do? Do you want them to tow
+us all, one behind the other, back to their country to become their
+prizes? Not I. Better run all the ships aground, set fire to them, and
+escape ourselves if we can."
+
+The brave captains all looked at their commander. Every man shut his
+teeth together, set his brows, and with flashing eyes said, "Speak the
+word; we will obey."
+
+But the commander never gave his order! Right into the excited group
+stepped a man; not a captain, not even a second mate; just a plain,
+simple sailor who lived near Saint Malo. He had not even joined the
+fleet of his own will, but had been seized and carried on board long
+before the battle, because the navy was short of sailors. You might
+think he would want revenge for being taken away from his home and his
+fishing. Did he? At first he was too much excited to speak, but in a
+moment he stormed out:
+
+"What's the matter with you pilots? Are you mad, or fools, or cowards,
+or have the English bought you body and soul? Don't talk to me of rock
+and shallow places and crooked channels! Haven't I sailed these waters
+for years, and don't I know every shallow place, every dangerous turn,
+every inch of the way? You cowards! There's a way through, I tell you."
+
+Then Hervé Riel turned to the commander and shouted, "Put me in charge
+of this ship, the biggest, this _Formidable_, and I'll steer her
+through. Make the others follow me closely. They'll all come safely in.
+Try me; I'll do it. I haven't much to offer for the chance, but if this
+ship so much as touches her keel on a hidden rock, you may cut off my
+head. Let me try, sir."
+
+The commander replied, "We have not a second to spare. You're admiral
+here! Take the helm and lead us through!"
+
+Hervé Riel was as prompt as the commander, and seizing the tiller, he
+soon had the great ship sailing along under perfect control. She went
+into the narrow channel, with the great rocks high on both sides. The
+waves beat up angrily and the breakers threw their spray high over the
+decks. With eyes fixed on the channel and both hands on the helm, he
+guided the staunch vessel on the winding course. Time and again it
+seemed as though she must be wrecked, but just at the moment of greatest
+danger Hervé Riel shifted the helm, and the stately ship moved safely
+on. With hearts beating high, the officers watched the wonderful deed,
+and the frightened sailors clung speechless to the rail. Finally,
+between two great rocks that seemed to block the channel completely, the
+ship sailed majestically into the harbor, and Hervé Riel had kept his
+promise. Not once had the great _Formidable_ touched her keel to a rock;
+not a scratch, except the battle scars, marred her fair sides.
+
+After her, one by one, came the other ships of the squadron, till all
+were anchored safely in the harbor. Just as the last ship came to
+anchor, the English fleet, coming up in helpless anger, began to throw
+shells across the passage. The French, however, were out of range and
+could laugh at the fruitless attempts of their enemy. With one voice the
+captains and sailors of the rescued fleet shouted, "Hervé Riel! Hervé
+Riel! Now, let the king of France reward the man who has saved his
+fleet!"
+
+And what of the brave sailor? He stood calm and quiet without a gleam of
+pride in his frank blue eyes. Just the same man as he was before his
+gallant deed, he answered the commander's call and stood before him.
+
+"My friend," began the commander, "I can scarcely speak, but you know
+praise comes from the heart and not from the lips. You have saved the
+fleet from certain destruction and have preserved the lives of many of
+your countrymen. No reward is too great for you. Ask what you will and
+it shall be granted."
+
+Hervé Riel's blue eyes danced with merriment as he said, "Now that my
+work is over I would like, if I may have it, one whole day to visit my
+wife, whom I call 'Beautiful Aurora,' and who lives just a little way
+from Saint Malo. That is all I want. May I go?"
+
+You can imagine whether or not his request was granted.
+
+Now, do you know, that brave act was forgotten; Hervé Riel was forgotten
+for many centuries. No monument was erected to his memory; there seemed
+nothing to keep the patriotic man alive in the hearts of his countrymen.
+But one day, not so many years ago, Robert Browning, the great English
+poet, heard the story, and he was so moved by the heroic deed and the
+quiet humor of the man, that he wrote a fine, manly poem and called it
+_Hervé Riel_, so that it should remain as a monument to the patriotism
+and character of the simple French sailor.
+
+If the children are older and studying history, we would give more of an
+idea of the place, and of the occasion and show what the effect of
+saving the ship really was. The poem is an excellent one, but most
+children do not care for it till they have heard the story and have
+studied the text. Then they are delighted with it and will read it again
+and again. It has been many years since the writer of this first read
+_Hervé Riel_, but he has never wearied of it and cannot read it now
+without a thrill of admiration for the hero and for Browning's monument.
+
+When you tell the story, do not try to tell it as this has been told.
+Use _your_ words, select for emphasis the parts that appeal to _you_ and
+give the children just the ideas that _you_ have conceived.
+
+
+Other classics that will make just as good subjects for story telling
+are in every volume of _Journeys_. The following list contains only a
+few of them. By adapting them to the age of the young listeners, almost
+any of them may be made suitable for almost any age:
+
+  Volume I,   page  79. _Little Red Riding Hood._
+  Volume I,   page 101. _Silver Locks and the Three Bears._
+  Volume I,   page 134. _The Dog in the Manger._
+  Volume I,   page 431. _Baucis and Philemon._
+  Volume I,   page 456. _The Story of Joseph._
+  Volume II,  page 111. _The Punishment of Loki._
+  Volume II,  page 448. _The Story of Esther._
+  Volume II,  page 387. _What the Old Man Does Is Always Right._
+  Volume III, page 436. _Robin Hood._
+  Volume IV,  page 192. _The Pine-Tree Shillings._
+  Volume IV,  page 274. _David._
+  Volume IV,  page 383. _The Wooden Horse._
+  Volume V,   page 130. _Balin and Balan._
+  Volume V,   page 237. _The Passing of Arthur._
+  Volume VI,  page 143. _Ruth._
+
+
+
+
+CHAPTER V
+
+READING AND THE BUILDING OF CHARACTER
+
+
+I
+
+The influences which unite to make character are so numerous, subtle and
+complex that it is next to impossible to detect them or to classify them
+in order of importance. Not only is this true of the aggregate, but it
+is true of the individual. It is doubtful if any person in middle life
+can tell just what he is or just how he became himself. He is aware of
+some great influences that have exerted their power over him at certain
+crises in his life, but the little things which, taken together, have
+done more to form and fix his character are often unrecognized or
+undervalued. Fortunately, at this time we need to give attention to only
+one phase of the great question.
+
+Character is the one important thing. Great as is the value of book
+education, of practical power and of good health, still greater is the
+importance of sound, wholesome character; and, consciously or
+unconsciously, intentionally or unintentionally, the teacher and the
+parent are incessantly at work building the characters of the young
+people placed in their charge. Most of us, too, are working toward right
+ends as conscientiously as possible. Yet often we grow faint-hearted, or
+are puzzled to know what we can do to help the children and how we can
+do it most effectively.
+
+That the influence of reading on character is one of the most powerful
+is granted by every high-minded person who has written or spoken upon
+the subject. Really, it is not an influence, but a series of influences,
+wide, complex, far-reaching. The extended range of subjects, the
+infinite variety in style, the unlimited shades in sentiment to be found
+in literature make its presence influential everywhere and always. In
+reading there is comfort for the sorrowing, companionship for the
+lonely, encouragement for the downcast, entertainment for the leisurely,
+inspiration for the sluggish. Gentle, pervasive, almost unnoticed, yet
+stronger than iron bands, is the power of literature over us. We are
+what we read.
+
+If such be the case, then there need be no argument concerning the
+importance of suitable reading matter for the young. To leave a child
+wholly to his own inclinations in reading is as absurd as to send him to
+take honey from a swarm of angry bees and not expect him to be stung.
+Inevitably, he will be injured, and that seriously. To supply him with
+honey, all that he wants, at all times and without exertion to himself,
+is to clog his taste and destroy his appetite. We must see that he is
+led to look for the sweet, taught to recognize it when he finds it, and
+to extract it from the comb. He will enjoy working to get it. On the
+other hand, he must not be sent where his reward is too difficult to
+find and secure, lest he become discouraged and cease to work.
+
+School readers furnish much excellent material for reading; in the
+majority of schools there is furnished more or less of supplementary
+reading which is quite as good as that in the text-books and which will
+have the merit of novelty and exclusiveness. Yet, in spite of this,
+parents and teachers are continually finding themselves at a loss for
+fresh and inspiring things for special occasions. All these may be had
+from _Journeys Through Bookland_ and to assist in finding them and in
+using them after found the following has been written.
+
+
+II
+
+Character is made up of a great variety of traits; some of the mind,
+some of the heart, some of the soul. That is, what we are is composed of
+what we know, what we feel and what we believe. In response to those
+things we act; we govern ourselves in respect to ourselves and in
+respect to others.
+
+The grave responsibility that rests upon parents and teachers is to
+encourage those traits which make for noble manhood and womanhood and to
+correct or eradicate as far as possible those which are bad in
+themselves or which help to neutralize or destroy the good ones.
+
+Much may be accomplished by correct teaching of good principles, but
+human nature is such that people learn even more through indirection
+than through instruction. By means of the study of literature the best
+direct instruction may be given, and wholesome lessons may be taught
+abundantly in that charming way which accomplishes its purpose without a
+recognition on the part of the readers that they are being _taught_. The
+force and persistence of a good lesson of the latter kind cannot be
+estimated. It may be years before it exhausts itself, and its effect may
+be revolutionary.
+
+The wise instructor, though she does not make known all her plans, works
+systematically. That is, having learned that a child is lacking in some
+respect, such as a knowledge of what constitutes good character, or in
+certain desirable traits of character, or possesses some characteristics
+that should be changed, she proceeds slowly and persistently to bring
+about the results she desires.
+
+
+III
+
+In _Journeys Through Bookland_ the mother will find much to assist her.
+The influence of nearly all the selections will be for the betterment of
+character, will tend to make better men and women of the children. But
+when she is looking for some direct help, for something to produce a
+certain definite result, she will study the books carefully and select
+the things which are most effective. To help her in her selection we
+have prepared the following outline. It does not contain everything of
+value, but it is sufficiently comprehensive for its purpose, and will
+save much time for anyone.
+
+Now let us not be unwise in teaching these things. Let us be satisfied
+if we secure the interest of the pupils in the selection and get from
+them the smile of approval, the look of guilt, the slight indication of
+a determination to profit by the lesson. Many times we will refrain from
+comment lest we spoil the effect of something much finer, more inspiring
+than anything we can say ourselves.
+
+The things we have chosen for their direct influence on the growing
+character of children will be grouped by subject in three general
+classes:
+
+A. The selections in this group are calculated to set children to
+thinking properly about some serious subjects. While not as important as
+some others may be in the formation of character, they are yet of no
+small consequence.
+
+1. Wisdom, ignorance, keenness, wit, etc., in some of their many phases
+are shown in the fables and the brief poem listed here:
+
+  _The Ass in the Lion's Skin_, Volume I, page 65.
+  _The Fox and the Stork_, I, 73.
+  _The Fox and the Grapes_, I, 135.
+  _The Bat and the Two Weasels_, I, 154.
+  _The Horse and the Stag_, I, 338.
+  _The Fox, the Wolf and the Horse_, I, 377.
+  _The Bald Knight_, I, 385.
+  _The Wolf and the Lamb_, I, 455.
+  _Minerva and the Owl_, II, 7.
+  _The Country Squire_, VI, 474. (To ridicule ignorance but not the
+  ignorant person is sometimes a valuable means of inciting a love for
+  knowledge.)
+
+
+2. The importance of attention to little things is inculcated in the
+following:
+
+  _The Lion and the Mouse_, Volume I, page 75.
+  _The Reaper and the Flowers_, I, 410.
+  _The Daffodils_, VII, 1.
+  _The Petrified Fern_, VII, 77.
+
+3. The following will help to create habits of promptness, industry and
+perseverance:
+
+  _Time to Rise_, Volume I, page 340.
+  _The Hare and the Tortoise_, I, 71.
+  _The Lark and Her Young Ones_, I, 131.
+  _Industry and Sloth_, I, 300.
+  _Whittington and His Cat_, I, 442.
+  _Tom, the Water Baby_, II, 215.
+  _The Village Blacksmith_, IV, 86.
+  _Bruce and the Spider_, V, 314.
+
+4. These show the sterling worth of independence and the real equality
+of man:
+
+  _The Village Blacksmith_, Volume IV, page 86.
+  _For A' That and A' That_, VII, 149.
+
+5. Courage and bravery are shown to be admirable and cowardice is made
+shameful in these selections:
+
+  _The Boy and the Nettle_, Volume I, page 65.
+  _The Mice and the Cat_, I, 197.
+
+6. The evil of conceit and overweening self-esteem may be shown
+emphatically by the use of such selections as these:
+
+  _The Gnat and the Bull_, Volume I, page 70.
+  _The Cock and the Horses_, I, 146.
+  _The Pea Blossom_, I, 205.
+  _The Sparrow and the Eagle_, II, 8.
+  _The Milkmaid_, II, 374.
+
+7. Flattery as a vice is made to seem unworthy, and its victim
+ridiculous in the two selections following:
+
+  _The Fox and the Crow_, Volume I, page 64.
+  _The Spider and the Fly_, III, 19.
+
+B. Our character is largely made up of our feelings and emotions. Reason
+takes us in hand and tells us right from wrong, but we must feel before
+we can act. To cultivate right feeling, laudable emotions; to make one
+_wish_ to do and hence _will_ to do is perhaps the greatest function of
+real literature, that is the literature of beauty and of inspiration.
+Our collection is rich in this direction and to find material for
+lessons is an easy task. Yet not everyone has the time to find, classify
+and use everything; hence the following lists.
+
+Before giving them, however, a word of caution is necessary. Remember
+that these selections are not all suitable for children of every age.
+Some that will delight the little children and stimulate them to
+enthusiastic efforts to do right, will not appeal to older ones.
+Moreover, the natural bent of a child's mind, the associations he has
+formed, his home surroundings, and his present character will all need
+to be considered before making choice of the subject matter. As for the
+manner of presentation, enough will be found in the studies in _Journeys
+Through Bookland_ and in other parts of this volume safely to guide the
+young and inexperienced.
+
+1. The influences of home and family are the greatest that come into the
+lives of most children. Love of home, of parents, of brothers and
+sisters, of children, are the perfectly natural things of existence. Yet
+often the ties are weak; not infrequently are they broken. Children
+drift away from the restraining and helpful influence of their parents,
+and families disintegrate. The results are bad. By properly teaching
+such selections as the following, much may be done to correct the evil
+and to intensify the highest, holiest emotions of mankind:
+
+  _The Rock-a-by Lady_, Volume I, page 94.
+  _Little Birdie_, I, 142.
+  _Sleep, Baby, Sleep_, I, 204.
+  _Old Gaelic Lullaby_, I, 203.
+  _Lady Button-Eyes_, I, 366.
+  _The First Snowfall_, II, 403.
+  _Rain on the Roof_, IV, 7.
+  _Pictures of Memory_, IV, 127.
+  _Bernardo del Carpio_, IV, 270.
+  _Rab and his Friends_, VI, 99.
+  _Childhood_, VI, 124.
+  _Home, Sweet Home_, VI, 221.
+  _Home They Brought Her Warrior Dead_, VI, 231.
+  _A Christmas Carol_, VI, 244.
+  _To My Infant Son_, VI, 478.
+  _The Old Oaken Bucket_, VII, 11.
+  _My Old Kentucky Home_, VII, 179.
+  _The Forsaken Merman_, VII, 180.
+  _Tom and Maggie Tulliver_, VII, 186.
+  _The Family of Michael Arout_, VII, 314.
+  _On Receipt of My Mother's Picture_, VII, 331.
+  Extract from _Snowbound_, VII, 388.
+  _The Cotter's Saturday Night_, VIII, 319.
+  _Dream Children_, VIII, 335.
+
+2. Honesty and truthfulness are cardinal virtues; they are the
+foundation of every strong character. Teach these selections and note
+their effect:
+
+  _The Shepherd Boy and the Wolves_, Volume I, page 92.
+  _The Falcon and the Partridge_, II, 6.
+  _The Pied Piper of Hamelin_, III, 384.
+  _The Cubes of Truth_, VII, 406.
+
+3. Friendliness, kindness, consideration of others, charity and love are
+a group of strong characteristics which are admirably shown in the
+following:
+
+  _The Two Travelers_, Volume I, page 109.
+  _Cinderella_, I, 224.
+  _Baucis and Philemon_, I, 431.
+  _The Snow Queen_, II, 124.
+  _The King of the Golden River_, II, 405.
+  _Auld Lang Syne_, VI, 228.
+  _A Christmas Carol_, VI, 244.
+  _Florence Nightingale_, IX, 13.
+
+4. Generosity is admirable; selfishness is despicable. Prove the facts
+by these:
+
+  _The Two Travelers_, Volume I, page 109.
+  _The Two Travelers and the Oyster_, I, 111.
+  _The Cat and the Chestnuts_, I, 142.
+  _Baucis and Philemon_, I, 431.
+
+5. Kindness to animals is next to kindness and sympathy for human
+beings. It is best inculcated by teaching the beauty and loveliness of
+animals, their value to man and their dependence upon him. The following
+will help:
+
+  _The Boys and the Frogs_, Volume I, page 63.
+  _The Brown Thrush_, I, 147.
+  _Mercy to Animals_, I, 413.
+  _The Ugly Duckling_, I, 414.
+  _Tom, the Water Baby_, II, 215.
+  _Who Stole the Bird's Nest?_ II, 399.
+  _A Dog of Flanders_, IV, 93.
+  _Rab and His Friends_, VI, 99.
+  _The Rime of the Ancient Mariner_, VII, 29.
+
+6. Patience and gentleness seem charming in these selections:
+
+  _The Wind and the Sun_, Volume I, page 95.
+  _Cinderella_, I, 224.
+  _Rab and His Friends_, VI, 99.
+
+7. Faithfulness is a virtue. We admire it in:
+
+  _Something_, Volume I, page 395.
+  _Whittington and His Cat_, I, 442.
+  _The Mirror of Matsuyana_, II, 36.
+  _The Snow Queen_, II, 124.
+  _Casabianca_, VIII, 313.
+
+8. That envy and covetousness are unpleasing and unprofitable are shown
+by these:
+
+  _The Dog and His Shadow_, Volume I, page 63.
+  _The Frog Who Wished to Be as Big as an Ox_, I, 66.
+  _The Golden Touch_, II, 43.
+
+9. Contentment, peacefulness, hopefulness are made very attractive in
+the following:
+
+  _The Town Mouse and the Country Mouse_, Volume I, page 199.
+  _The Pea Blossom_, I, 205.
+  _The Flax_, I, 378.
+  _The Discontented Stone Cutter_, II, 12.
+  _The Fir Tree_, II, 68.
+  _The Blind Lassie_, VI, 120.
+  _Pippa Passes_, IX, 293.
+
+C. We have grouped together here two classes of selections which
+inculcate patriotism or devotion to one's fatherland and devotion to
+God. How admirable the selections are! You have only to read them to
+see:
+
+1. Patriotism:
+
+  _Holger Danske_, Volume II, 377.
+  _Incident of the French Camp_, IV, 174.
+  _The American Flag_, V, 396.
+  _Battle Hymn of the Republic_, V, 399.
+  _Stonewall Jackson's Way_, V, 400.
+  _Horatius_, VI, 1.
+  _Bannockburn_, VII, 15.
+  _Breathes There The Man_, VII, 151.
+  _How Sleep the Brave_, VII, 151.
+  _Make Way for Liberty_, VII, 172.
+  _The Old Continentals_, VII, 175.
+  _America_, VIII, 60.
+  _The Battle of Thermopylae_, VIII, 81.
+  _The Fall of the Alamo_, VIII, 141.
+  _Hervé Riel_, VIII, 168.
+  _The Battle of Trafalgar_, VIII, 284.
+  _The Gettysburg Address_, IX, 321.
+
+2. Suitable selections under this topic are difficult for teachers to
+find, owing to the objection there is against religious teaching in the
+public schools. Parents have greater liberty of selection. The following
+are beautiful and seem wholly unobjectionable:
+
+  _A Thought_, Volume I, page 66.
+  _The First Snowfall_, II, 403.
+  _Nearer Home_, IV, 126.
+  _Stonewall Jackson's Way_, V, 400.
+  _The Rainbow_, VI, 91.
+  _A Child's Thought of God_, VII, 418.
+
+
+_Who Stole the Bird's Nest?_
+
+The obvious purpose of these verses (Volume II, page 399), is to create
+a love for birds by making things appear uncomfortable for the boy who
+steals their nests. Perhaps the lesson is too obvious. The people who
+never steal nests and who always treat birds lovingly will approve of
+the verses, but the boy to be reached is the one who does destroy nests
+and frightens or kills their owners or the boy who is liable to be led
+to do such things. Such a child may have no interest in the verses, may
+laugh at the sentiment, even if he can be induced to read or listen to
+the rhymes. Sometimes interest can be created and good effects produced
+by making prominent every feature except the moral. This can be made
+into a little play or dialogue with the following characters:
+
+  The Yellow-breast
+  The Cow
+  The Dog
+  The Bobolink
+  The Sheep
+  The Crow
+  The Hen
+  A Bird
+  Mary Green
+  Alice Neal
+  The Little Boy
+
+Unfortunately, there is only one boy character and he is any boy, in
+fact almost every boy, at some time in his life. But he is so ashamed
+that he doesn't speak, not even to give his name. Suppose, then, we
+don't mention him at all. Just leave him off the list. If he isn't
+mentioned and is in the audience, he'll remember what he has done and
+feel ashamed and go home and perhaps hide behind the bed and resolve
+never to steal another nest. Yes, we are inclined to agree with you that
+the poem might be better if there were no last stanza. So the little
+drama, in outline, is something like this.
+
+_The Yellow-breast._ Who stole my nest and the four eggs I laid?
+
+_The Cow._ I didn't take your nest. I wouldn't do such a thing. I gave
+you a wisp of hay.
+
+_The Yellow-breast._ Who stole my nest? Bobolink, who do you think stole
+my nest from the plum tree?
+
+_The Dog._ (Interrupting). I didn't; I wouldn't be so mean. I gave my
+hairs to make the nest.
+
+_The Yellow-breast._ Now listen to me. Who stole my nest, Bobolink?
+
+_The Bobolink._ Yes, who stole the Yellow-breast's pretty nest?
+
+_The Sheep._ Not I. I wouldn't treat a bird so. I gave my wool to line
+the nest.
+
+_The Yellow-breast._ Who stole my nest, I say?
+
+_The Bobolink._ Who stole her nest?
+
+_The Crow._ I should like to know the thief. Who was it?
+
+_The Hen._ Don't ask me. The chicks and I each gave a feather and she
+used them. We would be ashamed to intrude on her.
+
+_A Bird._ Let's all make a stir and find out who it is. Then we'll cry
+"For shame!" together.
+
+_Mary Green._ I wouldn't rob a bird. I never heard anything so mean.
+
+_Alice Neal._ It is very cruel. I wonder if the thief knew how sad the
+Yellow-breast would feel.
+
+       *       *       *       *       *
+
+Boys do not steal nests because they are mean and want to give pain.
+They admire the pretty eggs, they like the skilfully built nests, and
+they do not realize that anything suffers real pain. That is a lesson
+they must be taught. Can you teach kindness by cruelty? Is it not rather
+cruel to say right out before Mary Green and Alice Neal and the other
+girls that the boy was so ashamed he hung his head, hid behind the bed
+and wouldn't tell his name?
+
+
+_Lead, Kindly Light_
+
+NOTE.--John Henry Newman, the author of this beautiful poem (Volume V,
+page 110), was born in London in 1801. He entered Oxford before he was
+sixteen and achieved the highest distinction in his college course. He
+entered the Church of England and became noted for his wonderful
+sermons. After some years of prominence in his calling, he was convinced
+that his belief was wrong, and in 1845 he entered the Roman Catholic
+Church. In 1879 he was created cardinal by Pope Leo XIII. but he
+continued to reside in England, where he died in 1890. Besides his great
+influence as a spiritual thinker, Newman's writings and sermons were
+characterized by a forcible and elevated style and by remarkably
+melodious utterance. _Lead, Kindly Light_ shows these traits.
+
+
+Some words and phrases in the hymn may be made clearer by explanation:
+"Kindly Light."--"The light shall shine upon thy ways." (_Job_ xxii,
+28.) "The Lord is my light and my salvation." (_Psalms_ xxvii, 1.) "The
+Lord shall be thine everlasting light, and the days of thy mourning
+shall be ended." (_Isaiah_ lx, 20.)
+
+In the Bible there are many other instances besides those just given in
+which there is a figurative use of the word _light_. It is a natural and
+beautiful figure. A person in doubt intellectually or spiritually looks
+upon himself as in darkness, and light to him is an intellectual or
+spiritual awakening. The light that came to the poet was a _kindly_
+light; it removed his doubts and comforted him.
+
+"_Garish day._" The dazzling or glaring day.
+
+"_Moor and fen._" While these words seem new and unusual to us, we must
+remember that in England they are as common as the terms _marsh_ and
+_swamp_ are with us.
+
+"_Those angel faces smile_," _etc._ The subject of this clause is
+_faces_, and the verb is _smile_.
+
+Children will love this hymn though they cannot appreciate its full
+significance till maturer years have brought with them the deeper
+experiences of life. Still they should know and love the poem and may be
+led to a partial understanding of its beauty in sentiment by means of
+interpretation carried not too far. By comment and reading somewhat in
+the following manner may the most be accomplished:
+
+1. The poet had reached mature years and had felt the oppressing
+influence of questioning and doubt, but had reached a sublime faith in
+the power and love of God. He still feels, however, the need of the
+personal care and guidance of the Almighty, and asks that it may
+continue through life. So we may imagine him in one of those thoughtful
+moments which come to every one, musing thus: Darkness and night
+surround me with their encircling gloom, and I feel that years must pass
+before I reach my heavenly home, so--
+
+    Lead, kindly light, amid the encircling gloom,
+              Lead thou me on;
+    The night is dark, and I am far from home;
+              Lead thou me on;
+
+While he no longer doubts the care and protection of God, yet he feels
+that his own strength is not sufficient; that he may err and stumble in
+the path he has chosen. He does not ask that all should be clear, nor
+that he should see the long course of his life, but is content to pray--
+
+    Keep thou my feet; I do not ask to see
+    The distant scene; one step enough for me.
+
+2. After this invocation and prayer, his thoughts turn back into the
+past, and he remembers that in youth he had not this divine faith, nor
+did he wish to place his reliance in God. He preferred to lay out his
+own course and to plan his life far into the future, without the feeling
+of dependence that now rules him. So he sings:
+
+    I was not ever thus, nor prayed that thou
+              Shouldst lead me on;
+    I loved to choose and see my path, but now
+              Lead thou me on;
+
+He remembers that then he loved display and ostentation and was proud,
+wilful and self-confident; nevertheless, there were times when for a
+moment he feared, but in spite of that timidity, he went on in his
+masterful way:
+
+    I loved the garish day, and, spite of fears,
+    Pride ruled my will:
+
+The thought of his self-complacency, his pride and arrogance brings out
+the plea, the supplication, "remember not past years."
+
+  [Illustration: SIR FRANCIS BACON
+  JONATHAN SWIFT
+  CARDINAL NEWMAN
+  DANIEL DEFOE
+  CARDINAL WISEMAN
+  CERVANTES
+  FATHER RYAN]
+
+3. He remembers that through all his rebellions he has been surrounded
+by the power and goodness of God, who has led him through all his
+devious paths, and the feeling comes that the same protecting influence
+will surround him till doubt is swept aside.
+
+    So long thy power hath blessed me, sure it still
+              Will lead me on
+    O'er moor and fen, o'er crag and torrent, till
+              The night is gone.
+
+He is confident, too, that the same power will lead him through the dark
+night of doubt till the angels of love and faith, in whom he once
+trusted but whom he has doubted for a time, will come about him and
+smile their welcome to the light:
+
+    And with the morn those angel faces smile
+    Which I have loved long since, and lost the while.
+
+
+_Poor Richard's Almanac_
+
+It is doubtful if _Journeys Through Bookland_ contains any other
+selection so full of meat as this extract (Volume VI, page 407) from the
+writings of Benjamin Franklin; in fact, it is so full of wisdom on so
+many homely subjects and contains so much practical advice that no one
+can master it in a single reading.
+
+It is condensed to the utmost limit and every sentence should be weighed
+and considered. The wise maxims and old saws need to be expanded in
+thought, illustrated by example and applied to the reader's personal
+experience.
+
+As a whole it is not particularly attractive to young people, but every
+child can be attracted to parts of it. A little of it to-day, more of
+it next week, a third part some time in the future, and in time the
+whole will be assimilated.
+
+If the truths in this one selection are thoroughly embedded in the mind
+of a boy, if the traits of character here taught are made a part of him,
+he will be a sound man of business, a sensible head of a family and a
+valuable citizen in a community.
+
+_Poor Richard's Almanac_ contains the religion of work, of economy, of
+prosperity. It is a manly doctrine, a clear-cut, respectable philosophy,
+a reasonable rule of business activity. Never more than today were the
+precepts needed. The whole tendency of our modern activities is against
+its precepts. Disaster and ruin may be seen on every hand and traced
+directly to the neglect or violation of those sound principles which the
+wise old Franklin put in such homely words.
+
+These maxims of life and policy are not those which it is the special
+province of the school to teach. They are the elementary law which a boy
+or girl must learn in his home and see exemplified therein if they are
+ever to become a practical part of life's equipment.
+
+The wisdom of the _Almanac_ is the wisdom of practical experience, the
+wisdom of those who have lived and worked, who have lost and won. It
+does not deal with the finer phases of character, but with those
+practical things which lead to a bread-and-butter success.
+
+A boy who knows what _Poor Richard_ teaches and follows his precepts
+will be a business success. If a parent can grind into the character of
+his child these lessons of industry, simplicity, temperance and
+frugality he will have left a legacy more valuable a thousand times than
+the wealth he may have amassed, although that is reckoned by the
+millions.
+
+Because of the extreme condensation of the address by Father Abraham,
+the following outlines have been made to enable a parent to find easily
+what is wanted and to present it attractively. The selection is one of
+those which children will not master by themselves, but one which the
+parent can easily make interesting if he will follow the plans given
+below.
+
+
+Analysis
+
+  I. (Page 409.) Taxes are heavy, but we are taxed:
+    1. Twice as much by our _Idleness_.
+    2. Three times as much by our _Pride_.
+    3. Four times as much by our _Folly_.
+
+  II. _Idleness_ and _Industry_. (pages 409, 411.)
+    1. Time wasted in doing nothing (page 409), _sloth_.
+
+(In this connection see fable, _Industry and Sloth_, Volume I, page 300.
+Consult index in _this_ volume).
+
+    2. Time wasted in _sleep_ (page 410).
+    3. Time wasted in _wishing_ and _hoping_ (page 411).
+    4. Industry lost by putting off till tomorrow (page 412).
+    5. Steadiness in industry wins (page 412).
+
+  III. _Folly._ (pages 414-416).
+    1. Of trusting to others (page 414).
+    2. Of neglect of small matters (page 414).
+    3. Of extravagance and the sensibleness of frugality (page 414).
+    4. Of vice (page 415).
+    5. Of high living (page 415).
+    6. Of purchasing unnecessary things (page 415).
+    7. Of luxury (page 416).
+
+  IV. _Pride._ (page 417).
+    1. Of dress (page 417).
+    2. In table luxuries (page 417).
+    3. Of appearance (page 417).
+
+  V. _The Madness of Debt._ (pages 417-420).
+    1. Brings shame (page 417).
+    2. Causes lying (page 418).
+    3. Destroys virtue (page 418).
+    4. Brings slavery (page 419).
+    5. Prevents success (page 420).
+
+  VI. Ask for the _Blessing of Heaven_ (page 420).
+
+  VII. Accept _Counsel_. Do not wait for _Experience_.
+
+
+Following the arrangement of the analysis above we may group a series of
+typical maxims, each of which can be made the basis of one of those
+little fireside talks which bear so prominent a part in the recollection
+of every man and woman who had the blessing to be brought up in a real
+home where father and mother joined in a sincere effort to bring up
+their children to honest, earnest, successful maturity.
+
+  I. "We are taxed twice as much by our _Idleness_, three times as much
+      by our _Pride_ and four times as much by our _Folly_."
+
+  II. _Idleness and Industry._
+     1. "Sloth, like rust, consumes faster than labor wears; while the
+        used key is always bright."
+     2. "The sleeping fox catches no poultry."
+     3. "He that lives on hope will die fasting."
+     4. "Industry need not wish."
+     5. "Have you somewhat to do tomorrow? Do it today."
+     6. "Three removes are as bad as a fire."
+
+  III. _Folly._
+     1. "If you would have a faithful servant and one that you like,
+        serve yourself."
+     2. "For want of a nail the shoe was lost; for want of a shoe the
+        horse was lost; for want of a horse the rider was lost."
+     3. "A fat kitchen makes a lean will."
+     4. "What maintains one vice would bring up two children."
+     5. "Who dainties love shall beggars prove."
+     6. "At a great pennyworth pause awhile."
+     7. "Silks and satins, scarlets and velvets put out the kitchen
+        fire."
+
+  IV. _Pride._
+     1. "Fond pride of dress is, sure, a very curse.
+         Ere fancy you consult, consult your purse."
+     2. "Pride breakfasted with plenty, dined with poverty and supped
+        with infamy."
+     3. "What is a butterfly? At best
+         He's but a caterpillar drest."
+
+  V. _The Madness of Debt._
+     1. "You will be ashamed to see your creditor."
+     2. "Lying rides upon debt's back."
+     3. "It's hard for an empty bag to stand upright."
+     4. "Creditors have better memories than debtors."
+     5. "Those have short Lent who owe money to be paid at Easter."
+
+  VI. "Job suffered and was afterward prosperous."
+
+  VII. "They that won't be counselled can't be helped."
+       "If you will not hear reason, she'll surely rap your knuckles."
+
+
+
+
+CHAPTER VI
+
+FATHER AND SON
+
+
+Properly enough, the responsibility for health and development of young
+children rests upon the mother, and in most families this care remains
+with her till the children are able to look out for themselves. However,
+upon the father devolves more responsibility than the mere providing for
+the daily need of his children. Especially is it true that the boys of a
+family need the personal influence of the father fully as much as that
+of the mother. However patient, wise and devoted a mother may be, there
+comes a time in every boy's life when he ought to be under the influence
+and subject to the control of a man. _Every boy looks to men for his
+models and for a time follows them blindly, in spite of the most careful
+training a mother can give._ Curiously enough it is often to a man other
+than his father that the boy looks for advice and direction. It is some
+other man who influences his thought and through his thought his actions
+and the development of his character. Even when the relations between
+father and son are of the closest the boy begins to look around him and
+often, for no other reason than the novelty of the influence, he falls
+under the tutelage of another to whom he gives a confidence that his
+father could never secure. As they enter the period of adolescence, boys
+will often talk on many subjects with strangers with a freedom that
+parents, especially fathers, can never hope to see equalled unless the
+most perfect confidence has existed from the earliest childhood. Those
+who have taught for many years and who have had growing boys in their
+charge know how true this fact is and try to make it of service by
+seeing that someone of strong character shall be at hand for the boys to
+lean upon. They are impressionable, these men in embryo, and will go to
+such lengths for persons they happen to admire and who have secured
+their confidence, that those who know tremble when they find evil or
+trifling influences gathering about their charges.
+
+Unfortunately in too many cases the parents fail to realize the
+importance of this change of relationship and allow children to drift
+without any effort to stem the tide that is bearing their progeny away.
+Fathers are particularly blind. One would think that they would remember
+how it was with themselves in their youth and be guided accordingly. But
+as a matter of fact a large majority of the fathers of the land have
+forgotten the perils of their own boyhoods; they look upon their own
+sons as proof against the temptations they weathered, or as being exempt
+because of their better position in life. If these same fathers would
+only consider that the temptations come from within and are inseparable
+from our race and from the age of the children they would regard with
+the greatest concern every influence that is brought to bear upon their
+rapidly developing boys.
+
+This is no light matter we are discussing and is one that ought to be
+considered seriously by every father. Every teacher, every psychologist
+knows that the time comes when a man must lead the changing youth. Who
+shall do it? Obviously the father. No man can put aside his
+responsibilities in this matter nor can he delegate it to the mother.
+She may be the one big factor in the development of her boy's character
+and yet there is one time when all her carefully laid plans may go awry,
+when for a little while her restraining influence is powerless to save.
+No father can, in fairness to the children he has brought into the
+world, say that when he has made the home and furnished it, when he has
+fed and clothed his wife and children he has done all that he ought to
+do. It matters not how difficult a task it has been to find the money to
+support his family, nor how hard he has been obliged to work to get the
+daily bread; it matters not how tired or how much in need of recreation
+he may be when he returns to his home at the close of the day; he finds
+his responsibility always facing him. Do not misunderstand the question,
+nor the purpose of these lines. This is in no sense a criticism nor is
+it a bit of preaching at the hard-working fathers upon whom rest the
+hopes of the race. Every true father is willing to give his life if
+necessary for his offspring and there is no greater devotion in the
+world than that of father to son. But the fact remains that many a busy
+man has been so overburdened with the cares of his everyday life that he
+has had no time to make himself familiar with even the smallest of his
+duties to his family.
+
+Suddenly he becomes conscious that his son is growing away from him,
+that the little things that have bound them together have no longer the
+strength to hold, that they are drifting apart. Perhaps the father never
+has been on intimate terms with his son and has never really known what
+his child was thinking about or what his ideas and ideals really were.
+When this consciousness comes to the father, when he learns that he is
+no longer the one big figure on his son's horizon and that his words
+have ceased to be accepted as final on every question, he is startled
+and seeks strenuously to regain his position. Difficult will it be. To
+regain what has been lost is always difficult; more difficult is it to
+displace an influence that is already established. How many, many times
+there comes to the earnest teachers the anxious parent with the
+oft-repeated statements and questions. "My boy has grown away from me. I
+don't know him any more. What I say no longer has any influence with
+him. I don't know what to do. How can you help me? He thinks more of
+what you say than of what I say and would follow you even if I objected.
+What can I do? What advice can you give?" In many instances it is too
+late and never again can the father recover the influence he has lost.
+
+On the other hand, it is possible in most cases for the father to
+reinstate himself if he proceeds in the right way. That way is never
+through command or restraint or discipline. _By only one process can he
+succeed, and that is by placing himself in the position of the boy,
+learning the boy's tastes and interests and in joining with the boy in
+the things the latter likes._ If there has never been much community of
+thought between the two, the parent may say in substance or show by his
+acts that he has rather neglected the youth because he was too young to
+be in sympathy with a man's work and because it was better for the
+mother to have the care of her son during his boyhood; but that now he
+is old enough to begin to think a man's thoughts and to take an interest
+in a man's occupations. Sometimes if this is followed by a real hearty
+confidence, if the father takes the boy with him on his business trips,
+shows him how the money for the family is made and what are the joys and
+compensations of a busy career, the boy's confidence is won, his
+interest aroused and a frank comradeship established, new bonds are
+created and the father finds a delightful companion, the boy an honored
+friend and a worthy leader. Such fathers have said again and again, "I
+have found a new and trustworthy friend, a helper whose enthusiasm and
+good sense is worth more to me than anything I have had in years; and it
+is _my_ boy who is doing it." Unfortunately, most men fail to realize
+the power of a boy's mind, the helpfulness of his companionship. His
+outlook on life is so fresh and true, his ambition so strong and his
+willingness to be taught so refreshing that intimacy with him makes the
+adult much stronger and better able to master the annoyances of the day,
+and to win the commercial victories upon which subsistence depends.
+
+But at its best this latter-day acquaintanceship is never so strong nor
+so helpful as that which begins when the child is an infant and
+continues through boyhood to the larger youth and manhood. And it is
+easy to win the confidence and respect of the very young, easy to retain
+it when won. Yet many a sincere and anxious man fails utterly to earn
+that sympathetic companionship which any father may have for the asking,
+if the request is made in a way the child can understand and appreciate.
+The foundation of it all is a sympathy in the things that children know
+and love. _A child lives on a plane of his own. You cannot take him very
+far from it nor substitute anything in its place except by the slowest
+and most careful management._ There can be no sympathy, no understanding
+that is not located on the childish plane. The father must come down
+where the child lives, must find his interest in the things that the
+child loves and must be sincere in every manifestation of that interest.
+Right here is where so many fathers fail. They try to interest the child
+in things which the older mind enjoys, and finding themselves unable to
+create the artificial atmosphere give up in discouragement and disgust.
+Such a course is foolish in the extreme. The older person who knows more
+and has had the experiences that are now new to youngsters must go back
+into his memories and join in the little things that make up the big
+complex of a child's world. Unless you become as little children you can
+never enter into the lives of children.
+
+To become young again in a genuine fashion is not permitted to many of
+us and we must accordingly seek some common ground where we can meet the
+children and be as they are in seeming if not in reality. We may not be
+able to play their games with interest and sympathy, or the boys may be
+so skilful that we lose standing rather than gain influence by
+participation. We may not be able to sympathize with the rivalries of
+school or talk intelligently on the sports that make up a large part of
+their daily occupation. Where, then, can we meet them and how shall we
+put ourselves on an equality with them and at the same time preserve our
+leadership?
+
+Such a question is not easy to answer in detail, but many a man has
+found a way and a simple one at that. In the first place, play is part
+of the life of every child and he has as much right to his fun as any
+adult has to the recreation he finds necessary to keep him at the top of
+his working power. _Many a child may properly complain that he has had
+no childhood_, that all the time he was being repressed and never
+allowed to express himself in his own way. He may not realize at the
+time that anything is wrong in the treatment that his father gives him,
+but the time comes when he will know and understand. Right there is a
+fact that every father ought to know and realize so thoroughly that he
+will never lose sight of it. _Yes, some time every boy will know just
+what kind of a father he has had and just how worthy of respect and
+veneration that father has been._ A little boy is credulity itself and
+everything tends to make him believe in his father. But as he grows
+older he will surely know. Woe be it to the parent who when
+disillusionment comes falls below the standard the child has set. Some
+time the boy will know. If he has never had the pleasure that was his
+due, if he has never had the fun in his home that he had a right to
+expect, his estimate of his parent will be appallingly low.
+
+Through play in the home in the evening after the day's work is ended
+has many a father laid the foundation for an influence that controlled
+when other ties seemed strained to the breaking point. It is in this
+playtime that the boy expresses himself most fully. Every animal has its
+playtime, and the most savage of the beasts play with their little ones
+to educate them to succeed in the struggle for existence. If play is a
+natural expression of the child's mind and body, anything that represses
+play is a hindrance to development. In the cheery home where to have fun
+and lots of it is a daily habit every child grows and matures as
+perfectly as a plant where there are just the right amounts of sun and
+moisture and where the soil is perfectly adapted to growth. A little
+less light, a little less moisture, and the plant will wither and fail.
+A little less play and more repression and the child will become morose
+and fail to keep pace with his mates. To repress is so easy, to
+reconstruct so difficult!
+
+After the play comes the work, but the work may be made as interesting
+as the play and may proceed in the same spirit of jollity and freedom
+that marked the time given up wholly to amusement. The work is the
+second factor in the father's influence--something on the plane of the
+child's own mind, not too difficult, not too long continued. Closely
+related, too, it must be with things that the child has done and
+understands. Some phase of school work may need to be carried on by the
+older ones in the family, but the younger boys are free to work with the
+father in anything that will stimulate and inspire. What shall the work
+be? To every one who has had to do with a large number of children the
+answer comes quickly enough. _In reading and conversation will the boy
+and his father come most closely together_, in a field that is
+attractive to both and where it is as easy to find entertainment and
+pleasure as it is to gain information and culture.
+
+Two quotations from men of good judgment come into mind at this point.
+Arthur T. Hadley, recently President of Yale University, has said, "Men
+in every department of practical life, men in commerce, in
+transportation or in manufactures, have told me that what they really
+wanted from our college was men who have this selective power of using
+books efficiently. The beginnings of knowledge are best learned in any
+home fairly well furnished with books." Professor William Mathews has
+added, "It is not the number of books which a young man reads that makes
+him intelligent and well-informed, but the number of well-chosen ones
+that he has mastered so that every valuable thought in them is a
+familiar friend."
+
+In those two quotations the ideas of prime importance to every father
+are, first, that the beginnings of knowledge are best learned in the
+home; and, second, that it is the mastery of what is read that really
+counts. In school a child learns to read; at his home he reads to learn.
+At school he learns how he ought to read; but it is at his home that he
+learns to read in that manner. What a boy does in school is a small part
+of the total amount of his reading, and its influence is small indeed.
+In home reading, then, reading of the right material in the right way,
+is to be found the great influence in education and the great factor in
+the building of character.
+
+If such is the case, what more important work can there be for the
+father than to read with his son, to watch these beginnings of education
+which mean so much more than the mere instruction in school, and to be a
+power in developing that right method of reading which means not only
+the acquisition of knowledge but also the acquirement of power and the
+making of character. The busy man is tired at night and inclined to
+think that he has no time to give to reading with his boys. He may
+think, too, that reading childish stories is beneath his dignity. Such
+is not the case. There is a great abundance of literature that is manly,
+and at the same time interesting to a boy. If the father feels that he
+is past the time when he has any sympathy with the fairy stories and the
+little poems that the infants like, if he thinks the nursery rhymes are
+silly and the fables too old to be true, that is because he has not
+recently read them. Busy men, men of power and influence, like to renew
+their youth by going to the simple things they loved as children, and
+not a few of them find that the years have given them new powers of
+interpretation and that what was to them at one time only an amusing
+tale is now replete with the philosophy of the universe. Yet there may
+be fathers of so practical a mind that works of imagination have no hold
+upon them. To them, however, the world of literature is by no means
+barren. There are history, biography and essays upon a thousand
+subjects, any one of which will interest a boy and at the same time his
+father. Particularly is this true when the reading is aloud and
+interspersed with free conversation upon the subjects that come to the
+surface. If the father can only select the right material and read it
+with his son there is no question whatever about the interest that will
+develop for both. A busy man has little time to select reading; in all
+probability he has not had the experience to enable him to do so wisely,
+for he has been so absorbed in business that he has forgotten what he
+knew best as a boy and is unable to tell just what appealed to him most.
+It may be that he never in his youth had the opportunity to read the
+best of literature and does not know where to turn to find it. He hears
+his little family talking about what they read at school and how they
+ought to read and feels himself behind the times and hesitates to make
+an exhibition of himself before his children. To any father, a
+collection such as that in _Journeys Through Bookland_ is of inestimable
+value. When it is considered that in addition to the literary material
+there are abundant suggestions as to how interest may be created and how
+the reading may be made most profitable, then the set becomes
+indispensable. In other words, _Journeys_ contains the material that
+must be in every family to make it "fairly well furnished with books,"
+and it provides a way of "mastering the books so that every valuable
+thought is a familiar friend."
+
+If fathers could be persuaded to spend one evening with their boys in
+the reading and discussion of some selection in _Journeys_, they would
+not willingly forego the pleasure thereafter. It has happened so many
+times that we know this is not an overstatement. Fathers by the score
+have written us on the subject. One says, "I have solved the problem of
+keeping my boys off the streets, or, rather, _Journeys_ has done it for
+me." "I have never spent a happier evening. The boys staid up with me
+till after their usual bed time and when they had retired, I read on for
+half the night," says another. "I feel young again, and John and I are
+great chums. _Reminiscences of a Pioneer_ kept me telling stories long
+after we had finished reading the sketch." Who are these fathers?
+Clergymen, lawyers, doctors, teachers, we may expect, for they are
+somewhat interested in reading, because of their life work. But they are
+not the most numerous, by any means. Railroad men, manufacturers,
+farmers, men in hundreds of vocations acknowledge the delight of reading
+_Journeys_ with their children. Is there anything finer, more wholesome,
+more inspiring than the thought of fathers and children reading
+together, and together feeling the inspiration that radiates from the
+great masterpieces.
+
+But this chapter is not an argument for the purchase of _Journeys_. That
+you, father of a growing boy, are reading these lines is evidence that
+you have thought well enough of the _Journeys_ idea to place a set of
+books in your family. You have done this because you recognized that in
+this age of specialists, you, a business man, could not be expected to
+select reading matter for your son and assist him in his growth and
+development with the same skill as can those who have devoted many years
+to that special problem. No attempt is made to advise you on the conduct
+of your business or to direct the management and control of your son.
+But a sincere effort has been made to help you to join with your boy in
+that hearty sympathy which will make him happier, better and more of a
+man; which will make you young again and add to your pleasure without
+increasing your burdens. What we want is to make the books most
+effective, to help them be the power for good that we know they can be,
+and more than anything else, to make them a living bond between father
+and son. So let us examine the books together with these thoughts in
+mind and see if we cannot find just the things that will arouse your
+enthusiasm and make you young again, an equal and a friend who can lead
+your boy where you want him to go and where he will gladly follow you.
+
+For instance, there is in the sixth volume that kindly humorous account
+of a boyhood in Wisconsin in the early part of the last century,
+_Reminiscences of a Pioneer_ (Volume V, 340). Every man will be
+interested in it, and he cannot read it aloud to a boy of seven without
+catching the attention of the child. Even a lad of sixteen will get into
+the spirit of the thing, although it may not be the same incidents that
+will attract him. Think of the contrast between that humble log cabin
+with its visiting Indians and the luxurious steam-heated flat of your
+son, or the farm house with all modern conveniences that a friend of
+yours may have in the very region where our little friend was frightened
+more by the strange Dutch immigrants than he was by the red men whom he
+saw every day. Think of a six or seven year old boy that had never seen
+an apple and who could enjoy chokecherries and crab apples, even though
+he couldn't get his face back into line on the same day in which he ate
+them fresh from the tree. Think of offering raw turnips to the guests
+and of people coming twenty miles to get a small piece of salt pork,
+because they were so tired of fresh meat and fish. Think that these
+things happened less than a hundred years ago and within forty miles of
+the now big and flourishing city of Milwaukee. What lessons there are in
+courage, skill, self-reliance and contentment in the lives of these
+early pioneers, especially the devoted mother who kept her yeast alive
+so many years, and stood off the Indians with one hand while she tended
+to her increasing family with the other. Can you imagine a boy who
+wouldn't be interested in the sturdy youngster who earned and refused
+his first quarter of a dollar for paddling a man across the river in a
+heavy dugout? Don't you think your son will have a host of questions to
+ask about it all and that you will be glad to talk to him about the
+Indians he likes to imitate when he plays? Can't you see that reading
+such as this is worth while and that every moment spent in this way is
+an investment for yourself in the boy's confidence and good graces?
+
+Other selections of a somewhat similar nature, all of which will appeal
+to boys at the time when Indians and adventure are of more interest than
+anything else, are the following:
+
+  _The Arickara Indians_, Volume IV, page 472.
+  _The Buccaneers_, Volume V, page 359.
+  _Captain Morgan at Maracaibo_, Volume V, page 365.
+  _Ringrose and His Buccaneers_, Volume VIII, page 1.
+  _David Crockett in the Creek War_, Volume VIII, page 37.
+  _Braddock's Defeat_, Volume V, page 379.
+  _The Capture of Vincennes_, Volume VI, page 428.
+  _The Black Hawk Tragedy_, Volume VII, page 58.
+  _Pčre Marquette_, Volume VIII, page 121.
+  _George Rogers Clark_, Volume VI, page 422.
+
+Have no fear that the boy's love for Indians and adventure is a thing to
+suppress. It is an evidence of growth and of development. You know every
+boy lives over in himself the history of his race, and as there was a
+time when the life of mankind was a struggle with physical difficulties
+and personal danger so there is a time when every boy feels within
+himself the admiration for brave deeds and the desire to fight and
+conquer. Your province it is to meet him on that ground, enjoy with him
+the tales of lofty daring and physical prowess, the tales of stirring
+adventure and narrow escapes, and to lead him gently with you into the
+fields of history where achievements in science, commerce and
+engineering take the place of battles with wild animals and wilder
+Indians.
+
+Don't feel that you have not the time to do the things recommended. We
+can always find the time to do the things we like to do, and this means
+of joining in the thoughts of your boy will be one of the things you
+will most enjoy when you have once accustomed yourself to it.
+
+We get out of reading just what we put into it. That is to say, the same
+selection read by different people will have just as many meanings as
+there are people reading it. By assistance, a person may be caused to
+see more in what he reads and in time may approximate the full
+understanding of his teacher. But it is unwise and useless to expect a
+child to read with the same appreciation that an adult has. Accordingly
+the father, if he is wise, will be satisfied when his boy is really
+interested in a thoroughly good selection if he sees at the same time
+that the boy is setting about his interpretation in the right way. To
+illustrate: If you are reading about a storm at sea and you are a
+survivor of a shipwreck in such a storm, your appreciation of the
+description will be infinitely more vivid than that of your son, who has
+not even seen the sea. All that you can do is to give him some idea of
+the power of the waves, make him feel that the sight is a thrilling one
+and that there is imminent danger to life and property in the storm.
+Some time he will have the experience to interpret and then his mind
+will recur to the description and he will understand it somewhat as you
+do now. This brings us to think for a moment on the permanent value of
+all that is read. _The mind holds things in abeyance, brings them out to
+the light now and then, and each time finds them more and more
+intelligible and influential._ Many a maxim learned in youth when an
+understanding of it was impossible becomes a power for good for the
+person in later years when its inner significance appears.
+
+Some poetry will appeal to boys, even though they may look askance at
+most of it. Some lyrics are virile and powerful, well worthy the study
+of the keenest minds. There is an unfounded prejudice against poetry in
+many men because of the fancied puerility of it and its silly sentiment.
+Such a prejudice always disappears if the person reads enough and
+selects the things that are worthy of study. Narrative poems are more
+likely to appeal to men and boys than the lyrics. When the narrative is
+a stirring one and the action dramatic, the poetic form adds decidedly
+to its interest and effectiveness. Take, for instance, that little poem
+by Robert Browning that is known as _Incident of the French Camp_
+(Volume IV, page 174). No man can read it without being stirred by it,
+and its appeal to boys is immediate and strong. But strong as it is, the
+whole influence of it may be intensified if it is discussed in the
+manner indicated on the pages immediately after the poem. What we would
+have you do is to read the little epic with your boy and talk it over
+with him along the lines of the comments given. It will not be necessary
+for you to point the moral. He will see it for himself, but if you can
+show a little enthusiasm and delight in the incident he will go away
+feeling better toward you and will be a convert to poetry, at least to
+some kinds of it. Later in life the lesson will come back to him and he
+will seek for more of the same sort.
+
+There are a great number of poems of similar import in the books. Any
+one of the following will be capital for reading aloud with your boy.
+Try them and be convinced.
+
+  _Beth Gelert_, Volume III, page 42.
+  _Sheridan's Ride_, Volume IV, page 223.
+  _Bernardo Del Carpio_, Volume IV, page 270.
+  _The Wooden Horse_, Volume IV, page 383.
+  _Little Giffin of Tennessee_, Volume IV, page 461.
+  _Bruce and the Spider_, Volume V, page 314.
+  _How They Brought the Good News from Ghent to Aix_, Volume V, page 335.
+  _Sohrab and Rustum_, Volume VI, page 173.
+  _How's My Boy?_ Volume VII, page 169.
+  _The Battle of Ivry_, Volume VIII, page 76.
+  _Hervé Riel_, Volume VII, page 168.
+
+Any one of the national anthems or patriotic poems is fine reading and a
+source for many a kindly talk that will tend to make a better citizen of
+your son and perhaps give you a fresher and truer conception of your own
+duties and responsibilities to the government. These you may readily
+find from the index in the tenth volume, under the title, _Patriotic
+Poems_.
+
+For older boys there are plenty of good selections, and the discussion
+of some of them must help to bring nearer to the lad his increasing
+responsibilities. A normal boy of sixteen has a lot of the man in him
+and wants to be treated as a man, at least to have his ideas, hopes and
+ambitions given some consideration. He does not want always to be called
+"Bobby" or "Jimmy" or "Tommy." He likes better to be called "Smith,"
+"Jones," or "Robinson," or whatever his last name is. He is tired of
+being told to do this and that and would like to join in some of the
+family councils and feel that father is beginning to see the man and
+forget the "kid." He will be interested in anything that relates to
+commerce, or manufacture or government if it is presented to him in such
+a way that he can "be somebody" in the discussion.
+
+It is easy to interest boys in speaking, in orations, in debates. In
+_Journeys_ (Volume IX, page 321) is printed the _Gettysburg Address_ by
+Abraham Lincoln. It is the one great, masterly American address, noted
+not only for its perfect construction, but for its sentiment, its power
+and its brevity. In no other great address are all these elements
+combined. Tested by any standard it rings true in thought and is perfect
+in form. It is worth while to commit it to memory, and father and son
+should be equally interested in the task, if it can be called a task.
+Preceding the address is a note giving its historical setting, and
+following it is an analysis of the thought and a series of questions
+tending to give the thought a more personal application. _The Fate of
+the Indians_ and _A Call to Arms_, both in Volume IX, are good orations
+accompanied by studies.
+
+An essay that is in effect almost an oration is the extract from the
+_Impeachment of Warren Hastings_ by Macaulay (Volume IX, page 32), and
+in this volume are studies on that essay (page 248).
+
+_The Boston Massacre_ by Nathaniel Hawthorne is a pleasing bit of
+history which in this volume (page 370) is used as the basis of a study
+in argument. You may prefer to read the studies first and arrange the
+arguments for your sons or for yourself and your boy. It is surprising
+into what different directions the argument will lead you and how many
+interesting questions will arise which will make good subjects for
+discussion. To make conversation worth while there is needed only
+something interesting to talk about. To be a good talker is worth a
+great deal to any young man and there is no better way to give him this
+power than by conversing freely with him while he is young.
+
+Moral instruction is difficult. A thousand little things tend to
+neutralize it and there is an almost universal spirit of opposition to
+moral teaching, on the part of youth. And yet it is easy to give moral
+lessons in an indirect way that shall arouse no opposition and that
+shall be effective for lifetime. _Journeys_ is full of what for lack of
+a better name we call character-building literature. Some of it is
+adapted to boys and girls of a very tender age and more of it to the
+older children. _The Cubes of Truth_ (Volume VI, page 406), by Oliver
+Wendell Holmes, is a beautiful little essay that expresses a great truth
+in a way to impress it indelibly upon the memory of every person who
+reads it. So clear is the language, so clever the idea that the
+selection is read with absorbing interest, and so impressive is the
+lesson that no real attention need be called to it. In reading it the
+beauty of the language and the quaintness of the figure are the real
+subjects of discussion, but all the time the great lesson is making its
+subtle appeal. Cardinal Newman's _Definition of a Gentleman_ (Volume IV,
+page 170) is more obviously a didactic selection, but here again the
+definition is given so clearly and so forcibly that no possible offense
+can be taken and the weight of the statements will produce their effect
+without much comment.
+
+In this connection it should be necessary merely to call attention to
+the chapter on character-building, to be found in this volume. In
+preparing that chapter the writer had in mind children of all ages and
+both sexes, but it will be an easy matter for you to select the things
+which you know will appeal to your son.
+
+In fact, you will find in every chapter of this volume something to help
+you in making your way into the thoughts and the hearts of your family,
+and we know that as the years pass away and manhood comes to your boys
+they will look back upon the hours spent in reading with you as the most
+momentous of their lives. Do you want your son to say in his manhood, "I
+look upon Mr. A or Mr. B as the person who most influenced my life"? Do
+you want him to say, "I might have been a cultured man with a wide range
+of interests if my father had given to me a little of the time he spent
+at his club"? Do you want your boy to think that he was a wanderer from
+home, because he could not find in that home the manly sympathy that his
+soul craved? In many a family there is no trouble in keeping the boys
+off the streets. There is no place half so attractive as the home and
+for them no inclination to seek among others the fun and intellectual
+stimulus they crave as they crave their food.
+
+Usually the reading habit must be formed early or not at all. A man in
+middle life will not acquire the habit easily unless there is some
+stimulus which keeps him reading for a time, in spite of himself. In the
+active minds of his boys he may find just that stimulus, and in his
+declining years when time weighs heavily upon his hands and great
+activities are denied him he will find in his later acquirement an
+unfailing source of enjoyment. In such hours will come to recollection
+the days he spent with his boys and his heart will fill with joy that he
+did not neglect his rich opportunities.
+
+
+
+
+CHAPTER VII
+
+MEMORIZING
+
+
+Whenever children are interested in any selection, it is well to
+encourage them to commit it to memory, if it be brief, or if they find
+in it phrases or sentences which seem to them beautiful or filled with
+meaning. If, however, the young people are driven to memorizing
+selections of any kind, the practice is of little value, and it is
+likely to create a prejudice against the very things for which they
+should feel admiration. By a show of interest, however, the parents may,
+without difficulty, lead the children to learn a great deal of the best
+literature, and thus not only strengthen their knowledge but improve
+their style of writing as well, for unconsciously the young will follow
+the style of those whom they admire. Moreover, it frequently happens
+that some of the inspiring thoughts which children have learned become
+rules of action to them in after life. If the practice is begun early
+enough children will form the habit of learning those things which they
+like, and such a habit is of greatest value. In many schools, during
+certain years, the learning of "memory gems" is a daily practice; it
+should be no less a practice at home.
+
+Some of the many things in these books which may well be learned in
+their entirety are the following:
+
+  Volume I,    page 66.   _A Thought._
+  Volume I,    page 67.   _The Swing._
+  Volume I,    page 83.   _Singing._
+  Volume I,    page 110.  _Rain._
+  Volume I,    page 133.  _Little Blue Pigeon._
+  Volume I,    page 144.  _The Land of Counterpane._
+  Volume I,    page 204.  _Sleep, Baby, Sleep._
+  Volume I,    page 246.  _Norse Lullaby._
+  Volume I,    page 262.  _Wynken, Blynken and Nod._
+  Volume I,    page 339.  _The Owl and the Pussy Cat._
+  Volume I,    page 340.  _Time to Rise._
+  Volume I,    page 410.  _The Reaper and the Flowers._
+  Volume II,   page 11.   _The Baby._
+  Volume II,   page 32.   _Lullaby._
+  Volume II,   page 123.  _Windy Nights._
+  Volume II,   page 121.  _Shuffle-Shoon and Amber-Locks._
+  Volume II,   page 87.   _Picture Books in Winter._
+  Volume II,   page 119.  _Seven Times One._
+  Volume II,   page 403.  _The First Snowfall._
+  Volume II,   page 481.  _In Time's Swing._
+  Volume III,  page 347.  _Barbara Frietchie._
+  Volume IV,   page 82.   _Footsteps of Angels._
+  Volume IV,   page 126.  _Nearer Home._
+  Volume IV,   page 127.  _Pictures of Memory._
+  Volume V,    page 396.  _The American Flag._
+  Volume V,    page 399.  _Battle Hymn of the Republic._
+  Volume VI,   page 119.  _Annie Laurie._
+  Volume VI,   page 122.  _Sweet and Low._
+  Volume VI,   page 133.  _The Bugle Song._
+  Volume VII,  page 1.    _The Daffodils._
+  Volume VII,  page 4.    _To the Fringed Gentian._
+  Volume VII,  page 340.  _Those Evening Bells._
+  Volume VII,  page 395.  _To a Waterfowl._
+
+While usually it is better to allow each person to learn the lines that
+most appeal to him, yet some help should be given children. No two
+people will select all of the same things, though probably all would
+agree on some few things as being of the highest excellence. Some lines
+should be learned because of their beauty in description, others because
+of beauty in phraseology, and still others because of beauty in
+sentiment. Search should be made, too, for those things which are
+inspirational, and which will be strong aids in the building of
+character.
+
+We append a few pages of quotations taken at random from the volumes.
+They will prove handy when the parent or teacher is pressed for time,
+and the references to volume and page will enable the busy person
+readily to find the context, if that seems desirable.
+
+The quotations below are arranged in the order of their appearance in
+_Journeys Through Bookland_. This will enable anyone to locate them
+easily. The lines cover a wide range of thought and will furnish an
+endless variety of material for stories, comment, question and
+conversation. Some of them cannot be appreciated without a knowledge of
+their setting in the original poem or prose selection, while others are
+complete and perfect as they stand.
+
+One of the best ways to teach a poem or selection is to begin by
+creating an interest in a quotation from it. For instance, "Write me as
+one who loves his fellow men," will lead the way to an acquaintance with
+the old favorite _Abou Ben Adhem_. In fact, only after the poem has been
+read and appreciated will a person get the full force of the idea,
+"Write me as one who loves his fellow men."
+
+
+_One Hundred Choice Quotations_
+
+(Volume I)
+
+    Early to bed, and early to rise,
+    Is the way to be healthy, wealthy and wise.             --Page 48.
+
+Had it not been for your buzz I should not even have known you were
+there.                                                      --Page 70.
+
+    The Rock-a-by Lady from Hushaby street,
+    With poppies that hang from her head to her feet.       --Page 94.
+
+    I saw the dimpling river pass
+    And be the sky's blue looking-glass.                   --Page 130.
+
+    In through the window a moonbeam comes,
+    Little gold moonbeam with misty wings.                 --Page 133.
+
+    Oh, the world's running over with joy.                 --Page 147.
+
+The honorable gentleman has not told us who is to hang the bell around
+the Cat's neck.                                            --Page 197.
+
+    Here is the mill with the humming of thunder,
+      Here is the weir with the wonder of foam,
+    Here is the sluice with the race running under--
+      Marvelous places, though handy to home.              --Page 349.
+
+    Then she smooths the eyelids down
+    Over those two eyes of brown--
+    In such soothing, tender wise
+    Cometh Lady Button-Eyes.                               --Page 367.
+
+One must be content with the good one has enjoyed.         --Page 379.
+
+    Oh, not in cruelty, not in wrath,
+      The Reaper came that day;
+    'Twas an angel visited the green earth,
+      And took the flowers away.                           --Page 411.
+
+It matters nothing if one is born in a duck yard, if one can only be
+hatched from a swan's egg.                                 --Page 427.
+
+(Volume II)
+
+Did you ever hear of a bird in a cage, that promised to stay in it?
+                                                             --Page 2.
+
+    The very violets in their bed
+    Fold up their eyelids blue.                             --Page 32.
+
+Rejoice in thy youth, rejoice in thy fresh growth, and in the young life
+that is within thee.                                        --Page 70.
+
+    You are more than the Earth, though you are such a dot--
+    You can love and think, and the Earth cannot.           --Page 67.
+
+    Thank him for his lesson's sake,
+      Thank God's gentle minstrel there,
+    Who, when storms make others quake,
+      Sings of days that brighter were.                    --Page 214.
+
+You must expect to be beat a few times in your life, little man, if you
+live such a life as a man ought to live.                   --Page 242.
+
+Those that wish to be clean, clean they will be.           --Page 247.
+
+Reckon not on your chickens before they are hatched.       --Page 376.
+
+He saw the rocks of the mountain tops all crimson and purple with the
+sunset; and there were bright tongues of fiery cloud burning and
+quivering about them; and the river, brighter than all, fell, in a
+wavering column of pure gold, from precipice to precipice, with the
+double arch of a broad purple rainbow stretched across it, flushing and
+fading alternately in the wreaths of spray.                --Page 420.
+
+(Volume III)
+
+In darkness dissolves the gay frost-work of bliss.          --Page 96.
+
+    Peace and order and beauty draw
+    Round thy symbol of light and law.                     --Page 349.
+
+Lips where smiles went out and in.                         --Page 386.
+
+    All the little boys and girls,
+    With rosy cheeks and flaxen curls,
+    And sparkling eyes and teeth like pearls.              --Page 391.
+
+(Volume IV)
+
+    Prince thou art,--the grown up man
+      Only is republican.                                    --Page 3.
+
+    O'er me, like a regal tent,
+    Cloudy-ribbed, the sunset bent,
+    Purple-curtained, fringed with gold,
+    Looped in many a wind-swung fold.                        --Page 6.
+
+    Now in memory comes my mother,
+      As she was long years agone,
+    To regard the darling dreamers
+      Ere she left them till the dawn.                       --Page 8.
+
+    I chatter over stony ways,
+      In little sharps and trebles,
+    I bubble into eddying bays,
+      I babble on the pebbles.                              --Page 60.
+
+    For men may come and men may go,
+    But I go on forever.                                    --Page 61.
+
+    And looks the whole world in the face,
+    For he owes not any man.                                --Page 86.
+
+    Thus at the flaming forge of life
+      Our fortunes may be wrought;
+    Thus on its sounding anvil shaped
+      Each burning deed and thought.                        --Page 88.
+
+    And when the arrows of sunset
+      Lodged in the tree-tops bright,
+    He fell, in his saint-like beauty,
+      Asleep by the gates of light.                        --Page 129.
+
+    Save me alike from foolish pride,
+      Or impious discontent,
+    Or aught thy wisdom has denied,
+      Or aught thy goodness lent.                          --Page 173.
+
+    And there through the flash of the morning light,
+    A steed as black as the steeds of night,
+    Was seen to pass as with eagle flight.                 --Page 224.
+
+    Noiselessly as the springtime
+      Her crown of verdure weaves,
+    And all the trees on all the hills
+      Open their thousand leaves.                          --Page 267.
+
+    Who dies in youth and vigor, dies the best,
+    Struck through with wounds, all honest, on the breast. --Page 369.
+
+(Volume V)
+
+    I was not ever thus, nor prayed that thou
+        Shouldst lead me on;
+    I loved to choose and see my path, but now
+        Lead thou me on;
+    I loved the garish day, and, spite of fears,
+    Pride ruled my will. Remember not past years.          --Page 111.
+
+    Give every man thy ear, but few thy voice;
+    Take each man's censure, but reserve thy judgment.     --Page 112.
+
+    This above all: to thine own self be true,
+    And it must follow, as the night the day,
+    Thou canst not then be false to any man.               --Page 112.
+
+      the knotted column of his throat,
+    The massive square of his heroic breast,
+    And arms on which the standing muscle sloped,
+    As slopes a wild brook o'er a little stone,
+    Running too vehemently to break it.                    --Page 150.
+
+    Ye think the rustic cackle of your bourg
+    The murmur of the world!                               --Page 156.
+
+    For man is man and master of his fate.                 --Page 158.
+
+    Perseverance gains its meed
+      And Patience wins the race.                          --Page 316.
+
+    Forever float that standard sheet!
+      Where breathes the foe but falls before us,
+    With Freedom's soil beneath our feet,
+      And Freedom's banner streaming o'er us?              --Page 398.
+
+    He has sounded forth the trumpet that shall never call retreat;
+    He is sifting out the hearts of men before his judgment seat;
+    O, be swift, my soul, to answer him! be jubilant, my feet!
+        Our God is marching on.                            --Page 399.
+
+    Silence! ground arms! kneel all! caps off!
+      "Old Blue-Light's" going to pray.
+    Strangle the foe that dares to scoff!
+      Attention! It's his way.                             --Page 401.
+
+(Volume VI)
+
+    To every man upon this earth
+      Death cometh soon or late.
+    And how can man die better
+      Than facing fearful odds,
+    For the ashes of his fathers,
+      And the temples of his gods.                           --Page 8.
+
+    When by my bed I saw my mother kneel,
+        And with her blessing took her nightly kiss;
+        Whatever Time destroys, he cannot this;--
+    E'en now that nameless kiss I feel.                    --Page 122.
+
+    Sweet and low, sweet and low,
+        Wind of the western sea;
+    Low, low, breathe and blow,
+        Wind of the western sea!
+    Over the rolling waters go,
+    Come from the dying moon, and blow,
+        Blow him again to me;
+    While my little one, while my pretty one, sleeps.      --Page 122.
+
+Sublime words make not a man holy and righteous, but it is a virtuous
+life that maketh him dear to God.                          --Page 134.
+
+Who hath a stronger battle than he that useth force to overcome himself?
+This should be our occupation, to overcome ourselves and every day to be
+stronger and somewhat holier.                              --Page 136.
+
+    And the sheen on their spears was like stars on the sea,
+    Where the blue wave rolls nightly on deep Galilee.     --Page 142.
+
+Whither thou goest, I will go; and where thou lodgest, I will lodge; thy
+people shall be my people and thy God my God.              --Page 144.
+
+    For we are all, like swimmers in the sea,
+    Poised on the top of a huge wave of fate,
+    Which hangs uncertain to which side to fall.           --Page 186.
+
+    Mid pleasures and palaces though we may roam,
+    Be it ever so humble, there's no place like home.      --Page 224.
+
+"God bless us every one!" said Tiny Tim.                   --Page 309.
+
+    All hail'd, with uncontroll'd delight
+    And general voice, the happy night,
+    That to the cottage, as the crown,
+    Brought tidings of Salvation down.                     --Page 357.
+
+The short and simple annals of the poor.                   --Page 363.
+
+The paths of glory lead but to the grave.                  --Page 363.
+
+    Full many a gem of purest ray serene
+      The dark unfathomed caves of ocean bear;
+    Full many a flower is born to blush unseen,
+      And waste its sweetness on the desert air.           --Page 365.
+
+    Along the cool, sequestered vale of life
+    They kept the noiseless tenor of their way.            --Page 366.
+
+He gained from Heaven ('twas all he wished) a friend.      --Page 368.
+
+Sloth, like rust, consumes faster than labor wears; while the used key
+is always bright.                                          --Page 410.
+
+He that riseth late must trot all day, and shall scarce overtake his
+business at night; while laziness travels so slowly that poverty soon
+overtakes him.                                             --Page 410.
+
+Have you somewhat to do tomorrow? Do it today.             --Page 412.
+
+For want of a nail the shoe was lost; for want of a shoe the horse was
+lost; and for want of a horse the rider was lost.          --Page 414.
+
+Beware of little expenses; a small leak will sink a great ship.
+                                                           --Page 415.
+
+'Tis foolish to lay out money in the purchase of repentance.
+                                                           --Page 416.
+
+Fools make feasts and wise men eat them.                   --Page 415.
+
+'Tis hard for an empty bag to stand upright!               --Page 418.
+
+Experience keeps a dear school, but fools will learn in no other.
+                                                           --Page 420.
+
+(Volume VII)
+
+        That inward eye
+    Which is the bliss of solitude.                          --Page 1.
+
+    Then doth thy sweet and quiet eye
+    Look through its fringes to the sky.                     --Page 5.
+
+    The bonny lark, companion meet,
+    Bending thee 'mang the dewy weet
+        Wi' spreckled breast,
+    When upward springing, blithe to greet
+        The purpling east.                                   --Page 8.
+
+    He prayeth well, who loveth well
+    Both man and bird and beast.
+    He prayeth best, who loveth best
+    All things both great and small.                        --Page 57.
+
+    The rank is but the guinea's stamp,
+    The man's the gowd for a' that!                        --Page 149.
+
+    By fairy hands their knell is rung,
+    By forms unseen their dirge is sung.                   --Page 151.
+
+    Still stands Thine ancient Sacrifice,
+      An humble and a contrite heart.
+    Lord God of Hosts, be with us yet,
+      Lest we forget--lest we forget!                      --Page 164.
+
+The remarkably adult yet innocent expression of their open and serene
+eyes is very memorable. All intelligence seems reflected in them. They
+suggest not merely the purity of infancy, but a wisdom clarified by
+experience. Such an eye was not born when the bird was, but is coeval
+with the sky it reflects. The woods do not yield such another gem.
+                                                           --Page 263.
+
+    Sound of vernal showers
+          On the twinkling grass,
+    Rain-awakened flowers,
+          All that ever was
+    Joyous, and clear, and fresh, thy music doth surpass.  --Page 278.
+
+Imagine a stream seventy yards broad divided by a pebbly island, running
+over seductive riffles and swirling into deep, quiet pools where the
+good salmon goes to smoke his pipe after his meals.        --Page 287.
+
+I once had a sparrow alight on my shoulder for a moment while I was
+hoeing in a village garden, and I felt that I was more distinguished by
+that circumstance than I should have been by any epaulet I could have
+worn.                                                      --Page 299.
+
+    And while in life's late afternoon
+      Where cool and long the shadows grow,
+    I walk to meet the night that soon
+      Shall shape and darkness overflow,
+    I cannot feel that thou art far,
+      Since near at hand the angels are;
+    And when the sunset gates unbar,
+      Shall I not see thee waiting stand,
+    And, white against the evening star,
+      The welcome of thy beckoning hand?                   --Page 389.
+
+    He who, from zone to zone,
+      Guides through the boundless sky thy certain flight,
+    In the long way that I must tread alone,
+      Will lead my steps aright.                           --Page 397.
+
+(Volume VIII)
+
+    Go tell the Spartans, thou that passeth by,
+    That here, obedient to their laws, we lie.              --Page 90.
+
+    Thermopylae had her messenger of defeat:
+    The Alamo had none.                                    --Page 152.
+
+England expects every man to do his duty.                  --Page 297.
+
+    An' Oh! be sure to fear the Lord alway!
+    An' mind your duty, duly, morn and night!              --Page 322.
+
+They never sought in vain that sought the Lord aright.     --Page 322.
+
+The best acid is assiduity.                                --Page 332.
+
+(Volume IX)
+
+Write me as one who loves his fellow men.                   --Page 11.
+
+    When beggars die, there are no comets seen;
+    The heavens themselves blaze forth the death of princes.
+                                                           --Page 145.
+
+    Cowards die many times before their deaths;
+    The valiant never taste of death but once.             --Page 145.
+
+_Et tu Brute!_ Then fall, Cćsar.                           --Page 154.
+
+Surely man is but a shadow, and life a dream.              --Page 286.
+
+All service ranks the same with God.                       --Page 301.
+
+    The year's at the spring,
+    And day's at the morn;
+    Morning's at seven;
+    The hillside's dew-pearled:
+    The lark's on the wing;
+    The snail's on the thorn;
+    God's in his heaven--
+    All's right with the world.                            --Page 303.
+
+    For what are the voices of birds--
+    Ay, and of beasts--but words, our words,
+    Only so much more sweet?                               --Page 314.
+
+    I will pass each, and see their happiness,
+    And envy none--being just as great, no doubt,
+    Useful to men, dear to God as they!                    --Page 317.
+
+
+
+
+CHAPTER VIII
+
+HOW TO READ FICTION
+
+
+1. _Different Kinds of Literature_
+
+If there were but one kind of literature, it would be an easy matter to
+give the few directions that would be necessary to make good readers. In
+reality there are, however, several types, so different in their
+purpose, style and content that the reader must study them in many
+different ways if he would get the varied and inspiring messages. To
+appreciate what this means, let us look over the field.
+
+For our purposes, as has been said, true literature, as distinguished
+from the practical literature of fact, may be grouped under the two
+general heads of poetry and prose. At first thought the difference
+between the two seems wide and unmistakable. Poetry differs from prose
+not only in form, but also in rhythm, music, beauty and sentiment. The
+former is usually more figurative, and aims to stimulate the imagination
+more keenly and to enthral the feelings more completely. Upon a closer
+consideration it is seen that poetry and good prose have much in common,
+and that often it is really but a question of form, for lyric beauty
+glows in the phrases of our finest prose, and both heart and soul are
+moved by its powerful appeals.
+
+There are narratives and arguments in both poetry and prose, and essays
+in the form of both. For this reason our general method of study may be
+the same for both, except when form alone is considered.
+
+The simplest and most universal form of literature is found in the
+catchy little nursery rhymes which the children of the nation learn at
+their cradles from the lips of their elders. In these, if careful search
+be made, may be found most of the elements which in broader and more
+complex forms appear in the favorite selections of maturer years.
+Following the nursery rhymes appear the fables, fairy tales, myths and
+legends that have formed the literature of earlier races and have come
+down to us to be amplified and placed in modern form for the children of
+this age.
+
+It has been said that in every child is seen the history of the race,
+and that from infancy to manhood he typifies every stage of progress the
+race has seen. In early years he loves the fables where animals speak,
+feel and act like human beings; for in former times mankind believed the
+fables to be truth. A child peoples his world with fairies, good and
+bad, and believes in the limitless power of magic. A little later he
+loves the deeds of the legendary heroes and revels in the marvelous acts
+of the more than human beings in whom the ancients believed. Later the
+stirring adventures of the real heroes of discovery and exploration, the
+heroic exploits of warriors on land and sea, and the courageous acts of
+noble men and women in every walk in life appeal to him; while still
+later, real history seizes the imagination of the youth, who now looks
+for the causes of things and learns to trace out their effects. He
+learns to reason and to separate truth from falsehood. Casting aside
+the wild tales of boyhood, he gathers up instead the facts of life and
+experience, and draws his inspiration from the noble works of the
+world's greatest writers.
+
+
+2. _Reading Stories_
+
+In the development of literary taste, fiction plays as prominent a part
+as fact, and to fiction, considered in its broadest sense, every child
+is deeply indebted. Many err in thinking that a stern diet of facts is
+the only nutriment the child mind needs, and still others err only in a
+less degree when they look upon fiction as perhaps a necessary evil, but
+one which must be avoided as much as possible and set aside at the
+earliest possible moment. All fiction has in it some elements of truth,
+and they are the sources of the inspiration which comes to children
+when, in their world of make-believe, they live with their beautiful and
+heroic friends of the story books.
+
+To read fiction properly is to get from it the truth, which, however, is
+often liable to be lost by the reader in the excitement of the tale, or
+to pass undetected in the easy-running sentences. As fictitious
+narratives in prose and poetry in the great majority of cases form the
+larger part of children's reading, it is to them we should turn our
+attention. Before we begin their specific study a few principles claim
+our attention:
+
+Good stories are the most helpful things a child can read.
+
+The more intelligently and sympathetically a story is read, the more
+powerful for good it is.
+
+The imagination of a child is the most powerful agent in the development
+of his mind.
+
+The imagination acts only to combine, enlarge, or diminish ideas that
+enter the mind. It never creates.
+
+On the nature of the ideas presented will depend the character of the
+imagination.
+
+A vivid imagination fed with bad ideas is most destructive to human
+character. Good stories with high ideals can do no harm: but evil
+stories, particularly if attractive and entertaining, will undo the
+careful teaching of years.
+
+As evil must appear in life, it may appear in stories, but it must be
+brought in in such a way that it is known as evil, and children must be
+taught to recognize it as evil.
+
+The motives which govern the words and actions of the persons who appear
+in a well-written story are more easily discerned than the motives which
+actuate the human beings around us. Thus a child who reads intelligently
+is helped to discover in the words and deeds of the people whom he meets
+the elements of real character. A study of the heroes of fiction is a
+study in human life.
+
+Improbable stories and those presenting impossible or unreal things are
+not necessarily bad; in fact they are often good and distinctly
+serviceable. No matter how true they appear to a child, the time comes
+when he rejects them as impossible, although he may always be indebted
+to them for keen pleasure and the awakening of his imagination. Belief
+in the myth of Santa Claus never destroyed a child's love and respect
+for his parents; faith in the unlimited power of good fairies never
+made a child less able to recognize the laws of nature. It is the
+halfway truths that are troublesome; it is the little misrepresentations
+not liable to be detected that may permanently deceive.
+
+To understand the good and the true, to discriminate between the bad and
+the false, to find pleasure that shall awaken, enliven and inspire, to
+arouse curiosity and interest in wider, more thoughtful and helpful
+study, are some of the important aims of story-reading.
+
+Purposeful reading on the part of children may be brought about by
+direct instruction from parent or teacher or it may be acquired by the
+child through his own efforts. Manifestly the former is the really
+efficient way and its efficiency may be increased if it is carried on
+systematically. The following outline will assist those who have
+children in charge to do their part easily and in the best manner.
+
+In reading any story there are several things to be considered if one is
+to get the most out of it. These things are mentioned in natural order
+in the outline, each item of which will be treated at length in the
+pages immediately following.
+
+In reading stories consider:
+
+  Primarily,
+    A. The Plot.
+    B. The Persons.
+    C. The Scenes.
+  Secondarily,
+    D. The Lesson.
+    E. The Author's Purpose.
+    F. The Method and Style of the Author.
+    G. Emotional Power.
+
+In the volumes of _Journeys Through Bookland_, intended as they are for
+reading by children, it was not thought wise to make the studies
+extensive nor to attach much comment to the selections, lest the young
+readers weary of the task or neglect it entirely. In this volume a
+different case confronts us and we put the discussions on a higher
+plane. If these suggestions are used in the instruction of children,
+some care in adaptation will be necessary. The age and sex of the
+children, their advancement in their studies, their surroundings at home
+and in school, will all need to be taken into account in determining
+what selections to use and how far to carry the method. A good general
+principle to follow is to present to the children only so much as will
+hold their interest; present it in the manner that will best retain
+their interest, and change the subject or the method when interest
+flags.
+
+Speaking in general terms, children are most interested in that of which
+they already know something, and prefer to study intensively something
+which is "easy to read." The familiar selections of old readers often
+are found to be alive with interest, if studied by a new method. A
+method is understood most easily when it is applied to a simple subject;
+in this case, to a story in which the youngest children will be
+interested. A word of caution may be worth while: Especially with young
+children,--"Do not let the method be seen; it is the _story_ that is to
+be brought out."
+
+It is evident that the Plot, the Persons and the Scenes of the story
+will interest children of all ages; that all will be benefited by the
+Lesson if it is judiciously presented; but that only the older
+children can be interested to any great extent in the Author's
+Purpose, Method or Style or in the study of the Emotional Power of the
+selection, however much it may be felt.
+
+  [Illustration: BENJAMIN FRANKLIN
+  HENRY DAVID THOREAU
+  JULIA WARD HOWE
+  PATRICK HENRY
+  WILLIAM PRESCOTT
+  FRANCIS PARKMAN
+  JAMES FENIMORE COOPER]
+
+
+A. The Plot
+
+The main line of events leading up to the climax of interest in the
+story may be called the plot.
+
+It is the plot that furnishes excitement, and for perhaps the majority
+of readers constitutes the chief interest. In some stories the plot lies
+upon the surface all the time, and everything is made subservient to the
+purpose of holding interest, keeping up excitement and mystifying the
+reader until the climax is reached. Thrilling detective stories of the
+poorer class, exciting love stories and the cheap juvenile tales of
+Indian fighting, with heroines in dire distress and heroes struggling to
+rescue them, are illustrations of this type. No effort is made by the
+author to make real human beings of his characters, and little or no
+profit comes to the reader, while infinite harm may be done to minds
+craving excitement and finding in it nothing to stimulate an interest in
+better things.
+
+In the better stories of greater writers the plot still plays an
+important part, but while it sustains interest unflaggingly, it carries
+with it other things which are of vastly greater importance. In such
+stories the persons are living, breathing realities, and the reader
+feels that he has added permanently to his list of tried and true
+friends. Tom Brown and Tiny Tim, who live only in stories, are as much
+our friends as Henry Thompson and Rudolph De Peyster who live in the
+next block. The great writer, moreover, takes us with him into new
+places, among new scenes, so that Rugby becomes for a time our own
+school, and from Tim's poor hearth there enters a warm Christmas glow
+into our doubting hearts. Although the plot is important, yet all
+stories that enthral the mind with exciting incidents must be regarded
+with suspicion until they prove their right to be considered real
+literature by furnishing higher interests or greater inspiration.
+
+To analyze the plot of a story, however, is always helpful; to arrange
+the incidents in order, to determine which are necessary to the
+development of the story, and which are merely contributory to the
+general interest, is an interesting and stimulating thing. The plot of
+short stories may quite often be told in few words, and unless very
+complicated, the plot of a novel may be given in a few sentences. In
+some stories, however, the plot is so loosely constructed and of so
+little real importance that it is hardly more than a train of apparently
+equally important incidents. Again, the plot is oftentimes so
+complicated by secondary plots and incidents that even a careful reader
+becomes confused and loses his interest.
+
+Let us consider the plot in such a story as _Cinderella_ (Volume I, page
+224). The main incidents of the plot arrange themselves as follows:
+
+1. Cinderella's mother dies.
+
+2. Her father marries a widow, who has two daughters.
+
+3. The stepmother sends Cinderella to the kitchen to work and to the
+garret to sleep.
+
+4. The king's son gives a great ball to which he invites Cinderella's
+stepsisters.
+
+5. The stepsisters require Cinderella to assist them to dress, and abuse
+her shamefully.
+
+6. The sisters go to the ball, and Cinderella sits by the kitchen fire
+wishing she might accompany them.
+
+7. Her fairy godmother appears and sends her to the ball in fine style.
+
+8. Cinderella, beautiful as a picture, dances with the prince, who falls
+in love with her.
+
+9. The clock strikes twelve, and Cinderella goes back to the kitchen.
+
+10. The stepsisters again mistreat Cinderella.
+
+11. She goes to the ball the second day.
+
+12. She forgets her godmother's warning, and after midnight rushes back
+home, leaving a single slipper behind her.
+
+13. The prince finds the slipper and searches for its owner.
+
+14. The sisters fail in trying on the slipper, which is then fitted to
+Cinderella's foot.
+
+15. The fairy godmother restores to Cinderella the appearance of a
+princess.
+
+16. The prince marries Cinderella, and she forgives her stepsisters.
+
+A summary of these main incidents may be given in a few words, which
+will contain the skeleton of the plot. To say that a certain little girl
+who is shamefully treated by her stepsisters is aided by her fairy
+godmother to attend a ball given by a prince, who finally marries the
+little drudge, is to give the plot and really to tell all that the lax
+and superficial reader gets from the story he peruses.
+
+There are in this little story, however, a large number of minor
+incidents which contribute to the interest, and if sought and placed in
+their relation to the main events will be found to have added materially
+to the charm of the narrative.
+
+For instance, when the fairy godmother sends Cinderella to the ball for
+the first time, children are led to a vivid interest in the event by a
+series of fascinating incidents, as follows:
+
+1. The fairy sends her into the garden for a pumpkin.
+
+2. The godmother, scooping out the inside of the pumpkin, leaves the
+rind, which she taps three times, and immediately it becomes a golden
+coach.
+
+3. The fairy spies six mice alive in a trap.
+
+4. Cinderella lets the mice out gently, and as the fairy touches them
+with her wand, each becomes a fine, dapple-gray horse.
+
+5. Cinderella brings the rats, the largest of which the fairy converts
+into a handsome postilion with a fine pair of whiskers.
+
+6. Cinderella finds the six lizards behind the watering pot, which
+become the six sedate and dignified footmen clothed in livery.
+
+7. Cinderella's rags are changed to wonderful clothing bedecked with
+costly jewels.
+
+8. The beautiful glass slippers are provided.
+
+How real these incidents all seem! What art is shown in bringing in real
+things to give food to the imagination and to stimulate the interest
+that carries the little reader away from herself where she may riot in
+the wonders her active mind can so readily conceive. Some time when she
+has grown much older, and cares have wrinkled her smooth cheeks, she
+may see that the only fairy godmother who can clothe a Cinderella is
+hard work, and that mice become dapple-grays, and footmen are made from
+lizards behind watering pots only when she has earned the right to them
+herself. Just now it is enough for her to see that fairy godmothers come
+to good children only, and that good princes do not care if their wives
+have worked in the cinders, provided they are beautiful in gentleness
+and service to others.
+
+Children like to understand what they read, and are never so happy as
+when talking over their favorite stories with those of their elders who
+have the power to enter sympathetically into the child world. By no
+means do all boys and girls like to be taught; in fact there are not
+many more certain ways of prejudicing a child against anything than by
+making it the subject of a formal lesson. Still, every child loves to
+learn, and is seeking at every moment to add to his information and to
+exercise his mind. Yet he must do it in his own way and with the things
+in which he is interested. If those facts are borne in mind, no parent
+will have difficulty in interesting his child or in leading the juvenile
+mind where it ought to go.
+
+To apply these ideas to teaching the plot of such a story as
+_Cinderella_, let the parent who loves his children, and who wishes to
+be no stranger to their interests, joys and sorrows, seat himself among
+them some time and begin to read to them. Pausing now and then to
+explain some word whose meaning may be obscure to them, or to comment on
+some phase of the story that may be of special interest, let him read
+on to the end without attempting to do much more than to make the story
+a vivid tale where the interest centers in the incident.
+
+When the story has ended, the pleasure has but just begun. Children like
+to ask questions, but they are no less ready to answer them if the
+questions are on things of interest, are related to the things which
+children know and are put in such a way that the genuine interest of the
+questioner is always evident. The I-know-it-all-and-you-know-nothing
+style of questioning; the I'm-the-master-and-you're-the-pupil style; the
+because-I-ask-you-must-answer style are all fatal to interest, and will
+soon prevent that hearty sympathy and living spirit of coöperation that
+the parent wishes to secure.
+
+If we suppose it is _Cinderella_ that has been read, we may begin our
+questioning in this manner:
+
+"That's a good story. I like it, don't you?--It is rather long, though;
+I've almost forgotten how it began.--O, was that the first thing that
+happened?--Was the father a rich man?--Did the story say he was rich or
+did you just think he was?--If he had not married a widow could things
+have happened as they did?--How did the widow and her daughters treat
+Cinderella?--If Cinderella had not been mistreated would her fairy
+godmother have come to her aid?--If the fairy had not appeared could the
+story have been the same?--How did the fairy make the golden
+coach?--Could she have made it out of anything else?--If she had made
+one just as good out of something else, could Cinderella have gone to
+the ball just as well?--If Cinderella went to the ball in good style did
+it matter how she went?--If Cinderella had not gone to the ball, could
+she have met the prince?--Was it as important then that she should have
+a coach made from a pumpkin as that she should go to the ball and meet
+the prince?--Can you think of something else just as necessary to make
+the story come out right as that Cinderella should go to the ball?--Can
+you think of other things that must have happened just as they did to
+make the story come out right and just as it did?--Can you think of some
+things that might have happened differently and still not have hurt the
+story at all?--Let us put together all the things that must have
+happened to make the story right and leave out the things that could be
+changed. Now, what are they?--Now let us find a few things we could
+leave out or change. What are some of them?--If we left them out the
+story would come out the same, but would it be as good, as
+interesting?--Would you like Cinderella as well if these little things
+had been left out?--Would you think as much of the prince if he had
+found Cinderella right away as you do when he has to do so many hard
+things before he finds her?"
+
+Every one must realize the impossibility of providing a scheme of
+questioning that would fit exactly any given case, but will not the
+above suggest a method that may lead to many a happy and profitable
+evening at the family round table? Even if there are older children in
+the group they will renew their interest in the old stories and get more
+good from them when it is seen that father and mother do not deem it
+beneath their dignity, nor outside the range of their interests, to read
+and study a fairy tale.
+
+In _Journeys Through Bookland_ are here and there outlines and questions
+designed to lead the children to see for themselves what it is hoped
+others will take pleasure in showing them. Examples of the selections
+which contain outlines, questions and comments designed to help in the
+study of the plot may be found as follows:
+
+  Volume I,     page 264.  _The Twin Brothers._
+  Volume I,     page 395.  _Something._
+  Volume II,    page 124.  _The Snow Queen._
+  Volume IV,    page 174.  _Incident of the French Camp._
+  Volume VIII,  page 364.  _The Tempest._
+  Volume IX,    page 232.  _The Gold-Bug._
+
+
+B. THE PERSONS
+
+In most stories, be they brief and simple or as long and complicated as
+the two-volume novel, the interest centers in one or more persons whose
+character the reader learns to understand, and whose success or failure,
+joy or grief gives him pleasure or excites his sympathy. All events
+center about the hero or heroes, and while other persons may be
+mentioned, and even win the reader's attention for a time, they finally
+subside into the background and are remembered only as they contribute
+to greater interest in the principal characters.
+
+Every author tries to make his heroes and heroines speak and act like
+real human beings and show their characters by their actions and their
+words. Sometimes, however, he tells the reader just how his people look,
+feel and think, and describes their characters to give an interest in
+what happens to them. A more interesting method and a more artistic one
+is to leave the persons to disclose themselves as the story progresses,
+making them show by the way they act and by what they say under certain
+circumstances the strong and weak qualities in their natures. Nothing is
+more interesting than to watch the development of character in the hero
+of a story, particularly when it is accomplished under conditions which
+are themselves interesting.
+
+In studying the persons in a story, then, the chief things to keep in
+mind are the following:
+
+1. The principal person, or hero--the one, or perhaps the ones, in whose
+fortunes the reader is most vitally interested.
+
+2. The secondary persons who are introduced merely to add variety or to
+throw light upon the character of the hero, or to assist to bring about
+the events which center about him.
+
+3. The appearance, dress and manners of the persons.
+
+4. The ways in which the author makes his persons lifelike and shows the
+reader what they really are.
+
+5. The characters of the persons as they appear or as they are developed
+in the progress of the story. This is the really important part of the
+study, the one which becomes increasingly interesting as readers grow
+older and the stories they study become more and more complex and
+difficult. The study of the characters of Shakespeare's heroes and
+heroines is more than interesting pastime for men and women--it is good,
+hard work.
+
+For a simple example of what is meant, let us undertake briefly the
+study of _The Hardy Tin Soldier_ (Volume I, page 148).
+
+1. The hero is the Hardy Tin Soldier himself.
+
+2. Persons of secondary importance are:
+
+    a. The twenty-four brothers.
+    b. The little boy.
+    c. The Dancing Lady.
+    d. The Goblin.
+    e. The servant-maid.
+    f. The two street boys.
+    g. The Water Rat.
+    h. The fish.
+    i. The cook.
+
+Of these the Dancing Lady is second only to the lame Soldier; the
+Goblin, the two street boys, the little boy and the Water Rat are given
+considerable prominence, while the twenty-four brothers, the
+servant-maid, the fish and the cook are introduced merely to effect a
+certain incident or to give an air of truthfulness to the events. This
+is a fairy tale, and in it we must be faithful to our juvenile friends,
+considering the Goblin, the Water Rat and the fish as real persons, and
+the Tin Soldier as a very human being.
+
+3. In appearance the Tin Soldier was tall and erect, but alas! he had
+only one leg! His uniform was red and blue and very splendid. He carried
+his musket across his shoulder as a marching soldier should, kept his
+eyes straight to the front, and stood very firmly upon his one foot. In
+the fire he lost the tinsel and the color from his uniform, and when the
+Dancer joined him he melted into a little tin heart.
+
+4. While Andersen tells outright some of the characteristics of the
+little Soldier, he leaves others to be inferred from acts. The Soldier
+thinks, and sometimes the reader is told just what he thinks, but never
+once does he speak--to him silence is golden. Yet not once do we miss
+his voice, and it is only when we have finished that we suddenly think
+what a silent little body he is. That is part of the author's art. The
+Soldier never once moves his eyes, or changes his attitude; the author
+never forgets that he is a _tin_ soldier, but makes his every act
+consistent with his stiffness and rigidity. That is more of the author's
+skill. There were other soldiers, twenty-four of them, and all were
+brothers. A less skilful author would have stopped in the telling of the
+fact, but Andersen adds in his whimsical, charming manner, "for they
+were all born of one tin spoon." All the other brothers were perfect;
+our Soldier had but one leg, yet "it was just this soldier who became
+remarkable." Even the missing leg creates an interest, and Andersen uses
+it to center our attention upon his little hero.
+
+5. Andersen tells us the following things about the Tin Soldier's
+character:
+
+a. He stood firmly even with but one leg to balance himself upon.
+
+b. He thought his box was not a place for a lady-wife who lived in a
+castle. This showed his humility.
+
+c. Yet he was very human--"I must make her acquaintance."
+
+d. When he fell from the window, he put his leg straight up, stuck his
+helmet downward and his bayonet between the paving stones.
+
+e. He would not call loudly to the servant-maid because he was in the
+uniform of a soldier.
+
+f. While in the boat rushing down the gutter, he trembled, but he never
+changed countenance, and still looked straight before him.
+
+g. He sighed for the little Lady's company, while passing through the
+drain.
+
+h. He would not answer the Water Rat.
+
+i. He stiffened himself and would not move an eyelid when the paper boat
+sank.
+
+j. He lay unmoved even in the darkness of the fish's body.
+
+k. He was not at all proud when he was rescued.
+
+l. When he saw the Dancer again he very nearly wept tin tears, but he
+thought how improper that would be, and kept them back.
+
+m. He stood firm and shouldered his musket although the fire, or grief,
+made all the colors leave him.
+
+n. When the Dancer joined him in the flames he melted into a
+heart-shaped lump of tin.
+
+What a fine little Tin Soldier he proves to be! Could any one be more
+loyal to his profession? Body erect, eyes to the front, musket
+shouldered, every muscle at attention all the time, no matter if he had
+but one leg to stand upon. He was brave as a lion, although once in the
+presence of the direst danger he trembled a little, but he drove every
+sign of fear from his face and stood his ground manfully. After he had
+once seen the Dancer and realized how similar her trials must be to his,
+how constant he was in his devotion! At his death what could be more
+fitting than to see him melt into a little heart-shaped mass, the
+symbol of his courage and constancy! Why should we call him the _hardy_
+Tin Soldier; would it not have been better if the translator had called
+him the _constant_ Tin Soldier?
+
+Now, when we give the hero of this pretty little story so much
+attention, does it not seem worth while? Will not we, grown men and
+women, find so much in the hero that we may gather our young friends
+about us and lead them to see how admirable a character he has and how
+beautifully Andersen has shown it? If we talk not _to_ the boys and
+girls, but _with_ them, if we invite their questions as to the Tin
+Soldier's character, and by our informal questions lead them to
+appreciate the strength, courage, and devotion of the little toy, will
+they not get some taste for a good story well written, and perhaps,
+learn some little lessons that will help them to be better men and
+women?
+
+_Journeys_ furnishes you with many another fine story, equally
+interesting. There are a number of the tales, too, which may call for
+your own best efforts in the study of character, and from which even you
+may derive some genuine help in the heavy problems life thrusts upon
+you.
+
+In many places, too, the present writer has appended outlines and
+questions which the young people themselves may like to pore over and
+which may assist the inquiring parent even more than the brief study
+above. The following are particularly suggestive:
+
+  Volume I,     page 224.  _Cinderella._
+  Volume IV,    page  93.  _A Dog of Flanders._
+  Volume VIII,  page 335.  _Dream Children._
+  Volume VIII,  page 364.  _The Tempest._
+
+
+C. THE SCENES
+
+One of the benefits of good reading is that it fills the mind with
+beautiful pictures of places that we cannot visit or that live only in
+the eyes of the imagination. A powerful descriptive writer takes his
+reader with him, and by graphic words makes visible and almost real the
+scenes among which they wander. One may sit in the light of his study
+lamp during a black northern winter and read himself away from the chill
+and dreariness into some warm, sunny clime where flowers of new and rare
+forms flaunt their gorgeous colors and perfume the air with strange
+delicious odors; great trees with tufts of far-reaching leaves cast
+their welcome shade, and long vines trail gracefully from their living
+supports. Wonderful birds with brilliant plumage flit about, as through
+the openings in the trees glimpses are given of long waves rolling
+gently upon the glistening beach. It is only necessary to give free rein
+to the imagination and to visualize the scenes that the skilful writer
+describes.
+
+There are people of such literal minds that descriptive writing fails to
+appeal to them. It is their misfortune. To others every word brings a
+picture that appears almost as vivid and as full of detail as those upon
+which the material eye gazes. Like any other power of the mind, this may
+be cultivated, even among the mature. Children are highly gifted with
+this power, to begin with, and only a little training is necessary to
+make them use the faculty freely for their own delight. Suggest to them
+the outlines of a picture, and see how rapidly they will fill in the
+details.
+
+No two can see precisely the same imaginary picture; in fact, no two
+people looking at the same landscape will see precisely the same things,
+and if they are asked to describe what they see, it will appear that
+things which are most vivid to one may have made little impression upon
+the other. It is not to be expected, then, that two children reading a
+description of some scene will get the same picture of it. Each will
+color his own from the previous impressions and experiences he has had.
+Yet to each the picture may be very real and very pleasing. Good
+teachers of reading spend much time and effort in teaching the young to
+visualize the scenes of which they read, not only because of the
+pleasure it will afford the young when they are mature, but because the
+power to see vividly is of greatest assistance in every department of
+study.
+
+In some stories little attention is given to the scene; in fact, the
+persons might appear anywhere and not be in the least affected by their
+surroundings, and the events might have happened in China as well as in
+England. Even then, however, there will be found mention of many things
+that seem to give locality to the story. At the other extreme are
+writers who lose themselves in descriptive flights and pause to describe
+a sunset while the heroine is perishing, and the hero must stand
+helpless until the author has painted the last color in the sky. In the
+best literature for children, description is so mingled with narrative
+that while there are fine pictures to see, they do not fall in the way
+of the events which the young reader follows with such breathless
+interest. In fact, the pictures aid the narrative.
+
+There is of course in every story much descriptive writing that does not
+apply to the scenes among which the plot is laid, yet it is well to make
+a study of description from the scenes, for it is here that the author
+has his greatest opportunity for pictorial writing.
+
+If the story is brief there may be but one scene. Everything may happen
+in one place, and none of the surroundings may change. For instance, in
+the fable of _The Dog and His Shadow_ (Volume I, page 63) there is but
+one incident, which happens in one place. Such a simple story, however,
+furnishes the material for a good picture, and in bringing it out to a
+child who reads or hears the fable for the first time, the parent is
+giving good service that will lead to keener appreciation and higher
+power of interpretation in his child's later years. What can be made out
+of this picture, and how should it be done? Let us see:
+
+The fable is told in simple words, and only plain facts are stated. What
+are the elements of our picture? We can find only six, viz.: a big dog;
+a big piece of meat; day; a river; a narrow bridge; the dog's image. Now
+if we were to draw a picture to illustrate this fable we would begin
+with a general sketch. Should we show a level country, or are there
+hills about? Is it barren and desolate, or are there trees? Are there
+houses near? Where did the dog get his meat? Is it a large river, or
+only a small one? The bridge is narrow; has it a railing along the side?
+Would the dog be liable to see his image if it was a wagon bridge? Was
+it then a mere foot bridge? Would a single plank across a small stream
+answer the purpose? The dog is big; is it a dog that knows and likes the
+water? Would you think it could be a Newfoundland dog? What kind of a
+dog is it? It is day time; is the sun shining? Do you imagine it is
+morning or noon, or that it is toward evening? In making your pictures
+would you draw the trees to show the leaves blown by the wind? If the
+dog sees his image, is the water smooth or rough? Is the stream rapid
+and rough, or smooth and placid?
+
+While such questioning is going on both speaker and listener are seeing
+more clearly every minute. Besides, in order to see accurately they are
+drawing on their own previous knowledge and experience, and are
+reasoning just as truly as though they were solving a problem in
+arithmetic.
+
+In every picture we form in our reading there are certain elements that
+we must accept and include because the writer gives them to us. Other
+elements suggest themselves, and we accept them and put them in place or
+reject them entirely. In the fable just discussed we are told that the
+dog is big, the piece of meat is big, and the bridge is narrow. We may
+not see a small dog with a little piece of meat on a big, wide bridge.
+Houses, trees, sedges on the river bank, children playing by the side of
+the path, spring, summer or autumn foliage, or even snowclad shores with
+black water between--any of these we may put into our picture, for the
+fable is silent on these points. We must be accurate, and the parent can
+do no better service in reading than to make his child see accurately
+whatever he sees at all.
+
+The artist studies the selection he means to illustrate in just this
+way, and then draws his picture. When we see his picture we may accept
+it as good and true to the conditions, or call it poor and inapplicable.
+We should not be hasty, but should try to get his point of view before
+we criticise. If he violates any of the fixed conditions of the story
+his work is bad; if he gives us his interpretation and violates no fixed
+conditions, his work may be good or bad according to the standards we
+set up: are we always certain that our standards are correct?
+
+In the fable _The Fox and the Stork_ (Volume I, page 73) the artist has
+given us two beautiful pictures which in themselves tell almost the
+entire story, and his pictures are almost wholly from his own
+imagination, for there was given him to work with very little more than
+a fox, a stork, a wide dish and a vase. Such a pictorial imagination as
+he possessed is what should be cultivated in children. If they can be
+encouraged to draw what they see, they not only fix their own
+impressions, but they learn to see more vividly and more accurately.
+
+In long stories there are many scenes; it may be that no two incidents
+happen in the same place. In the drama, which contains all the elements
+of the story, the scenes are limited in number, are fixed and unchanging
+and after the reader has arranged his scenery he may give his attention
+exclusively to the dialogue because he knows there will be no change in
+the scene. In the story the reader may need to be constantly alert, as
+when his hero takes a long and perilous journey the scenes may change
+with the quickness of a kaleidoscope, and yet all be important to the
+narrative. The more complex the story, the greater the variety in
+scene, and consequently the greater the opportunities for study. It is
+interesting work for children to pick out the scenes, to count them and
+then to compare them. Some of them are more vividly portrayed than
+others. Why? Some are more important as descriptions, and some because
+of the incidents occurring in them.
+
+Sometimes, especially in speaking of the drama, the word _scene_ is
+applied not only in its literal sense, but also to include not merely
+the place but the incidents that happen in the place, as well.
+
+For instance, we may say, "The quarrel between Brutus and Cassius is a
+wonderful scene in _Julius Cćsar_." Again, the word is used sometimes to
+mark the division of a play, as when we speak of the second scene in the
+first act of _Macbeth_. For our purposes, however, in our early reading
+with children, let us use it to signify only the place where events
+happen.
+
+An author may tell us at the beginning of a story that the scene is laid
+in London, or in Calcutta, or in the Black Forest; but unless he employs
+some method of giving a vivid impression of the setting of the story, we
+soon lose sight of locality. Sometimes, of course, it is not necessary
+that we should remember the place--the story moves on independent of
+scene; but other stories depend in part for their interest and even for
+their plot upon their setting. In such cases, the author, by reference
+to the natural features characteristic of a region, or to the peculiar
+traits or mannerisms or turns of speech of his characters, keeps before
+us the place in which the scene is laid. Such peculiarities of a place
+or its inhabitants, when introduced into a story, are given the name of
+local coloring.
+
+In _A Christmas Carol_ (Volume VI, page 244), Dickens meant that we
+should be conscious throughout not only of a Christmas atmosphere, but
+of an _English_ Christmas atmosphere. The references to the Christmas
+feeling are too obvious to require pointing out, but the methods by
+which the author makes us conscious that we are in London do not show so
+clearly at first sight. By a study of the paragraph which begins in the
+middle of page 253, and of the one immediately following it, we may get
+some idea of these methods.
+
+"Meanwhile the _fog_ and darkness thickened so, that the people ran
+about with flaring _links_." A London boy would not need a footnote to
+tell him that the fogs of London are famous; that they are at times so
+thick that all traffic is obliged to cease. Nor would he need to be told
+that links are torches of tow and pitch, which enterprising London boys
+provided themselves with at foggy times, that they might earn money by
+piloting people about. The word _brazier_, too, is in commoner use in
+England than it is in the United States. The _poulterers'_ trade is
+another English touch.
+
+Every one knows that the _Lord Mayor_ is the chief official of the city
+of London, but perhaps we do not all know that _Mansion House_, with its
+great banqueting-hall where the state dinners are held, is the residence
+of the Lord Mayor.
+
+Now-a-days we all know what English _plum pudding_ is--it is served at
+many American tables on Christmas day. But nothing is more
+characteristically English, unless, indeed, it is the _roast beef_, not
+turkey, which the tailor was planning to have for his Christmas dinner.
+
+Probably no one but an English writer, writing of an English subject,
+would refer in Dickens's off-hand manner to Dunstan, the English
+statesman and archbishop who accomplished so much for religion that he
+came to be known as Saint Dunstan.
+
+One of the most characteristically English touches in the two paragraphs
+is the reference to the _carol_ sung by the boy at Scrooge's keyhole.
+Other countries have Christmas carols, but the custom of singing them
+before people's houses is peculiarly common in England. The carol of
+which the first two lines are quoted is perhaps the one most frequently
+sung.
+
+These instances will give some idea of what is meant by local color, and
+of the methods used in securing it. It will be an interesting study to
+find other words and phrases in the remainder of the story which
+strengthen our feeling of the "Englishness" of _A Christmas Carol_.
+
+_Journeys Through Bookland_ furnishes an abundance of good stories of
+fine descriptive power. A few of the best are the following:
+
+  Volume II,  page 405.  _The King of the Golden River._
+  Volume IV,  page 174.  _Incident of the French Camp._
+  Volume IV,  page 322.  _The Attack on the Castle._
+  Volume VI,  page 173.  _Sohrab and Rustum._
+
+
+D AND E. THE LESSON AND THE AUTHOR'S PURPOSE
+
+The stories of the present day are many of them written with the avowed
+purpose of mere entertainment. The author is satisfied if his work
+sells, and cares nothing for the lesson he may teach, although by means
+of false views of life he may do ineffaceable harm to the minds of his
+readers. Many of the popular magazines and other periodicals, not even
+excepting some of those published especially for children, are full of
+light reading which vitiates the taste and may even undermine character
+by its seductive influence. In the effort to be entertaining the recent
+writers for children have only too frequently sacrificed strength and
+virility to a fascinating brilliancy that seizes the imagination of
+youthful readers and gives no material for subsequent growth. The
+earlier writers, those who produced the great classics which still are
+the most inspiring things in our language, were actuated by nobler
+motives. To them literature was not a trade, but a high calling, to
+which the writer came as a priest approaches his altar. Such a writer
+held a high purpose and kept it in view, often giving hours of thought
+and the best of his genius to work that the modern story writer neglects
+entirely or passes over with hasty evasion.
+
+The purpose of the author is always a subject of interesting inquiry,
+and whenever it appears a serious one it is worthy our careful study.
+The novel is often the medium of conveying the results of deep study
+into human character, and a few of the greatest stories have been
+epoch-making in their effect upon the human race.
+
+As the fiction which children read has a profound influence in the
+formation of character, it should always be examined with greatest care
+to see that the author's purpose is a laudable one and that he carries
+it out in such a way that the lesson is wholesome and salutary. Some
+stories may be entertaining merely--they are for the play-spells of the
+imagination; others should be instructive--they are for hours of study
+and reflection; a third class should be invigorating and inspiring, full
+of good lessons of high moral import--they are for times of stress, or
+the still hours when character is made.
+
+If, however, the purpose of the author is too evident, if his lesson is
+too obvious, none are so quick to catch the fact as wide-awake childish
+readers. The author who lugs instruction and information into his
+stories will find the boys and girls skipping all that he values, or
+laying down his books with laughter and derision. The writer who
+moralizes may find his work to be immoral in its effect on his juvenile
+readers, or may see his stories relegated to the overloaded bargain
+counters.
+
+In the same sense, it is often unwise to dwell long upon the moral of a
+story or even to point it out if it be at all evident. There is no phase
+of teaching reading that requires such careful thought or such fine
+discrimination from the parent as that which relates to the lesson of
+the story. It is often better to let the selection do its own work than
+to try to elaborate its purpose. Yet a skilful and sympathetic leader,
+one quick to read the feelings of his young listeners, may often render
+his greatest service in free conversations about what the story teaches.
+It would seem that no one could do this quite as well as the parent who
+has known his boys and girls from infancy and can see in his offspring
+those very traits of character which have been to his own advantage or
+detriment.
+
+More will be accomplished by questioning with occasional comments than
+by preaching, more by showing the help the story gives to the questioner
+than by trying to foist its assistance upon the hearer. "Now there is a
+fine lesson for you, my boy. I want you to remember it," is not half so
+effective as "That idea seems good to me. I've often thought about it
+but never seemed to realize it so much. I shall try to remember it."
+Wouldn't you, dear parent, rather learn _with_ your friend than to have
+him always instructing you? "What do you think of that, John?" is much
+more apt to help the boy than "You must see it this way, John." Are you
+not, dear parent, rather proud of your own judgment, and do you not
+suppose your son has inherited your feeling to some extent at least?
+
+We heard the old fables in our babyhood and read them in Latin as we
+grew older, and we still are fond of them, though the "morals" have long
+since been forgotten. Those wise lessons so graphically presented have
+helped to form our characters, but not through the formal "moral" at the
+end. Beware of "_Haec fabula docet_."[189-1]
+
+As a further suggestion of method we may consider for a few moments that
+beautiful but sad little story of Andersen's, _The Fir Tree_ (Volume II,
+page 68). Every good story is worth reading more than once, and every
+good method of teaching involves more than one reading. In this instance
+as children read or listen, they are first interested in the story as a
+story; that is, in the plot. They enjoy the adventures of the Fir Tree
+and may feel for it in its misfortunes, but their interest is in the
+tale. When they have read to the end, however, they will be interested
+in the appearance of the tree, their hero, and in the other characters
+which give vitality to the story. Then the scenes may be talked over,
+and varied enough they are to excite real interest as the story is read
+now with the definite purpose of seeing the pictures Andersen has
+sketched. With all this in mind the children are ready to think over it
+again and learn the lesson the great prose-poet meant to give. If the
+character of the Fir Tree is well understood, the lesson almost tells
+itself, for ambition, arrogance and discontent are seen as the traits
+that make for unhappiness. The Fir Tree might have been happy many times
+if it had only been content. At the worst it gave happiness to others,
+and therein, perhaps, filled its place in the world. Human beings must
+often find their pleasure in giving happiness to others and must be
+content to know that they are of service to others. Some of the lessons
+of _The Fir Tree_ are rather hard for little folks to understand, and
+there is something in the charming story for those older readers that
+have hearts young enough to see the meaning.
+
+Study the purpose in the following:
+
+  Volume I,   page 414.  _The Ugly Duckling._
+  Volume II,  page 124.  _The Snow Queen._
+
+
+F. THE METHOD AND STYLE OF THE AUTHOR
+
+Small children are not interested in considering the way in which an
+author tells his story, nor the methods he employs to secure attention
+and excite interest. Yet there comes a time when such a study is highly
+pleasing to inquiring youth. It is desirable always that children should
+early begin to appreciate the difference in the way plots are handled,
+to discriminate between a tale that is well told and one that is poorly
+told. At an early age boys delight in stories that are full of the
+excitement of adventure, conflict and mystery. Their craving is natural
+enough and must be satisfied. At such time they will read little or
+nothing else unless they are driven to it, and to compel them to read
+what they do not want is to make them hate reading for the time being
+and perhaps permanently. In time they will outgrow the taste--it is
+nothing to be feared if properly guided. The danger lies in the fact
+that they may find the excitement they wish in stories that are really
+immoral, or that are so poorly written that they destroy all taste for
+fine literature. The right course is to supply plenty of reading in
+which excitement abounds, where Indians stalk the woods, pirates rove
+the seas, and knights fight for their lady-loves, but always in stories
+that are so well told that the taste for good reading is cultivated
+unconsciously as the boy reads. _Treasure Island_ is bloody enough for
+the most exacting boy, and it bears many a reading, for it is so
+charmingly told that long after the cry, "Pieces of eight, pieces of
+eight," has ceased to make the welcome chills run up and down the boy's
+back, he returns to the story for the pleasure he finds in the style of
+Stevenson. In later years the boy will write better and speak better for
+having read the story.
+
+However, the parent may do much to help his child along by calling
+attention to vivid figures of speech, to happy expressions of all kinds,
+and to those graceful touches of humor and pathos that are so
+characteristic of Andersen, Stevenson, Ruskin, Kingsley, and other great
+writers for boys and girls. No child who can read well for himself is
+too young to appreciate a good figure of speech if the comparison is
+based upon something falling within his own experience. Who is so young,
+or so old, for that matter, that he will not thrill a little at
+Longfellow's lines:
+
+    "Silently, one by one, in the infinite meadows of heaven,
+    Blossomed the lovely stars, the forget-me-nots of the angels."
+
+What does the poet say? "The stars appeared in the sky." In saying it
+what does he make us feel? As we repeat the lines we see the immense
+expanse of the heavens, and as we gaze, the sparkling dots of light
+appear silently, slowly, one after another, just as beautiful flowers
+appear as the early morning light gilds the green meadows. We think,
+too, in the poet's fanciful way, that these are no common flowers, but
+exquisite tokens of the loving care the angels have over us, and a
+gentle reminder that always should we trust in them.
+
+Often the highest sentiment is clothed in lines whose figures, most
+beautiful in themselves, exalt the spirit as ordinary expressions could
+never do. At the close of _The Chambered Nautilus_, Oliver Wendell
+Holmes sings:
+
+    "Build thee more stately mansions, O my soul,
+      As the swift seasons roll!
+      Leave thy low-vaulted past!
+    Let each new temple, nobler than the last,
+    Shut thee from Heaven with a dome more vast,
+      Till thou at length art free,
+    Leaving thine outgrown shell by life's unresting sea!"
+
+Is it not well for the parent to lead his child to see such things in
+literature, to search for them, and when they are found to treasure them
+and bring them for mutual enjoyment into the family circle?
+
+
+G. EMOTIONAL POWER
+
+Fiction appeals strongly to feeling and stimulates the growth of that
+series of great emotions that make so large a part of character. It may
+excite ambition and a thirst for power or wealth or give an impulse to
+labor and self-denial; it may teach us sympathy and love for our
+fellow-men, or arouse anger, hatred and defiance; it may give us a
+keener discrimination of right from wrong and lead us far on our search
+for truth, even into the calm of religious beliefs.
+
+We see the play of emotions in the imaginary persons that pass before
+us, and as we learn to love our new friends, their influence passes out
+to us through the words of the gifted author. Bob Cratchit's tender love
+(Volume VI, page 304) makes us more considerate of the sick and
+helpless; Tom Brown's manly defense of his praying schoolboy friend
+(Volume V, page 472) leads us to new respect and admiration for the boy
+who lives up to his principles, and drives us, perhaps, to begin again
+upon the duties we have neglected.
+
+By studying with the children the feelings the characters in a story
+exhibit, the parent may give the best of moral lessons without the
+appearance of so doing and more effectively than by countless reprimands
+and formal orders.
+
+As a suggestion of method we offer an outline based upon _Rab and His
+Friends_ (Volume VI, page 99), one of the most touching stories ever
+written, a series of incidents that appeal to every holy emotion.
+
+Rab, the great mastiff, claims first place in our minds, dog though he
+is; but James and Ailie are such lovable beings that we never can forget
+them.
+
+The story has been read through; we have followed the simple incidents
+to their pathetic climax; we have learned to know Rab by sight and to
+recognize his sterling character; James the honest, tender-hearted
+carrier, and gentle, suffering Ailie, his wife, have taken their places
+among the dear friends our imagination has created; we have noted the
+power of the author, his humor, his scholarly English and his
+sympathetic touch. We may have read the story more than once--at any
+rate we have read portions of it several times, so we can trace the
+emotions that are felt by the noble dog.
+
+Page 100: When the little white bull terrier fastens himself upon Rab's
+throat and the strong muzzle prevents the big fellow from defending
+himself, "his whole frame stiffens with _indignation_ and _surprise_."
+"He looked a statue of _anger_ and _astonishment_."
+
+After Rab had been released from his muzzle and had killed the little
+terrier, "he looked down at his victim _appeased_, _ashamed_ and
+_amazed_."
+
+Page 103: When his master aimed a kick at him, he "drew _cringing_ up"
+and "slunk _dismayed_ under the cart."
+
+When his master spoke kindly, "'Rab, ma man, puir Rabbie,'" "the stump
+of a tail rose up, the ears were cocked, the eyes filled, and were
+comforted"; Rab showed _pride_ and _happiness again_.
+
+Page 104: He was _pleased_ when the medical student scratched his huge
+head, and _anxious_, when no notice was taken of him.
+
+When he first came to the hospital he felt _pride_ and _condescension_,
+"like the Duke of Wellington entering a subdued city."
+
+Page 106: When James handed Ailie from the cart, "Rab looked on
+_concerned_ and _puzzled_."
+
+Page 106: In the consulting room Rab was filled with _suspicion_ and
+_uneasiness_; he was "grim and comic," and eyed all three.
+
+When Ailie was put to bed and Rab was permitted to enter the room he
+"slunk in," _half-ashamed_, but fully _determined_.
+
+Page 107: Rab valued himself highly, but felt no conceit: he "had the
+_dignity_ and _simplicity_ of great size," and the "_gravity_ of all
+great fighters."
+
+Page 109: Rab felt _perplexity_ and _anger_, "forever cocking his ear
+and dropping it as fast," when Ailie entered the operating room.
+
+During the operation he felt _sympathy_ for the suffering of his
+mistress, _anger_ and _revengefulness_ at her tormentors; "his ragged
+ear was up, and importunate; he growled and gave now and then a sharp,
+impatient yelp; he would have liked to have done something to that man."
+
+Afterward in Ailie's room he felt _fear_, _anxiety_ and a _desire to
+help_, and showed "how meek and gentle he could be, occasionally, in his
+sleep, letting us know he was demolishing some adversary."
+
+Page 110: Rab continued to feel a sense of _depression_, _sadness_ and
+_anxiety_; during his walks with the medical student he was "sombre and
+mild; declined doing battle--submitted to sundry indignities."
+
+While Ailie seemed to be recovering Rab felt _kindliness_ and _subdued
+joy_, though _resentment_ lay close beneath the surface; he was
+"reconciled, and even cordial," had "made up his mind that as yet nobody
+required worrying," but was always prepared for it.
+
+Page 111: As Ailie grew worse, _grief_ and _fear_ began to take
+possession of Rab; he "subsided under the table into a dark place, and
+was motionless."
+
+Page 112: When Ailie called in delirium, her strained voice filled Rab
+with _surprise_, _astonishment_ and a sense of _guilt_; he started up
+"surprised, and slinking off as if he were to blame somehow, or had
+been dreaming he heard."
+
+Page 114: At Ailie's death Rab was overwhelmed with _grief_; he licked
+her hand which was hanging down "all over carefully, looked at her, and
+returned to his place under the table."
+
+The dog's feeling of _duty_, _obligation_ and _devotion_ was shown when
+he leaped upon the bottom of the bed "and settled himself, his head and
+eye to the dead face."
+
+Page 115: Rab remained _in statu quo_ till the carrier returned; _love_
+and _devotion_ filled his heart.
+
+Page 115: His _grief_ wholly absorbed him; he did not notice his medical
+friend when the cart left the hospital.
+
+Page 117: After the carrier's death, _grief_ wore down the dog's brave
+spirit; he became _discouraged_, _impatient_, _resentful_; "he was aye
+gur gurrin', and grup gruppin'." Yet he was _faithful_ to his trust, for
+he was only impatient and resentful when a stranger came and interfered
+in the business of the dead carrier.
+
+It is evident that the study of emotions is to a great extent a study of
+character, and that in this instance, we have given a tabulation of
+Rab's traits of character. It is through the showing of his feelings
+that Rab influences us. A little introspection shows that we are feeling
+just what the dog feels, or that some emotion is aroused in us that
+responds to the feeling of the dog. We are not exactly _surprised_ when
+the bulldog grips Rab, but we are _indignant_ that he should have no
+chance to defend himself--we would be among the first to slit the
+muzzle. We may not be pleased that Rab killed the bulldog, but we are
+glad that Rab defended himself. We realize the strength of the mastiff's
+powerful jaws, and are not _amazed_ at what he did--we are now rather
+inclined to feel sympathy for the helpless little terrier.
+
+So we might go on incident by incident and compare our feelings with
+those of Rab, but that would require much space and perhaps it would not
+be of great benefit to the reader, for our feelings may not be his
+feelings, and the things which arouse him may have little effect upon
+another. It is sufficient to call attention to the value of analysis,
+and show that self-study is a valuable adjunct to reading.
+
+It is well that most children are not likely to indulge to any great
+extent in introspection, for too much is injurious. However, it can do
+the young no harm for them to study the feelings of others, and now and
+then examine their own emotions. By so doing, they may learn that some
+reading, which is destructive to peace and productive of unpleasant or
+evil feelings, should be avoided.
+
+
+GENERAL PRINCIPLES AND REFLECTIONS
+
+The studies so far given are comprehensive, and are suited to all forms
+of fictitious narrative. Most of the illustrations have been drawn from
+the simpler tales in the earlier volumes, but the studies are equally
+applicable to the more difficult selections of the later volumes, and
+may be easily adapted by the parent to children of any age. The
+restrictions of space have compelled us to offer but one set of studies
+here, but there are many simpler and many more difficult ones scattered
+through the books where the juvenile readers will find them, and it is
+hoped become interested in them. In another place we have shown parents
+how these may be found easily and used consecutively if they wish so to
+use them.
+
+The studies here given serve to systematize the work and enable parents
+to see the logic of the plans. Children are not interested in the
+studies as such, nor in the plan, and, in fact, are liable to be
+repelled if the machinery of instruction is evident.
+
+Fortunately, children like to read many times the things they enjoy, and
+should always be encouraged to do so. But they are likely to read
+stories over and over again, for the plot only, and to become so
+fascinated by it as never to notice the more valuable and intrinsically
+more interesting things the narrative contains.
+
+Yet every person who reads or tells stories to young children has
+without doubt often noticed how insistent they are upon verbal accuracy.
+The story must be told the third time just as it was the first and
+second times. This means that they are sensitive to the thing as a
+perfect whole, and feel that any change mars the beauty of the story as
+a scratch mars the face of a favorite doll, or a broken seat spoils the
+toy buggy.
+
+There comes a time when, if you give a boy a mechanical toy, he is more
+interested in how it is made than in the running of it. He wants to
+"take to pieces" everything he has. Then he will enjoy analytical work
+on a story if he is led to it intelligently. Then the old stories come
+in for new readings, "to see how they are made," to find something in
+them that he never found before.
+
+The style of reading which a child does when he is "looking for
+something" is very different from his reading when he is absorbed in the
+story. Suppose he is trying to find out what kind of a man is James, in
+_Rab and His Friends_. He forgets for a time the story, and reads
+rapidly along, merely running his eye over the pages, watching intently
+for the word _James_, or the word _carrier_. When either of the words
+appears he stops to read carefully. He may have to go back a few words,
+perhaps to the beginning of a paragraph, all the time with his attention
+fixed exclusively upon what is said about James. When he has read it on
+the first page, he skims along to the next one and stops again. This is
+reading intelligently for a purpose, and is really one of the most
+valuable kinds of reading, the kind he will use most frequently when he
+is a man, the one that will save time for him when in later years he
+most needs it. It is the style of reading, too, that is much neglected
+in the schools.
+
+To analyze the character of the hero of a story is as practical a lesson
+in life as any child can gain. In trying to discern the springs of
+action, in seeing how words and acts show character, and how dress and
+appearance indicate what a person really is, he is learning to
+understand his acquaintances and to judge whether they merit his trust
+and confidence, or are to be regarded with suspicion and disdain. This
+is the practical wisdom without which many a man has found himself the
+victim of misplaced confidence, or allowed himself to be led into
+temptations he could not resist by those who professed friendship for
+him.
+
+Again, when studying the scenes, a child is learning to picture vividly
+and exactly, and is training his mind to close discrimination. He is
+training himself to avoid the mistakes that the careless reader makes.
+Many a man has found himself paying for careless reading, because he did
+not see a thing exactly as it was described to him.
+
+At the risk of repetition we have argued again for the reading of
+stories in the different ways and for the different purposes suggested,
+for we know that the parent who will follow these plans will interest
+his children, will see them improve, and will find them growing nearer
+to him, while he will be more of a companion, less of a ruler. In so
+doing he may forget some of the cares of the day and find himself
+growing younger, more contented and happier as his family reaches the
+age when it can take care of itself. Then, later, when the long years of
+old age have come, it may be that the parents will discover that while
+they read and worked with their children they taught themselves to find
+in reading a solace for their loneliness.
+
+It is scarcely necessary to say that many of these latter comments and
+suggestions are as applicable to reading other kinds of literature as
+they are to the reading of stories, but stories form so large a part of
+a child's reading that it has seemed best to place them in this
+connection. Many essays contain something of narration, and not
+infrequently an incident forms the basis of a beautiful lyric. In print
+these studies may appear formal and forbidding, but where they are
+presented in a conversational manner, they become attractive and
+inspiring.
+
+
+Completed Studies
+
+_The Hare and the Tortoise_
+
+(Volume I, page 71)
+
+A. _The Plot._ The slow Tortoise and the speedy Hare ran a race. The
+Hare, full of conceit, loitered and slept by the way, while the Tortoise
+won in his plodding fashion.
+
+Incidents:
+
+   1. The Hare derides the Tortoise.
+   2. The Tortoise challenges the Hare.
+   3. The Fox becomes judge and holds the stakes.
+   4. The race begins in heat and dust.
+   5. The Hare takes a rest and a nap.
+   6. The Tortoise in comfort passes the Hare.
+   7. The Hare awakes, thinks the Tortoise behind, and stops to eat.
+   8. The Hare discovers that the Tortoise has passed and begins his
+      pursuit.
+   9. The Hare finds the Tortoise at the brook.
+  10. The Fox awards the money to the Tortoise.
+
+B. _The Persons._ There are three characters in the story: the Hare, the
+Tortoise and the Fox.
+
+1. The Hare. He is a small, long-legged animal, who can leap long
+distances and run like the wind. In character he is unkind, impudent,
+proud and lazy.
+
+2. The Tortoise. He is a clumsy, short-legged turtle, who carries a
+heavy box-shell around his body. He cannot jump at all, and he moves
+very slowly, flat on the ground, even his tail dragging in the dust.
+But he is wise, steady, not easily discouraged, and sticks to his task
+till it is done.
+
+3. The Fox. He is a wise old judge, who cannot let the loser go without
+a word of advice.
+
+C. _The Scene._ The race takes place along a dusty road on a hot day.
+There is a big clover patch, where the Hare rests, and at the end of the
+course is a cool and delightful brook or river.
+
+D. _The Author's Purpose and the Lesson._ The author of this old fable
+intended to teach the lesson that he puts into the last sentence,
+"Steady-going wins the race."
+
+E. _The Method and Style of the Author._ His method is to teach a truth
+by means of an interesting story. His style is graphic and dramatic. He
+gives three animals the power to talk, and he makes them talk so that
+they seem almost like real human beings. At any rate, he makes us see
+the character of each very clearly.
+
+F. _Emotions._ We see in the Hare the feelings of conceit, contempt, and
+laziness; of surprise, fear, and excitement; of chagrin and
+disappointment. In the Tortoise we see a little of resentment and some
+self-confidence; then courage, determination, and persistence; at last,
+calm enjoyment and joy at winning. The Fox looks on as we do, and has
+confidence in the Tortoise and a little spice of contempt for the Hare.
+Then he is pleased that the Tortoise should win, and enjoys giving the
+Hare a stinging bit of advice.
+
+G. _Conclusion._ It is because the little fable has so much in it that
+it has lived for centuries, and you have only to speak to any cultivated
+person about the Hare and the Tortoise to remind him that "Steady-going
+wins the race."
+
+The preceding analysis shows what a parent should expect to bring out
+from a little child, reading the fable for the first time, or from an
+older boy or girl making a careful study of fables. In both cases,
+however, the facts should be brought out by questions, with the
+expectation that the juveniles would not express themselves in anything
+like the words given above.
+
+
+_The Fox and the Crow_
+
+(Volume I, page 64)
+
+The following analysis of _The Fox and the Crow_ shows the method as it
+might appear in actual use with small children. It should be remembered,
+however, that no two persons will ask the same questions and that no two
+children will answer them in the same manner. Bring out the thoughts and
+keep the children interested while it is being done. Rapid, clearcut
+questions which do not suggest the answer are the kind to use. Whenever
+there is hesitation or doubt, refer to the story. The story, plus the
+child's imagination and reason, must give the answers. If other facts
+are needed, the questioner should supply them or show where they may be
+learned.
+
+A. _The Plot._
+
+Question. What was the first thing that happened in this little story?
+
+Answer. The Fox saw a Crow fly off with a piece of cheese in its mouth.
+
+Q. What next?
+
+A. The Crow lit on a branch of a tree.
+
+Q. Next?
+
+A. The Fox made up his mind to get the cheese.
+
+Q. What did he do then?
+
+A. He walked to the foot of the tree.
+
+Q. What next did he do?
+
+A. He flattered the Crow and asked her to sing.
+
+Q. What did the Crow do?
+
+A. She cawed and dropped the cheese.
+
+Q. What did the Fox do?
+
+A. He snapped up the cheese and ran off.
+
+Q. Did he do anything more?
+
+A. Yes. He gave the Crow some advice.
+
+Q. Now tell me the story in as few words as possible.
+
+A. A Fox saw a Crow with some cheese in her mouth. He flattered her and
+asked her to sing. When she cawed she dropped the cheese and the Fox ran
+away with it.
+
+B. _The Persons._
+
+Question. Can a Fox talk, or a Crow sing?
+
+Answer. No.
+
+Q. Do they seem like persons in this story?
+
+A. Yes.
+
+Q. Let us think of them as persons, and see what kind of people they
+are. We will talk about the Fox, first. What do you think he looked
+like?
+
+A. Like a saucy little dog with bright eyes, a long sharp nose, and a
+bushy tail.
+
+Q. When he said, "That's for me," what did you learn about him?
+
+A. That he was hungry; that he was greedy; that he meant to get the
+cheese.
+
+Q. When he began to flatter the Crow, what did you think of him?
+
+A. That he was sharp; that he was trying to fool the Crow.
+
+Q. What did you think of him when he said that her voice was finer than
+the voices of the other birds, just as her coat was?
+
+A. He was really flattering. Before, he was telling some truth, for her
+feathers were glossy and her eyes were bright.
+
+Q. Did he really think she could sing?
+
+A. No. He knew she could only caw. He was lying, then.
+
+Q. What did he say after she had dropped the cheese?
+
+A. "That was all I wanted."
+
+Q. And then?
+
+A. "Do not trust flatterers."
+
+Q. Did the Fox mean it?
+
+A. Yes. But he was plaguing her, sneering at her. He wasn't really
+sincere.
+
+Q. Now tell me what you've learned about the Fox.
+
+A. He was a lively animal that looked like a dog, with a long nose and
+bushy tail. He was smart, wise, knew how to flatter and get what he
+wanted. But he was a liar and a mean fellow all around.
+
+Q. Now, let us study the Crow. What did she look like?
+
+A. She was a big black bird with glossy feathers and a bright eye. She
+had a big black bill and black wings.
+
+Q. Did she have a good voice for singing?
+
+A. No. She could only say "caw, caw, caw," in a hoarse, croaking voice.
+
+Q. Where was she?
+
+A. On the limb of a tree.
+
+Q. Could the Fox reach her?
+
+A. No. She was safe.
+
+Q. What did she think of herself?
+
+A. She thought she was pretty and smart and could sing.
+
+Q. What would you say of her manners?
+
+A. She was proud and conceited and foolish, silly.
+
+Q. Now, tell me what you have learned of the Crow.
+
+A. She was a big black bird with glossy feathers and a bright eye. She
+thought she could sing, but she was silly and proud and conceited. She
+was too easily fooled by the lies and flattery of the fox.
+
+C. _The Scene._
+
+Question. Where were the Fox and the Crow?
+
+Answer. Outdoors, somewhere.
+
+Q. Were they near a house?
+
+A. I think so, because the Crow had cheese in her mouth.
+
+Q. Was it a prairie country?
+
+A. Perhaps, but there was one tree near.
+
+Q. Was it day, or night?
+
+A. Daytime, I think. Crows do not hunt at night, but foxes do.
+
+Q. Tell me all you know or can guess about the place where the bird and
+fox were.
+
+A. I think they were on the edge of the woods, not very far away from a
+farmhouse. One tree stood out by itself, and the Crow flew from the
+farmhouse to the lone tree.
+
+D. and E. _The Lesson and the Author's Purpose._
+
+Question. This is an old, old story, and it has been told in many
+languages. We cannot be sure who first wrote it. But what do you suppose
+the writer meant the story to do?
+
+Answer. He meant it to teach a good lesson, I think.
+
+Q. What is the lesson?
+
+A. That foxes are tricky animals; that crows are silly birds; that
+flattery and lying are bad; that it is foolish to trust anyone who
+flatters you.
+
+Q. Does that mean you do not trust people who praise you?
+
+A. Oh, no. Praise is all right. Everybody likes to be praised.
+
+Q. What is the difference between praise and flattery?
+
+A. When a person praises you he tells the truth, and tells it because he
+likes you, and wants to help you; but when he flatters you, he lies and
+deceives you, and does it to fool you, because he wants you to do
+something for him, or to get something you have.
+
+Q. How can we tell whether we are being praised or flattered?
+
+A. We must be sharp and know ourselves and what we really can do. Then
+we will know whether others are speaking the truth about us.
+
+F. _The Method and Style of the Author._
+
+Question. What do you call a story like this?
+
+Answer. A fable.
+
+Q. Why is it a fable?
+
+A. Because it's short; because animals talk and act like human beings;
+because it teaches a good lesson.
+
+Q. Do you call this story "slow"?
+
+A. No. It's a quick, lively one.
+
+Q. What do you think makes it so?
+
+A. There are not too many words; the Fox and the Crow are interesting;
+there is a lot of talking; we can see the Fox and the Crow; they act
+like human beings.
+
+Q. Are there any good sentences you would like to remember?
+
+A. Yes: "Do not trust flatterers."
+
+G. _Emotional Power._
+
+Question. How did the Fox feel when he saw the Crow with the cheese in
+her mouth?
+
+Answer. He was hungry; he wanted the cheese; he made up his mind to get
+it.
+
+Q. How did he feel when he was flattering the Crow?
+
+A. He felt jolly; he thought it was fun to fool the Crow.
+
+Q. How did he feel when he got the cheese?
+
+A. He was pleased; he was happy; he did not pity the Crow; he laughed at
+the Crow when he gave her advice.
+
+Q. How did the Crow feel when she flew off with the cheese?
+
+A. She was happy.
+
+Q. How did she feel while the Fox was flattering her?
+
+A. She was proud and vain and felt sure she could sing.
+
+Q. When she dropped the cheese?
+
+A. She was disappointed; she was sorry she had tried to sing; she knew
+she had been fooled, and was ashamed.
+
+Q. Did she like the advice the Fox gave her?
+
+A. No, but she thought it was good advice.
+
+Q. Do you think the Fox could fool her again?
+
+H. _Conclusion._
+
+Now, read the fable all through just as well as you can. (It is read.)
+Now, Harry, you be the Fox, and read just what he says. Clara, be the
+Crow, and read just what she says. Tom may be the story teller, and read
+just the descriptions. Now, watch your parts so there will be no delay,
+and try to speak just as though you are really what you are
+representing. Tom may read the first paragraph, and the fourth, but may
+omit entirely those words that are not spoken in the other paragraphs.
+Begin, Tom.
+
+
+_The Drummer_
+
+(Volume I, page 303)
+
+The fairy stories of the brothers Grimm are inferior to those of
+Andersen in plot, lesson and style. The plots are more monotonous and
+sometimes unnecessarily coarse and rough; the lessons are more obscure
+and sometimes are of doubtful value; and the style is much less
+forcible, in fact is often labored and inelegant. Yet many of the
+stories are attractive and harmless. They may be used to make the
+transition from fairy tales to more elevated literature. Their very
+imperfections can be utilized to discourage the reading of fairy tales
+and by criticism and gentle ridicule a child can be led away from that
+type of stories which though harmless when read in moderation have been
+made so attractive by modern writers that children fancy them too much
+and cling to them long after they should be reading things of much
+greater value. If children are led to study fairy stories, absurdities
+in them soon become tiresome. Ordinarily they read merely for the
+excitement in the tale, for the effect it has upon their naturally vivid
+imaginations. If they are led to think, to analyze, their intelligence
+will quickly call for something more substantial, more nearly true to
+life.
+
+_The Drummer_ is one of the best of the Grimm stories and yet some of
+their weaknesses are evident. It is inadvisable to talk to small
+children of studying a story. They are always delighted to see their
+parents interested and will be very glad to "talk over" the story. In
+this particular tale there are many points of interest that may be
+brought up by skilful questioning and many places where comments may be
+made, comments that will show the attitude of the adult mind without
+raising opposition on the part of the juvenile reader. Some of the
+subjects suggested by a reading of _The Drummer_ are the following:
+
+I. _Characters._ Taken in the order of their appearance in the story the
+characters are:
+
+  1. The Drummer
+  2. The King's Daughter
+  3. The First Giant
+  4. The Second Giant
+  5. The Third Giant
+  6. The Two Men Quarreling
+  7. The Witch
+  8. The Drummer's Parents
+  9. The Maiden
+
+II. _What the Characters Do._
+
+1. The Drummer finds the piece of cloth, goes to the mountain of glass,
+deceives the two quarreling men, flies to the top of the mountain,
+visits the witch, performs the three tasks, throws the witch in the
+fire, goes to his home, kisses his parents on their right cheeks,
+forgets the princess, gives her jewels away, gets ready to marry the
+maiden, remembers the princess, rewards the maiden and marries the
+princess.
+
+2. The King's Daughter asks for her dress, tells the Drummer where she
+is confined, helps the Drummer in his three tasks, advises the Drummer
+how to destroy the witch, takes the Drummer to his parents, waits in the
+field for the Drummer, sings her song three times, forgives and marries
+the Drummer.
+
+3. The First Giant talks with the Drummer and carries him through the
+woods on his back.
+
+4. The Second Giant carries the Drummer in his button hole.
+
+5. The Third Giant carries the Drummer on his hat.
+
+6. The Two Men quarrel, talk with the Drummer, race to the white staff
+and lose the saddle.
+
+7. The Witch gives the Drummer food and shelter, assigns three tasks,
+requires the log to be brought from the fire, tries to carry off the
+King's Daughter, and dies in the flames.
+
+8. The Drummer's Parents welcome their son, accept the jewels of the
+King's Daughter, build a palace, choose a maiden for their son's wife,
+but receive the princess in her place.
+
+9. The Maiden is willing to marry the Drummer but is satisfied with his
+presents instead.
+
+III. _The Good and the Bad Characters._
+
+1. The Drummer was brave, kind to his parents and loved the princess,
+but he tricked the two quarreling men, and disobeyed and forgot the
+princess.
+
+2. The King's Daughter was always helpful, faithful and lovable.
+
+3, 4 and 5. The Three Giants were usually cruel but were afraid of the
+Drummer and so behaved very well.
+
+6. The Two Men were very unwise to quarrel and perhaps deserved to lose
+their saddle.
+
+7. The Witch was cruel, deceitful and always bad, deserving her awful
+fate.
+
+8. The Drummer's Parents were good people, for they knew nothing of the
+princess when they tried to marry their son to another.
+
+9. The Maiden was a commonplace person who did not really love the
+Drummer.
+
+IV. _The Unreal and Magical Things._
+
+1. There are no glass mountains, but an iceberg resembles one.
+
+2. There never were giants as big as fir trees.
+
+3. There never was a saddle that could itself carry anyone anywhere.
+
+4. There never was an old woman who could enchant a maiden.
+
+5. There never was a magic ring that could grant wishes. Fish never
+jumped from water and sorted themselves, wood never cut itself nor piled
+itself.
+
+6. Never was a princess enchanted into a log and no log ever became a
+king's beautiful daughter.
+
+7. It never made any difference in a young man's fortunes if he did kiss
+his parents on the right instead of the left cheek.
+
+8. No castle such as this was ever built in a day.
+
+V. _Things that Happen in Threes._
+
+How absurd it is that in fairy stories things so often happen in sets of
+three! In this one short story we find:
+
+1. The Drummer saw _three_ pieces of white linen.
+
+2. The Drummer met _three_ giants.
+
+3. The mountain looked as high as if _three_ mountains had been placed
+one upon another.
+
+4. On the plain are _three_ things, an old stone house, a large fish
+pond and a dark, dreary forest.
+
+5. The Witch did not appear till the Drummer had knocked _three_ times.
+
+6. The Drummer wanted _three_ things, admission, food and a night's
+lodging.
+
+7. The Witch assigned _three_ tasks.
+
+8. There were _three_ conditions to the first task, to scoop out the
+water, sort the fish, and finish by night.
+
+9. There were _three_ parts to the second task, to cut the trees, to
+split them into logs and to stack them.
+
+10. The Witch gave the Drummer _three_ tools with which to accomplish
+the second task, an ax, a chopper and a wedge.
+
+11. In the third task there were _three_ steps, to place the wood in a
+heap, to set fire to it and to burn it.
+
+12. The Drummer supposed he had been gone _three_ days but it was
+_three_ years.
+
+13. The wedding was to take place in _three_ days.
+
+14. The princess sang her song _three_ times.
+
+
+_Tom, the Water Baby_
+
+(Volume II, page 215)
+
+"This is all a fairy tale, and only fun and pretense; and therefore, you
+are not to believe a word of it, even if it is true."
+
+But what a wonderful tale it is; so interesting a story, such a mixture
+of fact and fancy, so brimming full of fun and laughter, so touching in
+pathos, and so rife with good lessons. Though "you are not to believe a
+word of it, even if it is true," there is so much truth in it that you
+really cannot keep from believing a great deal of it.
+
+A better comprehension of _Tom, the Water Baby_ among parents will mean
+a greater popularity for it among children. The tale is too long for a
+full interpretation, but we can offer an analysis which will help to
+keep the story in mind, and some illustrations of different meritorious
+features.
+
+  [Illustration: DONALD G. MITCHELL
+  JAMES WHITCOMB RILEY
+  EDGAR ALLAN POE
+  THOMAS BUCHANAN READ
+  EUGENE FIELD
+  JOHN HOWARD PAYNE
+  JOHN G. SAXE]
+
+I. _Analysis._ At first Tom is a real boy, a little grimy, ignorant
+chimney sweep, next a water baby or eft, in which character, under the
+tutelage of the fairies, he gains his education. Briefly at the end he
+is a man, an engineer, but all that is delightfully vague, for he has
+ceased to be the little Tom we like so thoroughly.
+
+_Chapters I and II._
+
+  Tom, the Chimney Sweep,
+    Works for Mr. Grimes;
+    Summoned to sweep the chimney at Hartover Place;
+  Overtakes the poor Irishwoman, who
+    Walks with Tom;
+    Asks about his prayers and makes him sad;
+    Tells about the sea and makes him wish to be clean;
+    Helps him pick flowers;
+    Frightens Grimes for beating Tom,
+    Warns them both to be clean;
+    Promises to see them again;
+    Disappears.
+  Meets the keeper who warns Grimes against poaching;
+  Walks up the avenue;
+  Sees the deer, trees, bees, and makes friends with the keeper;
+  Enters the house and sweeps chimneys;
+  Comes out in a beautiful room and sees the little white lady;
+  Sees himself for the first time and cries;
+  Escapes from the nurse by window and tree;
+  Is chased by everybody;
+  Is lost in the woods;
+  Scales a wall;
+  Is followed by the Irishwoman, who throws the pursuers off the scent;
+  Crosses the river, climbs a mountain;
+  Descends Lewthwaite Crag;
+  Drags himself to the cottage;
+  Begs for water of the dame;
+  Is given milk, and put in an outhouse;
+  Is feverish and out of his mind;
+  Thinks he must be clean;
+  Drags himself to the stream, looks into the clear water, and undresses;
+  Does not see the Irishwoman transform herself to the queen of the
+   fairies;
+  Tumbles himself into the stream;
+  Falls asleep in the water;
+  Is turned into a water-baby by the fairies;
+  Is mourned as dead by the people who find his poor dirty body.
+
+_Chapters III and IV._
+
+  Tom, the Water Baby,
+    Watches the caddis-flies build their homes (page 262) and go into the
+      chrysalis state (page 262);
+    Sees the metamorphosis of the dragon-fly (pages 263-264);
+    Meets and makes friends with the otters (pages 270-274);
+    Travels towards the sea after the storm;
+    Finds the salmon and witnesses the death of Grimes (pages 278-286);
+    Passes the sleeping villages and reaches the sea;
+    Greets the seal and looks for water babies;
+    Plays with the lobsters (pages 292-294);
+    Is caught by Professor Ptthmllnsprts and shown to Ellie, the little
+      white lady, who flies away (pages 296-299). (Can you make out what
+      Kingsley had in mind, by filling in the vowels of the Professor's
+      name?)
+
+_Chapter V._
+
+  Tom, the Water Baby,
+    Has an adventure in the lobster pots (pages 300-303);
+    Joins the water babies;
+    Is met by Mrs. Bedonebyasyoudid, who
+      Examines Tom;
+      Rewards the good children;
+      Punishes those who know no better, viz.:
+        Tom,
+        The doctors,
+        The foolish ladies,
+        The careless nurserymaids,
+        The cruel school teachers,
+      Tells Tom about those who knew better.
+    Sees Mrs. Doasyouwouldbedoneby, who
+      Mothers Tom;
+      Tells him the story.
+
+_Chapter VI._
+
+  Tom, the Water Baby,
+    Steals the candy from the cabinet;
+    Becomes prickly and ugly from sin;
+    Confesses to Mrs. Bedonebyasyoudid;
+    Goes to school to rid himself of his ugliness;
+    Is taught by the beautiful little girl;
+    Gains his own smooth, clean skin;
+    Recognizes the little white lady, Ellie;
+    Learns how to join Ellie in the beautiful place;
+    Loses her by being unkind;
+    Hears the history of the Doasyoulikes;
+
+_Chapter VII._
+
+  Tom, the Water Baby,
+    Starts to go where he does not like, to find Mr. Grimes;
+    Inquires of the King of the Herrings;
+    Visits the last of the Gairfowl on the Allalonestone;
+    Follows Mother Carey's chickens;
+    Struggles with the water dog;
+    Is carried by the mollymocks from Jan Mayen's land to Shiny Wall;
+    Dives under the great white gate that never was opened yet;
+    Reaches Peace-pool with the dog;
+    Finds Mother Carey at work making new creatures from sea water;
+    Is given passport to the Other-End-of-No-where;
+    Goes backward in safety.
+
+_Chapter VIII._
+
+  Tom, the Water Baby,
+    Comes to the place called Stop;
+    Is blown through the Sea;
+    Finds himself in the claws of the bogy;
+    Sees the metals made;
+    Slides down the whirlpool;
+    Swims to the shore of the Other-End-of-No-where;
+    Finds Gotham;
+    Comes to the isle of Tomtoddies;
+    Hears of their great idol, Examination;
+    Gives information to the nimblecomequick turnip;
+    Stumbles over the respectable old stick;
+    Faces Examiner-of-all-Examiners;
+    Arrives at Oldwivesfabledom;
+    Comes to the quiet place called Leaveheavenalone;
+    Sees the prison;
+    Offers the passport to the truncheon;
+    Searches for chimney No. 345;
+    Finds Grimes stuck in the chimney;
+    Tries to light Grimes' pipe and to release him;
+    Learns that the old dame teacher was the mother of Grimes;
+    Sees Grimes' tears effect his release;
+    Recognizes Mrs. Bedonebyasyoudid as the Irishwoman;
+    Hears Grimes sentenced to sweep out Aetna;
+    Is blindfolded and taken up the back stairs;
+    Recognizes St. Brandon's Isle and hears the song;
+    Rejoices with Ellie and goes with her Sundays;
+    Becomes a man of science and knows everything;
+    And, it may be, marries Ellie.
+
+II. _Fact and Fancy._ The story begins with a vivid description of the
+little sweep and his master, and it is not till we have read several
+pages that we have reason to suspect that we are reading a fairy story.
+In fact the "poor Irishwoman" might be a veritable Irishwoman till we
+have read page 247. From this point on, the work of the fairies is seen
+occasionally to the end.
+
+The facts of the natural history are mingled with the fancies of the
+author's brain in the most natural manner. The description of the
+house-building of the caddis larvae (page 262) is accurate enough for a
+scientist, who might, however, be shocked by the whimsical notion of the
+rivalry told in the last sentence of the paragraph. The otters behave
+like otters, the salmon like salmon, the lobster like the lobster he is.
+The dragon "splits" at the call of nature, the ephemerae dance in the
+sunlight, and game-keepers kill poachers in real life as in the story.
+The great auk is extinct and the right whale is still hunted, but
+Peace-pool is as fancifully portrayed as is the creation of world-pap.
+It appears that as Kingsley proceeded with his story he let his
+imagination play more freely and drew farther away from facts as his
+fancies came plentifully. So the story furnishes food for thought by old
+and young, and parts of it can be understood only by those who have had
+considerable study and experience.
+
+III. _Fun and Humor._ A more entertaining story is hard to find. There
+are many amusing situations and funny doings, besides which, Kingsley's
+style of writing abounds in a rich humor that is not always evident to
+the hasty and careless reader. Not a little of the humor is ironical and
+sometimes we are inclined to think that the writer may be having a
+little quiet fun at the expense of his readers.
+
+Children are inclined to read _Tom, the Water Baby_ as they do many
+another tale, for the story only. They want to know what happens to Tom,
+whether or no Grimes is punished, what becomes of Ellie, and how it "all
+comes out." But when attention is called to the fun in the tale children
+will read it more than once, for they like to laugh even better than
+their elders, and curiosity prompts them to watch to "see the joke."
+
+The humorous twist to things begins in the second sentence of the story
+and it does not disappear permanently till the very last sentence of the
+_Moral_. See how it shows in these few extracts: "His master was so
+delighted at his new customer that he knocked Tom down out of hand"
+(page 219).
+
+After Tom's pathetic discovery of his own dirtiness (page 232), comes
+this: "With a noise as of ten thousand tin kettles tied to ten thousand
+mad dogs' tails." Humor and pathos are both strengthened by the violent
+contrast.
+
+On page 232 begins the long humorous paragraph descriptive of the chase
+after Tom.
+
+"The birches birched him as soundly as if he had been a nobleman at
+Eton, and over the face too (which is not fair swishing, as all brave
+boys will agree)" (page 235).
+
+What could you imagine more amusing in its way than the extremely absurd
+"argument" the author makes for the existence of water babies (page
+254): "You never heard of a water baby? Perhaps not. That is the very
+reason why this story was written. There are a great many things in the
+world which you never heard of; and a great many more which nobody ever
+heard of; and a great many things, too, which nobody ever will hear of.
+No water babies, indeed! Why, wise men of old said that everything on
+earth had its double in the water; and you may see that that is, if not
+quite true, still quite as true as most other theories which you are
+likely to hear for many a day. There are land babies, then why not water
+babies? _Are there not water rats, water flies, water crickets, water
+crabs, water tortoises, water scorpions, water tigers and so on without
+end?_ To be sure, there must be water babies. Am I in earnest? Oh dear
+no!"
+
+Read the account of the policemen, beginning on page 306, for an example
+of a broader humor.
+
+Page 347: "And the sun acted policeman, and worked round outside every
+day, peeping just over the top of the icewall, to see that all went
+right; and now and then he played conjuring tricks, or had an exhibition
+of fireworks, to amuse the sea fairies. For he would make himself into
+four or five suns at once, or paint the sky with rings and crosses and
+crescents of white fire and stick himself in the middle of them, and
+wink at the fairies; and I dare say they were very much amused, for
+anything's fun in the country."
+
+Do not think of "skipping" the _Moral_. No more attractive "moral" was
+ever written for fable or fairy tale!
+
+IV. _Pathos._ Tom, the Chimney Sweep is always pathetic. He enlists our
+sympathies wholly from the time we meet him where there was "plenty of
+money for Tom to earn and his master to spend," until he "pulled off all
+his clothes in such haste that he tore some of them, which was easy
+enough with such ragged old things," "put his poor, hot, sore feet into
+the water," "tumbled himself as quick as he could into the clear, cool
+stream" and in two minutes "fell fast asleep, into the quietest,
+sunniest, coziest sleep that he had ever had in his life and--dreamt of
+nothing at all." It is only as Tom the Water Baby that he does not make
+us sad.
+
+Poor little, dirty, ignorant Tom! Little enough to climb up the sooty
+chimney flues; so dirty that he knew not what cleanliness meant; so
+ignorant that he "never had heard of God, or of Christ, except in words
+which you never have heard," and his idea of happiness was to "sit in a
+public house with a quart of beer and a long pipe," to play cards for
+silver money, to "keep a white bull dog with one gray ear, and carry
+her puppies in his pocket just like a man," to have apprentices and to
+bully them, to knock them about and make them carry soot sacks while he
+"rode before them on his donkey, with a pipe in his mouth and a flower
+in his button hole, like a king at the head of his army!" "Yes, when his
+master let him have a pull at the leavings of his beer, Tom was the
+jolliest boy in the whole town."
+
+To him who reads understandingly, there is pathos on nearly every page
+of the first two chapters. Sometimes it is seen in hints and shown by
+indirection but in other instances it is direct, positive, powerful.
+
+Just read (page 231), how Tom learns that he is naught but a "little
+black ape," an "ugly, black, ragged figure with bleared eyes and
+grinning white teeth."
+
+In his terrible race for life he "thought he heard church bells ringing
+a long way off" and thought "where there is a church there will be
+houses and people," and perhaps someone will give him a "bit and a sup."
+So he follows the ringing in his ears till he comes to the top of the
+great crag and sees "a mile off and a thousand feet down" the old dame
+in her garden. We lose our own breath in following him down that awful
+descent, find ourselves panting, and at last, suddenly, "b-e-a-t, beat!"
+After the old dame has given him the old rug and bidden him sleep off
+his weariness, comes the fever with the ringing of the church bells and
+the persistent, agonizing thought, "I must be clean, I must be clean."
+It is this that drives him out to the "clear, clear limestone water,
+with every pebble at the bottom bright and clean" the cool, cool, cool
+water for his weary feet.
+
+Then when it is too late, just to add to the pathos of the sad little
+tale, comes the Squire, conscious of the terrible mistake and ready to
+put Tom in the way of cleanliness, knowledge and happiness; Tom, of whom
+there remained only the husk and shell which made the Squire think the
+poor sweep was drowned.
+
+To close the chapter and the sad part of the story, the dame sings the
+old, old song which the children could not understand but which they
+liked nevertheless, "for it was very sweet and very sad and that was
+enough for them." We know what it means.
+
+    "When all the world is old, lad,
+       And all the trees are brown;
+     And all the sport is stale, lad,
+       And all the wheels run down;
+     Creep home, and take your place there,
+       The spent and maimed among;
+     God grant you find one face there,
+       You loved when all was young."
+
+V. _Beauty. Tom, the Water Baby_ has in it much more of real beauty both
+in sentiment and expression than most prose and more than many a
+charming poem. There is little of ugliness in the story, and what there
+is, is so softened in the way in which it is presented that the
+impression is neither repulsive nor lasting. Kingsley's work is highly
+artistic and this story is real literature.
+
+Some of his descriptions are like beautiful pictures in color. Here is
+one from page 220:
+
+"But soon the road grew white, and the walls likewise; and at the wall's
+foot grew long grass and gay flowers, all drenched with dew; and instead
+of the groaning of the pit engines, they heard the skylark saying his
+matins high up in the air, and the pit bird warbling in the sedges as he
+had warbled all night long."
+
+Beginning at the bottom of the same page (220): "For old Mrs. Earth was
+still fast asleep; and, like many pretty people she looked still
+prettier asleep than awake. The great elm trees in the gold-green
+meadows were fast asleep above, and the cows fast asleep beneath them;
+nay, the few clouds which were about were fast asleep likewise, and so
+tired that they had lain down on the earth to rest, in long white flakes
+and bars, among the stems of the elm trees, and along the tops of the
+alders by the stream, waiting for the sun to bid them rise and go about
+their day's business in the clear blue overhead." Was there ever more
+attractive description of the mist patches that lie across the earth
+waiting for the morning sun to dissipate them?
+
+The poor Irishwoman followed Tom in this manner: "She went along quite
+smoothly and gracefully, while her feet twinkled past each other so fast
+that you could not see which was foremost."
+
+The dragon-fly is described in this way: "It grew strong and firm; the
+most lovely colors began to show on its body--blue and yellow and black,
+spots and bars and rings; out of its back rose four great wings of
+bright brown gauze; and its eyes grew so large that they filled all its
+head and shone like ten thousand diamonds."
+
+This is Mrs. Doasyouwouldbedoneby: "She was a very tall woman, as tall
+as her sister; but instead of being gnarly, and horny, and scaly, and
+prickly, like her, she was the most nice, soft, fat, smooth, pussy,
+cuddly, delicious creature who ever nursed a baby--and all her delight
+was to play with babies--and therefore when the children saw her, they
+naturally caught hold of her, and pulled her till she sat down on a
+stone, and climbed into her lap, and clung round her neck, and caught
+hold of her hands, and then they all put their thumbs into their mouths
+and began cuddling and purring like so many kittens."
+
+And this is a scene in Peace-pool: "There were moths with pink heads and
+wings and opal bodies, that flapped about slowly; moths with brown wings
+that flapped about quickly; yellow shrimps that hopped and skipped most
+quickly of all; and jellies of all the colors in the world that neither
+hopped nor skipped, but only dawdled and yawned."
+
+Here are a few descriptive phrases taken at random: "Two great, grand
+blue eyes, as blue as the sea itself"; "his little whirl-about of a
+head"; "long curls floating behind her like a golden cloud, and long
+robes floating all round her like a silver one"; "came paddling and
+wriggling back to her like so many tadpoles"; "the shadows of the clouds
+ran races over the bright blue sky"; "the river widened to the shining
+sea"; "such enormous trees that the blue sky rested on their heads."
+
+VI. _Good Lessons._ Through all the fun, the burlesque, the amusing
+exaggerations and the bombastic humor runs a scheme of advice and
+instruction. Sometimes it takes the form of a direct caution to the
+reader, again it may be shown by inference, and lastly the events speak
+for themselves and give their own lesson. The author meant to teach
+adults as well as children. The graphic history of the Doasyoulikes is
+rather a clear-cut study in degeneracy for older people, as well as a
+lively warning for youngsters. But what is the author's main theme? Is
+his real text in the advice the poor Irishwoman gives to Grimes and Tom?
+"_Those that wish to be clean, clean they will be; and those that wish
+to be foul, foul they will be. Remember._" (page 225). Perhaps a second
+text or at least a corollary to this is expressed in the name of the
+cuddly lady, Mrs. Doasyouwouldbedoneby. This may mean the same as the
+advice she gives on page 328: "_Those who go there must go first where
+they do not like, and do what they do not like, and help somebody they
+do not like._" Besides these leading ideas there are several others that
+run through the story. Meanness and wickedness are made unattractive and
+bring punishment. The punishment grows logically out of the offense and
+has a direct relation to the misdeed. Persons are not rewarded for their
+good deeds but they are happy in being good. It is not a credit to do
+right, but wrongdoing is discreditable. Little meannesses stand in the
+way of happiness though they may not bring any definite punishments.
+Evil is ugliness, goodness is beauty. Friendship is made attractive and
+filial love is strongly inculcated. The strong appeal made to the
+sympathy of the reader by the very real and very human Tom, the chimney
+sweep, is a strong influence for good, and progress toward character in
+the clever little water baby is a continuous refining influence on the
+reader.
+
+The bits of advice, the little asides, are slipped into the text so
+naturally that they are never repulsive or calculated to raise
+antagonism in the minds of those who naturally dislike advice. Taken
+from the text they seem more formal and less helpful, but here are a few
+of them as illustrations:
+
+"Let well alone, lad, and ill too at times."
+
+"You must expect to be beat a few times in your life, little man, if you
+live such a life as a man ought to live."
+
+"Ah, first thoughts are best, and a body's heart'll guide them right, if
+they will but hearken to it."
+
+"It was not quite well bred, no doubt; but you know, Tom had not
+finished his education yet."
+
+"For salmon, like other true gentlemen, always choose their lady and
+love her, and are true to her, and take care of her, and work for her,
+and fight for her, as every true gentleman ought."
+
+"What has been once can never come over again."
+
+"No more to be bought for money than a good conscience or the Victoria
+cross."
+
+"You see, experience is of very little good unless a man, or a lobster,
+has wit enough to make use of it."
+
+"It is not good for little boys to be told everything, and never to be
+forced to use their own wits."
+
+"And so if you do not know that things are wrong, that is no reason why
+you should not be punished for them; though not as much, my little man
+(and the lady looked very kindly, after all), as if you did know."
+
+"I am quite sure that she knows best. Perhaps she wishes people to learn
+to keep their fingers out of the fire by having them burned."
+
+"I always forgive people the minute they tell me the truth of their own
+accord."
+
+"But even they were no foolisher than some hundred scores of papas and
+mamas; who fetch the rod when they ought to fetch a new toy, and send to
+the dark cupboard instead of to a doctor."
+
+VII. _Life-like Characters._ The great storyteller makes his characters
+seem like human beings. The reader can almost see them; at any rate, he
+feels that he knows them and that they are real, not merely life-like.
+It is hard to understand how the author accomplishes the wonderful feat
+(for it is the most wonderful thing about story writing), and it is much
+more difficult to tell how it is done. One word here, a clear
+descriptive phrase there, and Tom, or the Squire, or the old
+schoolmistress, or Mrs. Bedonebyasyoudid with her awkward name, has
+become so much of a personality that you cannot forget if you would.
+Certainly one of the fine things about _Tom, the Water Baby_ is the
+living reality of its characters, which appeals universally to young and
+old, even in the first reading of the story.
+
+VIII. _The Writer's Art._ It will add something to a child's interest in
+the story if his attention is called to the skilful way in which
+Kingsley handles his plot. It is high _art_ to throw into the early part
+of the story the conversation between the keeper and Grimes. It shows
+that Grimes is a poacher and known to be one. The keeper is inclined to
+wink at the offense, but still he feels that a warning is necessary.
+Nothing more is said about poaching till much later, where Tom, the
+Water Baby, sees Grimes meet a poacher's death.
+
+Again, it is early evident that Grimes has done other wicked things and
+that the poor Irishwoman knows of one at least. She even mentions
+Vendale, but the reader attaches no importance to it. Tom flees to
+Vendale and is pitied and kindly treated by the old Schoolmistress, but
+it is not until Tom finds Grimes suffering his punishment in the chimney
+flues that the reader learns what the poor Irishwoman knew about Grimes,
+and that the schoolmistress was Grimes's poor ill-treated mother.
+
+Once more, Kingsley's art is seen in the selection of incidents and the
+arrangement of influences which bring to Tom the conviction of his
+dirtiness and create in him the overpowering desire to be clean.
+
+But this interpretation of _Tom, the Water Baby_ has already reached the
+limits of space and we must forego the pleasure of pointing out other
+examples of artistic treatment. Probably it is better to leave the story
+to plead its own cause.
+
+
+_The Passing of Arthur_
+
+(Volume V, page 237)
+
+While the outline differs in form from those we have been using, it is a
+helpful variation, and shows that while a narrative poem must be studied
+first in the same manner as a story, there are still other points that
+need careful examination.
+
+Tennyson's _The Passing of Arthur_ is one of the noble things in
+literature, solemn, impressive, inspiring. In order to appreciate a
+careful study of it, one should have read at least those selections
+which appear in the fifth volume, beginning with page 113 and extending
+to page 236. With this preliminary setting there should be no difficulty
+in feeling a sufficient interest in King Arthur to be appreciative of
+Tennyson's work from the very beginning.
+
+a. _Characters._ Three characters appear in this poem, viz: King Arthur;
+Sir Bedivere, the knight first made and last surviving of all those who
+sat about King Arthur's table; Modred, Arthur's traitorous nephew.
+Besides these three human characters, the ghost of Gawain, the three
+queens who came in the barge, and even Excalibur itself are of so much
+interest that they may be considered as almost human.
+
+King Arthur is shown in his old age, when wife and friend are traitor to
+his peace, and all his realm has sunk back into disorder and is rapidly
+approaching extinction.
+
+Bedivere, oldest of the knights, now in the white winter of his age,
+when he himself was really no more than a voice, is supposed to tell the
+story to those with whom he dwelt, new faces, other minds.
+
+Modred is seen retreating league by league before King Arthur. At
+Lyonnesse, after a fierce battle in which confusion reigned and friends
+and foes were shadows in the mist, he meets his king. The false knight
+strikes Arthur hard upon the helmet, and gives the wound that finally
+proves fatal; while the king, with the last stroke of Excalibur, slays
+his traitorous nephew.
+
+The dead Gawain appears, a ghost blown along a wandering wind, and on
+the eve of the battle warns King Arthur of approaching death, but
+intimates that somewhere is an isle of rest for him.
+
+b. _The Incidents._
+   1. Arthur mourns for his departed kingdom.
+
+   2. Gawain warns Arthur of his approaching death; Arthur is depressed
+      by the warning.
+
+   3. Bedivere warns Arthur that he must rise and conquer Modred;
+      Arthur hesitates to make war against his people.
+
+   4. He moves his host to Lyonnesse: the last weird battle is fought.
+
+   5. Arthur thinks himself king only among the dead.
+
+   6. Bedivere professes affection, and calls Arthur's attention to the
+      traitor, Modred.
+
+   7. The king promises one last act of kinghood.
+
+   8. Modred wounds the king; the king kills Modred.
+
+   9. Bedivere carries the wounded Arthur to the ruined chapel.
+
+  10. The dying Arthur directs Bedivere to throw Excalibur into the
+      mere; Bedivere twice deceives Arthur and is twice reproved.
+
+  11. Bedivere throws Excalibur into the mere, and tells King Arthur
+      what happened.
+
+  12. Bedivere bears Arthur to the margin of the mere.
+
+  13. The three black-hooded queens with crowns of gold come in the
+      dusky barge.
+
+  14. Arthur is placed in the barge and speaks his last words to
+      Bedivere; the barge moves swan-like from the brink.
+
+  15. Bedivere watches the speck that bears the king move down the long
+      water opening on the deep.
+
+c. _Scenes._
+   1. Arthur in his tent among the slumbering host.
+
+   2. The march to the sunset bound of Lyonnesse, and the moving
+      pageant to the battlefield.
+
+   3. The dark strait of barren land with the ocean on one side and on
+      the other the great water; the ruined chapel with its broken
+      chancel and broken cross, and, near at hand, the place of tombs
+      with its bones of ancient mighty men; athwart all shines the
+      moon, and over all the chill wind with flakes of foam sings
+      shrilly. Zigzag paths lead around jutting points of rock down to
+      the shining levels of the lake, where the ripple washes softly in
+      the reeds, the wild water laps the crags, and many-knotted
+      water-flags whistle stiff and dry. Frozen hills, barren chasms
+      with icy caves, the bare black cliff and slippery crag wall, and
+      the level lake gleaming in the glories of the winter moon.
+
+d. _Descriptive Passages._ Besides those passages which relate
+especially to the scenes, there are other beautiful and powerful bits of
+description that will well repay examination. For instance:
+
+   1. Of King Arthur's dream the poet says,
+
+      "And fainter onward, like wild birds that change
+       Their season in the night and wail their way
+       From cloud to cloud, down the long wind the dream
+       Shrill'd."
+
+      Note the figure of speech (simile), beginning with the word
+      _like_.
+
+   2. The description of the last, dim, weird battle in the west,
+      beginning at the bottom of page 240 with the line "A death-white
+      mist slept over land and sea," is one of the most stirring things
+      in the poem, and deserves particularly close reading. The
+      pictures are crowded, the figures vivid, the phrases full of
+      force.
+
+   3. Tennyson has used his highest art in the composition, and makes
+      the sound of his lines imitate in no feeble way the noise of
+      battle. For instance:
+
+      "Shocks, and the splintering spear, the hard mail hewn,
+       Shield-breakings, and the clash of brands, the crash
+       Of battle-axes on shatter'd helms, and shrieks
+       After the Christ, of those who falling down
+       Look'd up for heaven, and only saw the mist."
+
+   4. The brilliancy of description corresponds well with the
+      glittering marvel of Excalibur:
+
+      "For all the haft twinkled with diamond sparks,
+       Myriads of topaz-lights, and jacinth-work
+       Of subtlest jewelry."
+
+           ".....the wonder of the hilt,
+       How curiously and strangely chased,"
+
+                                    "The great brand
+       Made lightnings in the splendor of the moon,
+       And flashing round and round, and whirl'd in an arch,
+       Shot like a streamer of the northern morn,
+       Seen where the moving isles of winter shock
+       By night, with noises of the Northern Sea."
+
+   5. King Arthur, as he lay in the barge with his weary head upon the
+      lap of the fairest and tallest of the three queens, is described
+      as follows:
+
+                                              "a brow
+       Striped with dark blood: for all his face was white
+       And colorless, and like the wither'd moon
+       Smote by the fresh beam of the springing east;
+       And all his greaves and cuisses dash'd with drops
+       Of onset; and the light and lustrous curls--
+       That made his forehead like a rising sun
+       High from the dais-throne--were parch'd with dust,
+       Or, clotted into points and hanging loose,
+       Mix'd with the knightly growth that fringed his lips.
+       So like a shatter'd column lay the king;
+       Not like that Arthur, who, with lance in rest,
+       From spur to plume a star of tournament,
+       Shot thro' the lists at Camelot, and charged
+       Before the eyes of ladies and of kings."
+
+_e. Character Study_--King Arthur. The best estimate of King Arthur's
+character is made from his own words and those of Bedivere, not from
+Tennyson's description.
+
+   1. He has been a devout man. He has fought for Christ and searched
+      for Christ and
+
+           "found Him in the shining of the stars,
+       Mark'd Him in the flowering of His fields."
+
+   2. He is now discouraged. He has not found Him in His ways with men,
+      and now it seems to him,
+
+      "As if some lesser god had made the world,
+       But had not force to shape it as he would."
+
+      "My God, thou hast forgotten me in my death."
+
+   3. Yet he is hopeful, and he feels that perchance the world is
+      wholly fair, and that his doubts come because he has not the
+      power to see it as it is, and may not see it to the close.
+
+   4. He desires to be just, and feels that in the coming battle in the
+      west he may not have the right on his side:
+
+                                  "Ill doom is mine
+      To war against my people and my knights.
+      The king who fights his people fights himself."
+
+   5. Yet courage and confidence are not all gone:
+
+      "Yet let us hence, and find or feel a way
+       Thro' this blind haze."
+
+   6. After the battle, he grows more confused:
+
+                          "I know not what I am,
+      Nor whence I am, nor whether I be King.
+      Behold, I seem but King among the dead."
+
+   7. He must be noble, kingly, to have inspired such devotion as
+      Bedivere shows. Hear what the latter says:
+
+                                          "My King,
+      King everywhere! and so the dead have kings,
+      There also will I worship thee as King."
+
+   8. He is a warrior to the last. Listen to his reply to Bedivere:
+
+      "King am I, whatsoever be their cry;
+       And one last act of kinghood shalt thou see
+       Yet, ere I pass."
+
+   9. He is resigned: "Let what will be, be."
+
+  10. He is faithful to the trust imposed upon him when he acquired
+      Excalibur. Three times he sends Bedivere to cast the sword into
+      the mere. The last time he says:
+
+      "But, if thou spare to fling Excalibur,
+       I will arise and slay thee with my hands."
+
+  11. He loves truth and reveres it:
+
+      "This is a shameful thing for men to lie."
+
+  12. Though he appears to fear death, rather is his fear that he shall
+      die before he reaches the water where he expects something.
+
+  13. At the last his philosophy bears him up, though still he calls
+      for devotion from his faithful knight. The whole speech is
+      matchless. Note these fine passages:
+
+      "The old order changeth, yielding place to new,
+       And God fulfils himself in many ways."
+
+                        "And that which I have done
+       May He within himself make pure!"
+
+                  "More things are wrought by prayer
+       Than this world dreams of. Wherefore, let thy voice
+       Rise like a fountain for me night and day."
+
+                      "The whole round earth is everyway
+       Bound by gold chains about the feet of God."
+
+  14. His faith rises triumphant:
+
+                            "I am going a long way ...
+       Where falls not hail, or rain, or any snow,
+       Nor ever wind blows loudly; but it lies
+       Deep-meadow'd, happy, fair with orchard lawns
+       And bowery hollows crown'd with summer sea,
+       Where I will heal me of my grievous wound."
+
+_f. Beauty._ All the elements of poetic beauty join to make _The Passing
+of Arthur_ a masterpiece. Sublime sentiment thrills through the stanzas.
+A stately meter gives a solemn, rhythmic swing to the noble lines.
+Sonorous words add to the grandeur. Apt phrases and beautiful figures of
+speech seize the imagination and enchain the fancy. Rare and choice
+diction gives artistic finish to every sentence.
+
+Most beautiful are such phrases as the following:
+
+    "The phantom circle of a moaning sea."
+
+    "Some whisper of the seething sea."
+
+    "Clothed in white samite, mystic, wonderful."
+
+                               "Let thy voice
+     Rise like a fountain for me night and day."
+
+      "And looking wistfully with wide blue eyes
+     As in a picture."
+
+    "Clothed with his breath."
+
+    "A cry that shiver'd to the tingling stars."
+
+Note how the following phrases give color to the poem:
+
+       "that day when the great light of heaven
+     Burn'd at his lowest in the rolling year."
+
+    "Among the mountains by the winter sea."
+
+                             "The winter moon,
+     Brightening the skirts of a long cloud."
+
+Observe the pictorial power of these quotations:
+
+    "Make broad thy shoulders to receive my weight."
+
+    "Straining his eyes beneath an arch of hand."
+
+    "One black dot against the verge of dawn."
+
+Most forceful are the following phrases:
+
+    "And the days darken round me, and the years,
+     Among new men, strange faces, other minds."
+
+    "From the great deep to the great deep he goes."
+
+    "Authority forgets a dying king."
+
+                                      "An agony
+     Of lamentation, like a wind that shrills
+     All night in a waste land, where no one comes,
+     Or hath come, since the making of the world."
+
+There never was a more beautiful comparison than the following:
+
+            "Like some full-breasted swan
+     That, fluting a wild carol ere her death,
+     Ruffles her pure cold plume, and takes the flood
+     With swarthy webs."
+
+
+FOOTNOTES:
+
+[189-1] _Haec fabula docet_ means _This fable teaches_. It is with these
+words that the "Morals" of the old Latin fables begin.
+
+
+
+
+CHAPTER IX
+
+CLOSE READING OR STUDY
+
+
+It is largely because story reading may so easily become careless
+reading, that prejudice against fiction is found in many minds. In the
+preceding pages there have been suggested many ways by which story
+reading may be made profitable, and yet all these methods may be used
+without calling for that close, intensive reading which we usually call
+study. You may lead a child to read _Rab and His Friends_ for all the
+purposes we have suggested, and yet he may have passed over without
+understanding them many a word, phrase or even sentence. It is possible
+that there are whole paragraphs that convey little meaning to him. This
+is certainly not an unmixed evil, for it is well that a child should not
+exhaust the possibilities of such a masterpiece when he first reads it.
+In fact, it is a good thing for children frequently to read great
+literature even when much of it is quite beyond their comprehension. It
+will pique their curiosity, and some time they will return with wiser
+minds and broader experience to interpret for themselves the things that
+once were obscure. It is no sin for a child sometimes to pass over a
+word he cannot pronounce or does not understand. There could be few more
+certain ways of destroying his taste for reading than to require him to
+stop and find the meaning of every new word he meets. Sometimes the
+meaning will become evident a little later from the context, and in
+other instances he will understand well enough without the troublesome
+word.
+
+What has been said does not signify that the habit of skipping new words
+or of avoiding difficult paragraphs is a good one. It does mean,
+however, that sometimes the practice should be tolerated, and that close
+reading should be required at the proper time and in the proper way. In
+the arithmetic or geography lesson the young must always read very
+closely, and in their perusal of the classics there are many fine
+opportunities for exercises of the same character, that should not be
+neglected. Descriptive passages, arguments, and essays of all kinds
+require to be read with exceeding care, and often there are passages
+even in light fiction that repay this kind of study.
+
+Words and phrases are the subjects of consideration in close reading,
+and the mastery of thought is the object to be attained. The study of
+words may be made very interesting, and gathering the meaning of phrases
+may become a fascinating pastime.
+
+An illustration may prove the case. Take the paragraph from _Rab and His
+Friends_ (Volume VI, page 99) in which death approaches Ailie: "The end
+was drawing on: the golden bowl was breaking; the silver cord was fast
+being loosed--that _animula blandula, vagula, hospes comesque_ was about
+to flee. The body and the soul--companions for sixty years--were being
+sundered and taking leave. She was walking, alone, through the valley of
+the shadow, into which one day we must all enter--and yet she was not
+alone, for we knew whose rod and staff were comforting her."
+
+A cursory reading will suggest to any young person that the paragraph
+says Ailie is going to die, and that she does not fear death; but how
+much more it means to him who can understand it all. _The end was
+drawing on_--Ailie was going to her death. _The golden bowl was
+breaking; the silver cord was fast being loosed._ Turn to your Bible
+(_Ecclesiastes_ xii, 3-7), and read what is said. _That "animula
+blandula, vagula, hospes comesque" was about to flee._ That sweet but
+fleeting life, friend, companion and sojourner with her, was about to
+leave. _She was walking alone through the valley of the shadow._ "Yea,
+though I walk through the valley of the shadow of death, I will fear no
+evil." _Into which one day we must all enter._ May we be equally
+fearless of evil! _She was not alone._ Her God was with her every
+moment, and in her hours of consciousness she knew Him to be present.
+_We knew whose rod and staff were comforting her._ "Thy rod and Thy
+staff they comfort me."
+
+Like the Psalmist of old she leaned upon the arm of her God and as she
+thus approached the dark valley, the light of her faith shone into our
+souls.
+
+The Latin quotation and the allusions to the Bible are skilfully used to
+give solemnity to the idea of death, to show how inevitable it is, and
+how for long ages it has been met with the same serene faith and deep
+religious feeling that made Ailie beautiful in the face of death. Yes,
+there is more in the paragraph than the statement that Ailie was going
+to die and that she was not afraid.
+
+To illustrate a different style of close reading and a method of
+securing it by questioning, we will quote part of a paragraph from
+_Braddock's Defeat_ (Volume V, page 379) by Benjamin Franklin: "Our
+Assembly apprehending, from some information, that he [Braddock] had
+conceived violent prejudices against them, as averse to the service,
+wished me to wait upon him, not as from them, but as postmaster-general,
+under the guise of proposing to settle with him the mode of conducting
+with most celerity and certainty the despatches between him and the
+governors of the several provinces with whom he must necessarily have
+continual correspondence, and of which they proposed to bear the
+expense."
+
+The questions designed to bring out the meaning of the above paragraph,
+to which the answers are usually quite obvious, might be as follows:
+
+Is "our Assembly" the Albany convention mentioned in the note at the
+head of the selection, or is it the Assembly of Franklin's own colony?
+What is the meaning of _apprehending_? Do you like it better than
+_thinking_? What do you suppose was the nature of the "information" the
+Assembly had received? Do you think that someone had told them that
+Braddock was prejudiced, or did they infer it from actions of Braddock
+which had been described to them? Who was averse to it? What is the
+meaning of "wait upon him"? Do we use that phrase frequently now? What
+might we say now? What do you understand by "not as from them"? Can you
+put into that phrase one word that will make its meaning clear? Was
+Franklin then postmaster-general of his colony? Was he ever
+postmaster-general of the United States? What is the meaning of _guise_?
+What is meant by "under the guise"? Does _celerity_ mean more than
+_quickness_? Is there any shade of difference in the meanings of the two
+words? Do you think Franklin used the best word he could find when he
+wrote _celerity_? What are "despatches"? What kind of despatches would
+pass between Braddock and the governors of the different provinces? How
+many different provinces were there for Braddock to help defend? What
+were they? Who proposed to pay the expense? Does _propose_ in this case
+have a different or larger meaning than that in which you are in the
+habit of seeing it used? Of what did they propose to pay the expense?
+
+If a young person can answer all the questions in the preceding
+paragraph, he undoubtedly understands the passage upon which they are
+based. The questioner must watch the answers and be ready to detect
+mistakes. Often the answer shows why the person fails to understand, and
+a different question will then bring out the correct reply. The
+questions always should be so worded that they do not anticipate the
+answer, yet so the person questioned will thoroughly understand what is
+expected. A little help now and then is appreciated by anyone, certainly
+by those who are being led to think.
+
+Carried to excess, close reading is wearisome; and parents, remembering
+this, should be discriminating in their selections for study and not too
+exacting in their requirements. Everything may be lost by dwelling too
+long upon even the most delightful selections. Left to himself, almost
+every child will be fond of _The Village Blacksmith_, but it may be
+read and "studied" till the very thought of it is obnoxious to the young
+reader.
+
+
+_Industry and Sloth_
+
+(Volume I, page 300)
+
+To bring out the thought in this selection, study it as follows:
+
+What is the meaning of _jocosely_? (Flippantly.) What is a court? (A
+place where disputes between persons are settled by a judge, or by a
+judge and jury.) What is a jury? (A company of men, usually six or
+twelve, who hear the evidence and decide on the facts.) What are cases?
+(The dispute or disagreement is called a _case_, when it is brought to
+court to be decided or settled.) What are damsels? (Young girls.) What
+were the names of the young damsels the young man said he saw? Why do
+the words "Industry" and "Sloth" begin with capital letters? (Because
+they are the names of girls.) Were they real girls? What does _industry_
+mean? (Work.) What does _sloth_ mean? (Laziness.) Were these real girls?
+Then what does this mean? (The young man thinks of fondness for work and
+fondness for idleness as though they were girls.) When we write of
+qualities, or feelings, as though they were human beings, the words
+become proper nouns and we begin them with capital letters. Do you know
+what we call this process of lifting something that is lower to the
+level of human beings? No? We call it _personification_. Here industry
+and sloth are personified and made the equals of human beings. What does
+_entreats_ mean? What does _persuades_ mean? (That means _teases_ or
+_begs_.) Which is the stronger word, entreats or persuades? (_Entreats_
+means _begs strongly_; _persuades_ means _begs and makes me believe what
+is said_. I think the latter is really the stronger word.) What does
+_alternately_ mean? (First one and then the other.) What does
+_impartial_ mean? (Fair; without any favoritism.) What does _detained_
+mean? (Kept.) What does _pleadings_ mean? (Where a case is tried in
+court the lawyers on each side try to persuade the court or jury to
+decide in favor of the man [client] who has hired them. The written
+papers and the speeches the lawyers make are called _pleadings_.)
+
+Do you think the young man was really serious? Do you think he really
+tried to decide anything as he lay in bed, or was he just trying to make
+up an excuse for his laziness? Was there any reason why the young man
+should lie in bed? Did he think there was? Could you find any better
+reason than he gave? Do you think he was a bright young man? If you had
+listened to him would you have taken his excuse? Why? Was it really
+truthful? Did you ever lie in bed and think, "Well, I must get up; no,
+I'll lie a little longer. But I must get up. What's the use? But I ought
+to get up. Yes, I really ought to get up," etc., etc., and finally
+discover that you had wasted a great deal of time without really
+intending it? Were Industry and Sloth pleading with you then? Do you
+think that some people waste much time trying to decide useless
+questions? Does it sometimes happen that men and women waste so much
+time in this way that they never accomplish a great deal of anything?
+
+
+_Why the Sea Is Salt_
+
+(Volume II, page 484)
+
+In this pleasing fairy story Mary Howitt has told the tale of the
+curious explanation offered by the peasants of Denmark and Norway for
+the saltness of the sea. It naturally raises in a child's mind the
+question, why is the sea salt? The question can be answered in this
+manner:
+
+The rain falls down in little drops, some of which soak into the ground,
+while others make rivulets that run into brooks that in time join the
+rivers that flow into the sea. Much of the water that soaks into the
+ground finds its way again to the surface in springs that feed the
+brooks and keep them alive when no rain is falling. Of course the sun
+when it shines turns some of the water into vapor that rises again to
+the sky. Sometimes on a cool morning you can see the mist or vapor too
+heavy to rise out of sight and too light to fall as rain. Wherever there
+is water, some of it is rising into the air, especially when the sun
+shines and it is warm and the wind blows. The sea is so big that great
+quantities of vapor are rising from it all the time and being blown over
+the land to be cooled, to gather into rain and to fall again where it
+will refresh the earth and make the plants grow.
+
+So you see water is traveling through the air all the time, up from the
+earth, the streams and the seas, through the air, back to the earth and
+through it into the sea again in a great series of everlasting circuits.
+We are hardly ever conscious of the moisture except when it falls as
+rain or snow and spoils our plans.
+
+When the water is passing through the land it dissolves and gathers up
+various substances, especially salt, which "melts" in water very easily.
+This salt and the other bitter and brackish substances are carried
+little by little, sometimes pausing, but always on and on till they
+reach the sea, beyond which they cannot go, for the sea is in the lowest
+parts of the earth. Now come the sun, the heat and the winds and
+evaporate the water; that is, draw up the vapor to start on its new
+circuit. But, notice this, the vapor that rises is pure water. The salt
+and other substances are left in the sea. At first it was only a little
+that was left, then more, always a little more till the water couldn't
+hold it all and it sank to the bottom and made deposits of salt and
+other things. But the streams always bring more sediment and the heat
+and the winds carry off pure water and leave the rest salty and bitter.
+And that is the real reason why the sea is salt.
+
+
+_Faithless Sally Brown_
+
+(Volume III, page 92)
+
+It is a thankless task to try to explain a joke, but some of the fun in
+these jolly old rhymes depends upon facts that are not generally known
+or that may have been forgotten. A few words here may help to answer
+questions.
+
+Stanza II. "Fetched a walk." This is an application of a nautical term,
+as in "to fetch headway."
+
+"Press Gang." To secure recruits for her navy, England at one time
+permitted her men to be seized and forcibly carried on board ship, where
+they were compelled to perform sailors' duties on long cruises. The
+bands of cruel men who captured the recruits were known as "press
+gangs."
+
+Stanza III. A boatswain is one of the minor officers of a ship. He
+usually has charge of one of the small boats, such as would carry off a
+recruit to the big ship.
+
+Stanza VIII. John Benbow was a famous English Admiral who died in 1702
+from wounds received in a four days' fight with the French fleet in the
+West Indies. His captains refused to obey orders and Benbow was unable
+to win the battle. When his right leg was shot off he refused to go
+below but continued to direct the conflict from the deck. "I had rather
+have lost both legs," he said, "than have seen this dishonor brought on
+the English nation. But, hark ye--if another shot should take me off,
+behave like men and fight it out." Two of his captains were tried,
+convicted and shot. The Admiral himself died after three or four months
+of suffering.
+
+Stanza IX. A tender is a ship that carries supplies or conveys messages
+from one to another of the ships in a squadron.
+
+Stanza XI. "The Virgin and the Scales." The Virgin (Virgo) and the
+Scales (Libra) are two constellations known to the ancients. A person
+born while these constellations were to be seen in the sky (from near
+the end of August to near the end of October) was said to be born under
+them and was believed to have certain characteristics. In the case of
+Sally Brown the stars were cruel. She could not follow her beau, Ben,
+but must walk about raising her voice in wailing.
+
+Stanza XV. "To pipe his eye" is a slang phrase meaning to look sharply.
+
+Stanza XVI. "_All's Well_," the usual cry of a watchman, not the name of
+a song.
+
+"Pigtail" was a kind of chewing tobacco much used by sailors. It was
+twisted in hard rolls.
+
+
+_The Definition of a Gentleman_
+
+(Volume IV, page 170)
+
+There is nothing in _Journeys Through Bookland_ that will better repay
+thought, especially for the boys, than this extract from the writings of
+the great Cardinal Newman. It affords, however, a host of little tests
+of character that everyone can apply to himself; for "gentleman," here,
+is used in its generic sense and applies with equal force to both sexes.
+
+It is not to be read hastily and then laid aside, for no one can get its
+full meaning from a single perusal. Every word is a chapter, every
+sentence a volume. Read properly, each sentence must carry with it a
+personal application, which can be seen as the reader asks, "Is this
+what I am?"
+
+Am I then, one who never gives pain?
+
+Am I mainly occupied in removing the obstacles that hinder the action of
+my friends and acquaintances? Am I the easy chair that gives them bodily
+comfort, the good fire that dispels the cold and makes them comfortable
+and free to act?
+
+Do I try always to make everyone at ease and at home?
+
+Am I
+
+--tender toward the bashful?
+
+--gentle toward those who are cold and reserved?
+
+--merciful to those whose actions draw ridicule upon themselves?
+
+In conversation, do I recollect those to whom I am speaking, avoid
+irritating them, keep myself in the background, talk little myself and
+listen attentively to them?
+
+If I can put to myself each of the tests Cardinal Newman offers in these
+few pages and can feel myself ring true under each, then may I hope to
+call myself a gentleman.
+
+
+_Adventures in Lilliput_
+
+(Volume V, page 8)
+
+In _Gulliver's Travels_ Swift has given us a wonderful work in
+constructive imagination. As has been said elsewhere, the imagination
+works with the ideas which are present in the mind. It creates nothing,
+but it may enlarge, diminish or recombine ideas with an infinity of
+form. In _Adventures in Lilliput_ Swift has used largely the reducing
+power of his imagination. If he has been accurate, he has reduced
+everything in the same proportion. An interesting study of this phase of
+the story may be made by means of questions, which may be answered by
+reading the text, or by reasoning from the facts given.
+
+In the following exercise, questions and comments are combined in such a
+way as to assist a boy or girl to verify or disprove the accuracy of
+Swift's work. A similar exercise, to illustrate the opposite extreme,
+may be based upon _Adventures in Brobdingnag_ (page 54). It is hoped,
+too, that the questions may suggest a method for interpreting other
+selections.
+
+When Gulliver awoke and found himself bound (page 10), he felt something
+alive moving on his body. Bending his eyes downward as much as he could
+he saw it was a human creature not six inches high. We are at liberty to
+suppose that Gulliver was a man of ordinary height, that is to say, not
+six feet high. If the Lilliputian was "not six inches high," what was
+the ratio of height between Gulliver and his miniature captors? If,
+then, Gulliver is twelve times the size of one of his captors, we have a
+standard of comparison.
+
+How long a bow would a man use? How long would be the arrow that fitted
+that bow? How long would the bows and arrows of the Lilliputians be?
+Would an arrow that size, fired with the force a Lilliputian could give,
+"prick like a needle," and if there were many of them would they set a
+man "a-groaning with grief and pain"?
+
+If a man were lying flat on his back could he turn his eyes down so as
+to see a pencil, not six inches high, placed upright on his breast? When
+a man's face was turned two inches to the left, how much of the ground
+would be concealed from his sight by his shoulder?
+
+How far can a man shoot an arrow? How far could a Lilliputian shoot an
+arrow? Would an arrow the size of a Lilliputian's falling from the
+height to which he could shoot it pierce the skin of a man?
+
+How long were the spears of the Lilliputians? Is it reasonable to
+suppose that a leather jerkin would be proof against their spears? How
+tall was the page that held up the train of the "principal person."
+(page 12)?
+
+How many times the height of a Lilliputian was the body of Gulliver as
+he lay on the ground? How many rounds would there be in one of the
+ladders on which they climbed? "Above one hundred inhabitants" mounted
+the ladders and walked toward Gulliver's mouth. They carried baskets
+filled with meat. Would the quantity of meat be too large for Gulliver
+to eat? Would the shoulders, legs and loins of a sheep one-twelfth the
+height of an ordinary one be "smaller than the wings of a lark"? Would
+loaves of bread the "bigness of musket balls" be one-twelfth the size of
+ordinary loaves?
+
+In the case of two vessels of the same proportions, but of different
+heights, do the capacities vary according to the heights, or according
+to the cubes of the heights? If one of our hogsheads contain from one
+hundred to one hundred and forty gallons, how much should a Lilliputian
+hogshead contain to be in proportion?
+
+Is it a fact that being one-twelfth the height of a man a Lilliputian
+should have one-twelfth of a man's strength? If a man is reduced to
+one-twelfth of his height what should his weight be?
+
+When they wished to move Gulliver, five hundred carpenters and engineers
+were set to work to prepare a frame of wood, which was raised three
+inches from the ground, was about seven feet long, four feet wide, and
+moved upon twenty-two wheels. What was the diameter of the wheels that
+would raise the body three inches from the ground? Would it be an easy
+matter to move wheels of that size when they bear a weight such as
+Gulliver's must have been?
+
+Knowing what we know of the Lilliputians could nine hundred of them
+using pulleys with cords "the bigness of pack-thread" lift Gulliver upon
+the engine in less than three hours?
+
+Does Swift keep the correct proportions when he says that Gulliver's
+bullets are about the size of the heads of the Lilliputians? Would "an
+hundred and fifty of their beds sewn together make up the breadth and
+length" of a bed large enough for Gulliver?
+
+How large would a Lilliputian horse be? Does it seem wonderful that
+Gulliver's hat could be brought from the seashore with "only five
+horses"?
+
+It is unnecessary to carry the questioning any further. Anyone who reads
+the stories will find an infinity of questions suggesting themselves to
+him, and he will doubtless get no little pleasure and profit from
+attempting to answer them. As will be seen, some of the questions are
+not simple. If Swift has been wise he has not reduced everything
+arbitrarily on a horizontal scale to one-twelfth of its apparent size,
+capacity, weight, or strength, but has properly apportioned all. The
+reader may find that he will be called upon for some nice
+discrimination, before he can judge correctly as to the accuracy with
+which Swift has used his scale of reduction.
+
+
+_The Heart of Bruce_
+
+(Volume V, page 316)
+
+1. What is meant by "frost lay hoar"? "Hoar" means "white" or "gray."
+(It was early in the morning before the sun had melted the frost.)
+
+2. What kind of armour did they wear? What kind of "ships" rode in the
+bay? (Remember this happened about six hundred years ago.)
+
+3. What caused the foam that was swept away? Why did they gaze back in
+silence?
+
+4. Why does the poet call them _purple_ hues, and why does he say they
+decayed? (Recall the lines: "'Tis distance lends enchantment to the
+view, and clothes the mountain in its azure hue." Did you ever notice
+the purple on distant hills? What causes it?)
+
+5. What is the "battle-van"? (The front rank.)
+
+6. What is a "freit"? (A superstitious notion or an omen as to right or
+wrong. Lord Douglas felt a superstitious dread, a chill of foreboding.)
+
+7. What did Robert say on his dying day?
+
+8. What did Robert want his followers to do with his heart?
+
+9. Who dreamed this dream? What was a Pilgrim? (A pilgrim is a wanderer.
+We think first of the Puritan fathers when we speak of Pilgrims, but the
+Pilgrim who appeared to Lord Douglas was a palmer who showed by his garb
+and his olive branch that he had been to the Holy Land.) See picture,
+page 319.
+
+10. What kind of a Cross did Saint Andrew bear? Who was Saint Andrew?
+(Saint Andrew was one of the twelve apostles, and is believed to have
+suffered martyrdom on a cross shaped something like the letter X, that
+is, one made of two beams of equal length crossing in the middle at an
+angle.)
+
+11. What is a "belted brand"? (A sword fastened to a belt.)
+
+12. What was "Galilee"? What was the "Holy Mount" and why was it so
+called?
+
+13. What is "Scotland's heart"? (The heart of Robert Bruce, so called
+because of the reverence in which he is held by the Scotch.) Where can
+you read about the great angel that calls the dead to rise?
+
+14. What is meant by "mark my rede"? (Listen to my advice or counsel.)
+
+15. What was the prediction the Pilgrim seemed to make to Lord Douglas?
+What did Lord Douglas ask of Sir Simon of the Lee?
+
+16. Why should Scotland's earth be called "kindly"?
+
+17. What does "betide" mean? Tell in your own words what Sir Simon
+replied. ("Whatever happens to me, I'll do as you command.")
+
+18. What does Sir Simon promise?
+
+19. What does "aye" mean? (In this place it means "for a long time.")
+What is meant by on our "lee"? (The wind blew toward Spain, and across
+the course of the ship; hence the coast appeared on the lee side of the
+vessel.) Why should the poet say the coast rose "grimly"?
+
+20. What are "atabals"? (Tabors or kettledrums used by the Moors.)
+
+21. Who asks the question about the Eastern music and the crowd of armed
+men?
+
+22. What was Castile? (A province of Spain.) Who answers the question
+asked in the twenty-first stanza?
+
+23. What is meant by the "Cross in jeopardie"? (The Spaniards were a
+Christian nation fighting under the symbol of the Cross. The Moors were
+the infidels or Moslems whose success would destroy the Christian
+religion in Spain. Their symbol was the crescent.)
+
+24. What does "Have down" mean? (It means "Let us land.")
+
+25. Who speaks in the twenty-fifth stanza?
+
+26. Explain what is said in the twenty-sixth stanza. (Do you come
+because you have promised to fight the pagans or do you come to fight
+for money? Are you French or Burgundians?)
+
+27. What is a "belted peer"?
+
+28. What is the meaning of "died upon the tree"?
+
+29. What is a "weltering wave"? (To "welter" is to tumble over. The
+"weltering wave" is the sea.)
+
+30. Does the word "pilgrim" mean the same here as in the ninth stanza?
+
+31. What King is this who speaks in the thirty-first stanza?
+
+32. What do the words "full well" express?
+
+33. Is the word "amain" in use nowadays? What does it mean?
+
+34. What is a high glance?
+
+35. What does this speech by Douglas show us of his character?
+
+36. What were "cross-bolts"? (Short, blunt arrows fired from the
+cross-bows.)
+
+37. What is a Saracen? (Here the word means merely a Mohammedan hostile
+to the Christians.) What does "rode like corn" mean? (We rode through
+their ranks as we would ride through corn.)
+
+38. What is the meaning of "fain"? (Willing.)
+
+39. What does "fell" mean? (Deadly.)
+
+40. What is meant by "Make in"? (Here it means, "Gather together.")
+
+41. What was the "rain"? What was the "swarm"?
+
+42. What had happened to Saint Claire?
+
+43. What was James's purpose in holding aloft the heart of Bruce?
+
+44. Why did he throw the sacred relic before him? What does "wert wont
+of yore" mean? ("As you used to do.")
+
+45. What is the meaning of "stour"? (Battle or combat.) Why are the
+spears said to come in "shivering"?
+
+46. Who speaks in the forty-sixth stanza?
+
+47. Who replies in the forty-seventh stanza? What does "dree" mean?
+(Suffer, endure.)
+
+48. What does "stark" mean?
+
+49. What is the meaning of "lyart"? (Gray. The word was usually applied
+to a horse.)
+
+50. What is this "heaviest cloud" that is bound for the banks of
+Bothwell?
+
+51. What is this "sorest stroke" that has fallen upon Scotland?
+
+52. What was to be carried back to the ship and laid in hallowed ground
+in Scotland?
+
+53. Who is the "Lord King" referred to in the fifty-third stanza?
+
+54. Does the line "so stately as he lay" seem a natural way of
+expressing the fact?
+
+55. What does the speech of the Spanish King show of his character?
+
+56. Why does the poet say that we steered the ship "heavily"?
+
+57. Does "no welcome greeted our return" mean that none of the Scotch
+met the returning soldiers?
+
+58. What were "Douglas Kirk" and "fair Melrose"? (The church of the
+Douglas clan and the stately abbey of Melrose. The latter may still be
+seen in beautiful ruins in southern Scotland.)
+
+
+_Annie Laurie_
+
+(Volume VI, page 119)
+
+The Scotch dialect in this old favorite is one of its charms, but some
+readers may require explanation of a few of the terms.
+
+"Braes" are hillsides or slopes. "Bonnie" is the Scotch way of spelling
+"bonny," which, here, means "beautiful."
+
+"Fa's" is the Scotch spelling of "falls."
+
+"Gie'd" is Scotch for "gave."
+
+The last line of the first stanza rendered into English would read, "I'd
+lay me down and die."
+
+"Snaw" is "snow."
+
+"Ee" is "eye."
+
+The "gowan" is the mountain daisy of Scotland.
+
+"Fa'" is "fall."
+
+Like many another simple lyric of love and devotion this owes much of
+its popularity to the sweet melody of the music to which it is usually
+sung.
+
+
+_The Lost Child_
+
+(Volume VII, page 409)
+
+1. Where did the poet wander? Is the picture on page 409 a beautiful
+one? Is it your idea of a sunny glade? On what or on whom was the poet
+musing? Where his thoughts pleasant? To what does he liken his
+thoughts? What are guideless thoughts? Do you think his "love" is a
+person, or is it his work, his calling?
+
+2. What chanced to go astray? Did Lowell sometimes fear for the future?
+How does he express the fear? Who brought back the wandering thoughts?
+Where did the thoughts rest? Who had the "snowy arms"? If Lowell feared
+the future at any time, what was it that brought calm to him again?
+
+3. What is the "soft nest"? Who is the "happy one"? Whose hair "shone
+golden in the sun"? How could a thought of fear seem like a "heavenly
+child"? Was it Hope that thus transformed all his thoughts?
+
+4. Upon what did Hope's eyes smile mildly down? What was blessed with so
+deep a love? What clasped the neck of Hope? What was it that fell
+asleep? What was the lost child?
+
+
+_David Crockett in the Creek War_
+
+(Volume VIII, Page 37)
+
+Almost any child who is able to read for himself will know as soon as he
+has read a few sentences from David Crockett's Autobiography that the
+man was uneducated, and wrote in what could not be called "good
+English." However, when the reader has gone a little farther he will
+realize that Crockett shows his own character in his writings, and that
+his language is picturesque and entertaining. Moreover, it is language
+that was characteristic of the early settlers in the region where the
+frontiersman lived, and hence is of some historical interest to us.
+
+No apology is needed for including the selection in these volumes,
+although it has no fine literary merit; for it is the plain, direct
+story of a strong man with a clear brain, who accomplished whatever he
+undertook, whether it was building a home, fighting the Indians, or
+writing a book.
+
+The story will speak for itself, and as it is a truthful account of
+things that actually happened, it will appeal strongly to the
+imagination of all young readers. However, it is worth while to call
+specific attention to some of the faults in style and actual errors in
+grammar, in order that the reader may not be affected unfortunately by
+the language, or be led to approve it as a style to be followed in these
+modern days. This can be done by means of questions, and as an
+illustration of the method we will consider the first four paragraphs of
+the selection, beginning on page 37.
+
+"There had been no war among us for so long that but few who were not
+too old to bear arms knew anything about the business." Does the phrase
+_among us_ mean that the settlers had not fought among themselves, or
+that they had not been in conflict with the Indians? What was Crockett's
+exact meaning? Does he convey it clearly? Does the word _business_ seem
+dignified enough to be applied to war?
+
+"I couldn't fight at all." Does the abbreviation of the words _could
+not_ make Crockett's style dignified or familiar? Do you often see
+similar abbreviations in what is known as "good literature," except as
+they are found in conversation, where the tendency is always to use
+abbreviated forms and familiar terms? Does not the use of such
+abbreviations in this selection make it seem as though Crockett were
+talking to his readers in a free and easy manner, rather than as though
+he were writing a formal book?
+
+"When I heard of the mischief." In the first sentence of this paragraph,
+Crockett speaks of a "most bloody butchery" at Fort Mimms. Now he refers
+to it as _the mischief_. Is the word _mischief_ strong enough?
+
+"In a few days a general meeting of the militia was called." Who were
+the militia? Why could not the militia be sent out as a body instead of
+calling for volunteers? Does he mean the organized militia, or simply
+the able-bodied men in that vicinity?
+
+"Began to beg me not to turn out." Is _turn out_ a slang phrase here, or
+is it a term commonly used in speaking of the assemblage of the militia?
+
+"It was mighty hard to go against her arguments." Does the word _mighty_
+show refinement? What word would be better? Does the phrase _go against_
+look well in a book?
+
+"Told her that if every man would wait till his wife got willing to let
+him go to war, there would be no fighting done until we would all be
+killed in our houses." Is the word _would_ as it appears the first time
+used properly? Is _should_ the right word to use? Is _got willing_
+correct English? Does the word _until_ express the meaning Crockett
+intends to convey? If "there would be no fighting done _until_ they were
+all killed in their houses," could there be any fighting done
+_afterward_? What words should be used in place of _until_? Is the word
+_would_ used properly the second time it appears in the sentence?
+
+  [Illustration: PHOEBE CARY
+  ALICE CARY
+  ELIZABETH BARRETT BROWNING
+  LUCY LARCOM
+  FELICIA HEMANS
+  GEORGE ELIOT
+  JEAN INGELOW]
+
+"Seeing I was bent on it." Can you find authority for using the phrase
+_bent on it_ to mean _determined to do it_?
+
+"The truth is my dander was up and nothing but war should bring it right
+again." What does the dictionary say about the use of the word _dander_?
+Do you suppose it was a common word among Crockett's friends? Is the
+word _should_ properly used in this sentence? Is the proper word
+_would_? Is it a common mistake even now to use _would_ for _should_ and
+_should_ for _would_? How may we know which word to use?
+
+"When the men were paraded, a lawyer by the name of Jones addressed us,
+informing us he wished to raise a company, and that then the men should
+meet and elect their officers." Who were the men that were paraded? Was
+Crockett among them? Whom did Jones address? When Crockett uses the word
+_men_ and the word _us_, twice in the same sentence is his meaning
+perfectly clear?
+
+"I believe I was about the second or third man that stepped out, but on
+marching up and down the regiment a few times we found we had a large
+company." Who were marching up and down? Does this mean that they
+marched up and down in front of the regiment? What was this regiment
+before which they marched up and down? Does _regiment_ here mean the
+same as _militia_ in the paragraph before?
+
+"We received orders to start on the next Monday week." What is the
+meaning of _next Monday week_? If they assembled on Wednesday, how many
+days would elapse before they were to start, and on what day would they
+start?
+
+"Mounted my horse and set sail to join my company." How can a man _set
+sail_ when he is mounted on a _horse_? Is such a mixing of figures
+evidence of good writing?
+
+"All mounted volunteers and all determined to fight, judging from
+myself, for I felt wolfish all over. I verily believe that the whole
+army was of the real grit." Is _felt wolfish all over_ a fine phrase? Is
+it an expressive phrase? What was to be judged from himself--that all
+were determined to fight, or that the whole army was of the real grit?
+Does the fact that Crockett felt wolfish all over show that he was
+determined to fight, or that he had real grit? What is the literal
+meaning of _grit_? What does it mean as Crockett uses it here? Is it
+proper to use the word as Crockett uses it?
+
+Probably it is not worth while to push this critical study any farther.
+It will be seen by this time that Crockett wrote as he talked, and
+accordingly, his story lacks the polish and literary beauties that men
+trained to write could have given it.
+
+
+_The Impeachment of Warren Hastings_
+
+(Volume IX, page 32)
+
+Words are interesting things, and people who have never tried the
+experiment will be surprised to learn how much pleasure there is to be
+found in the use of the dictionary. We consult the dictionary only when
+we wish to know the meaning of a word, or its pronunciation, but there
+are numberless other facts in the volume that are more interesting, if
+not more valuable, than the definitions and marks of pronunciation. In
+the history and derivation of words may be found many interesting and
+surprising facts which, if they are known, give increased force and
+meaning to the words.
+
+There is a great difference among writers in the kinds of words they
+use. Some naturally use simple words of Anglo-Saxon origin, while others
+use longer and more sonorous words which come from the Latin and the
+Greek. It is interesting to take paragraphs from different writers, say,
+for instance, from Hawthorne, Lamb, Longfellow, Tennyson, Macaulay and
+Irving, make a list of the leading words in the paragraphs, and then
+look up their derivations and see how many Anglo-Saxon, how many Latin
+and how many Greek words are found in each paragraph.
+
+It will be seen that it is a characteristic of Macaulay to use numerous
+many-syllabled words, most of which come directly from the Latin. His
+essay on the _Impeachment of Warren Hastings_ shows this trait.
+
+Probably that furnishes as good an illustration as anything in the books
+of the kind of literature from which studies in words may best be made.
+Taking two paragraphs at random, let us look them over and see what
+interesting facts may be gleaned from the dictionary concerning the
+words we find:
+
+"The Opposition was loud and vehement against him. But the Opposition,
+though formidable from the wealth and influence of some of its members,
+and from the admirable talents and eloquence of others, was outnumbered
+in Parliament, and odious throughout the country. Nor, as far as we can
+judge, was the Opposition generally desirous to engage in so serious an
+undertaking as the impeachment of an Indian Governor. Such an
+impeachment must last for years. It must impose on the chiefs of the
+party an immense load of labor. Yet it could scarcely, in any manner,
+affect the event of the great political game. The followers of the
+coalition were therefore more inclined to revile Hastings than to
+prosecute him. But there were two men whose indignation was not to be so
+appeased, Philip Francis and Edmund Burke.
+
+"Francis had recently entered the House of Commons, and had already
+established a character there for industry and ability. He labored
+indeed under one most unfortunate defect, want of fluency. But he
+occasionally expressed himself with a dignity and energy worthy of the
+greatest orators. Before he had been many days in Parliament, he
+incurred the bitter dislike of Pitt, who constantly treated him with as
+much asperity as the laws of debate would allow. Neither lapse of years
+nor change of scene had mitigated the enmities which Francis had brought
+back from the East. After his usual fashion, he mistook his malevolence
+for virtue, nursed it, as preachers tell us we ought to nurse our good
+dispositions, and paraded it, on all occasions, with Pharisaical
+ostentation."
+
+In the two brief paragraphs given, there are, among others, the
+following words of more than passing interest:
+
+1. _Vehement._ This word is derived from two Latin words, meaning _to
+carry_ and _the mind_; hence a vehement speech is one that is supposed
+to carry the mind away by force. We use the word _furious_ when we wish
+to speak of anger or other passions, but the word _vehement_ when we
+speak of zeal, love, expression. In this paragraph the Opposition was
+loud and tried _to carry the minds of others by force_.
+
+2. _Formidable._ Synonyms of _formidable_ are _dreadful_, _terrible_ and
+_shocking_, yet it is rarely the case that two words are exact synonyms.
+In this case, _formidable_ means something that excites fear, but it is
+neither sudden nor violent in its action. A _dreadful_ thing would
+excite fear or dread, and might act violently, but not suddenly. _A
+shocking_ thing would startle us because it was both violent and sudden.
+Does _formidable_ appear to be the right word by which to characterize
+the Opposition?
+
+3. _Influence._ This word is derived from two Latin words which mean
+_flowing over_, and consequently an _influence_ brings about change by
+gradual process. There is no idea of right in the word _influence_ as
+there is in the word _authority_. Does it seem that _influence_ is the
+right word here?
+
+4. _Talents._ The history of this word is an interesting one. In origin
+it is Greek, and there it was the name of a weight, which in silver had
+a certain money value. The same word appearing in Hebrew had a similar
+meaning. A Hebrew talent in silver would be worth something over
+seventeen or nineteen hundred dollars of our money. In the New Testament
+(see _Matthew_ XXV, 14 to 30), Christ utters the parable of the talents.
+We now use the word to mean intellectual ability or capacity, or skill
+in accomplishing things, or some special gift in some art or science. It
+is probable that this figurative meaning of the word has originated from
+the parable, and although many writers have criticised the use of
+_talent_ in our sense, it has become well established in the language.
+
+5. _Odious._ The Latin word from which _odious_ is derived means
+_hatred_. An _odious_ thing is a thing to be _hated_. Our word _odium_
+differs slightly in use from our word _hatred_. We exercise _hatred_,
+but we endure _odium_.
+
+6. _Desire._ The origin of this word is not certain, but it was probably
+derived from the French words which mean literally _from the stars_ or
+_constellations_.
+
+7. _Immense._ This word is derived from two Latin words which mean
+_cannot be measured_.
+
+8. _Coalition._ The two Latin words from which _coalition_ is derived
+mean _to grow with_; consequently, a _coalition_ is a thing composed of
+several elements which have grown together. We should not expect a
+_coalition_ to be suddenly formed; it must come about by process of
+growth.
+
+9. _Appease._ Literally, _appease_ means _to make peace_. It also means
+_to satisfy_, and is derived directly from the Latin. We try to
+_appease_ those who are in passion and try to _calm_ those who are in
+trouble or apprehension. Does Macaulay use the word properly when he
+speaks of _appeasing_ indignation?
+
+10. _Fluency._ The Latin word from which _fluency_ is derived means _to
+flow_. Accordingly, a _fluent_ person is one from whom speech flows
+smoothly and readily. To lack _fluency_ Macaulay considers an
+unfortunate defect in Francis.
+
+11. _Asperity._ The Latin word _asper_ means _rough_ or _harsh_, and was
+applied to things which had a rough surface. Macaulay uses the word as
+we now know it, in the same figurative sense in which we now sometimes
+use the word _roughness_.
+
+12. _Lapse._ This word from the Latin means _sliding_ or _following_. In
+speaking of the _lapse_ of years Macaulay intimates that they gradually
+slid away.
+
+13. _Pharisaical._ The _Pharisees_ were a sect of the Jews who were
+noted for the strict way in which they followed the rites and ceremonies
+that had been handed down to them by tradition, and who believed
+themselves superior in sanctity to the other Jews. They held themselves
+apart and were charged with being hypocrites. The word _Pharisaical_ has
+now come into common English use, and means _hypocritical_.
+
+14. _Ostentation._ This is a Latin word meaning _show_ or _parade_.
+_Ostentation_ and _parade_ both imply effort, but the former refers to
+the intent rather than to the manner. _Ostentation_ may be shown by
+_parade_.
+
+
+From _The Death of Caesar_
+
+(Volume IX, page 143)
+
+As preliminary to the intensive study of the speech alluded to below,
+read to the class or have them read all of the three selections, namely:
+_The Death of Caesar_, from Plutarch (page 126); The _Death of Caesar_,
+from Shakespeare (page 143), and _Julius Caesar_, from Froude (page
+155). As an example of selections worthy of close reading, take the
+speech of Cćsar as given on page 153, beginning, "I could be well mov'd,
+if I were as you."
+
+Bring out by questions these facts:
+
+A. _Words._ "Moved"; induced to change my mind.
+
+"Constant"; fixed, unchangeable, immovable.
+
+"Northern star"; the pole star; the north star. To us this star always
+appears fixed in the northern heavens. The other stars and the
+constellations revolve around it; Ursa Major, the Big Dipper, is most
+conspicuous, and by a line through its two front stars we may always
+locate the North Star and, hence, the direction, _north_. Mariners have
+steered by this star for centuries. Many a lost and wandering man has
+found his way to safety by its fixed light.
+
+"Resting"; always stationary.
+
+"Fellow"; equal.
+
+"Firmament"; sky, heavens.
+
+"Painted"; decorated.
+
+"Sparks"; stars.
+
+"Doth"; does.
+
+"Furnished"; filled.
+
+"Apprehensive"; doubtful, filled with forebodings and easily moved.
+
+"Unassailable"; not subject to attack; here the meaning is rather that
+of _unconquerable_.
+
+"Constant"; _insistent_, the first time the word appears; but
+_unchangeable_, the second time.
+
+B. _Phrases._ "Well moved"; easily moved.
+
+"If I were as you"; if I were as you are, or if I were like you.
+
+"Could pray to move"; could try to change the opinion or the
+determination of someone else.
+
+"True-fixed and resting quality"; quality of always remaining true or
+fixed to the one spot in the heavens.
+
+"So in the world"; as all the unnumbered stars shine in the heavens and
+all move but one, thus in the world.
+
+"Holds on his rank unshak'd of motion"; is fixed in his ideas and
+unmoved by prayers and petitions.
+
+"And that I am he"; and I am that one immovable man.
+
+"Let me a little show it"; let me give a little proof.
+
+C. _Sentences._ The first sentence means: If I could beg others to
+change their purposes, I could be induced to change mine; but I am as
+fixed in my conclusions as the north star is fixed in the heavens. The
+second sentence says: As there are unnumbered movable stars in the
+heavens and only one that is fixed, so in the world there are unnumbered
+changeable men and only one who is fixed in his determination; that I am
+the one determined man let me prove a little by saying that, as I was
+persistent in banishing Cimber so will I continue to keep him in
+banishment.
+
+D. _The paragraph._ The whole speech is a refusal on Cćsar's part to
+grant the petition of the conspirators who plead that Cimber may be
+brought back from banishment. The words are well calculated to stir up
+resentment and to fix the plotters in their plan to murder Cćsar. Even
+Brutus would be convinced by such sentiments that Cćsar was a dangerous
+man; if the great Roman thought himself the only man with such
+determination, might he not think himself the one man of the world in
+all respects? The conspirators were looking for an excuse for killing
+Cćsar, and they might find it in this speech; Brutus was being led to
+believe that Cćsar was too ambitious and here was the final argument to
+convince him.
+
+
+
+
+CHAPTER X
+
+CLOSE READING--(Concluded)
+
+
+_The Author--Figures of Speech_
+
+Real appreciation of literature is dependent on effort, and each
+acquired impression aids all others in proportion to its intensity. We
+can interpret only by what our minds already contain, so that the
+earlier years of one's reading are largely devoted to the acquirement of
+material for future use. In this way the myths and folk stories with
+which children fill their minds become the touchstones that enable them
+in later years to read with interest and judge accurately the literature
+that falls within their reach. The later one begins his reading, the
+more difficult it is for him to master the art. He has not the simplest
+standards of literary judgment nor even the ideas from which such
+standards are to be formed. Elegance of style and skill in the choice of
+words are entirely lost upon him, as is the delicate meaning involved in
+the play of appropriate figures and in the brilliance of the pictures
+limned in colors to which his eye is blind. Such a person can come to
+enjoy the pleasures of literature, but it is by way of a long and
+careful course of study, and it is probable that his appreciation will
+never be as keen as it would have been if he had gathered his literary
+stock in trade at the same time that his senses were first opening to
+the world. Then the skies and the flowers, the song of birds and the
+hum of insects, the quiet reaches of still lakes and the roaring surge,
+gave to him the sensations to which literature appeals.
+
+There is no need for one to feel discouragement when at first he does
+not admire all that the critics say is beautiful, but prefers some of
+the simple things that he knew in his childhood. The critic is right
+from his point of view, but there is merit, too, in the judgment of the
+humble reader. A person would hesitate to say the critic's judgment is
+the higher were it not for the fact that anyone reading carefully will
+find his tastes changing and constantly approximating higher standards.
+Each year brings him nearer to the critic's position and he sees
+excellence and is touched by beauty in selections that before have been
+devoid of any interest. It is to aid this growth in power of
+comprehension, this refinement of taste, that one reads.
+
+_The Author._ When the study relates to a specific selection it is wise
+to create an interest by looking for all the contributory aids that can
+be found. Sometimes a knowledge of the life of the author or of the
+circumstances under which the selection was written will stimulate a
+desire to know what has been said and will moreover assist to make the
+meaning clear and to create the same sentiment that inspired the writer.
+To know that _Snow-Bound_ is a description of Whittier's own home, that
+the people about the fireside are his own parents, brothers, sisters,
+and that he paints them with a loving touch after all but the one
+brother have passed to the other side, is to make the poem appeal to our
+emotions with an intensity which the beautiful lines alone could not
+effect. _Ichabod_ we read once, but when we know the meaning of its
+spiritual name and remember that it is Whittier's indignant rebuke of
+Webster for his vacillating policy in the slavery agitation, we read it
+again with a renewed and more vivid interest. Many things, however, are
+so universal that one cares not whether they were written by a Hindoo or
+an American, whether they are full of personal experience or drawn with
+the fervor of the most ardent imagination. Wordsworth's _Daffodils_
+(Volume VII, page 1) would charm us and our hearts would dance as
+joyfully if we knew nothing of the pensive poet of the English lakes.
+
+_Sentences._ Words alone are not a sufficient possession. They must be
+known in all their relations. A comprehension of the structure of the
+sentence is always necessary. A sentence is a unit of thought, an idea
+reduced to its lowest terms. It may not be necessary that each sentence
+be analyzed strictly by grammatical rules, but it is essential that the
+reader should recognize by study if necessary the subject and the
+predicate and the character and rank of all the modifiers of each. Even
+the practiced reader by unconsciously laying undue prominence upon some
+minor phrase frequently modifies the meaning an author intends to
+convey. This is particularly true in verse, where the poet, hemmed in by
+the rules that govern his meter and his rhyme, varies the natural order
+of the elements of a sentence to bring the accents where they belong or
+to throw the rhyming word to the end of a verse. The grouping of related
+sentences into paragraphs is an aid to the reader and should be noticed
+by him till the habit of expecting a slight change in thought with the
+indentation of a line becomes fixed and automatic.
+
+_Allusions._ But one may have the most perfect knowledge of all the
+words, his comprehension of the meaning of the sentence may be exact and
+full, and yet the special thought which the expression carries may never
+reach his mind. Ruskin writes: "Gather a single blade of grass and
+examine for a minute, quietly, its narrow swordshaped strip of fluted
+green. Nothing, as it seems, there, of notable goodness or beauty. A
+very little strength, and a very little tallness, and a few delicate
+long lines meeting in a point--not a perfect point either, but blunt and
+unfinished, by no means a creditable or apparently much cared for
+example of Nature's workmanship; made, as it seems, only to be trodden
+on today, and tomorrow to be cast into the oven; and a little pale and
+hollow stalk, feeble and flaccid, leading down to the dull brown fibres
+of roots. And yet, think of it well, and judge whether of all the
+gorgeous flowers that beam in summer air, and of all strong and goodly
+trees, pleasant to the eyes and good for food--stately palm and pine,
+strong ash and oak, scented citron burdened vine--there be any by man so
+deeply loved, by God so highly graced as that narrow point of feeble
+green." Words and sentences are all plain and simple and clear. Perhaps
+we pause a moment at "scented citron," for the citron as we know it is a
+vine bearing a melonlike fruit and we are not aware that it is
+especially fragrant. But this is another plant--a tree that bears a
+sweet-scented fruit not unlike the lemon. "Burdened vine" seems a trifle
+obscure--why _burdened vine_? A vine carrying a weight? What weight?
+The ripened clusters of purple fruit bending the swaying vines to the
+warm earth while autumn tints the leaves to harmonious colors. "Burdened
+vine" is a suggestive expression indeed to the person of a little
+imagination who has walked through the long aisles of a thriving
+vineyard. Is the passage now clear to us and perfectly understood? Does
+it convey to us what Ruskin really thought?--"Tomorrow to be cast into
+the oven." What a strange expression! Do we put grass into an oven? How
+came Ruskin to mention such a thing? "To be cast into the oven." We have
+seen "burdened vines" and we understand the "scented citron," but what
+of this grass "cast into the oven"? Back in the mind of the
+artist-critic lie the lessons of his childhood when an ambitious father
+and a strict mother intended him for the church and trained him
+carefully to a close and accurate knowledge of the scriptures. So when
+he writes of the grass of the field he almost unconsciously uses the
+language of the bible: "Wherefore if God so clothe the grass of the
+field which today is and tomorrow is cast into the oven, shall he not
+much more clothe you, O ye of little faith?" We his readers interpret
+his feelings and his meaning in this only as we have learned the same
+lessons.
+
+Examples of such allusions abound throughout literature. In _The Vision
+of Sir Launfal_, Lowell says:
+
+    "Daily, with souls that cringe and plot,
+     We Sinais climb and know it not."
+
+With a knowledge of geography we might locate the mountain and
+understand the sentence, but the tremendous power of the lines can
+never be felt unless we know the story of Moses and so realize that we
+stand every day like the patriarch of old in the very presence of God
+himself.
+
+The mythology of Greece and Rome furnishes to English literature
+allusions so pointed, so vivid, and so full of beautiful suggestion that
+a knowledge of the myths is necessary to any real culture. Modern
+writers do not make such ready use of them as did the older schools, but
+Lowell and Tennyson, Browning and Arnold, and a host of minor writers
+assume that their readers know as their alphabet the stories of
+mythology. In his hymn _On the Morning of Christ's Nativity_, Milton has
+this stanza following one which tells that the shepherds heard the sweet
+music:
+
+    "Nature that heard such sound
+     Beneath the hollow round
+      Of Cynthia's seat the airy region thrilling,
+     Now was almost won
+     To think her part was done,
+      And that her reign had here its last fulfilling;
+     She knew such harmony alone
+     Could hold all Heaven and Earth in happier Union."
+
+How little of intelligent interest attaches to the first three lines if
+one has no knowledge beyond the literal meaning of the phrases! "The
+hollow round of Cynthia's seat" has beauty for that person only who
+knows something of the Ptolemaic system of astronomy and of the
+huntress-queen of Greek mythology.
+
+Allusions lead one to every department of knowledge and are the result
+of the early training and experience of the author. No one needs to be
+told that Milton studied the classics, that Ruskin and Tennyson read the
+bible devotedly, that Shakespeare passed his early life in the country.
+The unconscious trend of their thought as shown by their allusions gives
+that information most distinctly. If a man loves history in his youth
+his writings will be filled with historical allusions; if he is a
+devotee of science one will find the phenomena of nature the source of
+his illustrations. The reader must be ready to understand and interpret
+feelingly these allusions no matter what the particular bent of the
+author. To the student the allusion is often very difficult of
+comprehension, for if it comes in the way of an ingenious paraphrase he
+may pass over it without the slightest recognition. When it is direct, a
+dictionary or other reference book will frequently make it sufficiently
+clear.
+
+_Basis of Figures._ The allusion is but one of many ways in which an
+author varies the literal meaning of his sentences and gives more force
+and beauty to his statements. There are a large number of different
+figures of speech, but such fine distinctions as the rhetoricians make
+are unnecessary for the ordinary student of literature. It is the
+meaning the figures convey that concerns us, for an adept in reading
+always notices the skilful use of figures, and his pleasure is
+heightened by their delicacy and beauty.
+
+In the study of figures one must first carefully determine the basis in
+reality or the literal meaning and then the figurative or applied
+meaning. Browning speaks of
+
+    "--selfish worthless human slugs whose slime
+     Has failed to lubricate their path in life."
+
+Here the reader must see disgusting slugs or snails crawling lazily
+across the ripening apples in the orchard and leaving behind them the
+filthy streak of slime with which they made the way easy for their ugly
+bodies, but in so doing defiled the fruit for human use. So much is the
+basis in fact. Knowing this one can feel the poet's stinging
+denunciation of the one who cast the beautiful girl in the way of the
+heartless Guido instead of "putting a prompt foot on him the worthless
+human slug."
+
+    "To unhusk truth a-hiding in its hulls."
+
+Here Browning has gone to the fields for his figure and we shall see the
+ripened grain, the corn or the wheat, the merry huskers at work upon it,
+turning out the glowing ear from its covering of dim paper wraps; or
+perchance a group of disciples walking with their Master and rubbing the
+hulls from the wheat gathered on the Sabbath day. Whatever the scene
+that comes in mind, one fact there is--underneath the dried and
+worthless hulls lies the living and life-giving grain. So we find truth
+bright and genuine when we have torn from it the coverings with which it
+has been concealed.
+
+Such practice as this in working out elaborately the figure often given
+in barest hint strengthens the imagination and gives to thought the
+versatility that makes reading a delight and an inspiration. Till the
+imagination is furnished material and given freedom, literature is as
+worthless as the husks.
+
+_Simile._ As we learn to know one thing from its likeness to another, it
+is natural that the writer should seek to make impressions vivid by
+comparison with better known things. Sometimes these comparisons are
+expressed in words, and one thing is said to be _like_ another, while at
+other times the comparison is left to be inferred and one thing is said
+_to be_ another. The _simile_ states the likeness. Browning seeks to
+make us see vividly the hideous character of one of his villains and
+says that on his very face you could read his crimes--
+
+    "Large-lettered like Hell's masterpiece of print."
+
+The comparison "like Hell's masterpiece" is a simile.
+
+Study each simile you find, and state the exact meaning of each
+literally. Compare your statement with the figurative one and see if the
+latter is clearer, more forcible, or more beautiful. If any one of the
+similes seems less vivid than your own literal statement, ask yourself
+if the fault is your own in that you are not thoroughly familiar with
+the basis of the figure. It is not necessary that your judgment should
+be unassailable. The value of the proceeding lies in the exercise of
+your attention and reason. Your judgments will improve, your
+appreciation grow keener and more delicate.
+
+_Metaphor:_
+
+                                  "Everywhere
+    I see in the world the intellect of man,
+    That sword, the energy, his subtle spear,
+    The knowledge, which defends him like a shield."
+
+This is another quotation from Browning in which he says intellect is a
+sword and energy a spear, thereby assuming a comparison and using the
+figure _metaphor_, while in the last line he uses the simile "like a
+shield." Ingersoll calls the grave "the windowless palace of rest," and
+Whittier refers to it in a beautiful metaphor as "the low green tent
+whose curtain never outward swings."
+
+_Synecdoche and Metonymy._ Another group of figures consists in naming
+one thing for something else closely associated with it in thought. When
+this relation is that of a part to the whole or of the whole to a part,
+the figure is synecdoche. Thus, when Browning says "pert tongue and idle
+ear consort 'neath the archway" he conveys the idea that idle gossips
+gather beneath the archway and with sharp tongues talk over the failings
+of their neighbors, and he uses synecdoche in making the ear and the
+tongue, parts of the body, signify the person. Our everyday language is
+full of these figures in which a part of an object is named to represent
+the whole. We speak of owning "twenty head of cattle," of hiring "ten
+hands," of seeing "fifteen sails," when we mean that we own twenty
+cattle, that we hire ten men, that we see fifteen boats.
+
+When the relation expressed is that of a sign or symbol and that which
+is signified or symbolized, a cause and its effect, a material and that
+which is made from it, or is some other similar association of ideas,
+the figure is metonymy.
+
+We speak of "the pulpit" when we mean the ministry, the "stage" when we
+mean the theatrical world, and thus use concrete symbols to represent
+abstract ideas. Again, we frequently make use of such an expression as
+"Have you read Pope or Dryden?" when we refer to the works rather than
+to the writer, and thus substitute cause for effect. "Columns of
+glittering steel advanced" contains another form of metonymy, that in
+which a material (steel) is named for that made from it (spears).
+
+Search for examples of these two figures in the selections in _Journeys
+Through Bookland_. Both are elusive, and at first you are apt to pass
+over many without noticing them. As you continue your search and grow
+keen in it you will be surprised to see how common they are, both in
+what you read and in your own speech.
+
+_Apostrophe and Personification._ An address to a person or thing,
+absent or dead, is an _apostrophe_, and when an inanimate object is
+assumed to be alive or an animate object is assumed to be raised to a
+higher plane of existence it is said to be by _personification_.
+Examples of the latter figure are "death's menace," "laugh of morn." In
+the line "Lucidity of soul unlocks the lips" are both metonymy and
+personification. The following is the beginning of a beautiful
+apostrophe:
+
+    "O lyric Love, half angel and half bird,
+     And all a wonder and a wild desire,--
+     Boldest of hearts that ever braved the sun,
+     Took sanctuary within the holier blue,
+     And sang a kindred soul out to his face,
+     Yet human at the red-ripe of the heart
+     When the first summons from the darking earth
+     Reached thee amid thy chambers, blanched their blue
+     And bared them of the glory--to drop down,
+     To toil for man, to suffer or to die,--
+     This is the same voice; can thy soul know change?"
+
+Another fine example is found in Whittier's _Snow-Bound_:
+
+    "O Time and Change!--with hair as gray
+     As was my sire's that winter day,
+     How strange it seems, with so much gone
+     Of life and love, to still live on!
+     Ah, brother! only I and thou
+     Are left all that circle now,--
+     The dear home faces whereupon
+     That fitful firelight paled and shone.
+     Henceforward, listen as we will,
+     The voices of that hearth are still;
+     Look where we may, the wide earth o'er,
+     Those lighted faces smile no more.
+     We tread the path their feet have worn,
+       We sit beneath their orchard trees,
+       We hear, like them, the hum of bees
+     And rustle of the bladed corn;
+     We turn the pages that they read,
+       Their written words we linger o'er,
+     But in the sun they cast no shade,
+     No voice is heard, no sign is made,
+       No step is on the conscious floor."
+
+The following lines are from Lord Byron's _Apostrophe to the Ocean_:
+
+    "Roll on, thou deep and dark blue Ocean--roll!
+     Ten thousand fleets sweep over thee in vain;
+     Man marks the earth with ruin--his control
+     Stops with the shore;--upon the watery plain
+     The wrecks are all thy deed, nor doth remain
+     A shadow of man's ravage, save his own,
+     When, for a moment, like a drop of rain,
+     He sinks into thy depths with bubbling groan,
+     Without a grave, unknelled, uncoffined, and unknown."
+
+       *       *       *       *       *
+
+Children enjoy searching for the different varieties of figures in the
+selections which they read. Not much instruction is needed, and it is
+not necessary that they should know the names of the different figures
+or acquire a great deal of technical knowledge. Yet in helping them to
+recognize figures it is best to proceed in a logical manner, showing,
+one at a time, what the principal figures are, upon what they are based,
+and what they add in vividness and beauty to the language. When one
+figure is understood, help the children to find many good examples in
+other selections, before taking up the second figure.
+
+As a help to parents and children, we give an outline here for a study
+of the figures of speech in Shelley's beautiful _Ode to a Skylark_
+(Volume VII, page 275).
+
+1. SIMILE:
+
+      "From the earth thou springest
+    _Like a cloud of fire_."
+
+    "_Like an unbodied joy_ whose race is just begun."
+
+    "With music _sweet as love_."
+
+    "_Like a star of heaven_
+        In the broad daylight."
+
+2. METAPHOR:
+
+      "From rainbow clouds there flow not
+         Drops so bright to see,
+     As from thy presence _showers a rain of melody_."
+
+    "Or how could thy notes _flow in such a crystal stream_!"
+
+    "In _the golden lightning_
+       Of the sunken sun."
+
+3 and 4. METONYMY AND SYNECDOCHE are nearly related and in this poem the
+examples are numerous. Here are a few:
+
+       "Better than all _treasures_
+     That in books are found."
+
+    "Teach me half the gladness
+       That thy _brain_ must know."
+
+    "Thou art unseen, but yet I hear _thy shrill delight_."
+
+    "The moon _rains out her beams_, and heaven is overflowed."
+
+    "The blue deep thou _wingest_."
+
+5. PERSONIFICATION. In this poem the poet personifies the lark,
+beginning with "Blithe spirit, bird thou never wert," in the first
+stanza and closing with "Teach me half the gladness that thy brain must
+know," in the last stanza.
+
+6. APOSTROPHE. Most odes have in them something of the nature of an
+apostrophe. The _Ode to a Skylark_ begins
+
+    "Hail to thee, blithe spirit!"
+
+Further along in the lyric we find the line,
+
+    "Teach us, bird or sprite."
+
+       *       *       *       *       *
+
+Young children will not appreciate the ode as it deserves; accordingly
+it will be better to use simpler poems for the first lessons. The
+obvious figures may well be shown first, leaving the more finished and
+brilliant ones till the minds of the children become more mature. For
+instance, as the simile is the most obvious of figures and may be found
+in nearly every poem of any length, it is the best with which to begin.
+Notice what a number can be found in _A Visit from Saint Nicholas_
+(Volume II, page 202). Explain those that are used in the description of
+Saint Nicholas:
+
+    "And he looked _like a peddler just opening his pack_."
+
+    "His cheeks were _like roses_, his nose _like a cherry_;
+     His droll little mouth was drawn up _like a bow_,
+     And the beard on his chin was _as white as the snow_."
+
+    "The smoke, it encircled his head _like a wreath_."
+
+    "That shook, when he laughed, _like a bowl full of jelly_."
+
+Encourage the children to find other similes themselves--the
+characteristic _like_ and _as_ will make the task easy.
+
+In _The First Snowfall_ (Volume II, page 403) are a number of metaphors
+which may be easily explained to children. For instance, the following
+will be readily understood:
+
+    "Every pine and fir and hemlock
+     Wore _ermine_ too dear for an earl,
+     And the poorest twig on the elm tree
+     Was ridged inch deep with _pearl_."
+
+    "The stiff rails were softened to _swan's-down_."
+
+
+SUMMARY
+
+We have considered the most common and expressive figures, and if one
+accustoms himself to the recognition of these and an explanation of
+their meaning as has been indicated here, he will soon recognize others
+of more complex type. Mere classification is valueless; our purpose is
+to learn to see and to feel more clearly and more deeply by means of our
+intelligent grasp upon these figurative expressions.
+
+Thought, then, is mastered by attention to the details we have
+discussed, and until we habitually notice these things our reading is
+apt to be slipshod and profitless. It will help us to retain these facts
+in mind if we put them into a systematic outline.
+
+Mastery of thought, which is at the foundation of an appreciation of
+literature, depends upon mastery of--
+
+    I. Words in their special meaning.
+
+   II. Allusions, or references to
+       1. Historical events and personages.
+       2. Literary masterpieces.
+       3. Scientific truths.
+       4. Biblical events and truths.
+       5. Mythological creations.
+
+  III. Figures, of which the more important and common are those--
+       1. Based on comparisons:
+          a. simile.
+          b. metaphor.
+       2. Based on natural associations:
+          a. synecdoche.
+          b. metonymy.
+       3. Of apostrophe.
+       4. Of personification.
+
+   IV. Sentences, the units of thought.
+
+    V. Paragraphs, the collections of related thought units.
+
+
+
+
+CHAPTER XI
+
+READING POETRY
+
+
+Nothing so brings out the music and the structural beauty of poetry as
+reading it aloud, and many who have cared nothing for verse in any of
+its forms learn to love it when they hear it read frequently by a
+sympathetic voice. Children love the nursery rhymes largely because they
+have heard them and have caught the sound and rhythm more than the
+meaning. It is the lively music more than the whimsical meaning that has
+made the rhymes popular. When the time comes that children begin to lose
+their interest and consider poetry beneath them, their flagging
+attention often may be aroused and new interest created by simply
+reading new selections aloud to them and talking with them about the
+meaning and beauties of the poems.
+
+On page 410 of Volume One is Longfellow's exquisite poem, _The Reaper
+and the Flowers_. We can imagine a little family group reading this some
+quiet evening when the lamp throws shadows into the corners and the
+bed-time hour draws near. No one could call the children in on a fine
+summer day, and, when fresh from their play, the blood is bounding
+through their veins, expect them to be touched by delicate sentiment, or
+to appreciate musical numbers. Literature has something for every hour,
+every mood, every circumstance. It may be that there is one little
+vacant chair in this family circle, or that from some neighbor's family
+a child has gone. Fear clutches at the youthful hearts and Grief
+shudders behind each chair. Even the warm bed in the dark room is a
+dread, for we have so surrounded death with mystery and terror that even
+the young are aghast when it is mentioned. But our best-loved poet has a
+cheering message for every one, and into this little group the parent
+brings it. In soft and sympathetic voice he reads aloud, giving the slow
+and gentle music of the lines time to steal into the youthful hearts.
+
+As he reads, he pauses now and then to speak to his little audience,
+watching ever not to be sharp in his questionings or anything but kindly
+in his comments. Something like the following might be the way he brings
+out the meaning:
+
+    "'There is a Reaper, whose name is Death,
+        And, with his sickle keen,
+      He reaps the bearded grain at a breath,
+        And the flowers that grow between.'
+
+"A _Reaper_--a man walking in the grain, cutting it as he goes. Not with
+a machine such as we see on the farm nowadays, but with a short curved
+blade which the poet calls a sickle. It is a _keen_ blade the sickle
+has, and with every stroke ripened grain and all the little flowers that
+have grown up among it fall to the ground. But the poet means more. He
+thinks that the Reaper is Death, that the _bearded grain_ is the men and
+women who have lived to a ripe old age and who are ready to die, ready
+for the rewards of a long and well-spent life. But alas, the _flowers_
+fall with the ripened grain: sometimes little children must die,
+although dearly would we like to keep them with us.
+
+"Then the Reaper speaks: 'Shall I have nothing fair and beautiful, must
+I have nothing but dry and bearded grain? I love these beautiful
+flowers; their fragrance is dear to me. Yet I will give them back again;
+some time you may see them again.'
+
+"So Death looked at the little children with tears filling his kindly
+eyes. As they faded and drooped he kissed them gently and took them
+softly and sorrowfully into his arms. He was gathering these lovely
+innocents to take them to his Lord, where in Paradise they might be
+happy evermore, without any of the privations and sufferings that come
+to every one who grows up.
+
+"As he wept, not for the little children, but for all who stay behind,
+he continued to speak smilingly through his tears to the sorrowing ones
+on earth:
+
+"'Christ needs these dear ones, these flowerets gay: to him they are
+tokens dear of the earth where once he played and sang on the hills of
+Judea. Can you not trust them to him who said, "Suffer little children
+to come unto me, and forbid them not: for of such is the Kingdom of
+God?" Have no fear; I am but moving them into the bright heavenly
+mansions, where they shall rest safely in the bosoms of the saints and
+angels.'
+
+"And the mother, who loved them so, gave up her darling ones, for she
+saw, even through her tears, how happy they must be in their new home.
+
+    "'O not in cruelty, not in wrath,
+       The Reaper came that day;'
+
+it was a young and beautiful Angel, not the hideous Death in black robes
+and hood scarce hiding his bony head, that
+
+    "'visited the green earth,
+    And took the flowers away.'
+
+"Does Death seem so terrible now? Although we must always see the vacant
+chair and know that a loved one has gone forever, can we not realize
+that it is we who suffer, and not the one who has been taken from among
+us? Is it not selfish to grieve?"
+
+Shall we fear Death any more? When the parent has read the poem once
+more from beginning to end in silence, except as the soft words fall
+from his lips, will not the hearers feel inspired to be better and
+nobler boys and girls, men and women? Will darkness have more fear for
+them? Will they not then go to their rooms and lie down peacefully to
+sleep?
+
+There are other poems for other hours. Some day when you wish a bit of
+fun with your children you will find humorous poems in many of the
+books. One is in Volume IV, on page 57. Nearly every stanza contains a
+"joke": a pun, if you please, usually. Perhaps you and your children
+will find them all easily, and perhaps you will not. In the last stanza
+is the "joke" proper, the thing for which the rhymes were written. It is
+an old joke, surely enough, and you have seen others like it; but it is
+funny still and perhaps a little caustic. Not all men whom the world
+calls good are good beneath the surface. Perhaps you know of cases in
+which "the Dog it was that died."
+
+Another humorous poem to use in this connection is _Echo_ (Volume III,
+page 286).
+
+Between the two extremes mentioned above are selections for all moods
+and all kinds of people. The things to be remembered in reading with
+children are, that poetry must be understood to be appreciated; that it
+must be heard until the mind is trained to receive it through the eye
+instead of the ear; that it appeals to the feelings more than to the
+will; that it must be interpreted by the light of experience, and hence
+must be adapted to the age of the reader. A person would not read _The
+Reaper and the Flowers_ at a dancing party, nor _The Elegy on the Death
+of a Mad Dog_ before a funeral.
+
+Below are a few studies more complete and of different types.
+
+
+_The Brown Thrush_
+
+(Volume I, page 147)
+
+We find great charm in this short lyric, for its form is unusual, its
+music joyous and its sentiment fine. Three lines of four feet each, a
+line of three feet, two lines of two feet each, and one line of three
+feet make up each stanza. The accent in each foot is on the last
+syllable, but some of the feet are only two syllables long. It's a merry
+meter. It scarcely can be read without stirring a rollicking melody in
+the ears of the listener. That's the art in the poem. The sentiment is
+as fine as the music. "The world's running over with joy! I'm as happy
+as happy can be." If the little brown thrush keeps singing that song the
+heart of everyone who hears it will overflow with joy. But it would be
+easy, very easy indeed, to stop the joyous song of the thrush by
+meddling with the five pretty eggs, and when the thrush changed his
+happy song to harsh notes of fear and reproach, the light of joy would
+fade from our day as quickly as from his.
+
+
+_The Child's World_
+
+(Volume II, page 66)
+
+The unique measures of this brief poem make a melodious whole that every
+child will appreciate. Unless some care is taken in reading it aloud,
+however, much of its beauty will be lost. This is particularly true of
+the first stanza, from the first and last lines of which a syllable has
+been omitted. The absence of these syllables must be indicated by pauses
+or by giving more time to the word "great" in the first line, and to the
+word "world" in the last line. The idea may be indicated by supposing
+that the word "O" has been omitted from the beginning of the first and
+last line. The first line of the last couplet is peculiar in that every
+one of the four feet contains three syllables with the accent on the
+last. All the other lines consist each of four feet of either two or
+three syllables. Technically the poem is anapestic tetrameter much
+varied by the introduction of iambic feet. (See the studies in meter,
+Volume VII, pages 2 and 13.)
+
+The rhymes are all in couplets and are perfect. The stanzas, like
+paragraphs, indicate changes in thought. Its pleasing unity rests in the
+fact that it is all a child's thoughts about the world. It is logical, a
+real leading up of thought to natural climax. The child begins with
+wonder and a sense of beauty around her. The world is great and wide
+and wonderful and beautiful. She thinks of the sea she has read about
+or seen and thinks of the wonderful water curling up in waves above the
+shore. To her the world is the land with the wonderful growing grass
+upon its broad breast, and this marks the end of her first thought--the
+great world is beautifully dressed.
+
+Next as she sits on the brow of the hill and gazes over the lowland the
+breezes blow her hair about her face and her mind passes to the
+wonderful air that as wind shakes the trees, ripples the water, whirls
+the mills and sings through the trees on the tops of the hills.
+
+Thought wanders on to the nodding wheat, the rivers, cliffs, and
+islands, to the cities and the people everywhere for thousands of miles.
+What is the effect of this vastness on the thought of a child? Can you
+not realize for yourself any clear night that you may gaze at the
+numberless stars in the arching skies? How small, how infinitely little
+are we in all the great universe! Have we the imagination to grasp the
+saving thought that comes so naturally into the clear mind of the child?
+Though I am so small, so insignificant, I can think and love, but the
+wonderful earth can not. A philosophy well worth keeping, is it not?
+
+
+_Seven Times One_
+
+(Volume II, page 119)
+
+Jean Ingelow's poem has in it many things to interest a child, but there
+may be some things that will be clearer for explanation.
+
+Stanza 1. In England the daisy grows wild almost everywhere, a little,
+low plant which produces its heads of white, pink-tipped flowers from a
+rosette of leaves. In the United States we often see daisies in
+cultivation but they are nowhere native. The child is at her seventh
+birthday and has learned her multiplication table, the "sevens".
+Nowadays in our schools the children do not have the drudgery of
+committing the long tables to memory as their grand-parents did. Our
+little friend thinks that as she has lived seven years that makes her
+"seven times one are seven."
+
+Stanza 2. One is so old at seven, so very old--why one can even write a
+letter. But now with the birthday lessons learned she can think of other
+things; for instance there are the lambs who play always, for they have
+no lessons to learn. They are not old and they are "only one times one,"
+not "seven times one," which are seven.
+
+Stanza 3. She has seen the moon when it was full and bright and gave a
+wondrous light, but now it is only a pale crescent in the sky and its
+light is failing. Certainly the moon is failing and not like the child
+improving each day.
+
+Stanza 4. Occasionally the child has done wrong and been punished, and
+perhaps the moon has done something wrong way up there in heaven so that
+God has hidden its face. If that is true she hopes soon God will forgive
+the poor moon and allow it to shine once more with its silver light.
+
+Stanza 5. Isn't "velvet bee" a happy expression? Then the bee gathers
+the yellow pollen from the flowers, mixes and shapes it into little
+pellets and fastens them in golden balls on its thighs to carry into the
+hive where it will serve as "bee bread" to feed the young bees. In the
+wet places grow the marsh marigolds, or cowslips as they are sometimes
+called, bright golden flowers like the buttercups. To the bee and the
+cowslips the little child joyfully cries: "Give me your golden honey to
+hold, for I am seven years old and know what to do with it."
+
+Stanza 6. The columbine is the graceful little flower we so often hear
+called honeysuckle. Five deep curved nectar-bearing tubes project
+backward from the flower itself. By opening the blossom in the right way
+the child of fanciful ideas may see shapes that remind her of turtle
+doves.
+
+The cuckoo-pint (by the way, the _i_ is short as in _pit_) does not grow
+in the United States. It has spotted leaves, large and triangular, and
+the "bell" is an upright green cup in which stands a tall column, the
+"clapper." It is called cuckoo-pint because it blossoms about the time
+the cuckoo returns to England. Our nearest approach to the flower is the
+"Jack-in-the-Pulpit" or Indian Turnip.
+
+It is perfectly safe for the columbine to unfold its wrapper and the
+cuckoo-pint to toll its bell in the presence of a maiden so old. She
+will not destroy them.
+
+Stanza 7. In the United States we have no wild linnet, though we
+sometimes hear song-birds called by that name. The English linnet is a
+little sparrow with striped back and a purple crown and breast. He
+resembles our purple finch and our redpoll. He is one of the famous
+songsters of the English lanes and fields.
+
+No young lady of seven would be so thoughtless as to steal away the
+young linnets, so the old bird may freely point out the nest.
+
+At what time of the year does the little girl's birthday come?
+
+
+_The First Snowfall_
+
+(Volume II, page 403)
+
+A. _The Author._ For a sketch of the life of James Russell Lowell, see
+Volume VII, page 411.
+
+B. _The Meaning._ Words and Phrases:
+
+"Gloaming"; early evening.
+
+"Silence." The snow is called a silence, because it hushes noise, or
+prevents it.
+
+"Pine and fir and hemlock"; three evergreen trees.
+
+"Ermine"; the fur from a northern animal of the same name. It is very
+soft and white. Earls, nobles of rank, wore ermine on their robes to
+show their high birth.
+
+"Pearl"; a white, lustrous jewel, or the beautiful lining of some sea
+shells.
+
+"Carrara"; a town in Italy, whence comes the finest white marble. Here
+Carrara means _costly marble_.
+
+"Swan's down." Swans have fine soft down between their feathers. It
+protects them from cold in winter, and in summer they line their nests
+with it.
+
+"Noiseless work"; covering everything with snow.
+
+"Mound"; grave.
+
+"Auburn"; a beautiful cemetery near Boston.
+
+"Babes in the Wood"; an allusion to the old story of the children who
+were lost in the woods, and whom the robins covered with leaves to
+protect them.
+
+"All-father"; God, the Father of all.
+
+"Leaden"; gray and heavy, lead-colored.
+
+"Arched"; curved.
+
+"Deep-plunged woe"; a sorrow that plunged us deep in misery.
+
+"Eyes that saw not." His eyes were so filled with tears that he could
+not see "Mabel," who is really his daughter Rose.
+
+"_My_ kiss was given to her sister." He was thinking so deeply of his
+lost daughter, that it seemed almost as though he kissed the dead lips.
+
+"Folded close." The soft, downy snow made him think of a soft, warm
+covering for the form of his little one.
+
+C. _Form and Structure._
+
+There are ten stanzas of four verses (lines) each, with the rhymes at
+the ends of the second and fourth verses only. The word _snow_ is used
+four times in rhymes; the words rhyming with it are _crow_, _below_,
+_woe_ and _know_. All the rhymes in the poem are perfect.
+
+The meter is varied iambic trimeter. The first and third lines of each
+stanza have an added unaccented syllable, while the second and fourth
+have just three full feet. Anapestic feet are used freely to improve the
+music; in fact, they are nearly as numerous as the iambic feet.
+
+The scansion of the first stanza may be indicated thus:
+
+    The-snow´|had-be-gun´|in-the-gloam´|ing
+    And-bus´|i-ly-all´|the-night´
+    Had-been-heap´|ing-field´|and-high´|way
+    With-a-si´|lence-deep´|and-white´
+
+The scansion of the sixth stanza may be shown as follows:
+
+    Up-spoke´|our-own´|lit-tle-Ma´|bel
+      Say-ing-Fa´|ther-who-makes´|it-snow´
+    And-I-told´of-the-good´|All-Fa´|ther
+      Who cares´|for-us-here´|be-low´
+
+They are musical stanzas, and the finely chosen words add much to the
+melody.
+
+D. _Sentiment._ Lowell had a little daughter, Blanche, who died shortly
+before this poem was composed, so we may be sure that it was written
+from a full heart. He begins by giving us one of the most beautiful
+pictures of a snow-storm and of a snow-covered world that was ever
+written.
+
+(Compare Lowell's other description of winter to be found in the second
+part of _The Vision of Sir Launfal_ and Whittier's description in
+_Snow-Bound_.)
+
+When he has made us feel the softness, gentleness and beauty of the snow
+and caused us to forget that it is cold and damp, he speaks of himself.
+We can see him sitting by the window looking out upon the beautiful
+pearl-clad world. He brings us right into his own presence and we can
+almost see the flocks of startled brown snowbirds whirling by. Not till
+now, when we are fully in sympathy with him, does he let us know that he
+has met with a deep, heart-breaking loss. Now we know what the soft
+flakes are hiding from sight, and our hearts go out with his.
+
+Then his innocent little daughter comes in with the simple, commonplace
+question which he answers so touchingly. Can you not see him with his
+arm around the child, telling her of the care of the Father who loves
+little children so dearly? Yet his mind cannot free itself wholly from
+his first great sorrow, though he remembers that calmness, resignation,
+and gentle patience fell over his heart as the soft snow falls flake by
+flake from the leaden sky.
+
+To the child, however, he speaks words that she will not fully
+understand until she, too, is grown and has met with sorrow: "It is only
+the merciful Father, darling, who can make fall that gentle comfort that
+heals and hides all suffering."
+
+Once more our hearts are wrung with sympathy when with tear-filled eyes
+he gives the little maiden by his side the kiss that was for the silent
+lips in sweet Auburn. The little one, kissing back, could not know the
+grief of her father's heart or realize that another form than hers was
+clasped in his embrace.
+
+How much better we know the great poet when he tells us his personal
+griefs in so touching a manner! How sweet is the lesson of patience and
+resignation when communicated in such a beautiful poem!
+
+E. _Beauty and Effectiveness in Phrasing._ Where in literature will you
+find more beautiful phrases, more effective figures, than abound in this
+poem? Notice particularly the following, and try to determine why each
+is remarkable:
+
+    "With a silence deep and white."
+
+    "Ermine too dear for an earl."
+
+    "Stiff rails softened to swan's down."
+
+    "The noiseless work of the sky."
+
+                            "the leaden sky
+     That arched o'er our first great sorrow."
+
+    "The scar of our deep-plunged woe."
+
+    "Folded close in deepening snow."
+
+F. _Conclusion._ _The First Snowfall_ is one of the most perfect poems
+in our language. In beauty of composition, of music, of sentiment, and
+in deep religious feeling it can scarcely be excelled. Be guarded how
+you teach it; treat it reverently. Try to cause the children to love it,
+to wish to memorize it. If you see that you are not securing these
+results, leave the poem and take up something else. It is almost a sin
+to spoil it for any person.
+
+
+_The Potato_
+
+(Volume II, page 467)
+
+Thomas Moore's amusing stanza may seem silly to some people, but those
+who have a sense of humor will be delighted with the whimsical
+conception of a potato with so independent a spirit. It usually spoils
+humor to comment upon it. To explain a joke is to kill it. The sense of
+humor is contagious. Children will laugh when older people smile just
+from sympathy. When they ask "what's the joke?" it is time to explain.
+Even then it is best to give merely facts and let the joke make its own
+way. Laughter lightens many a heavy burden, and a sense of humor is a
+saving grace. Cultivate it by indirection.
+
+
+_Origin of the Opal_
+
+(Volume II, page 480)
+
+The opal is a beautiful stone which seen at different angles and in
+different lights seems to glow with various colors. The polished
+surface may seem, as you first look at it, to be only a milky white.
+Turn it a little and it glows a bright flame color with green lights
+round the margin. Turned a little more it shows violet and silver. Other
+shades mingle with these, all coming and going as light and position
+vary. A fine opal is a wonderfully brilliant precious stone.
+
+The idea of the poem, too, is beautiful. Here is a transparent dewdrop;
+in it is the flame of the last ray of sun. As the drop lies in the
+violet it takes that color, and steals from the rose her delicate
+shades. From the sky it draws the blue, from a leaf its green and
+silver. When all these colors have been taken in, the drop is congealed,
+and imprisoned in its heart are the fiery flame, the rich violet, the
+rose tints, the skyey blue, the delicate green and the gleaming silver.
+This is the opal.
+
+
+_The Barefoot Boy_
+
+(Volume IV, page 3)
+
+On page 5 occur the lines,
+
+    "Mine, on bended orchard trees,
+     Apples of Hesperides!"
+
+According to the old Greeks, there lay far to the west, in the ocean, a
+wonderful island where were kept, under the guard of a gruesome dragon,
+the beautiful golden apples which Gaea gave as a wedding present to
+Zeus. The Hesperides were the three daughters of Night, who ruled the
+guardian dragon. These golden apples, then, came to be known as the
+apples of Hesperides. When Hercules in his madness had slain his three
+children he was condemned to do whatever his cousin Eurystheus demanded
+for his purification. His tasks came to be known as the Twelve Labors of
+Hercules, and the eleventh was to obtain the golden apples from the
+Hesperides. He accomplished this task among the others, but the apples
+were subsequently restored. To the barefoot boy the apples of his New
+England tree were as choice as the golden ones of the Greek myth.
+
+Do not fail to see the exquisite picture painted by these beautiful
+descriptive lines on pages 5 and 6.
+
+    "O'er me, like a regal tent,
+     Cloudy-ribbed, the sunset bent,
+     Purple-curtained, fringed with gold,
+     Looped in many a wind-swing fold."
+
+
+_The Bugle Song_
+
+(Volume VI, page 133)
+
+Among the many charming lyrics which Tennyson has written, there are few
+more musical or more delicately beautiful than _The Bugle Song_. It may
+be appreciated better perhaps if we have knowledge of its setting. It
+occurs in _The Princess_, and has no immediate connection with anything
+that precedes or follows.
+
+Three pairs of youthful lovers have been climbing above a lovely glade
+wherein is pitched the tent of the Princess. As they climbed, "Many a
+little hand glanced like a touch of sunshine on the rocks, and many a
+light foot shone like a jewel set in the dark crag." They wound about
+the cliffs, and out and in among the copses, striking off pieces of
+various rocks and chattering over their stony names, until they reached
+the summit and the sun grew broader as he set and threw his rosy light
+upon the heights above the glade. When in this poetic vein Tennyson has
+described the scene, he throws in _The Bugle Song_ without any comment.
+
+We will understand it better if we paraphrase it briefly. Let us imagine
+ourselves standing on some peak and looking over a scene lighted by the
+setting sun.
+
+    "The splendor falls on castle walls
+     And snowy summits old in story."
+
+The light in long quivering beams is thrown across the lakes, and a wild
+cataract, made glorious by the golden light, leaps down a neighboring
+precipice. At this moment, somewhere in the distance we hear a bugle
+which sets wild echoes flying in every direction about us. As these
+echoes die away,
+
+    "O hark, O hear! how thin and clear,
+     And thinner, clearer, farther going,"
+
+there comes reflected to us from cliff and abrupt promontory the faint
+sound of the little horns of Fairyland. To them the purple glens reply
+in echoes gently dying into silence. O love, those echoes die away in
+the rich sky, and faint into nothingness on hill and field and river;
+but echoes of our thoughts, our feelings, of ourselves, roll on from one
+soul to another and grow in power forever and forever.
+
+The music in the lyric is dependent upon the choice of words and the
+arrangement of words. The words are chosen because of their meaning and
+because of the sounds which compose them. They are so arranged that the
+sequence is melodious and that the accents fall where needed to perfect
+the meter. The first three lines are perfectly smooth and regular, but
+the fourth is an abrupt change; "And the wild cataract leaps in glory"
+suggests power and strong interrupted motion. The last two lines of the
+stanza are somewhat irregular in meter, and the double repetition of the
+last word suggests the time elapsing while the echoes are flying back
+and forth between the surrounding cliffs, growing fainter and fainter
+with each repetition. In reading we show this: "Blow, bugle," is the
+original sound; we pause for the echoes to answer, "dying, dying,
+dying."
+
+In the second stanza the poet has selected words in which the vowels
+have thin and delicate sounds:
+
+            "how thin and clear,
+    And thinner, clearer, farther going!"
+
+So soft are the echoes that they suggest to the poet the delicate
+refrain from the musical instruments of fairies, and he describes it in
+the poetic phrase,
+
+    "The horns of Elfland faintly blowing!"
+
+The meter of the last stanza, which is more irregular than the others,
+we can indicate as follows:
+
+      O love´|they die´|in yon´|rich sky´
+        They faint´|on hill´|or field´|or riv´|er:
+      Our ech´|oes roll´|from soul´|to soul´,
+        And grow´|for ev´|er and´|for ev´|er
+    Blow, bu´|gle, blow´|--set´|the wild ech´|oes fly´|ing,
+    And an´|swer, ech´|oes, an´|swer, dy´|ing, dy´|ing, dy´|ing.
+
+In the next to the last line there are five feet and one added syllable,
+if we consider that the pause which we naturally make before the word
+_set_ is equivalent to a syllable. In the last line there are six feet
+with an added syllable. This additional foot which appears in the last
+line of every stanza is introduced to imitate the lingering death of the
+echoes.
+
+After this study of the poem it should be read several times aloud in an
+effort to bring out the music; the first stanza in the pitch of ordinary
+conversation, with force in the fourth line and lingering intonations in
+the last line. The pitch of the second stanza should be higher, and it
+will be easily attained because of the predominance of the thin vowels.
+The third stanza calls for a pitch lower than the first and a slowness
+and solemnity of movement quite in contrast to the moderate rate of the
+first and the liveliness and gaiety of the second. It will be seen in
+these readings that there is an overlying melody in the stanzas, quite
+distinct from the rhythm that depends upon the meter, and that in the
+reading the meter naturally falls subservient to the melody of the
+phrases. In fact, in a poem of this kind the meter should be forgotten
+in the reading, which should give itself wholly to bringing out the
+meaning expressively, and to making the voice harmonize with the rich
+music of the lines.
+
+An analysis of _The Bugle Song_ will seem superfluous to the cultivated
+reader, but if these suggestions help the learner to see something new,
+to feel more acutely, to realize beauty more abundantly, their purpose
+is accomplished.
+
+
+_The Petrified Fern_
+
+(Volume VII, page 77)
+
+Some day when you want an interesting and delightful nature lesson that
+is a little out of the ordinary, get, if you can, a fossil fern. If you
+are in the city, doubtless you can get one from the museum, or, better
+yet, you may find that among your pupils there is someone who has such a
+specimen carefully treasured away. In some localities where the
+limestone rock comes to the surface, especially in the coal measures,
+these petrified ferns are very numerous. Show this to the class and get
+them all interested in it.
+
+If you cannot get a specimen to use, you can find a picture in the
+encyclopedia or geology, or you can tell the pupils how in some places
+it is possible to pick up from among the rocks on the surface of the
+ground oblong pieces perhaps a half inch thick, in which, when they are
+split open, you can see the impression of a fern, every vein showing
+plainly and looking as clear in the dull gray as it showed when alive in
+its green dress.
+
+Tell the story of the fern something after this fashion:
+
+"Hundreds and hundreds of years ago, so many years, in fact, that none
+of us can tell how many, somewhere in a valley, there grew a beautiful
+little fern, green and slender. It was as tender and delicate as the
+ones you can find in the woods now, and grew in just such a shady place.
+When the breezes crept down under the trees they waved the fern
+gracefully about so that it gently touched the tall rushes that grew
+above it and cast little shadows on the moss at its feet. Now and then
+a playful sunbeam darted through the crevices in the leaves and found
+the fern, and at night drops of dew stole silently in and made a
+glistening crown upon its head. But there were no children then to find
+it. It was long, long ago, when the earth was young, and nowhere on its
+broad surface was a single human child.
+
+"Out in the silent sea fishes larger than any that can be found now were
+swimming about. Across the plains of the earth animals of wonderful
+shapes and enormous size stalked clumsily and found their way into
+stately forests. No man ever saw growing such trees as waved their giant
+branches over the earth, for then Nature made things on a grander scale
+than she does now. The little fern, however, was wild and simple, and
+lived in its home unnoticed and uncared for by any of the great
+creatures or the mighty trees. Still it grew on modestly in its own
+sweet way, spreading its fronds and becoming more beautiful every day.
+
+"Then suddenly one day the earth heaved up its mighty rocks and threw
+them about in every direction. The strong currents of the ocean broke
+loose and flooded over the land. They drowned the animals, moved the
+plain, tore down the haughty woods and cast the great trunks about like
+straw. They broke the little fern from its slender stalk, and burying it
+deep in soft moist clay, hid it safely away.
+
+"Many, many long centuries have passed since the day the useless little
+fern was lost. Millions of human beings have come upon the earth, have
+lived and been happy, have suffered, passed away, and have been
+forgotten. The soft, moist clay that clasped the fern hardened into rock
+and kept safely in its strong prison the delicate little frond.
+
+"Then one day, not long ago, a thoughtful man studying Nature's secrets
+far and wide found up in a valley where a stream had worn a deep
+fissure, a queer little rock. When he looked at it, he saw running over
+it a strange design, as though some fairy with its magic pencil had
+drawn the outline of a fern with every vein distinct, showing in every
+line the life of the long-lost plant. It was the fern I told you about.
+
+"Isn't it strange that so delicate a thing as a fern could be kept clear
+and fine through all those thousands of years when the earth was
+changing and growing, and then finally be thrown up where a man could
+find it and read its whole history? The poet, Mary Bolles Branch, saw
+the little fern and wrote the beautiful lines which I now want to read
+to you."
+
+(Here read the poem, _The Petrified Fern_, found in _Journeys_, Volume
+VII, page 77.)
+
+There are very few words or expressions in the poem that will require
+any explanation. At the end of the first stanza the phrase "keeping
+holiday" means that as there were no human beings on the earth, there
+was no real work being done.
+
+At the end of the first line in the second stanza the word _main_ is an
+old term that means _ocean_.
+
+The last two lines of the third stanza are meant to show how different
+life has been on the planet since man came. Until he appeared there was
+no real agony; there was pain, for animals can suffer, but it takes a
+mind and soul to know agony. Man cannot live except with suffering and
+at a bitter cost.
+
+Until the last two lines of the fourth stanza are reached the poem is
+merely a beautiful and musical narrative. The last two lines are the
+thought that comes to the poet when she considers the history of the
+little fern. It is thinking such thoughts as this that make the poet
+different from ordinary men. You and I might see the impression of the
+fern and think it beautiful, but its beauty would not suggest to us the
+comforting idea that
+
+    *  *  * "God hides some souls away
+    Sweetly to surprise us, the last day."
+
+Our own poet Longfellow, in _The Builders_, voices a similar thought
+when he says:
+
+    "Nothing useless is, or low;
+       Each thing in its place is best;
+     And what seems but idle show
+       Strengthens and supports the rest."
+
+After you have presented these thoughts, read the poem again to the
+children. Call attention to its musical structure, its simplicity, the
+beauty of its expressions, and then read it a third time. It is one of
+those beautiful things which may well be committed to memory.
+
+It will be found very helpful, too, for the children to write the story
+in prose and try to bring out the meaning. Let them use freely the words
+of the poem, but a different arrangement of words, so that there shall
+be left no trace of rhyme or meter in their prose.
+
+  [Illustration: ROBERT SOUTHEY
+  WILLIAM COWPER
+  ROBERT BURNS
+  LORD BYRON
+  JOHN KEATS
+  PERCY BYSSHE SHELLEY
+  SAMUEL TAYLOR COLERIDGE]
+
+
+_The Forsaken Merman_
+
+(Volume VII, page 180)
+
+One of the satisfactory poems for study in the middle years of school
+life is the one whose name heads this paragraph. It is a great favorite
+with most children who know it, but it has not found its way largely
+into school use. For both of these reasons it is worthy of study.
+
+I. _Preparation and General Plan._ Let the children read in turn, each
+taking one stanza, and if a second reading seems desirable let them
+exchange stanzas so that each will have a part new to himself. Be sure
+to have a final reading, by yourself or by the best reader among the
+children, which shall be continuous and without interruption; otherwise
+the beautiful unity of idea and the relation of the different parts will
+be overlooked.
+
+II. _Words and Phrases and Sentences._ It is well to begin with the
+study sentence by sentence. See that the meaning is clear. The following
+suggestions may be of assistance:
+
+_Page 180, line 6._ "Wild white horses"; the breakers, where the waves
+are beaten into foam and flying spray.
+
+_Line 7._ "Champ"; gnash their bits.
+
+_Page 182, line 4._ "Stream." The ocean currents resemble streams of
+water on land.
+
+_Line 8._ "Mail"; scales. How could the snakes _dry_ their mail?
+
+_Line 10._ "Unshut." Do fish have eyelids? Is a whale a fish? Does a
+whale have eyelids? Do most people think of a whale as a fish?
+
+_Line 18._ "Sate" is an old form for "sat." Can you find other old or
+unusual words or expressions? Why does the poet use them?
+
+_Line 25._ "Merman." The literature of the ancients contained frequent
+allusions to mermaids, who were strange creatures with heads of
+beautiful, long-haired maidens, but with scaly bodies and the tails of
+fish. In pictures they are usually represented as sitting upon reefs
+holding a mirror in one hand and combing their long locks with the
+other. Holmes, in _The Chambered Nautilus_, speaks of the "cold
+sea-maids" who "rise to sun their streaming hair." Mermen were not so
+often spoken of, but there are some allusions to them. In later times
+the mermaids were considered more as fairies, and there were many
+stories of human children being taken to live with the mermaids, and of
+the latter coming upon land to live like men and women. There was, too,
+a belief that sea-folk had no souls, and that a person who went to live
+with them would lose his soul. The beautiful picture on page 181 shows
+the forsaken family.
+
+_Line 10_, from the bottom. "Leaded panes." The small panes of stained
+glass in the church windows are set in narrow leaden frames.
+
+_Page 185, line 4._ "Heaths" and "broom". The English and Scotch
+heathers are little bushy shrubs that cover the hills and fields. They
+bear beautiful little bell-like pink or white flowers. The trailing
+arbutus, the blueberry and the wintergreen are some of our native plants
+belonging to the same family. The broom plant is another low shrub that
+bears rather large yellow blossoms, shaped like the flowers of peas and
+beans. The old-time country-folk used bundles of these shrubs for
+brooms.
+
+_Line 10._ There have been several allusions to tides. If the children
+do not understand the subject, be sure to explain how different a shore
+looks at high and at low tide. The change is most noticeable where the
+water is shallow, for then long stretches of sea-bottom may be uncovered
+at low tide.
+
+III. _The Story._ Bring out by questions these facts which constitute
+the "plot," or incidents:
+
+1. A merman, who has a family of children (five, the artist says, page
+181), has been deserted by his human wife.
+
+2. The father and children are on shore trying to persuade the mother to
+return. The father feels that all must go back.
+
+3. He begs the children to call their mother once more, for he thinks
+that childish voices, wild with pain, may induce her to come.
+
+4. He feels discouraged.
+
+5. He tells how she became alarmed and left them at Easter time to
+return to her church and pray, that she might save the soul she feared
+she was losing.
+
+6. The father and children had come on shore to find their mother. She
+was seen praying in the church, working at her spinning wheel at home,
+happy but apparently not wholly forgetful of her family in the sea, for
+she sighed and dropped a tear as she looked over the sand to the sea.
+
+7. The father feels that his wife is cruel and faithless and that she
+has deserted, forever, himself and his family, the kings of the sea.
+
+IV. _The Characters._ Question the children till they see clearly the
+persons.
+
+1. The principal character is the deserted merman, a king of the sea.
+Ought he to expect his wife to stay with him?
+
+2. The wife, a human being who has loved a merman, and who has a family
+of sea children, but who has suddenly become awakened to the danger to
+her soul. Is she selfish? Ought she to have forsaken her family? Can she
+really be happy away from her husband and family?
+
+3. The children. How many were there? How old were they? Were there both
+boys and girls? Do you think Mr. Reese had a clear idea of the family
+when he drew the picture (page 181)? There must have been at least
+three, for it is said that the mother tended the youngest well; at least
+one girl, for the mother sighed for the strange eyes of a little
+mermaiden.
+
+4. The priest.
+
+V. _Pictures._ Two series of pictures are kept side by side all the
+time; one of the land, and the other of the sea. Try to create a vivid
+scene from each.
+
+_First_, on land: We can see a little town, nestling on the side of a
+bleak, wind-swept hill, an old English town with a white stone wall all
+around it. On the hill, which is too rough to be cultivated, grow great
+fields of heather, studded with the golden blossoms of broom-plant. A
+little gray stone church stands surrounded by its yard, where the
+village dead are buried, for such was the old custom in England. The
+stones are at the head of the graves, and the walls of the church are
+rain- and storm-worn, but bright stained-glass windows in the building
+and flowers and trees among the graves make the place very beautiful.
+Some of the windows are clear, so that you can look through and gaze
+along the aisle bordered by high wooden pews and see the priest reading
+service, and, by one of the stone pillars, the merman's wife, her eyes
+steadily gazing at the bible in her lap. You are privileged, too, to
+peep into one of the thatched cottages, and see the mother turning the
+old-fashioned spinning wheel. From her house there is a wide view down
+the hill, across the bay and out to sea. At high tide the breakers dash
+madly against the shore, but at low tide there is a broad strip of
+silver sand, rocks covered with sea-weed, and in the low places, creeks
+and pools of salt water. Does the artist's picture represent high or low
+tide?
+
+_Second_, at sea: Deep beneath the surface of the water where the waves
+toss and roar, where the surf and spray dash madly about, are great
+caverns strewn with white sand. It is cool down there in the depths, and
+the light filtering through the clear green sea is weak and pale. The
+water streams through caverns, swaying the exquisite sea-weeds that line
+the walls; and outside, round about, whales, sea-snakes and all manner
+of water beasts swim in play or struggle for mastery. In one of the
+caverns stands a great throne of red gold, ornamented with graceful sea
+fringe, pearls and amber. From without one may gaze up to the
+amber-colored ceiling, or down to the pavement of lustrous pearl. It was
+this wondrous palace that the mermaid abandoned for the sake of her
+soul.
+
+VI. _Sentiment._ It is, on the whole, a sad poem, though a few cheering
+thoughts are suggested by it. Without an attempt at classification and
+analysis, here are a few choice ideas taken in order as they occur:
+
+_Page 180._ "Children's voices should be dear to a mother's ear."
+
+_Page 183._ "Long prayers in the world they say."
+
+_Page 183._ "Oh joy, for the blessed light of the sun!"
+
+_Page 185._ The last stanza shows very pleasingly the faithfulness of
+father and children, in contrast to the inconstancy of the mother.
+
+VII. _Beauty._ Besides its sentiment, the poem gives us other beauties
+in great number. Here are some of them:
+
+_a. Unity._ The poem has one idea running through it from beginning to
+end, an idea that is nowhere lacking, though at first it is not seen.
+What is the one idea? Grief, but not bitterness nor anger. Each
+succeeding stanza is seen to add something to this idea, till all our
+sympathies are enlisted for the forsaken children, more than for the
+father who does all the talking.
+
+_b. Meter and Rhyme._ Both meter and rhyme are irregular, but that fact
+gives a pleasing variety to the poem and corresponds to the somewhat
+abrupt changes in the line of thought that at first make the poem rather
+hard to read. The children will be interested in comparing the lengths
+of lines in different stanzas and sometimes in different parts of the
+same stanza. It is easy to pick out the rhymes, to see how often rhymes
+are repeated in a stanza, and whether the lines are in couples or
+alternate.
+
+_c. Phrases._ The following lines are quoted as those perhaps best
+worth study and remembrance. Let the children determine why they were
+selected as beautiful lines; that is, determine in what respect the
+lines are beautiful:
+
+    "Now the wild white horses play,
+     Champ and chafe and toss in the spray."
+
+    "The far-off sound of a silver bell."
+
+    "Where the sea snakes toil and twine,
+     Dry their mail and bask in the brine."
+
+    "A long, long sigh
+     For the cold, strange eyes of a little Mermaiden."
+
+    "A ceiling of amber,
+     A pavement of pearl."
+
+    "Heaths starr'd with broom."
+
+
+_The Cloud_
+
+(Volume VII, page 257)
+
+This lyric has wonderful beauty. It is one of the most musical of poems,
+the ideas are fine and the pictures of surpassing charm. If it lacks the
+high message it is still an inspiration, for beauty is always ennobling
+to the appreciative.
+
+The charm of _The Cloud_ will appeal to children but it may be
+intensified by judicious questioning and comment. As always in trying to
+give appreciation of real literature, the teacher in the home or at the
+school must be certain of his purpose and must never carry the
+instruction too far. He must understand the nature of the reader and
+shape his questions accordingly. It is impossible to print anything that
+will be helpful equally to all or that can be used in its entirety in
+any instance. Do not talk too much about what is evident, and stop at
+the first signs of a dawning distaste.
+
+_First Stanza._ It is the cloud that is speaking, and as every cloud is
+ever changing, the song of the cloud varies with its condition. It is
+now the cloud of the warm summer shower that piles up in snowy billows
+on the horizon and rolls over the laughing face of flowering nature.
+
+How do the flowers show that they are thirsting? Will they look
+different when their thirst is satisfied? Do leaves dream? Leaves, you
+know, are the lungs of plants. May they do more work in the morning, the
+evening and the night, than at midday? May they be said to be sleeping
+at times? Is the shade of the cloud a help to the leaves? Did you ever
+see the leaves of trees turn their glazed upper surfaces toward the
+ground and twist up their under sides toward the sky, begging for
+moisture? Did you ever notice that the buds of most flowers open in the
+night or toward morning? Do the "dews awaken" these? Do clouds cause
+dews?
+
+Strictly speaking, no "dews" fall from clouds; but light mist may do so.
+Who is the mother of the buds? In what way are they "rocked to rest"?
+How does the mother "dance about the sun"? Do you like the sound of the
+line, "I wield the flail of the lashing hail"? There are five "l's" in
+the line and they give it that liquid sound which you like. Did you ever
+see a farmer standing in the midst of a floor covered with stalks of
+grain, beating out the kernels with a flail? What does the word "under"
+mean here? (An adverb, and means _down_ or _into subjection_.) What does
+"it" refer to, in the next to the last line?
+
+_Second stanza._ Who is the pilot of the cloud? Where does he sit? What
+lures the pilot? Who are the "genii"? (A _genius_--plural, _genii_--is a
+good or evil spirit which was supposed by the ancients to guard a man
+and control his destinies. In a sense the spirit of the waters may be
+said to control the lightning.) Who move "in the depths of the purple
+sea"? (The word "dream" would be written "dreams" in prose. The two
+lines mean: "Wherever the lightning thinks the spirit he loves is to be
+found.") Who is dissolving in rains? Is there much lightning while the
+rain is falling or does it usually precede or follow the heaviest part
+of the shower?
+
+_Third Stanza._ "Sanguine" means "blood red"; "rack" or "wrack" is
+broken or floating cloud. What is the "morning star"? What is meant by
+its "shining dead"? What are the "burning plumes" and what the "meteor
+eyes" of the sunrise? What becomes of broken clouds when the sun strikes
+them? What is likened to an eagle that is "alit" on a crag? What is the
+"airy nest" of the cloud? What is a "brooding" dove? Is a dove more
+quiet than other birds? Did you ever see a cloud high in the sky at
+early dawn, at sunset, in the night? Does this stanza make you think of
+what you have seen, make you see it again more vividly?
+
+_Fourth Stanza._ "Orbed" means "round" like the moon. The woof is the
+thread that in weaving is carried by the shuttle through the threads of
+the "warp"--here it means the "filling." The ancients considered Diana,
+goddess of the moon and of hunting, to be a beautiful girl, haughty and
+modest. In pictures she was clothed as a huntress, carried a bow and
+arrows and wore a crescent in her hair. Is the moon's light white? Is
+that phrase a beautiful one which speaks of the moon as "with white
+fire laden"? What is the position of the cloud in this stanza? Is it
+between the moon and the earth? Is the cloud the "fleece-like floor" of
+the sky? If so, when the cloud speaks of its "tent's thin roof," what is
+meant? (Perhaps when the moon looks down the cloud looks like a floor
+and when the earth looks up it sees the cloud like a tent.) Whose are
+the "unseen feet"? At what do the stars "peer"? What do they see first?
+Why do they "turn and flee like a swarm of golden bees"? What do the
+stars see when the rent is widened? With what are the rivers, lakes and
+seas paved? How can they be paved with moon and stars? Did you ever see
+the moon and stars reflected in a lake, the former perhaps making a
+broad glittering pavement across the waters? To what does "these" in the
+last line refer? Why did not Shelley write "stars" instead of "these"?
+Can you see the exquisite night pictures described in these lines?
+
+_Fifth Stanza._ This stanza is characterized by force and intensity of
+action; the words and phrases are as apt and beautiful as can be
+written.
+
+Have you not seen the west when the clouds appeared a fiery red around
+the setting sun? Have you not seen the moon surrounded by bright pearly
+clouds? When the winds blow strong and whirl the fleecy clouds through
+the sky do not the latter make the mountain tops dim and do not the
+stars seem to dash across the heavens in a maddening race? Ever
+changing, the clouds constantly rearrange themselves, sometimes bridging
+the entire heavens, resting at the horizon upon the mountains as upon
+columns.
+
+What is the "triumphal arch"? What are the powers of the air? What is
+meant by saying they are "chained to the chair" of the cloud? Is the
+"triumphal arch" the "million-colored bow"? What is the "bow" that is
+said to be "million-colored"? What wove the soft colors of the
+million-colored bow? What is the "sphere fire"? What did it do? Whose
+soft colors did it weave? What was the earth doing while the colors were
+being woven? Why should the earth be laughing? Why is it spoken of as
+the moist earth?
+
+_Sixth Stanza._ A cenotaph in an empty ornamental tomb. The body of the
+person to whom the monument has been erected is buried elsewhere.
+
+In what way is a cloud the daughter of the earth and water? In what way
+is it the nurseling of the sky? How can a cloud pass through the pores
+of the ocean and shores? What are the pores of the ocean and shores? Is
+it true that a cloud cannot die? Is the poet true to nature and science
+when he says:
+
+    "For after the rain, when, with never a stain,
+     The pavilion of heaven is bare,
+     And the winds and sunbeams, with their convex gleams,
+     Build up the dome of the air"?
+
+What is the "cenotaph" of the cloud? Out of what does the cloud rise
+again? What is there appropriate in saying that the cloud rises like a
+ghost? What is it the cloud builds up again?
+
+Note the following particularly beautiful phrases:
+
+                            "Leaves when laid
+     In their noonday dreams."
+
+    "Great pines groan aghast."
+
+    "The sanguine sunrise, with his meteor eyes."
+
+    "The crimson pall of eve."
+
+    "The woof of my tent's thin roof."
+
+    "My wind-built tent."
+
+    "The million-colored bow."
+
+    "Nurseling of the sky."
+
+        "With never a stain
+     The pavilion of heaven is bare."
+
+Read aloud the entire lyric till its sweet music is yours. Note the
+smooth rhythm, the peculiar adaptation of sound to sense, the flowing
+cadences in the lines.
+
+
+_Ode to a Skylark_
+
+(Volume VII, page 275)
+
+There are three classes of lyrics that are to a greater or less degree
+in the nature of an address to some person, place or thing. The elegy is
+a lyric address praising the dead, the ode and the sonnet may praise
+living or dead. The elegy in its measures partakes of the solemnity of
+the grave, the ode is hampered by no such restrictions. Neither is the
+sonnet, although by its strict requirements of form it is set off in a
+class by itself. In the ode the poet enjoys his greatest freedom, for he
+may use any meter, may write at any length and in any manner, grave, gay
+or grotesque. Accordingly the odes of our language are most spontaneous,
+musical, inspiring and beautiful.
+
+_The Skylark_ is a perfect example of an ode at its best. It is full of
+life and joy. It sparkles in every line and vies in music with the song
+of the lark himself.
+
+    "Hail to thee, _blithe spirit_!--
+       Bird thou never wert."--
+
+Those two lines are to be taken as the key note of the whole lyric. It
+is the spirit of free and perfect melody that Shelley is addressing,
+melody that comes from heaven or near it, that bubbles from the full
+heart, that is free from rules and conventions, unpremeditated, yet all
+art. It is "Like an unbodied joy whose race is just begun." "What thou
+art we know not," yet thou art like a poet hidden singing hymns
+unbidden; like a high-born maiden soothing her love-laden soul in
+secret; like a hidden glowworm scattering its hues unbeholden; like a
+rose embowered in its leaves making faint the thieving winds with its
+heavy scent. Its music surpasses the delicate sounds of vernal showers
+on the twinkling grass, the beauty of the rain-awakened flowers, and all
+that ever was clear and fresh and joyous. Such is the song.
+
+"What are the thoughts that inspire such heavenly melody?" the poet
+cries. "Teach us, teach us thy sweet thoughts. I have never heard such a
+flood of rapture so divine. Matched with thy music the noblest marriage
+hymn, the grandest Te Deum would be but an empty boast. From what
+fountains springs thy happy strain? Is it from fields, or waves or
+mountains, from strange shapes of the sky and plain? Is it from
+ignorance of pain, from love of thine own kind that the joyous music
+comes? Certainly thou lovest, but there can be no weariness in thy keen
+joy, no shadow of annoyance. How different we!
+
+    "We look before and after,
+       And pine for what is not:
+             Our sincerest laughter
+               With some pain is fraught;
+     Our sweetest songs are those that tell of saddest thought.
+
+            "Yet if we could scorn
+               Hate, and pride, and fear;
+             If we were things born
+               Not to shed a tear,
+     I know not how thy joy we ever should come near."
+
+"To me, the poet, thy skill would be better than all the measures of
+delightful sound, than all the treasures found in books and if I could
+sing one half as well as thou, the world would listen to me entranced as
+I am listening to thee."
+
+If the song of the lark is beautiful, the song of the poet is not
+surpassed. The riotous spirit of music sings in every line, beauty is
+seen in every stanza, is lavished upon every phrase, upon every
+melodious verse. The prodigality of beautiful phrases is marvelous. The
+phrases descriptive of the bird alone are strikingly apt and numerous:
+
+"Blithe spirit"; "bird thou never wert"; "like a cloud of fire"; "like
+an unbodied joy"; "like a star of heaven"; "like a poet hidden in the
+light of thought"; "like a highborn maiden in a palace tower"; "like a
+glowworm golden"; "like a rose embowered"; "sprite and bird"; "thou
+scorner of the ground."
+
+To characterize the song properly, the poet finds it necessary to use
+these phrases: "Profuse strains of unpremeditated art"; "shrill
+delight"; "keen as are the arrows of that silver sphere"; "all the earth
+and air with thy voice is loud"; "a rain of melody"; surpassing the
+"sound of vernal showers" and of "rain-awakened flowers" and "all that
+ever was joyous, clear and fresh"; "a flood of rapture so divine";
+beside it a "hymenćal chorus" or a "triumphal chaunt" is "but an empty
+vaunt"; "clear, keen joyance," "notes flow in such a crystal stream."
+
+Besides the ardent appreciation for the beautiful song, the lyric
+contains one sad truth exquisitely expressed:
+
+           "We look before and after,
+              And pine for what is not:
+            Our sincerest laughter
+              With some pain is fraught;
+    Our sweetest songs are those that tell of saddest thought."
+
+And finally, there is the consummate personal appeal of the poet, which,
+if we may judge by the matchless lyric, was answered by the same spirit
+that inspired the graceful scorner of the ground:
+
+         "Teach me half the gladness
+            That thy brain must know,
+          Such harmonious madness
+            From my lips would flow,
+    The world should listen then, as I am listening now!"
+
+Compare the following lyric on the same subject by James Hogg:
+
+          Bird of the wilderness,
+          Blithesome and cumberless,
+    Sweet be thy matin o'er moorland and lea!
+          Emblem of happiness,
+          Blest is thy dwelling-place--
+    O, to abide in the desert with thee!
+        Wild is thy lay and loud,
+        Far in the downy cloud
+    Love gives it energy, love gave it birth.
+        Where, on thy dewy wing,
+        Where art thou journeying?
+    Thy lay is in heaven, thy love is on earth.
+        O'er fell and mountain sheen,
+        O'er moor and mountain green,
+    O'er the red streamer that heralds the day,
+        Over the cloudlet dim
+        Over the rainbow's rim,
+    Musical cherub, soar, singing away!
+        Then when the gloaming comes,
+        Low in the heather blooms
+    Sweet will thy welcome and bed of love be!
+        Emblem of happiness,
+        Blest is thy dwelling-place
+    O, to abide in the desert with thee.
+
+Various interpretations and helpful comments of other kinds may be found
+on the following pages:
+
+  Volume I,     page 95.   _The Rock-a-By Lady._
+  Volume I,     page 204.  _Old Gaelic Lullaby._
+  Volume I,     page 350.  _Keepsake Mill._
+  Volume I,     page 406.  _The Fairies._
+  Volume II,    page 482.  _In Time's Swing._
+  Volume IV,    page 86.   _The Village Blacksmith._
+  Volume V,     page 335.  _How They Brought the Good News from Ghent to
+                            Aix._
+  Volume V,     page 396.  _The American Flag._
+  Volume VII,   page 345.  _The Reaper's Dream._
+  Volume VIII,  page 60.   _America._
+
+
+
+
+CHAPTER XII
+
+READING ALOUD
+
+
+Silent reading is selfish, while oral reading is for the benefit and
+pleasure of others. The ordinary individual in daily life reads but
+little aloud, and probably makes no attempt whatever to improve his
+style after he leaves the schoolroom. But parents and teacher are
+incessantly called upon to read--to read intelligently and effectively.
+To some this power appears to come naturally, but most people acquire it
+only by serious study and continuous practice, and will find their
+greatest assistance in a thorough knowledge of those things which are
+essential to pleasing oral expression.
+
+1. ARTICULATION AND ENUNCIATION. Articulation is one thing; enunciation
+is another. A person articulates the sounds of a language; he enunciates
+the syllables and words. A clear and distinct enunciation is as
+necessary as the perfect articulation on which it is based. Indistinct
+enunciation comes from a natural slovenliness of mind, from nervousness,
+haste or over-excitement.
+
+Any one who can articulate correctly can acquire a perfect enunciation.
+Knowing this fact, and knowing the causes which lead to poor
+enunciation, it is comparatively easy to correct the faults and give
+drill which will overcome the carelessness or remove the difficulty.
+
+2. EMPHASIS AND INFLECTION. The primary facts upon which rests
+intelligibility in reading are emphasis and inflection. Let it be said
+at the start that no one can read well who has not thoroughly mastered
+the thought in the selection he is rendering. If he is compelled to
+search his mind for the meanings of words or to grasp the complete idea
+of a sentence, he unwittingly pauses and hesitates and confuses the
+ideas of his hearers. But if the thought of a selection is thoroughly
+mastered, he places the emphasis almost unerringly and by so doing
+raises no conflicting ideas in the mind of the listener. Moreover, if
+the meaning of a sentence is clear to a reader his inflections are
+ordinarily correct.
+
+3. EMOTIONAL STATES. A person may read with perfect inflection and the
+most correct emphasis, yet fail altogether to convey the real feeling of
+the author. Not only must a reader master the thought, but it is
+essential that he be able to feel the emotions that possessed the author
+or manifested themselves in the characters he describes. If anyone is
+thoroughly possessed by the sentiment of any given poem, the quality of
+his voice will modify itself and respond to the behests laid upon it. He
+will unconsciously pitch his voice at the proper key, will use the right
+amount of force, and speak at the rate which most suitably expresses his
+feelings. When this is done, we have perfectly natural reading, the
+highest art.
+
+Pitch, rate, quality and force are the particular characteristics of
+good reading which depend almost entirely upon the mental state of the
+reader.
+
+a. Pitch. Much depends upon the proper pitch of the voice. The key upon
+which one reads may be medium, or low, or high, and what it is depends
+upon certain physiological conditions. If the vocal chords are tense,
+the pitch is high. Accordingly, any state of mind that produces tense
+vocal chords produces high pitch in the voice. A person can forcibly
+tighten his vocal chords and utter sounds at high pitch, but they are
+strained, artificial and unnatural. If a certain amount of feeling goes
+with the effort, the tones become more agreeable.
+
+If a person's voice is pitched too high, is harsh and unmelodious, the
+remedy is by way of a process of forgetting. He must forget that he is
+reading and feel that he is talking. If his conversation is marked by
+the same faults as his reading, he may gain something by imitation in
+the way of raising his standards of expression. In general, he reads
+harshly because he thinks he _must_ read. The nervous tension which this
+feeling produces has affected his vocal chords without any intention on
+his part. He cannot read more expressively while he feels as he does.
+Harshness and unnatural pitch will disappear from his voice when he can
+forget that he is reading from compulsion.
+
+For practice the following selections are excellent:
+
+  _Gettysburg Address_, IX, 321.
+  _Boat Song_, VII, 17.
+  _Battle of Waterloo_, VIII, 176.
+
+b. Rate or Time. The rate at which a person reads, or the time consumed
+in any one selection, is regulated by the extent or breadth of thought
+and by the rapidity of action. There is a certain medium or ordinary
+time in which those selections that are in no way emotional are read.
+Commonplace selections, not calculated to stir the feelings, are of this
+character, as are simple narratives where the incidents are unexciting.
+This medium or standard time may be varied in two ways: first, by the
+quantity of time taken in the utterance of certain words or syllables,
+and second, by pauses between sentences or groups of words. Rate,
+however, usually depends more upon the grouping of words and the length
+of the pauses between groups than upon the utterance of syllables. The
+rate of syllabic utterance is usually a personal characteristic. Some of
+us articulate rapidly, while others of more phlegmatic temperament speak
+slowly.
+
+In conversation or in perfectly natural reading, we usually utter with
+one impulse of the voice those words which are closely related in
+meaning. These words so uttered form groups that are usually quite
+independent of punctuation. Punctuation marks are for the eye and are
+intended to make clear the meaning. They do not separate the sentence
+into units of expression. Only the terminal marks are of any great
+importance either in suggesting the inflection or indicating the length
+of the pause. A good reader notices the marks insomuch as they make
+clear the thought, but largely disregards them in his reading.
+
+The person who reads too rapidly has a mind that is very quick in its
+action or one that is not fully occupied with the thought of his
+selection; he may have a vague understanding, but does not realize the
+full extent and import of the idea. If he reads too slowly, he is
+naturally slow in thought, or the words come to him slowly through his
+eyes, his organs of speech are not sufficiently under control, or he
+does not appreciate the difference between the principal ideas and those
+of minor importance. Find the central idea, group others about it in
+proper degrees of subordination, feel the sentiment in what is being
+read, and the time usually will be correct. There are worse faults in
+reading than undue rapidity or slowness, for we can make our minds keep
+pace with the reader, if in other respects his expression is good.
+
+The following selections afford considerable variety in rate:
+
+  _Exciting Canoe Race_, VII, 79.
+  _Those Evening Bells_, VII, 340.
+  _Charge of the Light Brigade_, VII, 147.
+  _Marco Bozzaris_, VIII, 90.
+
+c. Quality. The quality of the voice is almost entirely dependent upon
+the emotions. Tenderness, love, joy, awe, fear, all produce their effect
+upon the voice. In an unemotional state the person speaks in normal
+quality and in the tone that is natural to himself. If the same person
+is frightened or if his animosity is aroused, he speaks in an aspirated
+tone; if he feels harshly toward anyone or is angry, his voice possesses
+that guttural quality which indicates the severer and harsher emotion;
+when he is moved by grandeur and sublimity, his voice naturally takes a
+full, round quality.
+
+d. Force. The quantity of mental energy the person possesses usually
+regulates the force of his utterance, and that mental energy is
+stimulated by his emotions. If he feels thoroughly in earnest in what he
+is trying to accomplish, his voice becomes loud and full of force. It is
+then a natural force and is usually agreeable, unless the emotion which
+causes it is of an unpleasant type.
+
+But it is often true, particularly of teachers who have been long in
+service and those persons who have talked under unfavorable conditions
+to large numbers of people, that their voices have become too loud and
+too much strained to be pleasant to the ear. A soft, pleasing voice,
+loud enough to be distinctly audible, is always better than a strident,
+forcible utterance that compels attention whether one will or not.
+
+Extremes of force may be found in the following selections:
+
+  _Sweet and Low_, VI, 122.
+  _To a Waterfowl_, VII, 395.
+  _The Destruction of Sennacherib_, VI, 141.
+  _Little Red Riding Hood_, I, 79.
+
+
+
+
+CHAPTER XIII
+
+LITERATURE AND ITS FORMS
+
+
+It is not everyone who can tell readily what is meant by literature, nor
+can anyone in a few words define it. What the study of "literature"
+(only the adult's manner of saying "reading") is expected to accomplish
+was aptly described by Cardinal Newman when he wrote: "The object of
+literature in education is to open the mind, to correct it, to refine
+it, to enable it to comprehend and adjust its knowledge, to give it
+power over its faculties--application, flexibility, method, critical
+exactness, sagacity, address and expression." Reading at home and in the
+public schools as well as in the high school and colleges helps to
+accomplish these ends to a great extent.
+
+Many persons fail to understand what literature is, and if they do
+realize its importance they do not comprehend the great variety of its
+forms nor the significance of each. To help such persons to a more
+comprehensive knowledge and a deeper insight into the functions of
+literature this chapter is written.
+
+In its widest sense the word literature covers nearly every kind of
+printed matter, but it is in its more restricted meaning that the term
+is used here. Only that which is beautiful in form and expression,
+inspiring and helpful in spirit, noble and righteous in sentiment can
+be called literature as we are considering it. There may be weak and
+frivolous books, well-meaning but inept books, and really bad books, but
+none of them can be classed as literature.
+
+Literary masterpieces are either prose or poetry, and in print the two
+are easily recognizable by their difference in form. Coleridge once said
+that prose consisted of words in their best order, while poetry was the
+best words in their best order, a poetic definition that does not convey
+a very accurate knowledge of the distinction. Poetry differs from prose
+not only in the choice and arrangement of words, but also to a lesser
+degree in sentiment and feeling. However, much verse, though faultless
+in form, can never be considered real poetry, while much prose has real
+poetic beauty.
+
+
+_Prose_
+
+The great bulk of the writings of the world is in prose. It is the
+medium of hard sense, of practical knowledge, of argument and of
+dialogue. Yet often it appeals to the imagination, charms with its
+beauty and inspires to heroic deeds.
+
+It seems to be generally accepted that four methods of expression are to
+be found in prose: _narration_, _description_, _exposition_ and
+_argumentation_. Narration deals with things in action, description with
+the appearance of things, exposition explains the relations ideas bear
+to one another, and argumentation not only does this, but tries at the
+same time to convince. Theoretically, this distinction is very easy to
+make, for action is the life of narration, appearance the theme of
+description, explanation and exposition are synonymous, and no one
+argues but with the hope of convincing. What can man do more than to
+tell what has been done, tell how a thing looks, show how one thing
+follows from another or is related to it, and endeavor to bring another
+person to the same state of mind?
+
+The accuracy and completeness of the classification is most evident
+until one attempts to apply it practically to existing literature, and
+then he finds that no literary masterpiece belongs entirely to any one
+of the classes, but that these mingle and unite, one or the other
+usually predominating. This ruling element, the one which is
+proportionately greater, will govern the classification of a selection.
+In any story, narration and description meet at every turn, and not
+infrequently exposition is found freely intermingled; while novels have
+been written with the avowed sole purpose of changing the beliefs of a
+people. _Uncle Tom's Cabin_ is a story of intense dramatic activity, and
+abounds in vivid descriptions of places and persons. It is generally
+dealing with incidents relating to the characters of the story, yet it
+really makes an exposition of the evils of slavery, and certainly was no
+small factor in stirring the American people into vigorous action
+against the slave dealers. Yet no one would classify the book otherwise
+than among the narratives. Although into Burke's _Conciliation_ other
+elements enter, yet everyone will admit it to be argumentative in the
+highest degree. So while it is well to classify the selections read, yet
+fine theoretical distinctions should be abandoned. It is not so
+necessary to classify and name as it is to compare and distinguish.
+
+Narratives have been classified variously, but not more satisfactorily
+than have other forms of literature. A narrative is true or fictitious,
+and there appears the first principle of classification. Truthful
+narratives are personal when they are the simple account of the deeds of
+some person or thing, biographical when they show a clear and evident
+purpose to detail the events in the life of the person, historical when
+they deal with larger and more complicated questions and when the actors
+are as numerous as the actions are various. Fictitious narratives
+comprise short stories and novels. One prominent writer notes the
+following types: (1) The realistic novel that is true to actual life and
+often enters into the discussion of important questions of record. (2)
+The novel of life and manners which is largely descriptive and in which
+the exigencies of the plot give way to the study of customs. (3) The
+novel of incident in which the plot is everything and description and
+character study are avoided or subordinated to action. (4) The romance
+which usually deals with things as they were in days long past and with
+actions that little concern the present. Marvelous and even supernatural
+incidents crowd its pages. (5) The idealistic novel which paints the
+world as it should be and makes its actors more nearly perfect than the
+world accepts as typical. (6) The novel with a purpose which seeks to
+convert its readers by the vividness of its portraits rather than by
+argument, though by means of many detailed conversations its theories
+are often freely discussed and fully substantiated. Many great reforms
+have been brought about by novels of this character.
+
+Description deals with the individual and not with the class. A fine
+description is a work of art in its highest sense and is closely allied
+to painting, than which it is even more delicate and refined; for while
+the painter lays his color on the canvas and our eyes see the entire
+picture in all its minutest detail, the writer can only suggest the idea
+and stimulate the imagination to create for itself the picture in the
+mind of the artist. Yet such is the marvelous power of words when
+handled by a master that one can see by them almost as vividly as by the
+sense of sight. The reader is transported to far-away lands, strange men
+and animals surround him, the skies glare above him, silver lakes
+sparkle in the sun, brooks murmur against their fern-covered sides, and
+birds move the soul with their sweet music. Evening draws on, and the
+landscape glimmering fades away; the stars come out one by one and by
+and by the moon steals slowly up the sky. Peace and quiet reign over the
+darkened world. Neither sculpture nor painting can depict these changes;
+it rests with the magic of words. But the reader must do his share. He
+must give time to his reading, must yield himself gently to its
+influence, must not force himself into the writer's mood but must
+receive and accept. Then descriptive literature will yield its keenest
+pleasures.
+
+Exposition deals with the class, and is abstract. So the demands made
+upon the reader are infinitely greater. It assumes that the concrete
+examples and specific instances necessary to interpret the abstract are
+already in mind and that the barest allusion to them will be sufficient.
+So exposition naturally follows narrative and description.
+
+Successful argumentation depends upon proof and persuasion. It is
+addressed to the reason or to the emotions. Burke and Webster endeavor
+to establish their respective positions by irrefutable arguments. When
+Beecher addressed the people on the slavery question he appealed
+strongly to their emotions and sought to make them act because of their
+intense feeling. One characteristic of all literary masterpieces is
+unity, but in none is this of more importance than in the expository and
+argumentative types.
+
+As we study it, literary material may be grouped as fiction, essays,
+speeches (orations), and dialogue (drama). No classification can be
+rigid or exact, for one may blend into the other. At the same time in
+any one may be found the four forms, description, narration, exposition
+and argument. For our purposes, however, the following definitions will
+answer: _Fiction_ is a term covering those narratives which are either
+wholly or in part events that never happened and acts of individuals
+that never lived. Fiction is the work of the imagination, based upon the
+facts of life and observation. It appears as stories, in narrative poems
+or epics, and in novels.
+
+_Essays_ deal with all subjects and in such a variety of ways that any
+attempt to classify them meets with difficulty. Originally an essay was
+an attempt, a mere outline or plan intended to be filled out at greater
+length or to be used in different form. It is in this sense that Bacon
+uses the word and his essays are condensed to the highest degree. In
+later years essays have come to be of the most highly finished type of
+literature and some of the most beautiful passages, the noblest
+thoughts, the most inspiring utterances, are to be found in them.
+Almost every conceivable topic is treated: there are biographical essays
+which do little more than narrate the facts of a man's life; there are
+descriptive essays whose only function is to make their readers see
+something as the author saw it; there are argumentative and didactic
+essays and essays on science, art, religion, and literary criticism.
+Some writers have given their whole time and attention to this form of
+composition, and the modern magazine has become their distributing
+agency. Much of the deepest, of the brightest, of the best of recent
+work has come to its readers through this medium.
+
+The essay shows more of the author's self than any other form of
+literature. It is apt to be sincere, to be the deliberate expression of
+the writer's own views formulated with the desire to convince another.
+In the purely literary type this last characteristic is not so
+strikingly prominent, though it appears rather under the surface. In no
+form of literature is the artistic element more manifest. The prose
+writer makes of his essay what the poet does of his lyric--the most
+finished and beautiful expression of his thought. The thought is the
+writer's chief concern, but upon his manner of expressing it depend the
+force and value of his work. Accordingly he gives to his style his most
+careful attention and fits and polishes it with all his skill. The
+result is that in the essay are to be found the best examples of prose
+style. While the essay frequently appeals to our humorous sense and
+sometimes arouses our sympathy by its pathetic touches, yet no such
+opportunity is offered for emotional effect as that given by the novel
+or the drama.
+
+The essay is written to be read, the _oration_ to be heard; the essay is
+to please, to entertain, perhaps to instruct, sometimes to convince; the
+oration is to arouse the feelings, to carry conviction, to stir the
+public to action. It is a formal production, addressed directly to its
+hearers; it is in form or meaning in the second person. Even when
+descriptive or eulogistic, it is a direct address. The orator says,
+"These are my opinions and my reasons for so thinking. Will you not
+accept my view and act accordingly?"
+
+The oration naturally divides itself into three sections. There is an
+_introduction_, in which the speaker clears the way, opens the question
+and lays down the principles he proposes to advocate, or indicates the
+course of his argument. The _body_ follows. Here the principles are
+elucidated, the arguments advanced and properly established or the
+descriptions elaborated and finished. The last section is the
+_conclusion_, which may consist of a brief review or summary of the
+inferences drawn, or of a plea for belief and for action in accordance
+with the principles of the speaker.
+
+Before the art of printing was invented, public opinion was molded
+almost entirely by public speaking, and for a great many years afterward
+the orator was the greatest of leaders. By the magic of his eloquence he
+changed the views of men and inspired them to deeds of valor. The fiery
+orations of a Demosthenes, of a Cicero; the thrilling words of a Peter
+the Hermit or a Savonarola; the unanswerable arguments of a Burke or a
+Webster, have more than once turned the course of history.
+
+But when the newspaper first found its way into the hands of thinking
+men the power of the orator felt the influence of its silent opponent
+and began to wane. Today, it is not often that multitudes are swayed by
+a single voice. The debates and stump-speeches of a political campaign
+change but few votes. The preacher no longer depends wholly upon the
+convincing power of his rhetoric to make his converts. The
+representatives of a people in a parliament or a congress speak that
+their words may be heard through the newspapers by their constituents
+more than with the expectation that their speech will carry a measure
+through the House they are addressing.
+
+Yet we will listen with pleasure to a fervid speaker whose earnestness
+of manner carries the conviction of his sincerity, and even against our
+will we are moved by elegant sentences and pleasing tones. The orator
+will continue to be a power, though in a different way. Conditions have
+changed, and the ponderous periods and elaborate figures that
+characterized the orators of classic epochs are giving place to the
+plain, lucid diction and the simple, true-hearted tones of the modern
+speaker.
+
+The drama is objective, the author keeping himself out of sight as much
+as possible. His characters appear, speak their parts and vanish with no
+explanatory words from him except the occasional stage direction limited
+to the fewest possible words. There is no description, except when the
+actors give an account of something that does not occur upon the stage.
+There is little of narration, except to explain what does not appear
+upon the scene or to give clearness to the action. Argument is not
+infrequent, though it is usually in the form of a moving appeal to the
+emotions rather than to the reason. The play often leads to exposition,
+and many dramas are written with the evident intent of teaching a deep
+and forceful lesson.
+
+The drama shows man in action and develops his character before the
+reader, but it is by acts and speech and not by direct description from
+the author. It deals with all human interests and frequently
+supernatural manifestations are introduced and become important factors
+in the plot, particularly when they are believed in by the people who
+appear in the drama. But in general it is a study of life and character.
+
+Primarily the drama is to be heard, not read, and consequently its style
+is usually clear and its meaning easily apprehended, but the complexity
+of its incidents and the intricacies of its plot make it difficult to
+follow. The rapidity of its action, the necessity of gathering the
+meaning from a single hearing, and the intensity of feeling aroused
+would all unite to confuse the hearer were it not for the skill of the
+actor and the appropriateness of the stage settings. By the aid of
+these, understanding is in most cases not difficult. The changing
+scenery, the dress of the actors, their movements, the tones of their
+voices, and the expression of their faces all aid the hearer. But the
+interpretation then becomes that of the actor, so that the listener is
+once removed from the author. Moreover, to the actor everything is
+subservient to dramatic effect, and the study of an Othello descends
+into an effort to excite an audience rather than to portray correctly
+the shifting passions of the jealous Moor. The poet's creation is
+adapted to the actor's use by the omission of scenes, changes of scenes,
+and additions of scenes, by such verbal alterations and phrasal
+transpositions that one does not see Shakespeare's Shylock demanding his
+pound of flesh but watches Irving's Shylock whetting his savage knife;
+Hamlet is lost in Booth, and Juliet weeps in the tears of Mary Anderson.
+
+But the pleasure a person derives from listening to their thrilling
+utterances is as distinct from that which comes to the appreciative
+reader as the pleasures of the palate differ from those of the eye. To
+the reader everything is his own. He carries his own theater with him.
+The scenery he must himself construct and he may alter it at will; the
+costumes and personal appearance of the characters are the creations of
+his own mind; his thunder has no metallic sound and his lightning always
+flashes. He may bring his favorites back with many an encore and may
+show his disapproval with hisses that would drown the gallery. He may
+linger over the passages he loves and find new encouragement in his
+defeats and ever fresh joys for his hours of gloom. He is never hurried:
+the lights never go out, the curtain is never rung down.
+
+
+_Poetry_
+
+The reality of poetry is its beauty, its power of inspiration, its
+truth. Its beauty lies in its choice of words, in its figures of speech,
+in its music and in its sentiment. Any definition that is not purely
+formal is hard to give. Professor Shairp defined the soul of poetry when
+he wrote: "Whenever the soul comes vividly in contact with any fact,
+truth, or existence, which it realizes and takes home to itself with
+more than common intensity, out of that meeting of the soul and its
+object there arises a thrill of joy, a glow of emotion; and the
+expression of that _glow_, that _thrill_, is poetry."
+
+
+_The Structure of Poetry_
+
+The form and structure of poetry should be studied, but not to so great
+an extent as to blind the eye or deaden the appreciation of its beauty
+and sentiment. Brown, who wrote the beautiful story _Rab and His
+Friends_, has said, "It is with poetry as with flowers and fruits. We
+would all rather have them and taste them than talk about them. It is a
+good thing to know about a lily, its scientific ins and outs, its
+botany, its archćology, even its anatomy and organic radicals; but it is
+a better thing to look at the flowers themselves and to consider how
+they grow."
+
+If one reads poetry aloud he soon becomes sensible of a certain rhythm
+or regular recurrence of accented syllables that gives a measured
+movement to the lines. It is a recognition of this rhythm that makes a
+child read in a "sing-song" tone, as natural a thing as it is to sing.
+If we hear constantly repeated at frequent and regular intervals any
+noise, there is a tendency to group these separate sounds and measure
+them off regularly. The clock ticks with always the same force and with
+the same space of time between the ticks, yet we hear _tick_-tack,
+_tick_-tack; we can prove the difference to be in our ear, for it
+requires but little effort to hear tick-_tack_ or _tack_-tick,
+_tack_-tick. The ticking has not varied in the least.
+
+The poet takes advantage of this rhythmical tendency of nature and by
+using accented syllables at regular intervals compels us to recognize
+the swing of his lines. When he reduces this to a system he has
+established the _meter_ of his production. The poetical accents
+sometimes fall on unaccented syllables and sometimes on monosyllabic
+words that are not emphatic, but usually the metrical accent of any
+given word corresponds to its logical accent. The accentuation of a
+syllable tends to lengthen the time used in the pronunciation of that
+syllable, and so we call it long, although the sound of its vowel may be
+short. Short syllables are those which are unaccented, even though the
+vowel has the long sound.
+
+Verse appeals to the ear by its melodious combinations of sounds and
+also by the regular recurrence of similar sounds in _rhymes_. These
+usually occur at the ends of verses. In order that a rhyme may be
+perfect the two rhyming syllables must both be accented, the vowel sound
+and the consonants following must be identical, and the sounds preceding
+the vowel must be different. For example, _fate_ and _late_ rhyme; _fat_
+and _late_ do not; _fate_ and _lame_ do not; _debate_ rhymes with
+_relate_, but not with _prelate_. Double rhymes occur frequently, as in
+the words _bowlders, shoulders_.
+
+Take this stanza from Hood's _Song of the Shirt_:
+
+    With fingers weary and worn,
+      With eyelids heavy and red,
+    A woman sat in unwomanly rags
+      Plying her needle and thread--
+          Stitch! Stitch! Stitch!
+    In poverty, hunger and dirt;
+      And still with a voice of dolorous pitch
+    She sang the "song of the shirt."
+
+Here the first and third lines are unrhymed, the second and fourth, the
+fifth and seventh, and the sixth and eighth lines rhyme alternately in
+couplets. If the beginnings of the verses are noticed it will be seen
+that the indentations of the lines correspond with the rhymes.
+
+Rhymes are not always used in poetry. Most of Shakespeare's plays are
+written in _blank verse_, which is unrhymed iambic pentameter, called
+_heroic verse_. _Hiawatha_ and _Evangeline_ are not rhymed, the former
+being trochaic tetrameter and the latter largely dactylic hexameter.
+
+Frequently appeal is made to the ear by a similarity of sound at the
+beginning of words. This is known as _alliteration_. In early English
+poems this was of prime importance and subject to rigid rules, but more
+recently it has been used without rule, subject merely to the author's
+will. This is seen to a marked degree in many writers. Here are several
+lines taken from Poe's _The Bells_:
+
+    What a world of _m_erriment their _m_elody foretells,
+    What a _t_ale of _t_error now their _t_urbulency _t_ells.
+    In a mad expostulation with the dea_f_ and _f_rantic _f_ire.
+
+In many cases alliteration is very skilfully handled, as where Whittier
+uses the liquid consonants to make more smooth and harmonious to the ear
+the line that tells the friendliness of the brooklet whose murmurings
+could not be heard in winter, but--
+
+    "The music of whose _li_quid _li_p
+     Had been to us companionship"
+
+during the long summer days.
+
+The number of verses in a stanza varies from two to an indefinite
+number. When there are two verses the stanza is called a couplet; a
+three line stanza is called a tercet; a four line stanza, a quatrain.
+The five line stanza is not common, but six is a frequent number.
+
+
+_Kinds of Poetry_
+
+Poems may be classified as epic, lyric and dramatic.
+
+The word _epic_ is by some writers restricted in its application, but it
+is preferred here to use it in a broad sense to include various forms of
+narrative poetry, and to use the term greater, or heroic, epic to
+designate the smaller class of narratives which the older writers knew
+as epics. Thomas Arnold's definition of the greater epic is: "The
+subject of the Epic Poem must be some one, great, complex action. The
+principal personages must belong to the high places of the world, and
+must be grand and elevated in their ideas and in their bearing. The
+measure must be of sonorous dignity, befitting the subject. The action
+is carried on by a mixture of narrative, dialogue, and soliloquy.
+Briefly to express its main characteristics, the epic treats of one
+great complex action, in grand style, and with fullness of detail."
+
+Under such a definition there can be but few really great epics in any
+language. Comparatively few poets have cared to undertake so great a
+task and many of those who have been willing to make the attempt have
+failed conspicuously in the execution. But most of the great languages
+of the world have each one surpassing epic which has held the interest
+of its readers and established an immortality for itself. Homer gave the
+Greeks the grandeur of his _Iliad_; Virgil charms the Latin race and
+every cultivated people since with the elegance of his _Aeneid_; Dante
+with Virgil for his model and Beatrice as an inspiration wrote in
+Italian the _Divina Commedia_, in which he described with all-powerful
+pen the condition of the dead in the Inferno, Purgatory, and Paradise;
+and our Milton after years of preparation, from the dark realm of his
+own blindness, produced the sublime measures of _Paradise Lost_. These
+are the Greater Epics, greater by far than anything else written by man.
+With them this course does not concern itself to any great extent.
+
+The term lesser epic includes the numerous forms of narrative poems from
+the old-time ballad to the modern story-telling poem. The epic is
+essentially different from the lyric. While in the latter the
+personality of the author is always apparent, and properly so, in the
+epic the intrusion of the poet's self is usually a defect. The lyric is
+subjective, the epic objective. To tell a story effectively and well is
+the prime motive, to tell it beautifully and in a way to excite the
+imagination and move the feelings of the reader is the contributory
+poetic impulse. Of the lesser epics groups might be set apart. The
+ballad is the oldest form. It was originally the production of wandering
+minstrels or glee-men and was not reduced to writing and kept in
+permanent form. Being passed from mouth to mouth there naturally came
+to be great variations in its form, and even the incidents were modified
+to suit the taste of the singer. After poetry came to be a study of the
+cultured and refined, the minstrel's power declined, though he was a
+welcome guest at the feasts of the wealthy, where his song added to the
+gayety of the occasion or gave dignity to the host as his deeds were
+sung by the hireling bard. In the sixteenth century these singers
+disappeared from view in the blaze of the Elizabethan Age.
+
+The highest type of literary expression is poetry, and the most perfect
+creation of poetic imagination is the lyric. Technically a lyric is a
+song, a short poem that can be set to music. But this must be
+interpreted in a wide sense, for though all the songs that are sung are
+lyrics, the greater number of lyrics were never intended to be fitted to
+the closer requirements of vocal harmony. They deal with all subjects
+and have few requirements of form, though form is an essential element
+and a matter of great importance, for to the perfection of form much of
+the intense effect of the lyric is due. Like the essay the lyric is a
+subjective composition; it is confessedly the expression of the poet's
+personal emotion and his own experiences. His mind, his soul, speak to
+us; he does not interpret the thoughts and feelings of another. The
+lyric is usually contemplative and full of the choicest results of the
+poet's meditations. It influences action indirectly through direct
+appeals to the emotions.
+
+Songs form a class of lyrics as varied in content as the possible
+subjects in life. One might consider them as sacred and secular and
+under the former recognize the psalms, which our poets have many times
+rendered into metrical form, not infrequently detracting from the
+sublimity of the originals. "The Lord is my Shepherd" needs no change,
+no remodeling from the biblical version to make it a true lyric, but
+that it may be sung to the tunes of our churches it has more than once
+been paraphrased.
+
+Hymns are religious songs expressing devout reverence for the deity,
+displaying confidence and faith in the goodness of God, breathing a
+prayer for help in hours of difficulty and distress, or for consolation
+in the hour of affliction. Our literature is full of these noble poems,
+and their lofty sentiments, clothed in beautiful words sung to the
+thrilling music of other inspired composers, have been potent factors in
+culture and refinement.
+
+Secular songs are written upon nearly every conceivable topic of human
+interest and are more numerous than any other form of literature, but so
+many of them are inferior in composition and so dependent upon the
+jingle of the tunes to which they are sung that their life is little
+longer than the time consumed in their production. But a large number
+are conceived in the true spirit of art and are as worthy of immortality
+as anything we read.
+
+There are comic songs that sparkle with wit and whose music laughs with
+the hearer; sentimental and love songs whose sensuous cadences intensify
+the passion of their words; convivial songs where toasts are drunk to
+the accompaniment of the clinking glasses; and patriotic songs that roll
+with the ringing cheers of thousands and the tramp of armed men.
+
+There are still three large classes of lyrics each distinct in itself,
+though, as we see if we try to draw the lines closely, shading off into
+one another. Usually these are in the nature of a direct address to some
+person, place, or thing, and are distinguished one from another by the
+nature of the subject or the rules of form. All are in a greater or less
+degree complimentary to the thing addressed and show interest, respect,
+admiration or love. The ode and elegy have most in common, although the
+latter is a tribute to the dead. The sonnet partakes deeply of the
+nature of the others, but is set off by very arbitrary limitations of
+form.
+
+There are no rules governing the form of the ode; the poet is at liberty
+to select whatever form seems best adapted to his purpose. The length of
+the stanza, the meter, the rhyme, may be as varied as his fancy
+dictates, but the ode is an address direct and personal, an address with
+praise for its object. The subject may be a flower, a piece of pottery,
+a person, a bird or a nation, but some definite inciting object is
+necessary. The ode is subjective in that the poet expresses his own
+feeling of admiration or reverence. Often there is an acknowledgment of
+a benefit conferred, a lesson learned, or affection returned. From these
+conditions, namely, the liberty of form, the direct and powerful
+inspiration, the sincere desire to return a favor, a poet might
+naturally be expected to produce his choicest work, and so he has done.
+
+A mournful song, in stately measure, praising the dead for his virtues,
+full of the grief that remains with the living, believing in the
+happiness of the departed and hoping for a blessed reunion in the
+hereafter: this is the typical _elegy_. On the one side it shades off
+into the ode, some poems being susceptible of classification in both
+groups; on the other it may take the form of sonnets, many of which
+answer every requirement of the dirge. Many poems are therefore
+elegiacal that are not strictly elegies. A rigid classification is never
+necessary, but an association of these beautiful pieces, all thoroughly
+impregnated with the personal grief of the author, gives to each a
+greater power, a more thrilling significance. They arise from the
+deepest emotion and so are the offspring of divinest inspiration; love
+is in the heart of the writer and so the flight of song is best
+sustained; they are intended to show to the world respect and admiration
+for the one whose virtues they celebrate and so they are refined and
+polished to the last degree. Where grief, love and a hope to give
+earthly immortality to the object of his affection move the poet, we
+expect the finest efforts of his genius. These elegies include some of
+the grandest, the most perfect productions of poetic skill.
+
+When man sees his loved one laid away forever, he naturally longs to
+preserve the memory of the departed to succeeding generations, to erect
+some permanent memorial. Funereal monuments are characteristic of every
+race and have proved the most enduring records of the past. The
+inscriptions upon these tombs are early records of the elegiac spirit.
+
+The epitaph is elegy in miniature. "To define an epitaph is useless;
+everyone knows it is an inscription on a tomb. An _epitaph_ is indeed
+commonly panegyrical, because we are seldom distinguished by a stone but
+by our friends," says Dr. Johnson.
+
+This epitaph was written by Robert Wilde in the seventeenth century:
+
+    Here lies a piece of Christ; a star in dust;
+    A vein of gold; a china dish that must
+    Be used in heaven, when God shall feast the just.
+
+The _sonnet_ may be addressed to any person or thing and is the direct
+personal expression of the author's feeling. It is like the ode, and
+also partakes of the general nature of the elegy, but it differs from
+both in the rigidity of the rules of form that govern it. Sonnets
+originated in Italy, and the genuine Italian sonnet is very exacting in
+form. It must consist of exactly fourteen lines of iambic pentameter.
+These lines are divided into two groups, one of which consists of eight
+lines or two _quatrains_, the whole known as the _octave_. The remaining
+six lines constitute the _sestet_. The first and last line of each
+quatrain rhyme together, while the middle lines of each form the second
+rhyme. In the sestet usually the first line rhymes with the fourth, the
+second with the fifth and the third with the sixth. As a whole the
+sonnet contains one idea, which in the octave is general, in the sestet
+specific, for the sestet expresses the conclusion of the octave.
+
+The difficulties of composition under such arbitrary limitations are
+evident, and it is not to be wondered at that even famous poets have
+utterly failed when they have essayed to write in this form. The sonnet
+has met with severest criticism, some writers failing to see any beauty
+in it. Coleridge says: "And when at last the poor thing is toiled and
+hammered into fit shape, it is in general racked and tortured prose
+rather than anything resembling poetry." Though Lord Byron wrote a few
+himself he defined the sonnet as "The most puling, petrifying, stupidly
+Platonic composition."
+
+But this is hardly fair to the many exquisitely beautiful lyrics that in
+this form grace the English language. Those "little pictures painted
+well," those "monuments of a moment" are among our most graceful poems,
+and the reader who has not learned to delight in a beautiful sonnet has
+missed the most refined pleasure English literature has to give.
+
+The following exquisite sonnet, _Victor and Vanquished_, by Longfellow,
+is formed on the Italian model:
+
+    As one who long hath fled with panting breath
+      Before his foe, bleeding and near to fall,
+      I turn and set my back against the wall,
+    And look thee in the face, triumphant Death.
+    I call for aid, and no one answereth;
+      I am alone with thee, who conquerest all;
+      Yet me thy threatening form doth not appall,
+    For thou art but a phantom and a wraith;
+      Wounded and weak, sword broken at the hilt,
+    With armor shattered, and without a shield,
+      I stand unmoved; do with me what thou wilt;
+    I can resist no more, but will not yield.
+      This is no tournament where cowards tilt;
+    The vanquished here is victor of the field.
+
+How many verses in this sonnet? What is the meter? What is the rhyme
+scheme? Through how many lines is the rhyme scheme the same as that
+followed in the Italian sonnet?
+
+Is there a unity of thought in this sonnet? Does the poet consistently
+allude to some one thing? Was Longfellow old or young when he wrote
+this? What does Longfellow represent himself to be? Why does he "set his
+back against the wall"? In these days of Mauser rifles would it do any
+good to set one's back against the wall for protection against an
+approaching enemy? Was it ever an advantage? Who is the foe that follows
+him? How can Death be "but a phantom and a wraith" and at the same time
+follow the poet triumphantly? What do his weapons and his armor indicate
+as to what he represents himself? What is the "broken sword"? Who fight
+in tournaments? What is there appropriate in the word "tilt"? How can
+the one who is vanquished be victor still? Is the figure of medieval
+knighthood well sustained?
+
+The earliest European _dramas_ of which we have any record were the
+plays performed in ancient Greece five hundred years before Christ.
+There were very few characters introduced, sometimes only one or two,
+and a chorus was the most important part of the representation. This
+chorus served to fill the gaps in the action, to state what had preceded
+and at times even to comment upon the actors, to exhort or to praise or
+condemn their behavior. The Greek dramatists carefully followed the
+so-called rule of _three unities_: unity of time, whereby the action
+must be compressed into one day; unity of place, by which only one place
+must be represented; and unity of action, whereby the movement of the
+piece must be continuous, all the incidents be connected so as to form
+one main line of thought. The rule of three unities was followed very
+closely by the French dramatists up to comparatively recent times; but
+in England, beginning with the Elizabethan era, no restraint was placed
+upon dramatic technique except unity of action, which still remains
+essential.
+
+During the Middle Ages the drama was represented by _miracle_ and
+_mystery plays_ dealing with sacred history. They differed in subject
+only. The miracle plays represented the lives of saints and their
+miraculous deeds; the mysteries, the mysterious doctrines of
+Christianity and various biblical events. During an age when preaching
+was unusual, the clergy reached the souls of their people by means of
+these rude plays which were at first given in churches; but later, when
+the town guilds and trade organizations began to present them, the stage
+was a traveling cart, roughly fitted up with rude scenery. Still later,
+before theaters were built, the wandering players acted in inn yards or
+courtyards. Female parts were always taken by boys, and it was not until
+after Shakespeare's time that women appeared on the stage.
+
+In the reign of Henry VI the mysteries were in part superseded by the
+_morality plays_, although the former did not wholly go out of style
+until the time of Elizabeth. The passion play given every ten years at
+Oberammergau, Bavaria, is a survival of the old mystery play. The
+moralities personified the virtues and vices common to man, and
+attempted to teach moral lessons by allegorical representations. When
+popular interest in these dramas began to lag, current topics were
+introduced into the dialogue, and characters from real life appeared on
+the stage for the first time. Early in the sixteenth century John
+Heywood invented a farcical composition called _The Interlude_ to
+relieve the tiresome monotony of existing plays. But it was in 1540 that
+the first comedy appeared, and it is not too much to say that this play
+marks the beginning of modern English drama. Nicholas Udall, head master
+of Eton College, being accustomed to write Latin plays for his boys,
+concluded to try his hand at an English drama. The result was _Ralph
+Royster Doyster_, the first comedy. In 1562 Queen Elizabeth was
+entertained by the presentation of the first English tragedy, a play
+entitled _Gorboduc_, by Thomas Sackville.
+
+During the sixteenth and seventeenth centuries amateur dramatic
+productions called _masques_ were presented. Sometimes even nobles and
+members of the royal family took part. These plays were accompanied by
+music, dancing, and spectacular effects. The literary character of the
+masque developed into the compositions of Ben Jonson, and culminated in
+Milton's _Comus_. During the reign of Elizabeth the productions of Kyd,
+Peele, Greene, Marlowe, and Beaumont and Fletcher raised the drama to
+such a lofty plane that only the genius of a Shakespeare could surmount
+it.
+
+There are two distinct classes of modern dramas--tragedies and comedies.
+In the former, events crowd irresistibly on to some terrible conclusion,
+usually resulting in the death of the principal characters. An
+atmosphere of gloom surrounds it, and the flashes of light serve but to
+intensify the general darkness. Even when the soul of the reader
+recognizes the justice of the end it rebels against the horrors of the
+situation. The deeper and darker passions predominate; love is swallowed
+up in hate and happiness drowned in grief. The comedy is in a lighter
+and happier vein; its situations may be trying but they end happily; the
+sun shines and the air is clear; if storms appear they are the showers
+of a summer day, not awful tempests. The comedy descends through various
+forms to the travesty and farce whose purpose is solely to excite
+laughter by ludicrous scenes and absurd incidents. The melodrama abounds
+in thrilling situations and extravagant efforts to excite emotions, but
+its final outcome is a happy one, and the villain is punished and virtue
+is comfortably rewarded.
+
+Dramas may be written in prose or in poetic form. The tendency is toward
+prose in comedy and poetry in tragedy, though in the same play both
+prose and poetry are sometimes used. The most common form for the poetic
+composition is the unrhymed iambic pentameter or blank verse (heroic
+measure). Rhymes are in use but usually their purpose is definite and
+specific and they may occur occasionally in plays which are otherwise in
+blank verse. Lyrics are often introduced, and in them both rhyme and
+meter are varied at the pleasure of the author.
+
+_Journeys Through Bookland_ contains numerous illustrations of the facts
+of this chapter and plentiful examples of every form of literature
+except the sonnet, of which a type has just been given. The outline
+which follows will summarize this chapter and show a few of the examples
+that may be formed.
+
+  [Illustration: ROBERT LOUIS STEVENSON
+  PAUL DU CHAILLU
+  RUDYARD KIPLING
+  THOMAS HUGHES
+  HANS CHRISTIAN ANDERSEN
+  JAKOB GRIMM
+  WILHELM GRIMM]
+
+
+LITERATURE
+
+  I. PROSE.
+    1. Forms of Prose Composition.
+      A. Narration.
+        _The Pine Tree Shillings_: IV, 192.
+        _A Christmas Carol_: VI, 244.
+
+      B. Description.
+        _Brute Neighbors_: VII, 260.
+        _The Alhambra_: VIII, 153.
+        _Children's Books of the Past_: V, 101.
+
+      C. Exposition.
+        _Imitation of Christ_: VI, 134.
+        _The Cubes of Truth_: VII, 406.
+        _Reading History_: V, 394.
+
+      D. Argument.
+        _Poor Richard's Almanac_: VI, 407.
+
+    2. Kinds of Prose.
+      A. Fiction.
+        _Aladdin_: III, 288.
+        _Tom Brown at Rugby_: V, 469.
+        _The Adventure of the Windmills_: VII, 438.
+
+      B. Essays.
+        _Childhood_: VI, 124.
+        _Dream Children_: VIII, 335.
+        _The Vision of Mirza_: IX, 285.
+
+      C. Orations.
+        _The Gettysburg Address_: IX, 321.
+        _Abraham Lincoln_: IX, 324.
+
+  II. POETRY.
+    1. Structure of Poetry.
+      A. Rhyme.
+        _The Country Squire_: VI, 474.
+        _To My Infant Son_: VI, 478.
+
+      B. Meter.
+        _The Daffodils_: VII, 1.
+        _The Old Oaken Bucket_: VII, 11.
+        _Bannockburn_: VII, 15.
+        _Boat Song_: VII, 17.
+
+    2. Kinds of Poetry.
+      A. Epics.
+        a. Heroic Epics.
+          _Death of Hector_: IV, 364.
+          _Wooden Horse_: IV, 383.
+        b. Lesser Epics.
+          _Saint Nicholas_: II, 202.
+          _Pied Piper of Hamelin_: III, 384.
+          _Incident of the French Camp_: IV, 174.
+          _Sohrab and Rustum_: VI, 173.
+
+      B. Lyrics.
+        a. Songs.
+          (1) Sacred.
+              _Nearer Home_: IV, 126.
+              _Lead, Kindly Light_: V, 110.
+          (2) Secular.
+              _Annie Laurie_: VI, 119.
+              _Auld Lang Syne_: VI, 228.
+              _Those Evening Bells_: VII, 340.
+          (3) Patriotic.
+              _Battle Hymn of the Republic_: V, 399.
+              _America_: VIII, 60.
+        b. Odes.
+          _To the Fringed Gentian_: VII, 4.
+          _Ode to a Skylark_: VII, 275.
+          _To H. W. L._: IV, 84.
+        c. Elegies.
+          _Elegy Written in a Country Churchyard_: VI, 360.
+        d. Sonnet.
+        e. Drama.
+          _The Tempest_: VIII, 364.
+
+
+
+
+CHAPTER XIV
+
+JOURNEYS THROUGH BOOKLAND IN ITS RELATION TO THE SCHOOL
+
+
+_Reading and Language_
+
+These books were prepared expressly for home readings, but as has been
+said elsewhere, they were prepared with a definite purpose to make them
+a living adjunct to school work and a strong helper in bringing the home
+and the school together. To accomplish this result it was necessary that
+all the studies offered in _Journeys_ should be after the most approved
+methods and that there should be no selections that could not with
+propriety be used in any school in the land. This principle of selection
+made it necessary to exclude some selections that might have been
+pleasing but at the same time were not universal in their acceptance.
+Again, it was necessary to include literature that was in a sense
+technical, that would apply to every class that young readers have in
+school. This does not mean that there are a great many things that are
+purely geographical or purely historical or that deal directly with the
+study of language and literature. It means that the reader of _Journeys_
+will find selections that he can use in nearly every class in school and
+that those selections are in the highest degree literary. In no way does
+a child learn more thoroughly that geography and history are worth
+study in themselves than by meeting them clothed in the beauty of fine
+writing. In no way will he be led more quickly into a love for nature in
+all her manifestations and into a keen desire to study nature than by
+the hand of literature. Language takes on a new interest when it becomes
+evident that it is a real and necessary help to writing as the great
+writers do.
+
+Accordingly when the selections were chosen for _Journeys_, a tabulation
+of school subjects was made and under each head were placed the things
+that would be most helpful in school work. It was not decided finally to
+keep that arrangement in the books, for a different and a better system
+of grading and classification was selected. Nevertheless the selections
+are there, and the object of this and the few following chapters is to
+show what those selections are, how they may be used in school and how
+their use at home helps in the school work of every reader.
+
+In the grades below the high school the following subjects are
+considered most important, viz.: reading, language, arithmetic,
+geography, history and nature study. At the first thought one would say
+that a set of books such as _Journeys_ can be of no use in the
+arithmetic class, and of course their usefulness in that direction would
+not justify their existence. However, there are selections in _Journeys_
+that have a decided arithmetical flavor, such as, for instance, _Three
+Sundays in a Week_ (Volume VI, page 453) and _The Gold Bug_ (Volume IX,
+page 232). Even among the nursery rhymes is one that is purely
+arithmetical (Volume I, page 41). We may, however, disregard the
+arithmetic in _Journeys_, but we must not lose sight of the fact that
+the method of reading discussed under the title _Close Reading_ is
+exactly the method of study that every person must pursue if he is to
+make any success in mathematics. In no other branch is there a call for
+such close reading, and only he who can get all the meaning out of the
+statement of a problem can be certain of his solution. One of the
+reasons that so many children have trouble with the problems in their
+arithmetic classes is that they do not read intelligently. Many a good
+teacher of mathematics will tell you that a large part of her success is
+due to the fact that she has spent much of the time in the class in
+teaching her pupils to read understandingly. Many another could make a
+vast improvement in her methods of teaching if she would spend a part of
+the time of each recitation in teaching her pupils to read problems till
+they thoroughly understand them before beginning to work out the
+formulas. It follows then that every child who masters the art of close
+reading will be helped in a great measure in all his work in
+mathematics. The value of _Journeys_ in this connection is that it makes
+that method of study clear and leads a child to its mastery almost
+without the recognition of what he is doing. It will teach him to think
+before he acts and to acquire the habit of looking for the full meaning
+of everything he reads.
+
+In this and the two following chapters will be given studies of the most
+important subjects studied in the grades, showing the correlation of the
+_Journeys_ material. These subjects will be treated in the following
+order: Reading, Language, Nature Study, Geography and History.
+
+
+A. Reading
+
+As for the other studies with which _Journeys_ is correlated, we shall
+take them up one by one and at greater length. First in importance is
+reading. This is always first in importance in school, for every other
+study depends upon it. In fact the prime motive of _Journeys_ is to
+teach reading, and it will teach reading in the school and in the home.
+The child who has read what these books have to offer in the way that
+these books teach will have a power that cannot be taken from him, and
+his position in class and elsewhere will be raised immediately. Besides
+the fund of information he will have acquired he will have made for
+himself a habit that will always benefit him. Every study in the books
+from the first page to the last is a help in reading, and all the
+lessons of this volume are directed to reading. But there are three or
+more long chapters in this volume which take up the different methods of
+reading and apply them to selections on all conceivable subjects dealt
+with in _Journeys_. To these chapters on reading the teacher and the
+parent who wants to be informed are directed. The treatment is simple
+and not above the effort of anyone, and the method will appeal to all
+high school students of literature, for it is the method of the best
+teachers of that subject.
+
+
+B. LANGUAGE
+
+There are two distinct phases of the teaching of language: pupils must
+be taught to speak and to write with ease, fluency and correctness.
+There are very few children who do not like to talk. It is as natural to
+them as to breathe. But as soon as they begin to speak we begin to
+correct their speech. Much of our criticism is given publicly, at least
+before other children, some of whom are known to speak more fluently and
+correctly than those whose errors are being criticized. In consequence,
+the children begin to doubt themselves, to hesitate, and gradually to
+lose their desire to talk. In fact, so timid and reluctant do they
+become that by the time they have been in school a few years many
+teachers find their greatest difficulty in getting pupils to recite well
+or to talk naturally. Perhaps before and after school and at recess they
+will converse freely and delightfully, but as soon as their classes are
+called they become reticent and ill at ease. Not all of this lack of
+spirit is due to the teacher, but some of it is. In any event it is an
+unfortunate condition, and the teacher is anxious to remove it.
+
+At home a similar condition prevails. If the parents are themselves
+accurate in speech and alive to the importance of making their children
+good talkers and users of correct English they will be ready with
+criticism, and unless they are careful will do their share to repress
+the natural frankness of child nature. Parents who have been teachers
+are quite as liable to err as others are to remain in ignorance in
+attempting to understand the psychology of the child mind. Freedom of
+conversation on topics of interest where correct models of speech are
+always before the child will accomplish more in making cultivated speech
+than will twice as much direct instruction. If only parents will read
+the things that the children are reading and affect an interest in those
+things they can be certain of giving the best training, while they
+themselves will grow in happiness and nearness to their offspring. In
+the fields of literature they can stray together with the consciousness
+that with all the beauty there is nothing to corrupt.
+
+In a lesser degree, perhaps, the same facts are true in written
+language, in composition. But in lessons of this type the instructor
+will not find conditions so favorable: Talking is natural, writing is
+artificial; to speak is instinctive, to write is an art of difficult
+attainment. In the first place, a child must be taught to form strange
+characters with his hand. After he acquires facility in that, he must
+think, put this thoughts into words in his mind, and then laboriously
+transfer his words, letter by letter, to the paper before him. Many a
+child who talks well cannot write a respectable letter. His thoughts
+outrun his hand, and by the time the first labored sentence is written
+his ideas have fled and he must begin again. Is it any wonder that his
+sentences are disconnected, his thought meager?
+
+Just think what it means to a child to write you a letter, or even a
+brief paragraph! Suppose he wants to tell you about a dog he has at
+home. He begins by thinking: "My dog, Ben, is a pretty little woolly
+fellow with bright eyes and long silky ears," and then his thoughts run
+off vaguely into the general idea that he is going to tell you about
+some very cute tricks Ben can perform. The child is all enthusiasm and
+he begins writing and thinking something like this: "My (that word must
+begin with a capital letter) dog ('Ben' must begin with a capital, too)
+Ben is a (is that 'pritty' or 'pretty'? It's pronounced 'pritty' anyhow)
+pritty (that don't look right. Scratch it out!) pretty (well, that
+don't, I mean _doesn't_ look right either, but I'll leave it) (For
+goodness sake, how do you spell it? 'Wooly'? 'wolly'? 'woolly'? I guess
+I had it right at first) wooly fellow (where shall I put the commas?
+I'll leave 'em out. Teacher can put them in if she wants them.) with
+bright eyes and long slicky (no, no, that isn't right! How funny!
+Scratch it out.) silky ears. (I nearly forgot the period. Now what was I
+going to say next?)." When he is through, his first sentence is like
+this: "My dog Ben is a pretty little wooly fellow with bright eyes and
+long silky ears." He looks at his work with doubt and disgust as he
+scratches his head for the next idea. He has wholly forgotten what he
+intended to tell about! Later, his work, wholly unsatisfactory to
+himself comes to you for criticism and you take your blue pencil or your
+pen with red ink and put in the marks if any are needed, indicate the
+misspelled words and sigh as you say, "Will Charlie ever learn to write
+a decent composition?" Certainly he will, when his writing becomes
+mechanical, when his hand makes the letters, puts in the marks, and his
+lower brain spells the words for him, without disturbing the higher
+cells which are occupied with his ideas.
+
+These are the diverse problems that confront anyone who tries to teach
+language to a child. We cannot solve them all, but most certainly we can
+lend some assistance.
+
+
+1. Oral Lessons
+
+Success in oral language lessons rests primarily upon interest. If you
+can secure interest, the children will talk freely; if you retain
+interest, you can criticize freely and with good effect.
+
+Criticisms should not be too severe and should always be impersonal. It
+is not John and Mary who are being corrected, but the mistakes that John
+and Mary make. You have heard both parents and teachers say, "John, why
+will you persist in saying, 'I done it'? Don't you know that is wrong?
+You must correct yourself." Such criticism is wholly bad. If John says
+"I done it," it is because he has heard the expression and become
+habituated to its use. He cannot be taught differently by berating him.
+When he says, "I done it," repeat after him in a kindly inquiring voice,
+"I _done_ it?" or say in a kindly way, "I did it." In either case John
+will give you the correct form willingly, and when he has done so times
+enough he will forget the wrong form and cease to use it.
+
+Everyone must remember that children have heard slang and incorrect
+speech almost from infancy; that the playground, the street and the home
+have been steadily teaching, and that the minds of even primary children
+may be filled with not only loose forms of speech, but even with profane
+and indecent expressions. One of the natural correctives for such things
+is the reading and telling of attractive stories, full of dramatic
+power, calculated to stimulate right feeling, couched in clear and
+forcible English. Elsewhere in this volume under the title _Telling
+Stories_ are suggestions and good models.
+
+From the standpoint of the language lesson, children must reproduce the
+story, must "tell it back" to make it valuable to them. The instructor's
+part in this reproduction may be summed up as follows:
+
+1. Be an interested audience for the child.
+
+2. Secure clearness. Do it by a gentle question or a remark now and
+then: "I am not sure that I understand you." "Do you think I would know
+what you mean if I had never read the story?" "If you were telling the
+story to your playmate would she understand that?"
+
+3. Encourage the child to use his own words, when he follows too closely
+the phraseology that was given him, yet remember that one of the objects
+of the exercise is to give the children the use of a wider vocabulary
+and to make them appreciate and use beautiful and forcible expressions.
+
+4. Be reasonably content with freedom of expression at first, and do not
+expect too rapid improvement. You are moving against fixed habits.
+
+5. Vary the character of the exercise. Sometimes permit one child to
+tell the whole story; at other times, call upon other children, or
+continue the story yourself.
+
+6. If the story is a difficult one, do not ask for its reproduction
+until it is thoroughly understood. Make its meaning clear by skilful
+questioning, which with the answers makes an extremely valuable
+conversation lesson.
+
+7. Encourage the use of beautiful expressions, of fine figures of
+speech. Do it by using such expressions yourself and by pointing them
+out in the story or poem you are using.
+
+8. Beware of spoiling a beautiful poem or an elegant prose selection by
+poor reproduction. After the story has been related and the meaning made
+clear have the original read several times exactly as it is written and
+encourage the children to commit it to memory.
+
+There are in _Journeys Through Bookland_ many selections suitable for
+these oral lessons. For the little folks there are some of the _Nursery
+Rhymes_, of Volume I, like the following:
+
+  _Little Boy Blue_, Page 33.
+  _Mary, Mary, Quite Contrary_, Page 30.
+  _Ladybird, Ladybird_, Page 12.
+  _Little Bo-Peep_, Page 9.
+  _Jack and Jill_, Page 27.
+  _Poor Robin_, Page 16.
+  _There Was a Jolly Miller_, Page 47.
+  _Twinkle, Twinkle, Little Star_, Page 44.
+
+In the same class may be included those beautiful poems by Stevenson and
+Field, poems that every child loves and will be delighted to talk about.
+For instance, the following from the same volume:
+
+  _The Swing_, Page 67.
+  _Singing_, Page 83.
+  _The Rock-a-by Lady_, Page 94.
+  _My Bed is a Boat_, Page 126.
+  _Foreign Lands_, Page 130.
+  _Little Blue Pigeon_, Page 133.
+  _The Land of Counterpane_, Page 144.
+  _Norse Lullaby_, Page 246.
+  _Where Go the Boats?_ Page 256.
+  _Wynken, Blynken and Nod_, Page 262.
+  _Keepsake Mill_, Page 349.
+  _The Duel_, Page 384.
+
+The last list, however, includes many of those poems which must not be
+spoiled by childish re-telling. Use them for conversation subjects and
+then for reading or recitation.
+
+The fables will be found to provide excellent material, and there need
+be no fear of ruining their effect as literature:
+
+  _The Lion and the Mouse_, Volume I, page 75.
+  _The Wolf and the Crane_, I, 96.
+  _The Lark and Her Young Ones_, I, 131.
+  _The Cat and the Chestnuts_, I, 142.
+  _The Sparrow and the Eagle_, Volume II, 8.
+
+Certain of the fairy stories are excellent; so are anecdotes concerning
+men of whom the children should know; historical tales, and stories
+about plants, birds and other animals. Among the great number of
+selections that might be included under this head, some of the best are
+the following:
+
+  1. Fairy Tales and Folk Stories:
+    _Silverlocks and the Three Bears_, Volume I, 101.
+    _The Hardy Tin Soldier_, I, 148.
+    _Cinderella_, I, 224.
+    _The Ugly Duckling_, I, 414.
+    _Why the Sea is Salt_, II, 484.
+    _The Pied Piper of Hamelin_, III, 384.
+
+  2. Biographical Stories:
+    _Robert Louis Stevenson_, Volume I, 128.
+    _Eugene Field_, I, 242.
+    _George Rogers Clark_, VI, 422.
+    _Pčre Marquette_, VIII, 121.
+
+  3. Myths:
+    _The Wonderful Gifts_, Volume I, 368.
+    _The Chimera_, II, 173.
+    _The Story of Phaethon_, II, 206.
+
+  4. Historical Tales:
+    _Robert Bruce and the Spider_, Volume V, 314.
+    _The Fall of the Alamo_, VIII, 141.
+    _Hervé Riel_, VIII, 168.
+
+  5. About Flowers and Plants:
+    _The Daffodils_, Volume VII, 1.
+    _Trees and Ants That Help Each Other_, VII, 306.
+    _A Bed of Nettles_, VIII, 209.
+
+  6. About Birds:
+    _Who Stole the Bird's Nest?_ Volume II, 399.
+    _Owls_, IX, 229.
+
+  7. About Other Animals:
+    _Elephant Hunting_, Volume VI, 385.
+    _The Buffalo_, VII, 96.
+    _The Pond in Winter_, VII, 280.
+
+The longer stories you will abbreviate in telling, and the children will
+still further shorten them. Try, however, to retain the spirit of each.
+Do not try to tell all that is contained in the longer articles
+mentioned above. Select interesting portions, a single anecdote, a few
+facts that will hold attention.
+
+At times vary the exercise by giving a very simple theme and ask the
+children to make up a story to fit it. If they have difficulty, help
+them to think and talk. When they see what you want some will surprise
+you with their vivid imaginations and picturesque modes of expression.
+Suppose you have in mind the fable _The Wind and the Sun_ (Volume I,
+Page 95). You might present the idea to them in this form: "The Wind and
+the Sun each tried to make a man take off his coat. The Wind tried and
+failed, then the Sun tried and succeeded. Can you tell me a story about
+that?" If you meet with no satisfactory response, begin questioning
+somewhat in this style, and perhaps the child will answer nearly as
+indicated:
+
+Question. You don't know what I mean? Then let us tell it together. How
+do you think the Wind would try to make a man take off his coat?
+
+Answer. He would try to blow it off.
+
+Q. How would he blow?
+
+A. He would blow hard.
+
+Q. Can you think of another word besides _hard_ to show how he would
+blow?
+
+A. Fierce.
+
+Q. Fiercely. Yes, "_fiercely_" is a good word. How fiercely would he
+blow?
+
+A. Very fierce.
+
+Q. Yes, very _fiercely_. Did you notice I said "fiercely," John? Now
+can't you think of a comparison with something else that is fierce, so
+that our story will sound well and people will like it?
+
+A. A lion is fierce. We could say, "He blew as fiercely as a lion."
+
+Q. But a lion does not blow. What does he do?
+
+A. He tears his prey when he captures it.
+
+Q. That's good. Now tell me how the Wind tried to make the man take off
+his coat.
+
+A. The Wind blew fiercely as a lion tears his prey.
+
+Q. Good. Did the man take off his coat?
+
+A. I don't think he did. I think he would try to keep it on.
+
+Q. How hard do you think he would try?
+
+A. As hard as he could.
+
+Q. Did he lose it?
+
+A. No. No matter what the Wind did I think the man would keep on his
+coat.
+
+Q. Will you please tell the story as far as we have gone?
+
+A. The Wind and the Sun tried to make a man take off his coat. First the
+Wind blew as fiercely as a lion tears his prey, but the man clung more
+closely to his coat and would not let it go.
+
+Q. That is good, but it does not satisfy me yet. I want a longer,
+prettier story. Let us make believe the Wind and the Sun are two men.
+Make them talk so they will seem real to us. Can't you start us?
+
+A. One day Mr. Wind and Mr. Sun got to talking. Each one thought he was
+stronger than the other. They saw a man walking along the road. He had a
+big overcoat on and Mr. Wind said that he--
+
+Q. Tell us exactly what Mr. Wind said.
+
+A. Mr. Wind said, "I am stronger than you are. I can make that man take
+off his coat. You can't!"
+
+Q. That is a fine start. Tell us what the Sun said.
+
+A. The Sun said that he--
+
+Q. "That he?"
+
+A. The Sun said, "I can make him take off his coat, and I can do it
+quicker than you can."
+
+Q. Good. Go on.
+
+A. So they tried. Mr. Wind began. He blew as hard as he could and
+whistled around the man. He blew as fiercely as a lion tears his prey,
+but the man wouldn't take off his coat.
+
+Q. What would the man do to his coat?
+
+A. I think he'd hold on to it, button it up, draw it close around him.
+
+Q. Good. Very good. Now tell the story as well as you can.
+
+A. Begin at the beginning?
+
+Q. Yes.
+
+A. One day Mr. Wind and Mr. Sun got into a quarrel about who was the
+strongest. While they were at it, a man in a heavy overcoat came walking
+along the road. When Mr. Wind saw the man he said, "Now see that man
+down there. I can make him take off his coat, but you can't." Mr. Sun
+replied, "I don't believe you can do it, but I can, though," then Mr.
+Wind said, "Well, I'll show you, you conceited thing!" So the Wind blew
+and blew, fierce and loud like a lion attacking his prey, but the man
+wouldn't take off his coat. He drew it around him and buttoned it up and
+hung on to it.
+
+Q. I like your story. But how many people were talking?
+
+A. Two.
+
+Q. Did you mean to say "_strongest_"?
+
+A. Stronger.
+
+It is not necessary to continue this farther, for enough has been
+written to show how a story may be developed and improved with each
+retelling.
+
+The same style of work, perhaps to even better advantage, may be done
+from the pictures so numerous in _Journeys Through Bookland_. In this
+volume, under the title _Pictures and Their Use_, will be found
+plentiful suggestions that will be helpful in conversation lessons.
+
+
+2. Written Lessons
+
+A. Introduction.
+
+The demands of written composition are so much more severe than those of
+oral composition that we must be careful not to ask more than the child
+can execute with comparative ease. Before he begins to write, he should
+have clear ideas of what he intends to write and should have those ideas
+so arranged that they will not be confused in the process of writing.
+Moreover, a child must become quite familiar with writing as an art
+before he can be expected to originate ideas or forms of expression for
+the purpose of writing them. It follows, then, that some of the early
+written work in language may profitably consist of copying selections of
+various kinds.
+
+The titles given under the preceding section (_Oral Lessons_) will lead
+to many excellent exercises for this purpose. Insist on perfect accuracy
+of copy. Spelling, capitalization and punctuation must be correct. If
+the original is prose, insist upon proper paragraphing; if poetry, upon
+exactness in the arrangement of the lines, especially in the matter of
+indentation. Children will quickly see the relation that indentation
+bears to rhymes. By following with exactness, the child learns
+unconsciously to observe the general rules. By occasionally calling
+attention to the reasons for forms, children are taught to act
+intelligently and to decide for themselves when they come to original
+composition.
+
+Rhythm is as natural as breathing, and rhyming is easy for children with
+quick ears and quick thought. You will be surprised the first time you
+try the exercise to see how quickly they will imitate a rhythm with
+which they are familiar, and the skill they show in making rhymes. Try
+it first as an oral exercise, and later ask for written lines. Much of
+such work may not be profitable, but it serves well to give variety.
+Making simple parodies is amusing and stimulating to thought. Sometimes
+you will help by suggesting rhymes or by giving hints as to the subject
+to be parodied.
+
+Take the nursery rhyme _There Was an Old Woman_ (Volume I, page 36) for
+a model. Suggest _bird_ and _nest_ as ideas for new rhymes and keep
+helping until you get something like this:
+
+    There was a sweet birdie
+      Who built a fine nest,
+    A beautiful birdie
+      With a very red breast.
+
+Use the same meter many times over till all become familiar with it.
+Similar exercises prove highly interesting to children of all ages.
+
+Although this is not a treatise on written language lessons, a few
+general suggestions may not be out of place:
+
+1. Be sure that the children have something interesting about which to
+write.
+
+2. Be sure that they have a good stock of ideas on the subject, or that
+they know how and where to get information and can get it without great
+difficulty.
+
+3. Be sure that they write an outline of their composition or have one
+thoroughly in mind before they begin on the essay itself.
+
+4. Give plenty of time for the writing.
+
+5. Show a decided interest in their preparation and in their
+compositions.
+
+6. Do not be severe in your criticisms. Give encouragement. Concentrate
+your efforts on one or two errors at a time. Let other mistakes pass
+till a more convenient time.
+
+7. _a._ Watch for errors:
+
+    (1) In the use of capital letters.
+
+    (2) In the use of punctuation marks; first of terminal marks, then
+of the marks within a sentence.
+
+  _b._ See that every sentence is complete, with subject and predicate.
+
+  _c._ See that verbs agree with subjects, and pronouns with antecedents.
+
+  _d._ Insist that the work be paragraphed.
+
+  _e._ Watch for errors in case among the pronouns. The objective case is
+troublesome.
+
+  _f._ Look for adjective forms where adverbial forms are correct.
+
+8. Require care in all work. Neatness and legibility are essential.
+
+9. Mark errors, do not correct them. Let the children do that. A simple
+system of marks will enable you to indicate the nature of the error.
+
+10. When the mistakes have been corrected, have a neat copy made and
+preserved.
+
+11. Try sincerely to work with your children and to secure a genuine
+spirit of co-operation.
+
+
+B. Literature in Written Lessons.
+
+Indirectly, all that is said on the teaching of reading in this and
+other volumes bears upon language, and you are earnestly urged to
+consider it all carefully in that light. More directly, what has been
+written herein on the subject of conversation lessons and oral language
+is a necessary preliminary to any discussion of written work and should
+be used freely in the assignment and preparation of subjects for written
+exercises. The outlines for study in reading and the outlines of the
+oral lessons are easily modified to become very satisfactory outlines
+for compositions. The selections recommended for oral lessons are all
+adapted to written work.
+
+NARRATION. As in other instances, however, it here seems wise to give a
+few suggestions specifically for the written exercises, and as a basis
+for such suggestions we will take selections from _Journeys Through
+Bookland_.
+
+Robin Hood has been an interesting character for many generations of
+schoolboys, and among the ballads concerning him (Volume III, page 436)
+are several good selections for reading aloud. Most children know
+something about Robin Hood and many of them have read full accounts, yet
+probably the old ballads are not familiar. The note on page 436 gives
+information about the ballads and tells what it is necessary to know
+about Robin Hood himself. Suppose we take as a subject the ballad on
+page 444, _Robin Hood and the Stranger_. The notes explain peculiar
+expressions and give the meanings of obsolete words. There is a manly,
+rough-and-tumble spirit in the ballad that boys like, and it is clean
+and wholesome, as well.
+
+Read the ballad to the children, explaining the more obscure words and
+phrases as you go along. Encourage the children to ask questions
+whenever they do not fully understand. Talk freely until you have made
+everything clear and have secured interest. Then read the whole ballad
+without interruption. Read with expression and enthusiasm. Show the
+spirit and virility of the men.
+
+Then by questions bring out the facts of the narrative in logical order
+as they appear, and have each child copy them for himself. They
+constitute the outline each is to write. Adapt the outline to the age
+and acquirements of the child; make it as full or as brief as you
+please, but make it logical and complete. Let it be similar to the
+following:
+
+1. Robin Hood goes hunting.
+
+2. He meets a well-dressed stranger.
+
+3. The stranger kills a deer by a remarkable shot with his bow.
+
+4. Robin Hood invites the stranger to join his company.
+
+5. The stranger threatens Robin Hood.
+
+6. They prepare to fight with bows.
+
+7. Robin Hood thinks it a pity that either should be slain, and proposes
+to fight with broadswords.
+
+8. Robin Hood strikes a heavy blow which the stranger returns with
+interest.
+
+9. Robin Hood feels great respect for the stranger's power, and asks who
+he is.
+
+10. The stranger proves to be Robin Hood's only nephew.
+
+11. They meet Little John, who wants to fight young Gamwell.
+
+12. Robin Hood compels peace, makes Gamwell second to Little John and
+names him Scarlet.
+
+Talk to the children freely after you have made the outline; advise them
+to make the story interesting, dramatic, and not too long. Show them
+that it is better to use direct discourse; that is, to make the
+characters seem alive. The result will be a good _narration_, the
+simplest and most common form of written discourse.
+
+DESCRIPTION. To so describe a scene to another person that he may see it
+clearly and vividly is high art. It is necessary in narration and often
+lends strength to description and exposition. Accordingly, it is one of
+the most important forms of composition. In no direction, perhaps, can
+_Journeys Through Bookland_ be of greater assistance.
+
+I. In the first place, the pictures are a mine of subjects for
+description. The pictures themselves may be described, and many of them
+will suggest other subjects for similar tasks. For instance, in Volume
+V, on page 219, is a picture of Sir Galahad when the Holy Grail appears
+to him. Some of the topics for description are the following:
+
+1. The picture, _Sir Galahad_. (For suggestions as to the description of
+pictures, etc., see the topic _Pictures and Their Use_, in this volume.)
+
+2. The trees in the forest.
+
+3. The armor of Sir Galahad and the trappings of his horse.
+
+Again, in Volume V, on page 17, is the picture of Gulliver's _Journey to
+the Metropolis_, which gives us these topics:
+
+1. The picture.
+
+2. The cart on which the Lilliputians transport Gulliver. (Read the
+account in the story for further facts.)
+
+Facing page 116 in the same volume is the halftone of King Arthur in
+armor. To write a minute description of the armor would be an excellent
+exercise, requiring close observation and not a little reading, if the
+children wish to name the pieces of armor the king wears.
+
+II. Many of the stories contain beautiful descriptive passages, which
+may be studied with profit, and some of the selections are almost wholly
+descriptive. An excellent example of the latter type and an exceedingly
+interesting article for children is _Some Children's Books of the Past_
+(Volume V, Page 101).
+
+_The King of the Golden River_ (Volume II, page 405) and _A Christmas
+Carol_ (Volume VI, page 244) are especially rich in material of this
+kind. On page 408 of the former selection the King is described at his
+first appearance. An analysis of the paragraph is to be found on page
+445 of the same volume, under the title _First Appearance_. By comparing
+the analysis and the descriptive paragraph it will be seen that the
+former gives the facts only, while in the latter there are comparisons
+and descriptive words that make the whole vivid and artistic.
+
+The outline is a good description of an imaginary person. After the
+children have studied paragraph and outline, give them another outline
+like this:
+
+  1. General statement, or introduction.
+  2. Nose.
+  3. Cheeks.
+  4. Eyes.
+  5. Beard.
+  6. Hair.
+  7. Height.
+  8. Clothing.
+    _a._ Hat.
+    _b._ Coat.
+    _c._ Vest.
+    _d._ Trousers.
+    _e._ Shoes.
+
+Require each child to follow the outline and to write a smooth, readable
+description of a man whom he knows. Vary the exercise by asking the
+children to describe some man whose picture you show; some man whom all
+have seen, or, if it can be done in the proper spirit, one of the other
+children who is willing to pose. Then ask them to describe some fanciful
+character about whom you make a general statement, as, for example, "He
+was the most amusing man I ever saw in my life," or, "He was certainly
+the most dignified man in appearance and the best-dressed man I ever
+saw." A comparison of the descriptions given by the different members of
+the class will be amusing and instructive. Try to secure descriptions
+which in style are in harmony with the subject.
+
+III. In many of the selections the authors have not tried to describe
+things very fully. In such cases you have fine opportunities to train
+the imagination by asking the children to supplement the descriptions.
+For instance, _On the Receipt of My Mother's Picture_ (Volume VII, page
+331) raises among other subjects for descriptive writing the following:
+
+  1. Describe Cowper's mother.
+  2. Describe the picture he received.
+  3. Describe the home of his infancy.
+  4. Describe the "well-havened isle."
+
+Children should be taught to look through the entire poem for facts that
+bear on the topics. When writing, they must not misrepresent these facts
+nor give others that contradict those in the poem. Where nothing is
+said, the child may see what he likes. Such exercises tend to make
+children appreciate good literature, and, when they are reading, to
+visualize the things to which allusion is made.
+
+EXPOSITION. In Volume IV, beginning on page 14, is the story of Martin
+Pelaez, the Asturian, which will offer good material for a composition
+of another kind. The introduction to _Cid Campeador_, page 9, will give
+you information you are likely to need to answer questions.
+
+As in the exercise just given, begin to read and make such explanatory
+comments as are needed to show clearly the character of Martin. You
+will, of course, need to make the story lucid to the children. Show
+that--
+
+_a._ Pelaez was a Spanish grandee of great strength and noble form.
+
+_b._ He was a coward at heart.
+
+_c._ Twice he ran from the enemy and avoided battle.
+
+_d._ Both times he was asked by the Cid to sit with him at the table,
+and not with the noblest knights.
+
+_e._ The first time Martin thought it an honor to himself; the second
+time, he saw it to be a grave reproof.
+
+_f._ Thereafter he fought nobly, was seated with the great knights, and
+became one of the Cid's most favored friends.
+
+When these points have been fixed in mind, proceed to develop an outline
+for the composition. It may be something like this:
+
+_a._ The character of Martin as we first meet him in the story, with
+instances to prove the nature of it.
+
+_b._ His character after he was changed by the Cid, with evidences to
+show it. Exemplified:
+
+1. He was a coward. We know it from--
+  (_a_) His flight during the first battle.
+  (_b_) His retreat during the second battle.
+  (_c_) The fact that he was large, strong and well versed in arms
+        yet would not fight.
+  (_d_) The fact that he hoped to escape the notice of the Cid.
+
+2. He was teachable. We know it because he needed but two lessons.
+
+3. He was brave. We know it from his conduct in battle.
+
+4. He had many noble characteristics. We know it because be became the
+trusted friend of the Cid.
+
+Put into the form of a composition, we might expect something like this:
+
+"Martin Pelaez, when we first knew him, was an arrant coward, for though
+strong, well-formed and versed in the use of arms, he more than once
+fled before the enemy. He had other traits of a coward, as we may know
+from his actions in hiding in his tent and hoping to escape the eye of
+his master and unfairly gain the reputation of a brave knight.
+
+"Later, however, under the wise treatment of the Cid he was made ashamed
+of his cowardice, conquered it and became a courageous warrior. In fact,
+he was one of the bravest and most powerful knights in the army of the
+Cid.
+
+"More than that, Martin Pelaez developed all the traits of a gentleman.
+He became a good keeper of secrets, was wise in counsel and brave in
+action."
+
+The foregoing is a good example of exposition, the third of the four
+forms of prose composition.
+
+ARGUMENT. _The Boston Massacre_ by Nathaniel Hawthorne (Volume IV, page
+217) offers several good questions for debate. We may select the
+decision of the judges (page 223) as the one furnishing the best
+opportunity. Hawthorne says, "The judges told the jury that the insults
+and violence which had been offered to the soldiers justified them in
+firing at the mob."
+
+To bring the question into a form for debate we might write it, "Were
+the judges right in their decision?" This leaves the question evenly
+balanced, with no prejudice against either side. It might be put more
+formally: "_Resolved._ That the judges were right in their decision."
+The effect of stating the question in the latter form is to throw the
+"burden of proof" on the negative. In other words, if the question is in
+the latter form and the arguments are equally balanced, the decision
+would have to be that the judges were right.
+
+Having determined the form of the question, the children may be
+separated into two groups, as nearly as possible equal in ability, and
+one group may be appointed to take the side of the judges and one the
+side of the soldiers.
+
+Having arranged the preliminaries, converse with the children freely,
+bringing out points equally in favor of both sides. Avoid any appearance
+of favoritism. If one side is manifestly stronger than the other,
+however, you may put them on a level by showing a few arguments to the
+weaker side. Do this openly, so that all may understand your action.
+
+Encourage the children to study both sides of the question and to be
+fair-minded. In fact, the ordinary debate where children are appointed
+to argue upon a certain side of the question does not bring into play
+the same good methods of thought and judgment as the free debate, in
+which each child studies both sides of the question, determines which
+side he thinks the right one, and then argues for that side.
+
+In this question urge the children to study the subject in their
+histories or in any reference books that may be handy. Help them to get
+at the truth of the matter. Hawthorne may show prejudice. Does he? We
+may feel a bias in favor of one side or the other. Do we? Then to the
+extent of that bias we are liable to be unfair and to fail in making a
+sound argument.
+
+After the children have read what they can find on the subject, ask them
+to arrange their arguments in parallel columns, for and against the
+judges. Something like the following may appear:
+
+          FOR                            AGAINST
+
+  1. The Americans                1. The English had
+  were the subjects of the        oppressed the colonists
+  English, and subjects           by unjust taxes and in
+  should be loyal.                other ways (mention
+                                  them) until the time
+                                  for loyalty had ceased.
+
+  2. The colonists                2. If these colonists
+  were not an organized           were a mob they were
+  body, acting legally.           justified in their acts.
+  They were a wild mob,           It was an insult and
+  and mobs must be                worse to quarter troops
+  quelled or lives and            upon them and they
+  property cannot be protected.   naturally resented it.
+                                  They had had no time
+                                  to organize and make
+                                  laws. They had to act
+                                  at once.
+
+  3. The mob was                  3. It is always the
+  composed of wild                young men who lead.
+  young men, and most             In most great movements
+  of the colonists did not        it has been the
+  approve of their acts.          young men who were
+                                  right.
+
+  4. The mob called               4. The soldiers forgot
+  the soldiers "lobster-backs,"   their discipline and
+  "red-coats," and                called the colonists "rebel
+  other insulting names           rascals" and threatened
+  before the soldiers             to use bayonets.
+  spoke.
+
+  5. The mob crowded              5. The soldiers
+  the soldiers off the            should have kept to their
+  sidewalk, threw snow            barracks, but they paraded
+  and lumps of ice at             the streets and
+  them. The young men             pricked the townspeople
+  dared the soldiers to           with their bayonets.
+  fire, threatened to drive
+  them to their barracks
+  and to beat them down.
+
+  6. Captain Preston              6. Captain Preston
+  was acting under orders,        was unwise, irritating,
+  and he warned the colonists     overbearing, and by his
+  that he would preserve          attitude provoked the
+  order at any risk.              colonists beyond human
+                                  endurance.
+
+  7. The firing was a             7. Captain Preston
+  mistake. It was not by          ordered his men to fire
+  Captain Preston's orders.       on the colonists.
+
+  8. The first shot was           8. A British sympathizer
+  fired by a masked man           in a mask fired
+  who appeared on the             into the crowd of unarmed
+  balcony of a house and          colonists.
+  fired at the soldiers.
+
+  9. The British soldiers         9. By withdrawing
+  were soon withdrawn             the troops the British
+  and everything                  confessed that they were
+  done to make the colonists      in the wrong.
+  feel right about
+  the affair. This showed
+  that the British were
+  still very friendly to the
+  colonists, and desired
+  their good will.
+
+  10. Judges who were             10. The judges were
+  supposed to be honorable        British appointees, not
+  men heard all the               in sympathy with the
+  evidence and would not          colonists and too much
+  be liable to make any           prejudiced to be able to
+  mistake.                        decide fairly.
+
+  11. The judges                  11. The judges knew
+  were so thoroughly              they were wrong and
+  convinced that the soldiers     were afraid to leave the
+  were not guilty                 question to the jury.
+  that they told the jury
+  what verdict to give.
+
+The "points" given above show some of the really minor debatable topics
+that arise under the larger question. They show, too, how differently
+the same incidents may appear to different eyes. Perhaps some of the
+"points" are stated unfairly, to give strength to the argument. Bare
+assertions are not proofs and some of the "points" are nothing but
+assertions. Opinions are not arguments. Some of the statements would
+need to bolstered up by facts and "authorities" before they could be
+accepted as real arguments.
+
+Most debates are oral, but, for our purpose, they are to be considered
+as written language lessons. Hence, when the arguments are marshalled as
+above, the child should select the side he feels to be right and compose
+his argument in proper form. Teach him to see the three parts to his
+argument, namely, the introduction, the body of his argument, and the
+conclusion. Tell him to make his style personal, clear, concise,
+logical, strong, persuasive and convincing. Show him what each
+characteristic in the above list means.
+
+For example, the _argument_ for the judges made from the assertions
+given above might be stated as follows:
+
+_Introduction._ "That the judges were right when they pronounced Captain
+Preston and the eight British soldiers not guilty of murder when they
+fired on the colonial mob in what is incorrectly called the 'Boston
+Massacre' will be proved in this argument."
+
+_Body of the Argument._ "The citizens of Boston were English subjects
+who had been fostered by the mother country. Since the settlement at
+Plymouth in 1620 no other nation had claimed or exercised any control
+over them, and I maintain that loyalty to his country is one of the
+highest duties of every citizen." (It is not advisable to write here the
+"body" of the argument. It would naturally be continued step by step
+till the eleven "points" given above had been exhausted. If those
+"points" had been brought up in the general conversation lesson every
+child would be expected to add others that he had found by his own
+study. Liberty of omission, arrangement and addition should always be
+allowed. Originality is always at a premium.)
+
+_Conclusion._ "I have now presented to you the reasons for my belief. I
+have shown you conclusively that the colonists were British subjects and
+owed unquestioning loyalty to their country; that----[Here recapitulate
+briefly but forcibly the arguments, so as to present them convincingly
+and at one time.] In view of all these facts I maintain that I have
+shown that the judges did not err when they pronounced Captain Preston
+and the eight soldiers not guilty of murder."
+
+Of course, the form of the introduction and conclusion may vary from
+that given here. Each child should be allowed the greatest freedom of
+expression consistent with the facts that there must be an introduction
+that states the question fairly and clearly, and a conclusion that shows
+how much the contentions have been proved.
+
+CONCLUSION. While narration, description, exposition and argument are
+the four forms of prose composition, we do not find frequently that
+selections are exclusively one or another. Nearly every story contains
+description, and exposition is not infrequent; expositions often contain
+description and narration, and arguments are often based upon narration
+and exposition. Excellent language lessons may be given by examining
+masterpieces to see what forms of composition they represent or which
+form predominates.
+
+Thus, in _An Exciting Canoe Race_ (Volume VII, page 79), an extract from
+Cooper's _The Last of the Mohicans_, may be found several forms of
+composition:
+
+1. The story as a whole is narration.
+
+2. On page 81 is this passage in exposition: "That's a trail that
+nothing but a nose can follow; grass is a treacherous carpet for a
+flying party to tread on, but wood and stone take no print from a
+moccasin. Had you worn your armed boots, there might indeed have been
+something to fear; but with the deerskin suitably prepared, a man may
+trust himself, generally, on rocks with safety. Shove in the canoe
+higher to the land, Uncas; this sand will take a stamp as easily as the
+butter of the Jarmans on the Mohawk. Softly, lad, softly; it must not
+touch the beach, or the knaves will know by what road we have left the
+place."
+
+3. On page 86 is this descriptive passage: "The well-known crack of a
+rifle, whose ball came skipping along the placid surface of the strait,
+and a shrill yell from the island interrupted his speech and announced
+that their passage was discovered. In another instant several savages
+were seen rushing into the canoes, which were soon dancing over the
+water in pursuit. These fearful precursors of a coming struggle produced
+no change in the countenances and movements of his three guides, so far
+as Duncan could discover, except that the strokes of their paddles were
+longer and more in unison, and caused the little bark to spring forward
+like a creature possessing life and volition."
+
+It will be observed that the paragraph just quoted is not purely
+descriptive, but that it contains something of narration as well. A
+single sentence of pure description is the following, to be found on
+page 88: "So rapid was the progress of the light vessels that the lake
+curled in their front in miniature waves and their motion became
+undulating by its own velocity."
+
+The following, from page 90, is a brief argument in conversational form,
+the elementary form of debate:
+
+"Get you then into the bottom of the canoe, you and the colonel; it will
+be so much taken from the size of the mark."
+
+"It would be but an ill example for the highest in rank to dodge, while
+the warriors were under fire!"
+
+"Lord! Lord! that is now a white man's courage! And, like too many of
+his notions, not to be maintained by reason. Do you think the Sagamore
+or Uncas, or even I, who am a man without a cross, would deliberate
+about finding a cover in a scrimmage when an open body would do no good?
+For what have the Frenchers reared up their Quebec, if fighting is
+always to be done in the clearings?"
+
+"All that you say is very true, my friend; still, our custom must
+prevent us from doing as you wish."
+
+Good selections to use for the purposes described and good subjects for
+compositions are the following from _Journeys Through Bookland_:
+
+For Narration:
+
+  1. Stories from _The Swiss Family Robinson_, Volume III, page 99.
+  2. _The Story of Siegfried_, III, 410.
+  3. _The Death of Hector_, IV, 364.
+  4. _Tom Brown at Rugby_, V, 469.
+  5. _The Recovery of the Hispaniola_, VII, 352.
+  6. _The Adventure of the Windmills_, VII, 438.
+  7. _The Adventure of the Wooden Horse_, VII, 467.
+  8. _The Battle of Ivry_, VIII, 76.
+
+For Description:
+
+  1. _How the Old Woman Looked._ See _The Old Woman Who Lived in a
+     Shoe_, Volume I, page 35.
+  2. _The House in the Tree._ See _Swiss Family Robinson_, III, 141.
+  3. _A Forest Scene._ See _Pictures of Memory_, IV, 128.
+  4. _Sheridan's Horse._ See _Sheridan's Ride_, IV, 223.
+  5. _Christmas._ See _The Fir Tree_, II, 68, and _Christmas in Old
+     Time_, VI, 356.
+  6. _A Scene of My Childhood._ See _The Old Oaken Bucket_, VII, 11.
+  7. _My Old Kentucky Home._ See poem of the same name, VII, 179.
+
+For Exposition:
+
+  1. _The Character of the Boy, Tom._ See _Tom, the Water Baby_, Volume
+     II, page 215.
+  2. _What Kind of a Man was Viking?_ See _The Skeleton in Armor_, V,
+     327.
+  3. _Exaggeration and Falsehood._ See _Baron Munchausen_, V, 403.
+  4. _On the construction, meaning, and sentiment in "Home, Sweet
+     Home."_ See VI, 221.
+  5. _The Strength of the Gorilla Compared with that of the Elephant._
+     See _A Gorilla Hunt_, VII, 247, and _Elephant Hunting_, VI, 385.
+  6. _The Wit of the Visitor._ See _Limestone Broth_, VI, 467.
+  7. _A Character Sketch of Alice and John._ See _Dream Children_. VIII,
+     335.
+
+For Argument:
+
+  1. _Was the Second Traveler in the Right?_ See _The Two Travelers_,
+     Volume I, page 109.
+  2. _Were the Three Men Perfectly Healthy?_ See _We Plan a River Trip_,
+     V, 443.
+  3. _Was the Punishment of the Ancient Mariner Just?_ See _The Rime of
+     the Ancient Mariner_, VII, 29.
+  4. _Was it Sensible for Casabianca to Remain on the Burning Ship?_ See
+     _Casabianca_, VIII, 313.
+  5. _Should Warren Hastings Have Been Convicted?_ See _The Impeachment
+     of Warren Hastings_, IX, 32.
+
+
+
+
+CHAPTER XV
+
+JOURNEYS THROUGH BOOKLAND IN ITS RELATION TO THE SCHOOL--(Continued)
+
+
+_Nature Study_
+
+Nature study to be most valuable must be in reality the study of nature.
+Its beginnings are in observation and experiment, but there comes a time
+when the child must go to books for information and enlightenment. The
+purposes of nature study are to awaken a spirit of inquiry concerning
+things in the immediate vicinity and thence in wider fields; to develop
+observation, comparison and reason; to give interests that will charm
+the possessor through life; to introduce the elements of the natural
+sciences. Enthusiasts have made the study of nature the basis of all
+school work, the correlating force in all studies. Such an idea has
+merit in it, for it is certain that lessons begun in the observation of
+living things and the phenomena of nature speedily ramify into language,
+reading, geography, history, and even mathematics.
+
+There is among some an unfortunate tendency to go too much to books for
+material and to seize too quickly any suggestion that leads in that
+direction. Yet books are valuable at the proper time and in the proper
+place. When facts have been learned, they may be made vital by good
+literary selections; when facts not accessible by observation are
+needed, they may be obtained through books. On the other hand,
+literature is full of allusions to natural facts and phenomena and may
+only be understood by him who knows nature. Both phases of the subject
+are of vital interest.
+
+Instead of attempting any systematic outline for nature study we will
+here try to give help on two problems only:
+
+_First._ How may nature study be broadened by the use of literature?
+
+_Second._ How may the study of nature help in the appreciation of
+literature?
+
+
+I.
+
+In trying to answer the first question we will present first a
+classified list of selections from _Journeys Through Bookland_ which are
+closely related to the study of nature and indicate briefly how they may
+be used.
+
+A. Seven Long Selections.
+
+In the first place, there are long selections in which there are many
+anecdotes and incidents which are usable in nature study. We will give
+partial lists of what is to be found therein, but it is well to read the
+whole selection and choose what is best for the occasion.
+
+1. _Tom, the Water Baby_ (Volume II, page 215). This is one of the most
+charming stories in the book, especially for young children, though
+older ones and even people of mature years will enjoy it thoroughly.
+Tom, a little chimney sweep, after perilous adventures, dies, or rather
+turns into a newt or eft, a water baby. His exciting life thereafter is
+in the waters, where he meets many of its strange denizens. The whole
+story is highly imaginative, humorous, and full of fine lessons,
+beautifully given. The more important of his adventures, from our point
+of view, are concerned with the following:
+
+  The Caddis Fly, pages 261-264.
+  The Dragon Fly, pages 264-265.
+  The Sand Fly, pages 267-269.
+  Otters, pages 270-271, 273-274.
+  Salmon, pages 272, 279-283.
+  Tides, page 287.
+  The Turbot, page 289.
+  Lobsters, pages 292-294, 300-303.
+  Sea Cucumbers, page 297.
+  Great Auk, page 339.
+  Mother Carey's Chickens (Stormy Petrels), page 344.
+
+2. _Robinson Crusoe_ (Volume III, page 45). Two chapters only are given
+from this great story, but the first, dealing with the capture and
+education of Crusoe's man Friday, may be worth while to read in
+connection with studies of savage races. It is not altogether
+scientific.
+
+3. _The Swiss Family Robinson_ (Volume III, page 99). This famous old
+story will be charming to children for many generations to come. It is a
+tale of the wonderful struggle of a family against nature. It may be a
+fact that it is unreasonable and impossible; that not all the seeming
+facts are true; that nature never plays so perfectly into the hand of
+man; that not all the living things mentioned are to be found in one
+locality. But it is clean, wholesome adventure, and the errors in it
+will do no harm. Many a good language lesson and many an addition to
+nature lessons may be drawn from it. The efforts of the family to
+utilize what they find, though too successful, are worthy of imitation.
+Some of the more interesting things met by the family are the following:
+
+  Lobsters, page 113.
+  Oysters, pages 114, 117.
+  Agouti, page 116, with a picture on page 116.
+  Cocoanuts, pages 125-128.
+  Calabash Trees, page 123.
+  Monkeys and Cocoanuts, pages 125-128.
+  Shark, page 138.
+  Turtle, pages 145-149.
+  Penguins (picture), page 152, pages 151-153.
+  Cassava Bread, pages 154-157.
+  Caoutchouc, page 170.
+  Onager (Wild Ass), pages 171-174 (picture, page 172).
+  New Zealand Flax, pages 175-176.
+  Flamingo, page 177.
+  Salt Cavern, pages 180-185.
+  Herrings, pages 187-188.
+  Gypsum, page 188.
+  Boa Constrictor, pages 192-195.
+  Ostrich, pages 206-215.
+  Walrus, page 222.
+  Hyenas, pages 227-228.
+  Lions, pages 252-256.
+
+4. _Brute Neighbors_ (Volume VII, page 260) is an interesting essay by
+Henry David Thoreau, the most delightful of American naturalist writers.
+In this essay he chats familiarly about the animals that surround his
+cottage in the woods, and shows the closeness of his observation as
+well as the breadth of his general knowledge. It is a nature study in
+itself as a whole. Besides mention of other animals, he tells
+interesting anecdotes of the following:
+
+  A Wild Mouse, page 261.
+  The Partridge, as the ruffed grouse is called in New England, pages
+    262-263.
+  The Woodcock, page 264.
+  The Fighting Ants, pages 264-268.
+  The Loon, pages 270-274.
+
+5. _The Pond in Winter_ (Volume VII, page 280). This is another of
+Thoreau's charming essays in natural history. It contains a pretty
+description of the snow and ice covered pond (page 280), an account of
+fishing through the ice (pages 282-283), and a vivid description of the
+pickerel (pages 283-284).
+
+6. _Winter Animals_ (Volume VII, page 293) is a third one of Thoreau's
+essays. An analysis shows that he tells something of all the following
+interesting things:
+
+  I. Winter routes over lakes, pages 293-294.
+
+  II. Sounds by day and night.
+    a. The melodious note of a hooting owl, page 294.
+    b. The honking of a goose, page 294.
+    c. The harsh and tremulous call of a cat-owl, page 294.
+    d. The whooping of the ice, page 295.
+    e. The barking of foxes, page 295.
+    f. The feet of the red squirrel down the sides of the house, page
+       295.
+    g. The discordant screams of the jays, page 298.
+    h. The wiry note of the chickadee, page 298.
+    i. The whirring wings of the partridges, page 299.
+    j. The yelping of hounds, and the hunting
+       horn (including fox hunting), pages 300-304.
+
+  III. The destructiveness of squirrels and wild mice, pages 296-297.
+
+  IV. The hares, pages 304-305.
+
+7. _Trees and Ants That Help Each Other_ (Volume VII, page 306) is a
+selection from the writings of Thomas Belt. It is an extremely
+interesting account of some of the curious adaptations of plants and
+animals to each other, as is indicated sufficiently by the title. An
+outline of the essay follows:
+
+  I. A species of acacia, pages 306-309.
+    1. Houses and feeds ants.
+      a. Houses in thorns.
+      b. Feeds (1) by glands and (2) by a pear-shaped appendage.
+    2. Ants protect trees.
+    3. Each seems beneficial to the other.
+
+  II. A cecropia, or trumpet tree, pages 309-311.
+    1. Houses and feeds ants.
+      a. Houses in hollow stems.
+      b. Feeds ants through herds of plant-lice that suck juices of
+         plant and secrete honey.
+    2. Ants protect trees.
+    3. Apparently beneficial to all.
+
+  III. An evergreen shrub.
+    1. Houses and (probably) feeds ants.
+      a. Houses in pouches at base of leaves.
+      b. Probably feeds ants through the services
+         of scale insects and plant-lice.
+    2. Ants protect shrubs.
+    3. Probably beneficial to all.
+
+  IV. Plants feeding ants, pages 311-312.
+    1. Orchids.
+    2. Passion flowers.
+    3. Dog rose.
+
+
+B. Classified Selections
+
+The following selections, ranging from nursery rhymes to some of the
+finest things ever written, may be considered available for the purpose
+of creating interest in nature study or of adding to a stock of
+knowledge already acquired. For convenience, they are classified in a
+general way, according to the subject-matter of which they treat:
+
+    I. Flowers and plant life:
+    _a._ Nursery rhymes:
+      (1) _Daffy-Down-Dilly Has Come Up to Town_, Volume I, page 47.
+      (2) _Mary, Mary Quite Contrary_, I, 30.
+
+    _b._ Fables:
+      (1) _The Boy and the Nettle_, Volume I, page 65.
+      (2) _The Fox and the Grapes_, I, 135.
+
+    _c._ Fairy Tales:
+      (1) _The Tree_, Volume I, page 301.
+      (2) _The Flax_, I, 378.
+      (3) _The Fir Tree_, II, 68.
+
+    _d._ Poems:
+      (1) _The Reaper and the Flowers_, Volume I, page 410.
+      (2) _John's Pumpkin_, III, 1.
+      (3) _The Potato_, II, 467.
+      (4) _The Moss Rose_, VI, 98.
+      (5) _The Daffodils_, VII, 1.
+      (6) _To the Fringed Gentian_, VII, 4.
+      (7) _To a Mountain Daisy_, VII, 8.
+      (8) _The Petrified Fern_, VII, 77.
+
+    _e._ An interesting essay:
+      (1) _A Bed of Nettles_, Volume VIII, page 209.
+
+    _f._ See references to _The Swiss Family Robinson_ and _Trees
+         and Ants That Help Each Other_, in the earlier part of this
+         section.
+
+    II. Birds:
+    _a._ Nursery rhymes:
+      (1) _Lady Bird, Lady Bird_, Volume I, page 12.
+      (2) _Higgledy, Piggledy_, I, 20.
+      (3) _Poor Robin_, I, 16.
+
+    _b._ Poems:
+      (1) _Little Birdie_, Volume I, page 142.
+      (2) _The Brown Thrush_, I, page 147.
+      (3) _The English Robin_, II, 214.
+      (4) _Who Stole the Bird's Nest_? II, 399.
+      (5) _Four Ducks on a Pond_, VI, 98.
+      (6) _The Rime of the Ancient Mariner_, VII, 29.
+      (7) _Ode to a Skylark_, VII, 275
+      (8) _To a Waterfowl_, VII, 395.
+      (9) _The Romance of the Swan's Nest_, VIII, 315.
+
+    _c._ Fables:
+      (1) _The Fox and the Crow_, Volume I, page 64.
+      (2) _The Fox and the Stork_, I, 73.
+      (3) _The Wolf and the Crane_, I, 96.
+      (4) _The Lark and Her Young Ones_, I, 131.
+      (5) _The Owl and the Pussy Cat_, I, 339.
+      (6) _Minerva and the Owl_, II, 7.
+
+    _d._ Fairy Story:
+      (1) _The Ugly Duckling_, Volume I, page 414.
+
+    _e._ An Essay:
+      (1) _Owls_, IX, page 229.
+
+    _f._ See also references to _Tom, the Water Baby_, _The Swiss
+         Family Robinson_, _Brute Neighbors_, and _Winter Animals_,
+         in earlier parts of this section.
+
+  III. Four-footed animals:
+    _a._ Nursery rhymes:
+      (1) _Ding Dong Bell_, Volume I, page 15.
+      (2) _Little Bo Peep_, I, 9.
+      (3) _Old Mother Hubbard_, I, 24.
+      (4) _Three Little Kittens_, I, 13.
+      (5) _Baa, Baa, Black Sheep_ I, 8.
+
+    _b._ Fables:
+      (1) _The Fox and the Crow_, Volume I, page 64.
+      (2) _The Ass in the Lion's Skin_, I, 65.
+      (3) _The Fox and the Stork_, I, 73.
+      (4) _The Gnat and the Bull_, I, 70.
+      (5) _The Lion and the Mouse_, I, 75.
+      (6) _The Wolf and the Crane_, I, 96.
+      (7) _The Fox and the Grapes_, I, 135.
+      (8) _The Bat and the Two Weasels_, I, 154.
+      (9) _The Owl and the Pussy Cat_, I, 339.
+     (10) _The Horse and the Stag,_ I, 338.
+     (11) _The Fox, the Wolf, and the Horse_, I, 377.
+     (12) _The Wolf and the Lamb_, I, 455.
+
+    _c._ Poetry:
+      (1) _The Cow_, Volume I, page 106.
+      (2) _Mercy to Animals_, I, 413.
+      (3) _How They Brought the Good News from Ghent to Aix_, V, 335.
+      (4) _To a Mouse_, VII, 5.
+
+    _d._ Stories:
+      (1) _A Dog of Flanders_, Volume IV, page 93.
+      (2) _The Lion and the Missionary_, VI, 93.
+      (3) _Rab and His Friends_, VI, 99.
+      (4) _Elephant Hunting_, VI, 385.
+      (5) _The Gorilla Hunt_, VII, 247.
+
+    _e._ Essays:
+      (1) _Some Clever Monkeys_, Volume VI, page 402.
+      (2) _The Buffalo_, VII, 96.
+
+    _f._ See, also, references to _Tom, the Water Baby_, _The Swiss
+         Family Robinson_, _Brute Neighbors_, and _The Pond in Winter_,
+         in the earlier part of this section.
+
+  IV. Reptiles:
+    _a._ Fable:
+      (1) _The Boys and the Frogs_, Volume I, page 63.
+
+    _b._ See, also, references to _Tom, the Water Baby_, and _The
+         Swiss Family Robinson_, in the earlier part of this section.
+
+  V. Insects:
+    _a._ Nursery rhyme:
+      (1) _Little Miss Muffett_, Volume I, page 29.
+
+    _b._ Fable:
+      (1) _The Gnat and the Bull_, I, 70.
+
+    _c._ Poem:
+      (1) _The Spider and the Fly_, III, 19.
+
+    _d._ Essay:
+      (1) _Trees and Ants That Help Each Other_, VII, 306.
+
+    _e._ See, also, references to _Tom, the Water Baby_, in the earlier
+         part of this section.
+
+  VI. Denizens of the water:
+    _a._ Fish:
+      (1) _Salmon Fishing_, Volume VII, page 285.
+      (2) "Pickerel," in _The Pond in Winter_, VII, 280.
+      (3) See, also, "Salmon," in _Tom, the Water Baby_, II, 272, 279-283.
+
+    _b._ See numerous references to _Tom, the Water Baby_, in the
+         earlier part of this section.
+
+  VII. Natural Phenomena:
+    _a._ Nursery rhymes:
+      (1) _Rainbow in the Morning_, Volume I, page 48.
+      (2) _If All the World Were Water_, I, 48.
+
+    _b._ Poems:
+      (1) _Twinkle, Twinkle, Little Star_, Volume I, page 44.
+      (2) _The Sun's Travels_, I, 68.
+      (3) _Rain_, I, 110.
+      (4) _Autumn Fires_, I, 394.
+      (5) _The Wind_, I, 440.
+      (6) _The First Snowfall_, II 403.
+      (7) _In Time's Swing_, II, 481.
+      (8) _Echo_, III, 286.
+      (9) _The Rainbow_, VI, 91.
+     (10) _Sweet and Low_, VI, 122.
+     (11) _The Cloud_, VII, 257.
+
+    _c._ Fable:
+      (1) _The Wind and the Sun_, Volume I, page 95.
+
+  VIII. Geographical in Nature:
+      (1) _At the Seaside_, Volume I, page 129.
+      (2) _From a Railway Carriage_, I, 198.
+      (3) _Stop, Stop, Pretty Water_, I, 317.
+      (4) _Song of the Brook_, IV, 60.
+      (5) _A Descent into the Maelstrom_, VIII, 95.
+      (6) _Ascent of the Jungfrau_, IX, 1.
+
+
+II
+
+Aid in answering the second problem may be found in the following
+paragraph:
+
+A series of interesting studies may be founded on the use which authors
+make of nature by way of direct and indirect allusion in their works.
+Such lessons are the opposite of those we have been considering. Now,
+the literary selection is taken first, read carefully and the allusions
+noted and classified. It will be noticed that it is not necessary that
+selections used for this purpose should be new to the pupils. In fact,
+genuine literature has the merit of being always new, always
+interesting. No better service can be rendered to a child than to create
+in him a love for the fine things in literature. Continued, monotonous
+study of a masterpiece may breed dislike of it, especially if the
+exercises are dull and formal. But to approach an old favorite from a
+new direction, to look at it from a new point of view, is to lend it
+added charms.
+
+A. To illustrate our method, we will use _The King of the Golden River_
+(Volume II, page 405).
+
+1. _Assignment._ The leader assigns the work as follows: "I wish you to
+read the first section of _The King of the Golden River_ and write in
+the order of their occurrence, every mention of a living thing or
+natural object and every allusion to them. Use the words of the story
+when possible, but be brief. After each put a number, to show the page
+of the story. Let us see who can find the greatest number and who can
+make the best paper."
+
+2. _Preparation._ If the children work well their lists will be
+something like this:
+
+  a. The valley in the mountains. Page 405.
+    (1) Snow-covered peaks; cataracts; a crag; river; circular hollows.
+    (2) Heavy crops; high hay; red apples; blue grapes; rich wine; sweet
+        honey.
+    (3) Blackbirds; hedgehogs; crickets; cicadas.
+    (4) Corn.
+
+  b. The wet summer. Page 407.
+    (1) Hay; vines; corn.
+
+  c. A nice piece of mutton. Page 408.
+
+  d. Must be the wind. Page 408.
+
+  e. A black feather some three feet long. Page 409.
+
+  f. Like a beaten puppy's tail. Page 410.
+
+  g. Like a mill stream. Page 410.
+
+  h. Licking its chops. Page 410.
+
+  i. A gust of wind that made the old chimneys totter. Page 411.
+
+  j. Quicksilver-like streams. Page 411.
+
+  k. Like a straw in the high wind. Page 413.
+
+  l. A wreath of ragged cloud, that whirled and rolled away down the
+     valley. Page 415.
+
+  m. A gush of rain. Page 415.
+
+  n. Howling wind and rushing rain without intermission. Page 415.
+
+  o. The room was full of water. Page 416.
+
+  p. A misty moonbeam. Page 416.
+
+  r. Like a cork. Page 416.
+
+  s. The inundation. Pages 416-417.
+    (1) Trees; crops; cattle swept away.
+    (2) Red sand and gray mud left in their stead.
+    (3) Corn swept away.
+    (4) _Breezy_ letters.
+    (5) Southwest Wind, Esquire.
+
+3. _Recitation._ The leader's part in the recitation is to help the
+children to classify the things mentioned, to bring out the meaning of
+the figures of speech, and to see that the allusions are understood.
+
+In writing this fine chapter, Ruskin has mentioned or alluded to the
+following:
+
+  a. Land and water forms: Mountains; valley; snow; peaks; cataracts;
+     river; circular hollow; mill stream; cloud; rain; globe of foam.
+
+  b. Animals: Sheep (mutton); bird (feathers); puppy; dog (licking its
+     chops); wolf (howling wind); cattle.
+
+  c. Plant life: Crops; hay; apples; grapes; corn; vines; straw; cork;
+     trees.
+
+  d. Natural phenomena: A wet summer wind blowing; gushing rain;
+     whirling clouds; misty moonbeam; floating foam; sweeping
+     inundation; breezes (breezy letters).
+
+  e. Rock material: Quicksilver; red sand; gray mud.
+
+  f. Natural products: Crops; apples; hay; grapes; wine; honey; corn;
+     mutton; cork; cattle.
+
+  g. Figures of speech: (In studying figures of speech, make three
+     points in each, viz.: _First_, the basis of the figure; _second_,
+     the translation of the figure into literal English; _third_, the
+     force and beauty of the figure and its effect on the meaning of the
+     sentence. With older children the names of the figures may be
+     given. Illustrations of these directions will follow.)
+
+     (1) Like a beaten puppy's tail. (A beaten puppy drops his tail and
+         drags it weakly behind him. The feather drooped down behind him
+         and dragged limply along. The figure gives a vivid picture of the
+         wet feather, limp and unhandsome. The figure is a comparison in
+         the form of a _simile_.)
+
+     (2) Like a mill stream. (Rushing, roaring, fast and furious.)
+
+     (3) Licking its chops. (_First_, a dog runs out his tongue and
+         licks his lips and the outside of his face [cheeks--chops] when he
+         sees food brought to him. A red flame twists and waves around like
+         the tongue of a dog. We speak of "tongues of flame" and "hungry
+         flames devouring." _Second_, long streams of flame waved around
+         and curled about the wood as they burned it. _Third_, how much
+         more vivid is the picture we see of the beautiful fire. The words
+         "rustling" and "roaring" help to strengthen the figure. This is a
+         fine comparison, but as it is not directly expressed by the use of
+         the words "like" or "as" we call it a _metaphor_.)
+
+     (4) Quicksilver-like streams. (Bright, shining, smoothly running,
+         with metallic luster.)
+
+     (5) Like a straw in the high wind. (Rapid, uncertain, irregular
+         motion.)
+
+     (6) A wreath of ragged cloud. (Notice the metaphor in _wreath_--also
+         in _ragged_.)
+
+     (7) Howling wind. (A wolf howls. The figure which raises an inanimate
+         object to the level of animate beings, or raises an animate being
+         [a dog, for instance] to the level of a human being, is called
+         _personification_.)
+
+     (8) Like a cork.
+
+     (9) _Swept_ away.
+
+    (10) _Breezy_ letters. (The words _swept_ and _breezy_ are
+         somewhat metaphorical, though their frequent use in this manner
+         makes the meaning almost literal.)
+
+    (11) Southwest Wind, Esquire. (Personification.)
+
+B. A second lesson may confine itself more closely to the figures of
+speech. Naturally this study of figures belongs with language and
+literature, but the point we wish to make is one of correlation. There
+is a literary side to nature study, and a natural history side to
+literature. Many of the greatest authors have been ardent lovers of
+nature, and have drawn liberally on their knowledge of nature in
+beautifying what they have written. Many a reader, from lack of
+knowledge or from careless habits, passes over the most delightful
+things, as blind and deaf as he who sees no beauty in the wild flowers
+and hears no melody in the songs of birds.
+
+For the second lesson of this character we will take the second and
+third chapters of _The King of the Golden River_, hoping to find an
+abundance of figures based on nature in some of its forms. We may not
+find many. Some writers use few. We suspect that Ruskin used them
+freely; as a matter of fact he was one of the greatest lovers of nature,
+a man who labored hard to bring art and nature together and to find a
+place for them in the lives of all.
+
+We find in the second chapter the following nature figures:
+
+  a. Southwest Wind, Esquire, page 418.
+  b. His relations, the West Winds, page 418.
+  c. It looks more like silk, page 419.
+  d. The hot breath of the furnace, page 420.
+  e. Bright tongues of fiery cloud burning and quivering about them,
+     page 420.
+  f. A clear _metallic_ voice, page 420.
+  g. Like that of a kettle on the boil, page 421.
+  h. As smooth and polished as a river, page 421.
+  i. The prismatic colors gleamed over it, as if on a surface of
+     mother-of-pearl, page 422.
+  j. In order to allow time for the consternation ... to evaporate, page
+     424.
+
+In the third chapter are the following:
+
+  a. Knotty question, page 426.
+  b. Like a line of forked lightning, page 427.
+  (This whole paragraph is a wonderfully beautiful description.)
+  c. Rose like slow smoke, page 427.
+  d. In feeble wreaths, page 428.
+  e. Shrieks resembling those of human voices in distress or pain, page
+     428.
+  f. None like the ordinary forms of splintered ice, page 428.
+  g. _Deceitful_ shadows, page 428.
+  h. Lurid lights _played_, page 428.
+  i. Ice _yawned_ into fresh chasms, page 428.
+  j. Fell _thundering_ across his path, page 429.
+  k. Rays _beat_ intensely, page 429.
+  l. Its lips parched and burning, page 430.
+  m. Long snake-like shadows, page 430.
+  n. The _leaden_ weight of the _dead_ air pressed upon his brow and
+     heart, page 430.
+  o. Shaped like a sword, page 431.
+  p. Like a red-hot ball, page 431.
+  q. They shook their crests like tongues of fire, page 432.
+  r. Flashes of _bloody_ light gleamed along their foam, page 432.
+  s. An icy chill shot through his limbs, page 432.
+  t. The _moaning_ of the river, page 432.
+  u. _The Black Stone_, page 432.
+
+
+
+
+CHAPTER XVI
+
+JOURNEYS THROUGH BOOKLAND IN ITS RELATION TO THE SCHOOL--(Continued)
+
+
+_Geography and History_
+
+The connection between geography and history on the one hand and
+literature on the other is most intimate. In the first place nearly all
+our knowledge of history must come through reading, and while we learn
+our geography most accurately through travel and observation, but a
+small part of our information comes through those channels. We read
+incessantly of our own country and others, we fill our minds with
+visions of plants, animals and the peoples of foreign lands from the
+facts we gather from the papers, magazines and books. If most of our
+facts come through reading it is no less true that most of our real
+interest in geography and history comes not from the facts of our
+text-books but from the literature we have read, the literature that
+clothed those facts and made them real and living. Ask yourselves what
+gave you your first real interest in the history of Scotland and see if
+your answer is not, "The novels of Scott." Again, where did you get your
+first adequate ideas of chivalry and the feudal system if it was not
+from _Ivanhoe_ or some similar piece of literature? What makes the
+Crimean War a household word in the homes of two continents if it is not
+the deeds of Florence Nightingale and Tennyson's _Charge of the Light
+Brigade_? Who can tell most of the Battle of Waterloo, he who has read
+the facts of history or he who has read Byron's thrilling poem and the
+description by Victor Hugo? Who knows the English home as it was? He who
+reads Goldsmith's _Deserted Village_.
+
+  [Illustration: OLIVER GOLDSMITH
+  MATTHEW ARNOLD
+  JOHN RUSKIN
+  THOMAS BABINGTON MACAULAY
+  JOHN BUNYAN
+  THOMAS DE QUINCEY
+  CHARLES LAMB]
+
+It is in furnishing those literary masterpieces that give life to
+geography and inspiration to history that _Journeys Through Bookland_
+gives the best of assistance to boys and girls in their school work.
+Some of its selections will give facts and many of them, but the facts
+form the smaller part of the contribution. History is valuable only as
+it enables us to understand the present, thrills us with the
+accomplishments of the past and teaches us how to live and act in the
+future. No man is so wrapped up in business that he does not heed the
+charm of noble deeds and fails to be moved by glorious achievement. Some
+histories are literature in themselves and have the inspiring quality we
+crave, but most of them are too dry and scientific to afford much
+interest to the child. So the greater part of our selections are not
+from the books that are called real history but from those which appeal
+to the imagination and stir the soul. Geographical teaching is likewise
+indirect in _Journeys_ but it is none the less helpful and inspiring. To
+prove the truth of these statements we have only to present what the
+books contain and show how the selections may be used.
+
+It does not seem wise to separate the two subjects too widely, for they
+are closely related and intimately interwoven in almost all reading.
+There are, it is true, some masterpieces that may be considered purely
+geographical and others that are as entirely historical, but these will
+be easily identified. Yet for ease and readiness in locating them we
+append a list of nearly one hundred selections and classify them in a
+simple manner:
+
+  1. Largely geographical.
+    _a._ Juvenile poems with geographical allusions, or based on
+           geographical facts:
+       (1) _The Suns Travels_, Volume I, page 68.
+       (2) _Singing_, I, 83.
+       (3) _Foreign Lands_, I, 130.
+       (4) _At the Seaside_, I, 129.
+       (5) _Old Gaelic Lullaby_, I, 203.
+       (6) _Where Go the Boats?_ I, 256.
+       (7) _Foreign Children_, I, 351.
+       (8) _Keepsake Mill_, I, 349.
+       (9) _Windy Nights_, II, 123.
+      (10) _Picture Books in Winter_, II, 87.
+      (11) _The Child's World_, II, 66.
+
+    _b._ Stories and poems that describe places or people in Europe
+           and some of their customs and modes of life:
+       (1) _The Tree_, Volume I, page 301.
+       (2) _The Snow Maiden_, I, 257.
+       (3) _The Snow Queen_, II, 124.
+       (4) _The Skeleton in Armor_, V, 327.
+       (5) _Rab and His Friends_, VI, 99.
+       (6) _The Governor and the Notary_, VII, 20.
+       (7) _Don Quixote_, VII, 431.
+       (8) _The Alhambra_, VIII, 153.
+       (9) _Ascent of the Jungfrau_, IX, 1.
+      (10) _The Cotters Saturday Night_, VIII, 319.
+
+    _c._ Fanciful legends with geographical interests:
+       (1) _Why the Sea Is Salt_, Volume II, page 484.
+       (2) _Origin of the Opal_, II, 480.
+
+    _d._ A Story from Japan.
+       (1) _The Mirror of Matsuyana_, Volume II, page 36.
+
+    _e._ A story of longitude:
+       (1) _Three Sundays in a Week_, Volume VI, page 453.
+
+    _f._ Plants or plant life:
+       (1) _The Potato_, Volume II, page 467.
+       (2) _Trees and Ants That Help Each Other_, VII, 306.
+       (3) _A Bed of Nettles_, VIII, 209.
+
+    _g._ Animal life:
+       (1) _Salmon Fishing_, VII, 285.
+       (2) _Winter Animals_, VII, 293.
+       (3) _Trees and Ants That Help Each Other_, VII, 306.
+       (4) _Owls_, IX, 229.
+       (5) _Elephant Hunting_, VI, 385.
+       (6) _Some Clever Monkeys_, VI, 402,
+       (7) _The Buffalo_, VII, 96.
+       (8) _A Gorilla Hunt_, VII, 247.
+       (9) _Brute Neighbors_, VII, 260.
+      (10) _The Pond in Winter_, VII, 280.
+
+    _h._ Natural phenomena:
+       (1) _The Cloud_, Volume VII, page 257.
+
+  2. Indians and their habits. The selections are either historical or
+     geographical or both.
+    _a._ _The Arickara Indians._ (A description of the habits
+         and customs of one of the western tribes.) Volume IV, page
+         472.
+
+    _b._ _Reminiscences of a Pioneer._ (This contains a few
+         interesting anecdotes of Indians and many incidents of pioneer
+         life.) Volume V, page 340.
+
+    _c._ _Black Hawk Tragedy._ (A very interesting biographical
+         and historical sketch.) Volume VII, page 58.
+
+    _d._ _An Exciting Canoe Race._ (A story of the New York Indians
+         at an early day.) Volume VII, page 79.
+
+    _e._ _David Crockett in the Creek War._ (An interesting account
+         of southern Indians and their wars.) Volume VIII, page 37.
+
+  3. Biography. The selections in this group consist of anecdotal
+     sketches, brief biographies, extracts from longer works, and a few
+     poems.
+
+    _a._ Authors of the United States and of foreign countries:
+       (1) _Robert Louis Stevenson_, Volume I, page 128.
+       (2) _Eugene Field_, I, 242.
+       (3) _Hans Christian Andersen_, II, 81.
+       (4) _Henry Wadsworth Longfellow_, IV, 62.
+       (5) _Alice and Phoebe Cary_, IV, 116.
+       (6) _Nathaniel Hawthorne_, IV, 180.
+       (7) _Sir Walter Scott_, VI, 26.
+       (8) _John Greenleaf Whittier_, VII, 381.
+       (9) _William Cullen Bryant_, VII, 391.
+      (10) _Oliver Wendell Holmes_, VII, 398.
+      (11) _James Russell Lowell_, VII, 411.
+      (12) _Washington Irving_, VIII, 216.
+      (13) _Charles and Mary Lamb_, VIII, 328.
+
+    _b._ Biblical Characters:
+       (1) _The Story of Joseph_, Volume I, page 456.
+       (2) _The Story of Esther_, II, 448.
+       (3) _David_, IV, 274.
+       (4) _Ruth_, VI, 143.
+
+    _c._ The author of many fables:
+       (1) _Aesop_, Volume II, page 1.
+
+    _d._ English history:
+       (1) _Alfred the Great_, Volume IV, 260.
+       (2) _Queen Victoria_, VII, 152.
+       (3) _Florence Nightingale_, IX, 13.
+
+    _e._ American history:
+       (1) _George Rogers Clark_, Volume VI, page 422.
+       (2) _David Crockett in the Creek War_, VIII, 37.
+       (3) _Pčre Marquette_, VIII, 121.
+       (4) _Abraham Lincoln_, IX, 324.
+
+    _f._ Roman history:
+       (1) _Julius Cćsar_, Volume IX, page 126.
+
+  4. Myths from several sources:
+    _a._ Grecian and Roman:
+       (1) _Atalanta's Race_, Volume I, page 386.
+       (2) _Baucis and Philemon_, I, 431.
+       (3) _The Golden Touch_, II, 43.
+       (4) _The Chimera_, II, 173.
+       (5) _The Story of Phaethon_, II, 206.
+       (6) _The Queen of the Underworld_, II, 468.
+       (7) _Cupid and Psyche_, III, 365.
+
+    _b._ Northern Europe:
+       (1) _How the Wolf was Bound_, II, 91.
+       (2) _The Death of Balder_, II, 99.
+       (3) _The Punishment of Loki_, II, 111.
+       (4) _Beowulf and Grendel_, III, 350.
+
+    _c._ Miscellaneous:
+       (1) _Stories of the Creation_, Volume IV, page 159.
+
+  5. Legendary heroes. The following selections give vivid ideas of the
+     great national heroes whose reputed deeds have been an inspiration
+     to hosts of children in many lands:
+
+    _a._ Scandinavian:
+       (1) _Frithiof the Bold_, Volume III, page 394.
+
+    _b._ German:
+       (1) _The Story of Siegfried_, Volume III, page 410.
+
+    _c._ English:
+       (1) _Robin Hood_, Volume III, page 436.
+       (2) _King Arthur_, V, 113.
+       (3) _Balin and Balan_, V, 130.
+       (4) _Geraint and Enid_, V, 148.
+       (5) _The Holy Grail_, V, 207.
+       (6) _Dissensions at King Arthur's Court_, V, 232.
+       (7) _The Passing of Arthur_, V, 237.
+
+    _d._ French:
+       (1) _Roland at Roncesvalles_, Volume III, page 460.
+
+    _e._ Spanish:
+       (1) _The Cid_, Volume IV, page 9.
+
+    _f._ Greek:
+       (1) _The Death of Hector_, Volume IV, page 364.
+       (2) _Ulysses_, IV, 398.
+
+    _g._ Roman:
+       (1) _Horatius_, Volume VI, page 1.
+
+  6. Historical tales, poems, and selections of different kinds and
+     varying degrees of difficulty:
+
+    _a._ Northern Europe:
+       (1) _Holger Danske_, Volume II, page 377.
+       (2) _Make Way for Liberty_, VII, 172.
+       (3) _Marco Bozzaris_, VIII, 90.
+
+    _b._ France and Napoleon:
+       (1) _Incident of the French Camp_, Volume IV, page 174.
+       (2) _Battle of Ivry_, VIII, 76.
+       (3) _Hervé Riel_, VIII, 168.
+       (4) _The Battle of Waterloo_, VIII, 176.
+       (5) _The Battle of Cressy_, IX, 161.
+
+    _c._ Classic lands:
+       (1) _The Wooden Horse_, Volume IV, page 383.
+       (2) _The Battle of Thermopylae_, VIII, 81.
+       (3) _The Death of Caesar_, IX, 126.
+       (4) _The Death of Caesar_, IX, 143.
+       (5) _Julius Caesar_, IX, 155.
+
+    _d._ British Isles:
+       (1) _Chevy Chase_, Volume IV, page 312.
+       (2) _The Ballad of Agincourt_, V, 95.
+       (3) _Some Children's Books of the Past_, V, 101.
+       (4) _The Rise of Robert Bruce_, V, 278.
+       (5) _Bruce and the Spider_, V, 314.
+       (6) _The Heart of Bruce_, V, 316.
+       (7) _The Tournament_, VI, 38.
+       (8) _Bannockburn_, VII, 15.
+       (9) _The Charge of the Light Brigade_, VII, 147.
+      (10) _The Recessional_, VII, 164.
+      (11) _The Battle of Trafalgar_, VIII, 284.
+      (12) _Casabianca_, VIII, 313.
+      (13) _The Impeachment of Warren Hastings_, IX, 32.
+      (14) _The Battle of Cressy_, IX, 161.
+      (15) _The Battle of Hastings_, IX, 330.
+
+    _e._ United States:
+       (1) _The Pine Tree Shillings_, Volume IV, page 192.
+       (2) _The Sunken Treasure_, IV, 199.
+       (3) _The Hutchinson Mob_, IV, 208.
+       (4) _The Boston Massacre_, IV, 217.
+       (5) _The Landing of the Pilgrim Fathers in New England_, IV, 197.
+       (6) _Sheridan's Ride_, IV, 223.
+       (7) _Henry Hudson's Fourth Voyage_, V, 254.
+       (8) _Reminiscences of a Pioneer_, V, 340.
+       (9) _Braddock's Defeat_, V, 379.
+      (10) _The American Flag_, V, 396.
+      (11) _Stonewall Jackson's Way_, V, 400.
+      (12) _The Capture of Vincennes_, VI, 428.
+      (13) _The Old Continentals_, VII, 175.
+      (14) _America_, VIII, 60.
+      (15) _The Fall of the Alamo_, VIII, 141.
+      (16) _The Knickerbocker History of New York_, VIII, 224.
+      (17) _The Battle of Saratoga_, IX, 176.
+      (18) _The Gettysburg Address_, IX, 321.
+
+    _f._ America, outside of the United States:
+       (1) _The Buccaneers_, Volume V, page 359.
+       (2) _Captain Morgan at Maracaibo_, V, 365.
+       (3) _Ringrose and His Buccaneers_, VIII, 1.
+       (4) _The Retreat of Cortez_, VIII, 63.
+
+The object of teaching geography and history is not solely that children
+may acquire a collection of facts. Too often the lessons in these
+branches consist merely in memorizing text books, in learning long
+descriptions, in the study of meaningless maps and in the listing of
+political and military events in chronological order. The value of such
+work is comparatively small, and the studies cannot be considered
+profitable. If, however, children are taught to know and understand
+people, their habits and modes of life; if they learn geographical facts
+in their relation to humanity, to study events in the relation of cause
+to effect, to seek for truth and the meaning of things, then nothing is
+more productive of good than the teaching of geography and history.
+
+If we accept as true the foregoing statements, then methods of teaching
+the subjects become clear as we think of them. It is evident that early
+lessons should be designed to create interest:
+
+(1) In the world of things immediately around us; in the land and what
+grows and lives upon it; in the water, its relation to the land, its
+motions, and the life that it contains; in the air, its phenomena and
+its denizens; in human beings, their feelings and all their activities.
+
+(2) In the great earth as a whole and its parts; in foreign animals and
+plants; in humanity in other lands.
+
+It appears that so broad an outline as the one just given can never be
+filled in, that the study of geography and history, the study of the
+world and its peoples, can never be completed. If such is the case, it
+follows that the teacher who creates the most vital interest in the
+subject, who leaves with her pupils the most ardent desire to study and
+know, has been of greatest service to them.
+
+Now, the great interests of life have their inception in early years
+when the mind is active, curiosity strong, and instruction accepted
+without question. Then should be created that abiding interest which
+will make good students of geography and history, good citizens, good
+men and women. If too many formal lessons are given them, and pupils are
+set to work at dreary tasks and are asked to memorize dry facts, it is
+probable that they will never become good students. How, then, shall an
+abiding interest be created?
+
+The entrance to the field of geography is through nature study, which is
+discussed elsewhere under that title. For the first two years of a
+child's school life he will hear nothing of geography, and even in the
+third year there will be little formal reference to it, but all the time
+he is quietly mastering facts and developing interests that are
+geographical in their character.
+
+When systematic lessons begin, there should be presented only real facts
+and genuine things, that bear some close and direct relation to
+ourselves and that should be matters of personal observation, as far as
+possible. Day and night in summer and winter, the seasons, the weather,
+wind, rain, snow, sleet, foods, clothing, the occupations of the
+neighborhood, the brooks and bodies of water about the school, hills,
+valleys, plains, plants and animals of the locality, each in turn
+serves its purpose. We cannot here show how these various subjects
+should be treated, but to illustrate the use of literature in elementary
+geography lessons we will present an outline on a single subject. New
+possibilities will be seen in every direction if frequent use of the
+list given above is made in finding suitable selections.
+
+If we choose the wind as the subject of our model lesson, we may be sure
+to cover several recitations that will lead us into reading, nature
+study and language (oral and written). It is a subject that encourages
+wide correlation. The outline might be the following:
+
+  1. _Purpose of the Lesson._ To teach the following facts:
+    _a._ That air occupies space.
+
+    _b._ That wind is air in motion and has force.
+
+    _c._ The directions and names of winds.
+
+    _d._ The uses of winds.
+
+  2. _Experiments and Observation._
+    _a._ _Take an empty bottle and thrust it squarely, mouth down, into
+         water._ Does the water rise in the bottle? (Only a little way.)
+         Why? (It can't get in. There is air in the bottle.)
+
+    _b._ _Raise the bottle slowly and tip it slightly so that a part of
+         the mouth is above the water, then push it horizontally into
+         the water._ Does the water go into the bottle now? (Yes.) Why?
+         (Because there is no air there to keep it out.) How do you
+         know? (I saw the air coming out in bubbles.) Why didn't the air
+         come out when we pushed the bottle down the first time? (The
+         water was too heavy; it held the air in.)
+
+    _c._ _Hold your hand close in front of your mouth and blow._ Can you
+         feel anything? (Yes; the air strikes my hand.) When you are out
+         in the wind can you feel it? (Yes; it pushes against me.) Can
+         it push hard? (Yes; sometimes it pushes over trees and houses.)
+         What is the wind? (It is air moving.)
+
+    _d._ Is the wind blowing today? Did it blow yesterday? From what
+         direction is it (was it) blowing? How do you know? (I saw trees
+         bending away from it. I felt it pushing from that side. It came
+         in at that window. The vane on the church steeple pointed that
+         way.)
+
+    _e._ When a wind comes from the South, what do we call it? (South
+         wind.) When a wind blows from the North what do we call it?
+         (North wind.) What wind brings cold weather? (North.) What wind
+         brings warm weather? (South.) What wind brings long spells of
+         rainy weather? (East.) What wind brings showers and
+         thunderstorms? (South and West.) What winds prevail in summer?
+         (South and West.) What winds prevail in winter? (North.)
+
+    _f._ What work have you seen the wind do? (Turn windmills; sail
+         boats.) Have you seen it do any work for us here? (Yes; it
+         drives the clouds that bring us rain. It drives away stormy
+         clouds.) Can't you think of something else? (It scatters seeds
+         of plants. It shakes nuts from trees. It helps melt snow and
+         ice. It keeps the air clean and pure.)
+
+  3. _Literature._
+    _a._ As an introduction to the lesson or in preparation, give the
+         first two stanzas of that beautiful poem by W. B. Rands, _The
+         Child's World_ (Volume II, page 66).
+
+    _b._ In considering the strength of the wind, there is a fine
+         opportunity to introduce the fable _The Wind and the Sun_
+         (Volume I, page 95).
+
+    _c._ Robert Louis Stevenson's verses, _Windy Nights_ (Volume II,
+         page 123), are entertaining and give an opportunity for nice
+         explanation.
+
+    _d._ In the same light as the preceding selection may be regarded
+         the imaginative verses by the same author, _The Wind_ (Volume
+         I, page 440).
+
+    _e._ In _The King of the Golden River_ (Volume II) is a humorous
+         personification of the southwest wind. It is strikingly true of
+         the nature of that wind. The description begins on page 408,
+         and a second appearance of the wind is chronicled on page 415.
+
+    _f._ Finest of all the selections for this topic is Tennyson's
+         exquisite lullaby, _Sweet and Low_ (Volume VI, page 122). This
+         is well worth memorizing.
+
+If we wish a model for a history lesson, the following will answer:
+
+One of the interesting characters in history is King Alfred of England,
+and in the sketch of him (Volume IV, page 260) are facts enough for
+several elementary lessons in history. The outline for teaching might be
+as follows:
+
+  1. _Preparation._
+    _a._ Read the article above referred to, and such other material
+         concerning Alfred as can be found.
+
+    _b._ Select two incidents for story telling and prepare them for
+         recital. (See articles on _Story Telling_ in this Volume.)
+
+  2. _Presentation._
+    _a._ Tell the first story (page 260). It might be given in this
+         form:
+
+"More than a thousand years ago, Alfred, the youngest of the four sons
+of the king, was born. He was a fine lad and the favorite of his
+parents, but when he was twelve years of age he had not yet learned to
+read. This is not so strange, when we stop to think that it was long
+before people knew anything about printing, and every letter in every
+book had to be slowly made with a pen.
+
+"This made books very expensive and rare, so that only a few people
+could own even one. Still, you have no idea how beautiful some of those
+books were. They were written on thin, fine-grained leather called
+parchment, and were beautifully decorated in colors. The capital letters
+which began paragraphs, and sometimes all the capital letters, were made
+large, in fanciful shapes, and all around them were painted flowers,
+birds, human beings, or pretty designs, so that each letter was a
+beautiful picture in itself. Then in the margins, above the titles, at
+every place where there was no writing were still other delicate
+designs. Some of those wonderful old books are still in existence, and
+people go long distances to see them. They are more valuable now than
+ever, and most of them are safely guarded in museums.
+
+"One day Alfred's mother was reading to her children, from one of those
+beautiful books, some fine poems which the Saxons had written. The boys
+all became very much interested in the rich little paintings that
+decorated it. The mother pointed out its beauties and told the boys how
+carefully the artists had worked and how long it had taken them to do
+it.
+
+"'Did you ever see its equal?' she asked.
+
+"'No,' replied the oldest boy, 'I have not seen anything like it. I wish
+I had one like it.'
+
+"'Boys,' said the mother, 'this is one of the greatest treasures I have,
+and I would not like to part with it. Yet I love my boys better than the
+book, and I want them to learn to read. So this is what I will gladly
+do: I will give this book to the first of you who comes to me and shows
+that he can read it understandingly.'
+
+"'It is my book, for I can read some already,' said the oldest.
+
+"'But I can work harder than you, and I will learn faster,' said the
+second.
+
+"'I learn more easily than any of you,' the third boy added. 'I feel
+sure I shall win the book.'
+
+"Alfred said nothing, but as soon as his mother had ceased to read he
+hurried away, found a wise man to teach him and began immediately to
+work with great diligence. It was not long before he began to read for
+himself, and before his brothers had made much progress Alfred went to
+his mother.
+
+"'I think I can read the book,' he said.
+
+"'I do not think you have had time to learn. You are hurrying too much.
+You should study more,' his mother replied.
+
+"'But, mother, please let me try,' pleaded Alfred.
+
+"The mother yielded and Alfred brought the big book to her and laid it
+on her knee. Then he opened it at the beginning and with very few
+mistakes read poem after poem. His mother was more than satisfied, and
+when Alfred left the room he was hugging the elegant book and carrying
+it to his part of the castle.
+
+"This was only the beginning, for Alfred became the greatest scholar and
+the wisest king the Saxons ever had. He made just laws, he ruled kindly,
+he founded schools, and he tried in every way to make his subjects
+better, wiser and happier. Do you not think it all began in his love for
+the beautiful look?"
+
+3. _Recitation._
+
+Ask questions and make the children see in the story:
+
+  _a._ (The Introduction.) The first general facts about Alfred.
+
+  _b._ (The Body of the Narrative.) The story of how Alfred learned
+       to read.
+
+  _c._ (The Conclusion.) Alfred wins the prize and becomes a great ruler.
+
+Then ask them to tell the story in their own words.
+
+Finally ask them to write the story for a composition.
+
+4. _Additional Information._ Find out what other things about Alfred are
+already known to the class. Then tell the story of Alfred and the cakes
+(page 261); of his battles with the Danes under Guthrum (page 262); of
+his war with the Danes under Hastings (page 263); of his work for his
+people (page 264); and of his plans and inventions (page 265).
+
+5. _Supplementary Readings._ If the lessons on Alfred have been well
+conducted, interest will have been created in a variety of subjects
+relating to early English history. The Saxons, their mode of life,
+armor, weapons, manner of warfare, laws and customs; the Danes and their
+characteristics; the rulers who followed Alfred; the formation of the
+English nation, are topics that readily suggest themselves.
+
+       *       *       *       *       *
+
+More or less closely connected with these lines of thought are the
+following selections in _Journeys Through Bookland_. Interest may be
+deflected in any direction. If the selections are too hard for the class
+to read, tell the stories in simplified form:
+
+   1. _The Legends of King Arthur_ (Volume V, beginning on page 113).
+
+   2. _The Attack on the Castle_ (Volume IV, page 322).
+
+   3. _The Battle of Hastings_ (Volume IX, page 330).
+
+   4. _Beowulf and Grendel_ (Volume III, page 350).
+
+   5. _Chevy Chase_ (Volume IV, page 312).
+
+   6. _Frithiof the Bold_ (Volume III, page 394).
+
+   7. The myths of the Northland, viz.: _How the Wolf Was Bound_ (Volume
+      II, page 91); _The Death of Balder_ (Volume II, page 99); _The
+      Punishment of Loki_ (Volume II, page 111); and part of _Stories of
+      the Creation_ (Volume IV, page 159).
+
+   8. _A Norse Lullaby_ (Volume I, page 246).
+
+   9. _The Tournament_ (Volume VI, page 38).
+
+  10. _The Skeleton in Armor_ (Volume V, page 327).
+
+It will be noticed that while this outline is given for use with young
+children, it easily may be adapted to the use of older ones and may lead
+into a wide course in historical reading.
+
+The textbook in history is necessarily brief and really little more than
+an outline of events. In many instances the book gives too much space to
+battles, sieges and military movements and too little to the conditions
+of life, to manners, customs and causes and effects of events. Yet the
+textbook is a valuable guide and enables anyone to present the subject
+logically and to systematize what is learned, if nothing more.
+
+What a wide range of subjects is covered in the study of history! What
+abundance of material for study is required! Dates must be learned and
+events arranged chronologically; maps must be studied, fixed in mind and
+made of real value by a comprehension of the things they are supposed to
+represent; military events must be understood in relation to the causes
+that lead to them and the results that follow. Some few battles or
+campaigns must be made vivid enough to give an idea of the expense, the
+labor, the suffering and the horrors involved in war; government,
+educational and religious institutions, religious and social customs and
+financial methods must be studied; industries and amusements, the lives
+of the people, food and food supplies, the production of clothing and
+building material must be examined; in fact, each one of the multiform
+interests of humanity may be a fair topic for study at some time in the
+history class.
+
+Methods of instruction must be as varied as the subject-matter.
+Sometimes drill is necessary to fix facts; again it is necessary to
+encourage the observation and study of persons, things and events about
+us; a third time, wide research and extensive reading are demanded;
+again, the feelings must be aroused, sentiment and enthusiasm
+encouraged, patriotism taught.
+
+There is material for many of these exercises in _Journeys Through
+Bookland_.
+
+As a type of study for the military campaign, we might take Burgoyne's
+campaign in the Revolution. From the textbook we may learn certain facts
+and encourage the pupils to group them as follows:
+
+  _Burgoyne's Campaign._
+
+  1. Conditions prior thereto:
+    _a._ The British occupied only New York and Newport.
+
+    _b._ They understood the natural highway that existed along Lake
+         Champlain and the Hudson River from the Saint Lawrence River to
+         New York.
+
+    _c._ They resolved to establish a line of military posts along this
+         highway.
+
+  2. Plan of Campaign:
+    _a._ General Burgoyne was sent to Canada with 4,000 British regulars
+         and 3,000 Hessians.
+
+    _b._ Canadians and Indians to the number of 1,000 joined the troops
+         under Burgoyne.
+
+    _c._ St. Leger was sent to Oswego to descend the Mohawk, capture
+         Fort Stanwix and join Burgoyne.
+
+    _d._ Burgoyne was to go through Richelieu River and Lake Champlain
+         by boats; thence march to New York by land.
+
+  3. American Troops in Opposition:
+    _a._ General St. Clair with 3,000 men at Ticonderoga.
+
+    _b._ General Schuyler with about 3,000 men on the Hudson.
+
+  4. Burgoyne's Advance:
+    _a._ The trip to Ticonderoga made and the Americans dislodged from
+         the fort.
+
+    _b._ The skirmish at Hubbardton was successful, but the Americans
+         were not captured, and the delay to Burgoyne enabled St. Clair
+         to join Schuyler.
+
+    _c._ The march to the Hudson was full of difficulties and
+         discouragements:
+       (1) Obstructed roads; destroyed bridges.
+       (2) Inadequate supplies.
+       (3) Deserting Indians.
+       (4) Leaving a third of his troops at Ticonderoga.
+
+    _d._ The Expedition against Bennington:
+       (1) Colonel Baum sent to take supplies from the Americans there.
+       (2) Met General Stark with a force outnumbering him two or three
+           to one.
+       (3) Rain delayed battle, and British entrenched.
+       (4) Baum surrounded; his force captured or killed, including a
+           relief party under Riedesel.
+
+    _e._ St. Leger's Campaign.
+       (1) Unsuccessful battle at Oriskany.
+       (2) St. Leger retreated and disappeared from the region after a
+           flight induced by a ruse invented by Benedict Arnold.
+
+  5. Burgoyne's Surrender.
+    _a._ He attempted to cut his way through the lines of the American
+         troops which surrounded him.
+
+    _b._ Crossed the Hudson and met the Americans at Bemis Heights;
+         defeated.
+
+    _c._ Defeated at Freeman's Farm.
+
+    _d._ Surrendered October 17, 1777.
+
+  6. Effects of the Surrender.
+    _a._ Gave the Americans many arms and munitions of war.
+
+    _b._ Gave the Americans greater confidence in themselves and their
+         cause.
+
+    _c._ Caused great discouragement to the British, both at home and in
+         the colonies.
+
+    _d._ Established the prestige of the American cause in Europe.
+
+    _e._ Secured the assistance of France.
+
+    _f._ Probably was the most influential single campaign in the war
+         and largely instrumental in enabling the colonists to win.
+
+The preceding outline is the framework for the study of one military
+campaign. In a school it would be the basis for topical recitations, but
+in itself it has neither interest nor vitality. The main points should
+be memorized so that facts learned subsequently may be logically
+arranged. When the general outline is mastered, teachers and pupils
+begin to fill in details from all available sources and create in the
+minds of the pupils vivid pictures of the scenes, a thorough
+understanding of the course of events, and a lively realization of the
+effect of this remarkable episode of a great war. At home it may be used
+in a similar manner.
+
+To further assist in this instance and to furnish a type or model for
+succeeding studies, we will traverse the outline again, showing what may
+be done with it and how literature may lend its aid to the study of
+history. In _Journeys Through Bookland_ we have a long extract from _The
+Battle of Saratoga_ by Creasy (Volume IX, page 176). This will be the
+source of much of our information, and there are explanatory footnotes
+of considerable value. We reproduce here only the indices of the
+original outline:
+
+1. _a_, _b_ and _c_. A good outline map of the colonies is necessary. It
+must show the location of bodies of water, natural thoroughfares, cities
+and forts. The map should be made for the purpose and contain no details
+beyond those necessary for an understanding of this campaign. A second
+map showing a strip of country from the Saint Lawrence to New York and
+wide enough to include all the operations of the armies should contain
+more detail and be used frequently as the study proceeds. It may be
+well for each child to draw this region in outline and fill in the
+details as his study proceeds. Read page 177, Volume IX.
+
+2. _a_, _b_, _c_ and _d_. Read pages 180-182, Volume IX.
+
+3. _a_ and _b_. Pages 182-183, Volume IX.
+
+4. _a_ and _b_. Pages 181-182, Volume IX. The quotation from Burke,
+Volume IX, pages 183 and 184, and the following paragraph are
+interesting accounts of the feeling in England and America over the
+apparent successes of Burgoyne.
+
+_c._ The causes of the increased efficiency of the Americans and the
+bitterness with which the British were regarded by the colonists is
+explained on pages 184 and 185 of Volume IX.
+
+Something of the nature of the Indian allies may be gained from the
+story, _An Exciting Canoe Race_ (Volume VII, page 79).
+
+A stirring poem, to be read in this connection, is _The Old
+Continentals_ (Volume VII, page 175).
+
+5. _a_, _b_, _c_ and _d_. The final days of the campaign and the
+surrender are described on pages 193-200, Volume IX. In using this,
+bring out the following points not made in the original outline:
+
+The near approach of Clinton and the message from him. What must
+Burgoyne have felt when he received the message! Put human interest into
+the tale.
+
+The character of Burgoyne, Gates and Arnold, as shown by their acts.
+
+The Germans (Hessians) in the campaign.
+
+The burial of General Frazer.
+
+The condition of the British troops when they surrendered.
+
+The terms of surrender.
+
+Gates's message to Congress.
+
+6. _a_, _b_, _c_, _d_ and _e_. See, in this connection, pages 198 and
+199 of Volume IX.
+
+_The Soldier's Dream_ (Volume VII, page 170) is a good poem to read for
+the purpose of exciting sympathy for the soldiers.
+
+_The Picket Guard_ (Volume VII, page 177) is useful in a similar way,
+though written in connection with another war.
+
+_The American Flag_ (Volume V, page 396) may be used here. Did the
+American soldiers carry the flag of the United States at the time of the
+battle of Saratoga? If not, what flag was borne? Did the "United
+Colonies" have a flag?
+
+By consulting the tabulated list of selections useful in history classes
+you may find other things of interest. Care should be taken, however,
+not to cloud the main purpose of the lessons by the introduction of too
+much literary matter.
+
+       *       *       *       *       *
+
+Before leaving the subject of history and geography we urge upon those
+who wish to work with children, a careful perusal of the sections
+entitled _Close Reading_ in this volume.
+
+
+
+
+CHAPTER XVII
+
+JOURNEYS THROUGH BOOKLAND IN ITS RELATION TO THE HIGH SCHOOL
+
+
+_Introduction_
+
+All high school students are expected to be well grounded in good
+literature. It is part of every well planned course of study and the
+basis of much of the work in every year. Yet very few high schools are
+able to furnish the material for every student to read, and often the
+methods of instruction are inadequate to the large classes or fail in
+character and execution. There is contained in _Journeys_ practically
+all the real literature that is necessary for the foundation of a broad
+culture, and though much of it is simple and elementary, it is no less
+interesting and valuable. As a matter of fact, few high school students
+have ever read the simpler classics in a manner that brought to them the
+full message of the selections. Accordingly the most elementary things
+are often the newest and the most valuable. The simplest of the nursery
+rhymes, as may be seen by the comments and explanations given in another
+part of this volume, are full of interest to high school boys and girls,
+and in not a few schools form the basis of many serious lessons. The
+fables, the myths and the literature of the legendary heroes are not
+only interesting, but are of sufficient breadth in meaning to justify
+hard work on the part of anyone who has not already mastered them. It is
+a mistake to think that the simple things do not interest young men and
+young women. The people who scorn the elementary literature of nursery
+rhymes, fairy tales and fables are the immature boys of thirteen or
+fourteen years to whom everything juvenile seems beneath their dignity
+and newly acquired independence.
+
+The reader of _Journeys_ will notice, however, that the quantity of
+matter that may be called really juvenile is small in comparison with
+the grand total. As a matter of fact, the selections of the last six
+volumes are worthy the reading by anyone, old or young, at any time, and
+to be fully appreciated they must be read with care and discrimination
+by everyone. The sixth, seventh, eighth and ninth volumes are all
+high-class literature for adults as well as young children and the
+studies are worthy a place in any high school.
+
+The older a person grows the more he loves the things that were a
+delight to his childhood and the more keenly he realizes his loss if he
+never had the opportunity to become well acquainted with the great
+masterpieces that have been the comfort and inspiration of such
+countless thousands of people. Men and women of judgment never criticize
+the selections in _Journeys_ on the ground that they are too simple or
+are childish. Good literature never dies, never loses its interest. It
+lives in a day-by-day intimacy with every one of its acquaintances, and
+the love for it increases year by year for everyone who will listen to
+its teachings.
+
+Doubtless some high school students will be glad to have pointed out to
+them more in detail the things which are especially applicable to their
+work in school and which will help them in the mastery of the subject so
+that their school work will be made easier and they may raise their rank
+in the eyes of their teachers and companions.
+
+
+A
+
+Nearly all of the studies in the other volumes and all of them in this
+volume are of value to high school students. If they are not difficult
+enough to cause work they at least suggest ways of reading that will be
+valuable. In the ten volumes the studies are scattered so that young
+children may not see too much of the machinery of instruction as they
+read. On the other hand the high school student wants the material
+systematically arranged and easy of access.
+
+Accordingly the following arrangement of the studies in this and the
+other volumes of _Journeys_ will be of assistance:
+
+    I. Studies in Character:
+       (1) _Cinderella_, Volume I, page 224.
+       (2) _The Hardy Tin Soldier_, X, 158.
+       (3) _Rab and His Friends_, X, 177.
+
+   II. Studies in plot:
+       (1) _The Snow Queen_, Volume II, page 124.
+       (2) _The Gold Bug_, IX, 232.
+       (3) _Cinderella_, X, 150.
+
+  III. Studies in description:
+       (1) _The King of the Golden River_, Volume II, page 405.
+       (2) _The Reaper's Dream_, VII, 345.
+       (3) _The Recovery of the Hispaniola_, VII, 352.
+
+   IV. Method of analysis:
+       (1) _The Gettysburg Address_, Volume IX, page 321.
+       (2) _Braddock's Defeat_, X, 227.
+
+    V. General studies involving several or all of the main points:
+       (1) _Incident of the French Camp_, Volume IV, page 174.
+       (2) _The Tempest_, VIII, 468. (Extensive
+           studies following the drama.)
+       (3) _The Passing of Arthur_, X, 214.
+
+   VI. Studies in rhyme, meter and melody:
+       (1) _The Country Squire_, Volume VI, page 474.
+       (2) _To My Infant Son_, VI, 478.
+       (3) _The Daffodils_, VII, 1.
+       (4) _The Old Oaken Bucket_, VII, 11.
+       (5) _Bannockburn_, VII, 15.
+       (6) _Boat Song_, VII, 17.
+       (7) _The Bugle Song_, X, 287.
+
+  VII. Studies in interpretation, giving various methods and considering
+       different phases of the subject:
+       (1) _Christmas in Old Time_, Volume VI, page 356.
+       (2) _The Recessional_, VII, 164.
+       (3) _The Cubes of Truth_, VII, 406.
+       (4) _America_, VIII, 60.
+       (5) _A Descent Into the Maelstrom_, VIII, 95.
+       (6) _Dream Children_, VIII, 335.
+       (7) _The Vision of Mirza_, IX, 285.
+       (8) _Pippa Passes_, IX, 293.
+       (9) _Rab and His Friends_, X, 225.
+      (10) _The Reaper and the Flowers_, X, 272.
+      (11) _Adventures in Lilliput_, V, 8.
+      (12) _David Crockett in the Creek War_, VIII, 37.
+      (13) _The Impeachment of Warren Hastings_, IX, 32.
+      (14) _A Christmas Carol_, VI, 244.
+
+  VIII. Biographical sketches of authors, suitable for class use:
+       (1) _Robert Louis Stevenson_, Volume I, page 128.
+       (2) _Eugene Field_, I, 242.
+       (3) _Aesop_, II, 1.
+       (4) _Hans Christian Andersen_, II, 81.
+       (5) _Henry W. Longfellow_, IV, 62.
+       (6) _Alice and Phoebe Gary_, IV, 116.
+       (7) _Nathaniel Hawthorne_, IV, 180.
+       (8) _Jonathan Swift_, V, 1.
+       (9) _Sir Walter Scott_, VI, 26.
+      (10) _John Howard Payne_, VI, 221.
+      (11) _John Greenleaf Whittier_, VII, 381.
+      (12) _William Cullen Bryant_, VII, 391.
+      (13) _Oliver Wendell Holmes_, VII, 398.
+      (14) _James Russell Lowell_, VII, 411.
+      (15) _Elizabeth Barrett Browning_, VII, 419.
+      (16) _Washington Irving_, VIII, 216.
+      (17) _Charles and Mary Lamb_, VIII, 328.
+      (18) _William Shakespeare_, VIII, 468.
+
+
+B
+
+The assistance that literature may give in reading, language, nature
+study, history and geography is set forth at length in other chapters of
+this volume, and the high school student is earnestly requested to
+examine those chapters carefully and utilize whatever appeals to him in
+his studies. Especially are the chapters on reading and language
+valuable. Usually the greater part of the criticisms passed upon high
+school work is aimed against weaknesses in English. No small portion of
+this criticism is just, and it comes to a considerable extent from the
+fact that theme work is usually assigned on subjects so abstruse and so
+far beyond the ready appreciation of the student that the youthful
+writer is more concerned in finding out what he is to write than in
+thinking how he shall write. The result is a carelessness that brings
+errors in construction and an entire lack of clearness and elegance in
+expression. Even the older pupils can learn more from writing upon
+simple subjects where the material is easily obtained and is in itself
+interesting than from the usual difficult and uninteresting subjects.
+
+The close analysis of a masterpiece gives fine models of expression and
+furnishes the best of material for discussion. The use of capital
+letters and punctuation marks, spelling and the choice of words are all
+subjects for study and are all learned best from good models, such as
+are found in the masterpieces of literature. Students will soon learn
+that the rules of grammar are not always so hard and fast as they appear
+and that the practice of authors and publishers varies in minor things,
+especially in the use of commas and capital letters.
+
+Some studies of special interest that may be based upon the masterpieces
+in _Journeys_ will be given below. Many of the stories, poems and essays
+are accompanied by notes, queries and comments that will assist in
+making the studies profitable. Several good lessons may be derived from
+each topic and may be pursued at greater length by research in the
+volumes of reference in the school or public library.
+
+Look in the Index of the tenth volume for the following topics and then
+find in the proper volumes the several selections named in the Index:
+
+I. _Ballads._ Eight of the old English ballads and five more modern
+imitations are given. They are virile poems; simple, direct narratives.
+The old ones show the peculiarities of the old style English diction
+before poetry had been refined, while the later ones, breathing still
+the fire and originality of the earlier, are more polished and show the
+greater skill and accomplishments of the poets. The old ballads sprang
+spontaneously from the race, and doubtless many minds contributed to
+their phraseology, for they were sung and recited and passed on from
+mouth to mouth for generations before they were fixed in their present
+form.
+
+II. _Essays._ In the list of essays (fourteen) are some of the most
+exquisite ever written and others that are full of information and
+inspiration. _Dream Children_ is a perfect prose lyric; _Some Children's
+Books of the Past_ is an extremely interesting essay of the
+informational class. Besides the essays listed in the Index there are
+other selections in essay form that may be studied with profit. Here are
+some of them:
+
+   1. _Abraham Lincoln_, Volume IX, page 324.
+   2. _The Arickara Indians_, IV, 472.
+   3. _The Buffalo_, VII, 96.
+   4. _Alfred the Great_, IV, 260.
+   5. _The Battle of Cressy_, IX, 161.
+   6. _The Battle of Hastings_, IX, 330.
+   7. _A Bed of Nettles_, VIII, 209.
+   8. _Brute Neighbors_, VII, 260.
+   9. _The Buccaneers_, V, 359.
+  10. _Stories of the Creation_, IV, 159.
+  11. _Trees and Ants That Help Each Other_, VII, 306.
+
+III. _Fables._ The names of more than thirty fables are given in the
+list. Comparative study of these fables, considering the animals most
+frequently mentioned, the correctness and naturalness of the traits
+ascribed to the different animals, the moral precepts inculcated by the
+fables, etc., will be found interesting and profitable.
+
+IV. _Fairy Lore and Folk Lore._ Though fairy stories may have lost their
+intrinsic interest for high school students, the teacher will find in
+the collection given here the material for many a study. What merits
+keep the old stories alive and make them perennially fascinating to
+children of all nations? Which stories are the better for children,
+those of Hans Christian Andersen or those of the Brothers Grimm? What
+are the particular merits or demerits of each class? How do the stories
+by the latter writers compare in originality and beauty with the older
+stories? What comparisons can be made between _The Ugly Duckling_ and
+_The King of the Golden River_? What merits has _Cinderella_ over
+_Bluebeard_? What is the effect of _Jack the Giant Killer_ and stories
+of that kind on the minds of young people?
+
+V. _Fiction._ Look under the subtitles for the long list of stories
+suitable for study when the class is dealing with fiction.
+
+VI. _Legendary Heroes._ What can be more interesting than a study of
+these characters from the borderland of history? These great figures
+come forth from the shadows of the past and move before us like living
+men: Beowulf, the Saxon; Frithiof, the Norse hero; Siegfried, the
+German; Roland, the French knight; The Cid, Spain's greatest warrior and
+gentleman; Hector and Ulysses, the Greeks; King Arthur and his knights
+from England; Horatius, the Roman, and Sohrab, the Persian.
+
+The literature of the Arthurian legends as given in _Journeys_, where
+they cover about 150 pages, is a cycle of great importance to every high
+school student. The selections concerning Arthur form a series of
+narratives which, though from different sources, give a vivid picture of
+the great knight and his times. The cycle is in volume V and the titles
+are:
+
+  _a._ _Arthur Made King_, page 117.
+
+  _b._ _Arthur Weds Guenevere; The Round Table_, page 119.
+
+  _c._ _Arthur and Pellinore_, page 122.
+
+  _d._ _Arthur Gets Excalibur_, page 127.
+
+  _e._ _Balin and Balan_, page 130. (The stories given so far were
+        written expressly for _Journeys_, but all have followed rather
+        closely the relation of Malory.)
+
+  _f._ _Geraint and Enid_, page 148. (This is one of the most popular of
+        Tennyson's _Idyls of the King_. The poem is given complete.)
+
+  _g._ _The Holy Grail_, page 207.
+     (1) _The Knighting of Sir Galahad_, page 208.
+     (2) _The Marvelous Sword_, page 209.
+     (3) _Galahad and the Siege Perilous_, page 212.
+     (4) _Galahad draws the Sword of Balin Le Savage_, page 213.
+     (5) _The Holy Grail Appears_, page 214.
+     (6) _Galahad Gets His Shield_, page 217.
+     (7) _The Grail Achieved_, page 222. (The story of the search for
+         the Holy Grail, which is taken from the narrative of Sir Thomas
+         Malory, retains his quaint and charming style. The only
+         material changes are in paragraphing and the use of quotation
+         marks.)
+
+  _h._ _Dissensions at King Arthur's Court_, page 232. (This was written
+        for _Journeys_, to cover the interval between the achievement of
+        the Grail by Sir Galahad and the death of Arthur.)
+
+  _i._ _The Passing of Arthur_, page 237. (This is Tennyson's beautiful
+        poem given in full. It describes the last days of Arthur's reign
+        and the strange story of his death.)
+
+VII. _Lyrics._ This topic gives the titles of about fifty beautiful
+lyrics.
+
+VIII. _Myths._ Twelve titles showing stories from the mythology of
+different nations. Many of the articles have explanatory comments and,
+though stories and notes are intended primarily for young children, the
+whole offers a good introduction to a more extended study of mythology.
+
+IX. _Don Quixote._ The five adventures related give a good idea of the
+nature of the book and are sufficient for reference when the history
+class is studying chivalry.
+
+X. _Odes._ These seven of our finest odes will please the class in
+literature.
+
+XI. _Poetry._ Look up the sub-titles for names of poems.
+
+XII. _Wit and Humor._ It is not always easy to find what is wanted for
+class study under this head. The selections given are amusing, but at
+the same time most of them have real literary value, as well, and are
+worth study.
+
+
+
+
+CHAPTER XVIII
+
+RECITATIONS AND SPECIAL DAYS IN SCHOOL
+
+
+Whoever has had charge of young children who are in attendance at school
+has been many, many times worried in trying to answer for them the
+oft-repeated request "Where shall I find a piece to speak?" Every volume
+of _Journeys Through Bookland_ has a large number of selections suitable
+for this purpose. All of them may be found readily by consulting the
+Index at the end of the tenth volume, when the name is known or the
+nature of the selection is understood, or by examining the table of
+contents at the beginning of each volume when no intimation of title or
+subject has been given.
+
+It has become customary in most schools to observe with appropriate
+exercises certain notable days. Thanksgiving, Christmas, Memorial Day,
+Flag Day, Arbor Day, and Bird Day have their own peculiar functions and
+for each there is a different style of observance. Recitations, songs,
+readings, stories, help to make up the programs, and upon the parent
+often falls most of the burden in selecting material. In many states the
+Department of Education issues beautiful circulars on some of these
+special days, and from them the teacher draws some of her material and
+forms her program for the occasion. Yet when the one or two days for
+which material has been provided have passed there come a number of
+others which make their demands. Besides those mentioned, there are the
+birthdays of our great patriots and literary men and the general
+exercises at other times for which no special provision has been made.
+For the busy parent, teacher or pupil, _Journeys Through Bookland_
+provides an almost inexhaustible supply of excellent things, most of
+which may be found readily through the Index. Moreover, the selections
+are from the best literature for children, from that which they should
+know, so that the tired and harrassed mother need not worry for fear
+that the children are filling their minds with useless things.
+
+It does not seem worth while to give long lists of selections
+appropriate to special days, as things are well classified in the Index
+in the tenth volume. Yet to show more fully how _Journeys Through
+Bookland_ may be used, the following suggestions are offered:
+
+I. BIRD DAY. Besides many other selections that are usable in different
+grades, the following seem peculiarly appropriate:
+
+   1. _The Fox and the Crow_, Volume I, page 64. (This and the other
+      fables mentioned below may be repeated as given or, better, may be
+      told by a pupil in his own words.)
+   2. _The Fox and the Stork_, I, 73.
+   3. _The Wolf and the Crane_, I, 96.
+   4. _The Lark and Her Young Ones_, I, 131.
+   5. _The Brown Thrush_, I, 147.
+   6. _The Owl and the Pussy-cat_, I, 339.
+   7. _Minerva and the Owl_, II, 7.
+   8. _The Sparrow and the Eagle_, II, 8.
+   9. _Who Stole the Bird's Nest?_ II, 399.
+  10. _The Barefoot Boy_, IV, 3.
+  11. _Ode to a Skylark_, VII, 275.
+  12. (See also the lists of articles relating to birds, given under the
+      section devoted to _Nature Study_ in this volume.)
+
+II. MEMORIAL DAY. A few of the selections suitable for this occasion are
+the following:
+
+   1. _Sheridan's Ride_, Volume IV, page 223.
+   2. _The American Flag_, V, 396.
+   3. _"Stonewall" Jackson's Way_, V, 400.
+   4. _Breathes There the Man_, VII, 151.
+   5. _For A' That and A' That_, VII, 149.
+   6. _How Sleep the Brave_, VII, 151.
+   7. _The Picket Guard_, VII, 177.
+   8. _The Gettysburg Address_, IX, 321.
+   9. _Abraham Lincoln_, IX, 324.
+  10. (See also in the Index the titles under the words _Patriotism_
+      and _History_.)
+
+III. CHRISTMAS. There are at least three selections dealing specifically
+with Christmas, while many others are appropriate to the time:
+
+  1. _A Visit from St. Nicholas_, Volume II, page 202.
+
+  2. _A Christmas Carol_, VI, 244. (This may be made the basis of a very
+     interesting afternoon. Parts of the story may be told briefly,
+     parts may be read in full, parts recited and parts given as a
+     dialogue. Thus the spirit of Christmas cheer and good will that
+     animates this beautiful story may be communicated to the pupils in
+     the pleasantest of ways and one that will be remembered.)
+
+  3. _Christmas in the Old Time_, VI, page 356.
+
+IV. BIRTHDAYS. In the Index will be found the names of a number of great
+men and women of whom there are biographical sketches and from whose
+writings quotations have been made. Each of these may be made the
+subject of a general exercise at an appropriate time.
+
+V. DRAMATIZATION. Many a poem or story may be put into dramatic form
+with very little effort and thus furnish an exercise for several pupils
+at the same time. The descriptive parts may be read by a pupil not in
+the dialogue or may be omitted. In the latter case, acting may fill the
+void or the narrative may be made into conversation between the
+characters. Some rearrangement may be necessary and a little change in
+phraseology may be needed. Such adaptations the pupils may make
+themselves. The following scenes may be used by pupils of different
+ages:
+
+1. The description of the attack as given by Rebecca to Ivanhoe. (See
+_The Attack on the Castle_, Volume IV, pages 324 to 338.) By costumes
+and good acting this may be made a very effective scene.
+
+2. A few boys will enjoy rendering the conversational parts of _The
+Heart of Bruce_ (Volume V, page 316) while a girl reads the descriptive
+lines of the ballad.
+
+3. By making some changes in the text and putting into direct discourse
+some of that which Dickens has written in indirect discourse, a capital
+Christmas sketch may be made from the Christmas doings at the Cratchit
+home. (See _A Christmas Carol_, Volume VI, pages 303 to 312.)
+
+4. _Limestone Broth_ (Volume VI, page 467) can be made into a neat
+little humorous dialogue with very little change.
+
+5. Several scenes from _The Tempest_ (Volume VIII, page 364) are
+suitable for school use.
+
+6. _The Death of Caesar_ (Volume IX, page 143) is a fine dialogue and
+affords a good opportunity for many speakers.
+
+7. The conversation between Luigi and his mother (_Pippa Passes_, Volume
+IX, pages 317-323) is a fine scene for school use, especially if Pippa
+really passes singing at the right moment.
+
+VI. AN OLD-FASHIONED AFTERNOON. Not so many years ago it was an almost
+universal custom to give over Friday afternoon to the "speaking of
+pieces." Occasionally even now a teacher wants one of the old-fashioned
+mixed programs, and though she will prefer to make her own for each
+occasion, the following example will show one of the many that might be
+made from _Journeys Through Bookland_:
+
+   1. _Roll Call._ (Pupils respond with a memory gem from the hundred
+      given elsewhere in this volume.)
+   2. Song: _America_, Volume VIII, page 60.
+   3. _Wynken, Blynken and Nod_, I, 262.
+   4. _The Discontented Stonecutter_, II, 12.
+   5. Song: _Sweet and Low_, VI, 122.
+   6. _Beowulf and Grendel_ (retold in brief), III, 350.
+   7. _Incident of the French Camp_, IV, 174.
+   8. Song: _My Old Kentucky Home_, VII, 179.
+   9. _Echo_, III, 286. (Let the answers of Echo be given by someone who
+      is concealed from view of the audience.)
+  10. _The First Snowfall_, II, 403.
+  11. Song: _Home, Sweet Home_, VI, 221.
+
+
+
+
+CHAPTER XIX
+
+HANDY LIST OF STUDIES IN JOURNEYS THROUGH BOOKLAND
+
+
+The following list gives the names of those selections upon which the
+more important studies have been based. Here, they are arranged in the
+order in which the selections appear in the several volumes. When a
+study accompanies a selection, the reference given is that upon which
+the selection begins. However, as in a number of instances where studies
+are in one place while the selections are in another, the cross
+references are given more in detail, and a statement is made as to just
+what points in the selection are covered by the studies--whether these
+latter are character studies, scene studies, word studies, studies of
+figures or historical studies.
+
+Probably not a few of the readers of _Journeys_ will be glad to use the
+studies continuously, or will frequently want to know if some given
+selection in the volume has been treated. This question is easily
+answered by referring to this chapter, finding the volume in which the
+selection occurs, and then running down the numbers at the right of the
+page. This method will be more expeditious than running over the titles
+of the selections, though of course the latter may be followed.
+
+Reference should also be had to the General Index, under _Studies_.
+
+VOLUME ONE
+
+                                                                  PAGE
+  _Down Tumbled Wheelbarrow_                                        46
+      (See Study of Picture--Volume X, page 58)
+  _The Dog and His Shadow_                                          63
+      (See Study on Scene--Volume X, page 164)
+  _The Fox and the Crow_                                            64
+      (See Complete Study--Volume X, page 187)
+  _The Hare and the Tortoise_                                       71
+      (See Complete Study--Volume X, page 185)
+  _The Fox and the Stork_                                           73
+      (See Study on Scene--Volume X, page 166)
+  _The Rock-a-By Lady_                                              94
+  _The Wind and the Sun_                                            95
+      (See Lesson in Language--Volume X, page 357)
+  _My Bed is a Boat_                                               126
+      (See Study of Picture--Volume X, page 52)
+  _Little Blue Pigeon_                                             133
+  _The Land of Counterpane_                                        144
+  _The Brown Thrush_                                               147
+      (See Study--Volume X, page 276)
+  _The Hardy Tin Soldier_                                          148
+      (See Character Study--Volume X, page 158)
+  _Jack and the Beanstalk_                                         156
+      (See Study of Picture--Vol. X, page 52)
+  _The Town Mouse and the Country Mouse_                           199
+  _Old Gaelic Lullaby_                                             203
+  _Cinderella_                                                     224
+      (See Character Study--Volume I, page 238)
+      (See Complete Study--Volume X, page 150)
+  _Wynken, Blynken and Nod_                                        262
+      (See Study of Picture--Volume X, page 53)
+  _The Twin Brothers_                                              264
+  _Industry and Sloth_                                             300
+      (See Study in _Close Reading_--Volume X, page 229)
+  _The Drummer_                                                    303
+      (See Complete Study--Volume X, page 193)
+  _Keepsake Mill_                                                  349
+  _"Something"_                                                    395
+  _The Fairies_                                                    405
+  _The Reaper and the Flowers_                                     410
+      (See Study--Volume X, page 272)
+  _The Ugly Duckling_                                              414
+
+VOLUME TWO
+
+  _The Golden Touch_                                                43
+  _The Child's World_                                               66
+      (See Study--Volume X, page 277)
+  _The Fir Tree_                                                    68
+      (See Study of Picture, _The Swallow and the Stork
+      Came_--Volume X, page 55)
+      (See Study in _The Lesson and the Author's Purpose_--Volume
+      X, page 173)
+  _Picture Books in Winter_                                         87
+  _Seven Times One_                                                119
+      (See Study--Volume X, page 278)
+  _Shuffle-Shoon and Amber Locks_                                  121
+      (See Study of Picture--Volume X, page 54)
+  _The Snow Queen_                                                 124
+      (See Study on _The Plot_--Volume II, page 169)
+  _A Visit from Saint Nicholas_                                    202
+      (See Study in Figures--Volume X, page 270)
+  _Tom, the Water Baby_                                            215
+      (See Study of Picture, _Tom and the Dragon Fly_--Volume X,
+      page 55)
+      (See Nature Study Lesson--Volume X, page 381)
+  _The Milkmaid_                                                   374
+  _Holger Danske_                                                  377
+  _The Fairies of Caldon-Low_                                      395
+      (See Story Told--Volume X, page 68)
+  _Who Stole the Bird's Nest?_                                     399
+      (See Character Study--Volume X, page 95)
+  _The First Snowfall_                                             403
+      (See Study in Figures--Volume X, page 270)
+      (See Complete Study--Volume X, page 281)
+  _King of the Golden River_                                       405
+      (See Study--Volume II, page 441)
+      (See Study in Description--Volume X, page 366)
+      (See Complete Study--Volume X, page 393)
+  _The Potato_                                                     467
+      (See Study--Volume X, page 285)
+  _The Queen of the Underworld_                                    468
+  _Origin of the Opal_                                             480
+      (See Study--Volume X, page 285)
+  _In Time's Swing_                                                481
+  _Why the Sea Is Salt_                                            484
+      (See Study in _Close Reading_--Volume X, page 231)
+
+VOLUME THREE
+
+  _Robinson Crusoe_                                                 45
+      (See Nature Study--Volume X, page 382)
+  _Faithless Sally Brown_                                           92
+      (See Study in _Close Reading_--Volume X, page 232)
+  _Swiss Family Robinson_                                           99
+      (See Nature Study--Volume X, page 382)
+  _Cupid and Psyche_                                               365
+  _Frithiof The Bold_                                              394
+  _Lochinvar_                                                      432
+  _Robin Hood and the Stranger_                                    444
+      (See Study in Narration--Volume X, page 363)
+
+VOLUME FOUR
+
+  _The Barefoot Boy_                                                 3
+      (See Study--Volume X, page 286)
+  _Cid Campeador_                                                    9
+      (See Study in Exposition--Volume X, page 368)
+  _To H. W. L._                                                     84
+  _The Village Blacksmith_                                          86
+  _The Definition of a Gentleman_                                  170
+      (See Study in _Close Reading_--Volume X, page 234)
+  _Incident of the French Camp_                                    174
+  _The Boston Massacre_                                            217
+      (See Study in Argument--Volume X, page 370)
+  _Alfred the Great_                                               260
+      (See Study in History--Volume X, page 414)
+  _Little Giffin of Tennessee_                                     461
+      (See Story Told--Volume X, page 71)
+
+VOLUME FIVE
+
+  _Gulliver's Travels_                                               6
+      (See Study in _Close Reading_ on _Adventures in
+      Lilliput_--Volume X, page 235)
+  _Ballad of Agincourt_                                             95
+      (See Story Told--Volume X, page 74)
+  _Lead, Kindly Light_                                             110
+      (See Study--Volume X, page 98)
+  _Geraint and Enid_                                               148
+      (See Study of Picture, _Geraint hears Enid Singing_--Volume X,
+      page 60)
+  _The Passing of Arthur_                                          237
+      (See Complete Study--Volume X, page 214)
+  _The Heart of Bruce_                                             316
+      (See Study in _Close Reading_--Volume X, page 238)
+  _How They Brought the Good News from Ghent to Aix_               335
+  _Reminiscences of a Pioneer_                                     340
+      (See Study--Volume X, page 119)
+  _Braddock's Defeat_                                              379
+      (See Study in _Close Reading_--Volume X, page 227)
+  _The American Flag_                                              396
+
+VOLUME SIX
+
+  _Rab and His Friends_                                             99
+      (See Study in Emotional Power--Volume X, page 177)
+      (See Study in _Close Reading_--Volume X, page 225)
+  _Annie Laurie_                                                   119
+      (See Study in _Close Reading_--Volume X, page 243)
+  _Sweet and Low_                                                  122
+  _The Bugle Song_                                                 133
+      (See Study--Volume X, page 287)
+  _A Christmas Carol_                                              244
+      (See Study in Scene--Volume X, page 168)
+      (See Study of Picture, _Bob and Tiny Tim_--Volume X, page 41)
+  _Christmas in Old Time_                                          356
+  _Poor Richard's Almanac_                                         407
+      (See Study in Character Building--Volume X, page 101)
+  _The Country Squire_                                             474
+  _To My Infant Son_                                               478
+
+  VOLUME SEVEN
+
+  _The Daffodils_                                                    1
+  _The Old Oaken Bucket_                                            11
+  _Bannockburn_                                                     15
+  _Boat Song_                                                       17
+  _The Petrified Fern_                                              77
+      (See Study--Volume X, page 291)
+  _An Exciting Canoe Race_                                          79
+      (See Study in Forms of Expression--Volume X, page 376)
+  _The Recessional_                                                164
+  _The Forsaken Merman_                                            180
+      (See Study--Volume X, page 295)
+  _Tom and Maggie Tulliver_                                        186
+  _The Cloud_                                                      257
+      (See Study--Volume X, page 301)
+  _Brute Neighbors_                                                260
+      (See Study--Volume X, page 383)
+  _Ode to a Skylark_                                               275
+      (See Study in Figures--Volume X, page 268)
+  _The Pond in Winter_                                             280
+      (See Nature Study--Volume X, page 383)
+  _Winter Animals_                                                 293
+      (See Study--Volume X, page 383)
+  _Trees and Ants that Help Each Other_                            306
+      (See Study--Volume X, page 385)
+  _My Mother's Picture_                                            335
+      (See Study in Description--Volume X, page 367)
+  _The Reaper's Dream_                                             345
+  _The Recovery of the Hispaniola_                                 352
+  _The Cubes of Truth_                                             406
+  _The Lost Child_                                                 409
+      (See Study in _Close Reading_--Volume X, page 243)
+
+  VOLUME EIGHT
+
+  _David Crockett in the Creek War_                                 37
+      (See Study--Volume X, page 244)
+  _America_                                                         60
+  _A Descent into the Maelstrom_                                    95
+  _Hervé Riel_                                                     168
+      (See Story Told--Volume X, page 78)
+  _Dream Children_                                                 335
+  _Reading Shakespeare_                                            346
+  _The Tempest_                                                    364
+
+  VOLUME NINE
+
+  _The Impeachment of Warren Hastings_                              32
+      (See Study--Volume X, page 248)
+  From _The Death of Caesar_                                       143
+      (See Study--Volume X, page 253)
+  _Battle of Saratoga_                                             176
+      (See Study in History--Volume X, page 419)
+  _The Gold Bug_                                                   232
+      (See Study--Volume IX, page 283)
+  _The Vision of Mirza_                                            285
+      (See Study in Notes)
+  _Pippa Passes_                                                   293
+      (See Study--Volume IX, page 316)
+  _The Gettysburg Address_                                         321
+  _Of Expense_                                                     397
+  _Robert of Lincoln_                                              444
+  _The Chambered Nautilus_                                         454
+  _Ode to a Grecian Urn_                                           462
+  _The Fate of the Indians_                                        466
+  _A Call to Arms_                                                 475
+
+
+
+
+CHAPTER XX
+
+SUPPLEMENTARY BOOK LISTS
+
+
+If _Journeys Through Bookland_ is read as we intend, it will occupy no
+inconsiderable part of the time boys and girls give to reading. Yet
+there will be a call for more books. Some selections from great authors
+will create a taste for more from the same writers, and certain pieces
+will suggest lines of reading that may profitably extend far beyond the
+limits of the present volumes. In fact, this series is meant to be the
+stimulus to a lifetime of reading. Some children are naturally readers,
+and will require more to satisfy their avid tastes than may be
+sufficient for their brothers and sisters, while other children may need
+to be helped even beyond the limits covered by our plans. It may be that
+some parents will feel uncertain what advice to give their boys and
+girls when asked about other books than those indicated in the text. For
+such the following lists have been prepared.
+
+At the present day, good libraries are to be found in almost every town,
+and either from the school or the town library may be drawn most of the
+books mentioned. Books are always good presents, and from these lists
+parents who have watched the development of their children's tastes will
+find helpful hints in the selection of presents that will be accepted
+with joy and read with continued pleasure.
+
+The training these plans for reading have given will excite interest in
+the great classics which the quantities of light, frivolous stories
+carelessly written for children have in a measure relegated to the
+background. These classics are the foundation of literature, and without
+a knowledge of them, best obtained in youth, genuine culture seems
+almost impossible.
+
+In presenting the lists it has seemed best to make some of them parallel
+to the volumes of this work rather than to arrange them by the ages of
+the children or their grades in school. The power to read intelligently
+and with appreciation is not wholly dependent upon age, nor does rank in
+school show the capability of the young person. Some boys of twelve will
+read and enjoy things that others of sixteen will find almost
+impossible. Not infrequently a little "sixth-grader" reads better
+literature than many a high school student. Other lists for older boys
+and girls are classified according to subject-matter. The method in
+every case is obvious.
+
+This series is for boys and girls of all ages; for girls as much as for
+boys. Good literature appeals to universal taste, and there is little
+question of sex in it. There was a time when girls were thought so
+different from boys that "girls' books" were written in abundance. Now
+that girls are given the same education that boys have, they usually
+like the same things. There will be found nearly as great extremes of
+taste in one sex as in the other during those years to which this set is
+adapted. Whatever difference there is in the sexes will manifest itself
+in what each selects for his or her own from the masterpiece that both
+read. That we get from our reading what we put into it, is as true of us
+when we are young as it is when we have grown older. To as great an
+extent as Alice is different from Fred will what she gets from reading
+_Rab and His Friends_ differ from what he absorbs.
+
+In the books of this series the love story has little place, and into it
+sex problems do not enter. Its readers have not reached an age when such
+things are of serious moment, and there is enough good literature for
+them without dragging in or even admitting stories of passion and those
+that make their strongest appeal to the attraction of one sex for
+another. However, there is an abundance of sentiment, and the home
+feelings are recognized again and again; the love of parents for each
+other and for their offspring, the love of brother and sister,
+friendship, the pure affection of young people, love of home, of God, of
+country, all are subjects of the finest selections the language
+contains. Such are to be found in abundance.
+
+In the lists more latitude has been allowed, and while nothing has been
+included that may excite anything but the purest emotions, yet room has
+been made for many of the great novels that are real studies of the
+lives and characters of adults. These books, really written for older
+people, will have their message for the young, a message that will be
+amplified and perhaps changed entirely, when, after many years, the book
+is read again with no lessened interest. _Les Miserables_ was read once
+by a young boy whose attention was caught and held so strongly by the
+exciting story that he held himself through all the long, prosy
+meanderings with which Hugo has delayed the march of his plot. Some
+years later the same boy, grown to a college student, read _Les
+Miserables_ again with even greater interest. He remembered the story
+quite well, but the prosy meanderings had to his broadened intelligence
+become wonderful pictures of life, and even the book-long description of
+the Battle of Waterloo was fascinating, though its only function in the
+story was to say that one man saved another man's life. The boy, now a
+man in middle life, read Hugo's masterpiece a third time. Story and
+description were now secondary in interest, but the author's deep
+insight into human nature, his brilliant style and shrewd, kindly
+philosophy held the old reader more closely than had anything before. So
+will it be with many of the books in the list. If we are to make
+friends, let us meet them as early as we can, see them as often as we
+can, and cling to them as long as we can.
+
+In recommending books to children, parents will do well to remember that
+books in which young people are not interested will not be read in such
+a way as to be profitable. The books in these lists are all interesting
+in themselves, and there need be no fear that they will not be read. The
+child who has been trained after the manner indicated in these talks
+will need little further assistance in mastering these books.
+
+  [Illustration: CHARLES KINGSLEY
+  THOMAS MOORE
+  JOHN TYNDALL
+  ALEXANDER POPE
+  THOMAS CAMPBELL
+  DAVID LIVINGSTONE
+  GEORGE MACDONALD]
+
+
+_Volume I_
+
+     ĆSOP'S FABLES.
+        There are many good editions published by the various schoolbook
+        houses. That edited by J. H. Stickney and published by Ginn &
+        Co. is as good as any, and contains also a supplement with
+        fables from La Fontaine and Krilof.
+
+     A CHILD'S GARDEN OF VERSES, by _Robert Louis Stevenson_.
+        The edition illustrated by E. Mars and H. M. Squire and
+        published by Rand, McNally & Co. is excellent. Jessie Wilcox
+        Smith illustrates an edition for Charles Scribner's Sons.
+
+     LULLABY LAND, by _Eugene Field_.
+        This is published in beautiful form by Charles Scribner's Sons.
+
+     FAIRY TALES, by _Hans Christian Andersen_.
+        The schoolbook houses publish selections in an attractive form;
+        Blackie and Son, London, a cheap edition.
+
+     FAIRY TALES, by _Wilhelm_ and _Jakob Grimm_.
+        Selections, such as those edited by Sarah E. Wiltse for Ginn &
+        Co., are better than the complete editions, for many of the
+        Grimm tales are coarse and valueless.
+
+     BLUE FAIRY BOOK and GREEN FAIRY BOOK, by _Andrew Lang_.
+        Besides some of the Grimm tales these books contain folklore
+        stories from many nations. Lang has edited other books in this
+        series, but two are probably enough.
+
+     THE ADVENTURES OF A BROWNIE, by _Dinah Maria (Mulock) Craik_.
+        This is a charming little tale, much loved by children.
+
+     PINOCCHIO, by _C. Collodi_.
+        Walter Cramp's translation of this little Italian classic will
+        be highly appreciated. Ginn and Company.
+
+     OLD GREEK STORIES, by _James Baldwin_.
+        American Book Company. This contains the stories of Arachne, the
+        Gorgon's Head, Prometheus and Theseus.
+
+     LETTERS FROM A CAT, by _Helen Hunt Jackson_.
+        Amusing letters which a cat writes to its mistress. Helpful in
+        teaching kindness to animals.
+
+     THE BOOK OF JOYOUS CHILDREN, by _James Whitcomb Riley_.
+        Charles Scribner's Sons; _Child Rhymes_, Bobbs-Merrill Co.;
+        _Child World_, Bobbs-Merrill Co. Three books with delightful
+        poems for children and about them.
+
+
+_Volume II_
+
+While the books mentioned in these lists seem most closely connected to
+the volume to which they are ascribed, yet no hard and fast lines can be
+drawn. Children will read in the second volume of this set before they
+have finished the first, and the books in the lists are suitable
+whenever interest is ripe in the kind of literature which the books
+contain. Several of the titles given in the list for the first volume
+should be considered with the second volume.
+
+     WONDER BOOK FOR BOYS AND GIRLS, by _Nathaniel Hawthorne_.
+        This contains many other stories than those given in these
+        volumes.
+
+     TANGLEWOOD TALES, by _Nathaniel Hawthorne_.
+        A second wonder book of classic myths. Houghton, Mifflin Co. are
+        the authorized publishers of the wonder books.
+
+     THE HEROES, OR GREEK FAIRY TALES, by _Charles Kingsley_.
+        Published by E. P. Dutton & Co., with pictures by Rose Le
+        Quesne.
+
+     THREE FAIRY TALES, by _Jean Ingelow_.
+        Illustrated by A. J. Ripley. D. C. Heath & Co.
+
+     THE STORY OF ĆNEAS, by _Michael Clarke_.
+        American Book Company. Fine illustrations. This contains the
+        story of the _Aeneid_ for young American readers.
+
+     THE LITTLE LAME PRINCE, _by Dinah Maria (Mulock) Craik_.
+        D. C. Heath & Co. An allegorical fairy tale of great beauty,
+        teaching the lesson of patience and true manhood.
+
+     LITTLE MR. THIMBLEFINGER AND HIS QUEER COUNTRY, by _Joel Chandler
+     Harris_.
+        Illustrations by Oliver Herford. Houghton, Mifflin Co.
+
+     MR. RABBIT AT HOME, by _Joel Chandler Harris_.
+        A sequel to _Little Mr. Thimblefinger_.
+
+     NONSENSE SONGS AND STORIES, by _Edward Lear_.
+        F. Warne & Co.
+
+     COMPLETE POETICAL WORKS of _Henry Wadsworth Longfellow_.
+        This is one of the books that every family ought to own, there
+        is so much in it for every age. Besides the lyrics children love
+        so well, there are _Hiawatha_, _Evangeline_, _Miles Standish_
+        and other poems, which belong to children as well as to the
+        adults. The Cambridge edition published by Houghton, Mifflin Co.
+        is a cheap, serviceable book, though the print is necessarily
+        rather small.
+
+     THE WONDERFUL CHAIR AND THE TALES IT TOLD, by _Frances R.
+     Browne_.
+        D. C. Heath & Co.
+
+     THE BLUE BIRD FOR CHILDREN, by _Maurice Maeterlinck_.
+        The story of the play, beautifully told. Silver, Burdett & Co.
+
+     THE JUNGLE BOOK, by _Rudyard Kipling_.
+        The hero is a child brought up among the wolves. A delightful
+        story to create interest in wild animals. The Century Company.
+
+     THE SECOND JUNGLE BOOK, by _Rudyard Kipling_.
+        The Century Company.
+
+     JUST SO STORIES, by _Rudyard Kipling_.
+
+     WILD ANIMALS I HAVE KNOWN, by _Ernest Thompson Seton_.
+        A delightful series of stories full of human interest.
+
+
+_Volume III_
+
+This volume contains selections from several books which it is felt will
+be read in their entirety by most children. They are:
+
+     ALICE'S ADVENTURES IN WONDERLAND and THROUGH THE LOOKING-GLASS.
+        Two modern fairy tales by Lewis Carroll (Charles Lutwidge
+        Dodgson). The amusing pictures are by Sir John Tenniel. The
+        Macmillan Company. These fantastic stories delight everyone who
+        reads them.
+
+     ROBINSON CRUSOE, by _Daniel Defoe_.
+        There are many editions of this old and popular story for boys,
+        from an abbreviated form in words of one syllable to the
+        original work in full. W. H. Lambert has edited a school edition
+        in excellent manner for Ginn & Co.
+
+     THE SWISS FAMILY ROBINSON, by _Johann Rudolph Wyss_.
+        Though not of such literary merit as _Robinson Crusoe_, it is
+        similar in plot and usually more popular. Ginn & Co. publish a
+        good, cheap edition, edited by J. H. Stickney.
+
+     ARABIAN NIGHTS' ENTERTAINMENT.
+        The complete editions are not suitable for children to read, but
+        the edition edited by Andrew Lang is excellent. Several
+        schoolbook houses publish good selections, including the most
+        popular tales.
+
+Besides the books mentioned in the lists for Volumes I and II, the
+following might be suggested here:
+
+     THE COMPLETE POETICAL WORKS of _John Greenleaf Whittier_.
+        Houghton, Mifflin Company's Cambridge edition is perhaps the
+        best. Whittier did not write as much for children as Longfellow
+        did, but his _Snow-Bound_ is a classic that every child will
+        love if he is helped a little in reading it. Other poems will
+        appeal to the older members of the family.
+
+     THE BOOK OF LEGENDS TOLD OVER AGAIN, by _Horace E. Scudder_.
+        Houghton, Mifflin Co. _The Flying Dutchman_, _St. Christopher_,
+        _William Tell_, and _The Wandering Jew_ are some of the names.
+
+     THE ADVENTURES OF ULYSSES, by _Charles Lamb_.
+        D. C. Heath & Co.
+
+     NORSE STORIES RE-TOLD FROM THE SAGAS, by _Hamilton Wright Mabie_.
+        Rand, McNally & Co.
+
+     THE BIOGRAPHY OF A GRIZZLY, by _Ernest Thompson Seton_.
+        The Century Company.
+
+     SOME MERRY ADVENTURES OF ROBIN HOOD.
+        Written and illustrated by Howard Pyle. Charles Scribner's Sons.
+
+     THE STORY OF ROLAND, by _James Baldwin_.
+        Illustrated by R. B. Birch. Charles Scribner's Sons.
+
+     THE STORY OF SIEGFRIED, by _James Baldwin_.
+        Illustrated by Howard Pyle. Charles Scribner's Sons.
+
+
+_Volume IV_
+
+     STORY OF THE CID.
+        Retold by Calvin Dill Wilson. Lathrop, Lee and Shepard.
+
+     OLD INDIAN LEGENDS.
+        Retold graphically by Zitkala Sä, one of the tribe of the
+        Dakotahs, and illustrated by Angel de Cora
+        (Hin-ook-Mahiroi-Kilinaka), the Indian artist. Ginn & Co.
+
+     INDIAN BOYHOOD, by _Charles Eastman_, a Sioux Indian.
+        Full of the manners and customs of the Indians, and containing
+        as well some good stories of adventure. Little, Brown & Co.
+
+     GRANDFATHER'S CHAIR, by _Nathaniel Hawthorne_.
+        Houghton, Mifflin Co. This book contains, besides the stories
+        printed in this set, many other interesting historical tales.
+
+     THE BOYS OF '76, by _Charles Carleton Coffin_.
+        Harper and Bros. A fine book that will interest any child in the
+        story of the Revolution. There are other books in a similar vein
+        by the same author.
+
+     THE STORY OF THE GREEKS,
+     THE STORY OF THE ROMANS, and
+     THE STORY OF THE ENGLISH
+        are three good books by H. A. Guerber, which will help to create
+        an interest in the history of those peoples and at the same time
+        give information valuable in reading literature. All are
+        published for school use by the American Book Company.
+
+     CHILD'S HISTORY OF ENGLAND, by _Charles Dickens_.
+        This book is always interesting to children, and is such good
+        reading that we need not feel afraid of Dickens' inexactness and
+        apparent prejudices. Read it as literature, not so much as
+        history.
+
+     BIRDS AND BEES, SHARP EYES AND OTHER PAPERS, by _John Burroughs_.
+        Houghton, Mifflin Co. Though this may seem rather hard reading
+        to some, it is delightful literature, and full of good lessons
+        in observation for children. Other books by the same author are
+        equally entertaining. An excellent book to read to children.
+
+     INDIAN DAYS OF THE LONG AGO, by _E. S. Curtis_.
+        World Book Co.
+
+     THE MAGIC FOREST, by _Stewart Edward White_.
+        Macmillan Co.
+
+     THE WORLD OF THE GREAT FOREST, by _Paul Du Chaillu_.
+        Harper and Bros. An interesting account of animal life, not
+        without some literary merit. Other books by the same author will
+        delight the adventurous.
+
+     SHARP EYES, and
+     MY STUDIO NEIGHBORS
+        are two beautiful books, illustrated by the author, William
+        Hamilton Gibson. Harper and Bros. They are as interesting and as
+        charmingly written as any of the multitudinous nature books.
+
+
+_Volume V_
+
+     THE BOYS' KING ARTHUR, edited by _Sidney Lanier_.
+        Illustrated by Alfred Kappes. Charles Scribner's Sons.
+
+     THE VISION OF SIR LAUNFAL, by _James Russell Lowell_.
+        One of the finest poems in the language. Best read in connection
+        with the stories of King Arthur. Houghton, Mifflin Co.
+
+     THE BOYS' FROISSART.
+        The chronicles retold in simple English by Sidney Lanier.
+        Scribners.
+
+     TRAVELS OF MARCO POLO, abridged by _Thomas W. Knox_.
+        The touch of fiction does not injure these old tales.
+
+     LITTLE SMOKE, by _William Osborn_.
+        An exciting story of Sioux life.
+
+     TEN BIG INDIANS, by _Mary Hazelton Wade_.
+        W. A. Wilde & Co. An interesting introduction to Indian history.
+
+     HANS BRINKER; OR THE SILVER SKATES, by _Mary Mapes Dodge_.
+        A delightful story of child life in Holland. A valuable picture
+        of manners and customs.
+
+     THE HOOSIER SCHOOL BOY, by _Edward Eggleston_.
+        Charles Scribner's Sons. An interesting story of pioneer times.
+
+     THE PETERKIN PAPERS, by _Lucretia Peabody Hale_.
+        Houghton, Mifflin Co. One of the few good humorous stories for
+        children.
+
+     TOBY TYLER, OR TEN WEEKS WITH A CIRCUS, and
+     MR. STUBBS'S BROTHER
+        are two wholesome stories full of humor and pathos. Harper and
+        Bros.
+
+     THE STORY OF A NÜRNBERG STOVE, by _Louise De la Ramée (Ouida)_.
+        Educational Publishing Company.
+
+     BETTY LEICESTER, by _Sarah Orne Jewett_.
+        A fine story for girls. Houghton, Mifflin Co.
+
+     THE BIRDS' CHRISTMAS CAROL, by _Kate Douglas Wiggin (Riggs)_.
+        Houghton, Mifflin Co. A charming story which will delight
+        everybody. By the same author, _The Story of Patsy_, _Timothy's
+        Quest_ and _Rebecca of Sunnybrook Farm_ are all wholesome and
+        entertaining.
+
+     REBECCA OF SUNNYBROOK FARM, by _Kate Douglas Wiggin_.
+        Houghton, Mifflin Co.
+
+     THE PRINCE AND THE PAUPER, A TALE FOR YOUNG PEOPLE OF ALL AGES,
+        by _Mark Twain (Samuel Langhorne Clemens)_. Harper and Bros. The
+        story relates to England in the sixteenth century.
+
+     THE MAN WITHOUT A COUNTRY, by _Edward Everett Hale_.
+        Little, Brown & Co. The style and language are mature, but the
+        story is one of the best lessons in patriotism ever written.
+
+
+_Volume VI_
+
+     TALES OF A GRANDFATHER, by _Sir Walter Scott_.
+        An abridged edition, published by Ginn & Co., contains the best
+        tales, but many children will like them all.
+
+     THE AUTOBIOGRAPHY OF BENJAMIN FRANKLIN.
+        An excellent book for young people on account of its interest
+        and its clear literary style. An edition by Houghton, Mifflin
+        Co., contains a sketch of Franklin's life subsequent to the time
+        when his autobiography ends.
+
+     LAYS OF ANCIENT ROME, by _Thomas Babington Macaulay_.
+        Inspiring tales in verse such as children love to hear.
+        _Horatius_ is among them.
+
+     IVANHOE, by _Sir Walter Scott_.
+        Houghton, Mifflin Co. publish a cheap school edition.
+
+     THE TALISMAN, by _Sir Walter Scott_.
+
+     SCOTTISH CHIEFS, by _Jane Porter_.
+        This is one of the stories that young people enjoyed years ago.
+        It helps to the reading of Scottish history, and is a good type
+        of the romantic novel.
+
+     ENOCH ARDEN, by _Alfred Tennyson_.
+
+     IDYLS OF THE KING, by _Alfred Tennyson_.
+
+     THE COMPLETE POETICAL WORKS of _Oliver Wendell Holmes_.
+        Cambridge edition of Houghton, Mifflin Co. _The Grandmother's
+        Story of Bunker Hill_, _A Ballad of the Boston Tea Party_, _Ode
+        for Washington's Birthday_, _Old Ironsides_, _Lexington_ and
+        others have historical value. The humorous poems like _The
+        One-Hoss Shay_, _How the Old Horse Won the Bet_, and such
+        beautiful poems as _The Chambered Nautilus_ and _The Last Leaf_
+        always appeal to young folks.
+
+     THE SPY, by _James Fenimore Cooper_.
+        This is a thrilling story of the Revolution.
+
+     THE PILOT, by _James Fenimore Cooper_.
+        This also is a story of the Revolution, and it has Paul Jones as
+        its hero.
+
+     MEN OF IRON, by _Howard Pyle_.
+        Harper and Bros. The "men of iron" are Henry IV of England and
+        the men of his court.
+
+     THE STORY OF A BAD BOY, by _Thomas Bailey Aldrich_.
+        Houghton, Mifflin Co. An amusing and frank story of New England
+        boy life.
+
+
+_Volume VII_
+
+     THE CRICKET ON THE HEARTH, by _Charles Dickens_.
+        This is one of the Christmas stories, and is written in the best
+        vein of the fascinating author.
+
+     DAVID COPPERFIELD, by _Charles Dickens_.
+        This is usually considered the masterpiece of the author.
+
+     A TALE OF TWO CITIES, by _Charles Dickens_.
+        A thrilling story of the French Revolution, rather full of
+        terrible happenings, and rather mature.
+
+     THE LADY OF THE LAKE, and
+     MARMION, by _Sir Walter Scott_,
+        the two best of his longer poems, rarely fail to interest young
+        people.
+
+     TALES FROM SHAKESPEARE, by _Charles and Mary Lamb_.
+
+     THE TEMPEST,
+     A MIDSUMMER NIGHT'S DREAM, and
+     THE MERCHANT OF VENICE,
+        are the three Shakespearean plays that first interest children.
+        Care should be taken in the selection of the edition, as none of
+        the plays in their original form are suitable for children.
+        School editions with notes are excellent. _The Tempest_ is
+        printed in Volume VIII of this set, and is deferred to that
+        point on account of the very full notes and comments that
+        accompany it. The play itself may be read quite early, and
+        children should be encouraged to try their skill on Shakespeare
+        as soon as they show signs of interest.
+
+     UNDINE, by _Baron de la Motte Fouqué_,
+        is a beautiful fairy tale from the German, with interest for
+        older children than those who read Andersen and Grimm.
+
+     PLUTARCH'S LIVES.
+        White's _Boys' and Girls' Plutarch_ is recommended. The lives of
+        Brutus, Julius Cćsar, Themistocles, Pericles and Alexander are
+        among the more interesting.
+
+     THE BURNING OF ROME, by _A. J. Church_,
+        is a thrilling story of that event.
+
+     CUORE, by _Edmondo De Amicis_.
+        The journal of an Italian schoolboy. Useful and moral, but not
+        always interesting to American boys.
+
+     IN HIS NAME, by _Edward Everett Hale_.
+        A tale of religious persecution.
+
+     THE PEASANT AND THE PRINCE, by _Harriet Martineau_.
+        An intensely interesting picture of France just before the
+        Revolution.
+
+     PICCIOLA, by _X. B. Santine_.
+        A touching story whose scene is laid in France in the time of
+        Napoleon.
+
+     LIFE OF DANIEL BOONE, by _J. and J. C. Abbott_.
+
+     THE ILIAD, _Bryant's_ translation.
+
+
+_Classified Lists_
+
+When boys and girls can read the first seven volumes of this set
+intelligently and with pleasure they are thinking for themselves. Their
+tastes are forming rapidly, and they have learned how to read nearly
+everything that comes to them. They know how to use reference books, and
+can "make out the meaning" of difficult passages. They are reading for
+information and culture. What they lack is experience in life, and so
+they are unable to interpret what they read as fully as can those who
+have lived longer, seen more of the world, enjoyed more, suffered more.
+Where they are liable to fail and go astray is in the lack of judgment.
+They know right and wrong, but they cannot always see the difference.
+They are apt to be misled by their feelings and to be ruled by their
+emotions.
+
+The studies and selections of the last three volumes are varied and
+highly suggestive. They will open new lines of thought and prompt to
+wider reading in many directions. The contents vary in difficulty as in
+character, but are not graded in a strict sense of the term. They are
+meant for independent readers, readers who are governed by mood or
+purpose and no longer rely upon outside guidance.
+
+Accordingly, lists of books suitable for readers of these volumes will
+cover every department of literature and lead into the reading favored
+by adults. The majority of these lists deal with literature. They
+contain the names of those books which are distinctly helpful, and from
+which young readers may derive nothing to corrupt taste or give false
+impressions of life. They are the standard books of the language. The
+lists might have been longer; they do contain, however, the names of
+those best books that every cultured person should know. For convenience
+in reference the arrangement is the alphabetical order of authors'
+names.
+
+
+Fiction
+
+     AINSWORTH, WILLIAM HARRISON: _The Tower of London_, the story of
+        Lady Jane Grey, and the plots and intrigues that centered about
+        her.
+
+     ALCOTT, LOUISA M.: _Little Men_ and _Little Women_, two interesting
+        and thoroughly wholesome books for boys and girls.
+
+     AUSTEN, JANE: _Pride and Prejudice_, an old-fashioned story,
+        interesting, but liable to be called dull by those who read only
+        the lively stories of the day.
+
+     BLACKMORE, R. D.: _Lorna Doone_, a delightful romance, the scene of
+        which is laid in Exmoor, England, in the beginning of the
+        eighteenth century.
+
+     BULWER-LYTTON, SIR EDWARD: _The Last Days of Pompeii_, the author's
+        greatest novel; _The Last of the Barons_, the story of the Earl
+        of Warwick; _Harold, The Last of the Saxons_, a tale of the
+        Norman Conquest of England.
+
+     DOYLE, A. CONAN: _The White Company_, an exciting fourteenth
+        century story.
+
+     ELIOT, GEORGE: _Silas Marner_, an intensely human story, a heart
+        history; _Romola_, a thrilling story of Florence in the days of
+        Savonarola, a study in the degeneration of character that comes
+        from doing only the agreeable things in life.
+
+     GOLDSMITH, OLIVER: _The Vicar of Wakefield_, an amusing and at
+        times pathetic picture of English country life in the eighteenth
+        century.
+
+     HAWTHORNE, NATHANIEL: _The Scarlet Letter_, a tale of sin and its
+        punishment in Puritan New England; _The Marble Faun_, an Italian
+        story full of the art and culture of Rome.
+
+     HUGO, VICTOR: _Les Miserables_, one of the greatest novels of the
+        world, but its digressions and its philosophy make it difficult
+        reading for the young. Interesting abridgements of it may be had
+        from the schoolbook houses.
+
+     SAINT PIERRE, BERNARDIN DE: _Paul and Virginia_, a pretty love
+        story from the French.
+
+     SCOTT, SIR WALTER: _Kenilworth_, a tale of the days of Queen
+        Elizabeth; _Old Mortality_, a story of the Covenanters; _Guy
+        Mannering_, an eighteenth century tale, with Meg Merrilies,
+        Dominic Sampson and others of Scott's most famous characters;
+        _The Heart of Midlothian_, a tale of sin and its punishment,
+        with a wonderful picture of a sister's love and devotion.
+
+     STOWE, HARRIET BEECHER: _Uncle Tom's Cabin_, an interesting story,
+        but like most books written for partisan purposes, its influence
+        is not now wholesome.
+
+     THACKERAY, WILLIAM MAKEPEACE: _Henry Esmond_, _Pendennis_ and _The
+        Newcomes_ may be read in the order named. _Vanity Fair_ is
+        better appreciated by adults.
+
+     TWAIN, MARK: _Tom Sawyer_ and _Huckleberry Finn_, two stories whose
+        fun every boy will appreciate.
+
+     WALLACE, LEW: _Ben Hur, a Tale of the Christ_. An admirable
+        historical novel.
+
+
+Poetry and Drama
+
+     BROWNING, ROBERT: Besides the poems given in these books, _The Lost
+        Leader_ and _Rabbi Ben Ezra_ are enjoyed by boys and girls.
+
+     BRYANT, WILLIAM CULLEN: _The Poetical Works_ (Household Edition),
+        D. Appleton & Co. _The Song of Marion's Men_, _The Green
+        Mountain Boys_, _Thanatopsis_, _Sella_, _The Death of the
+        Flowers_, _The Planting of the Apple Tree_ and _Robert of
+        Lincoln_ are among his best poems.
+
+     SHAKESPEARE, WILLIAM: _Julius Cćsar and Coriolanus_, two plays
+        based on Roman history and excellent for reading purposes;
+        _Richard II_ (1398-1399), _Henry IV_ (1402-1413), _Henry V_
+        (1414-1420), _Henry VI_ (1422-1471), _Richard III_ (1471-1485),
+        all based on English history; _As You Like It_, a great comedy;
+        _Hamlet_ and _King Lear_, perhaps the two greatest tragedies.
+        All these are excellent reading, especially in such an edition
+        as the _Temple Classics_. Other plays may well be read, but
+        everyone should know the foregoing list.
+
+
+Essays
+
+     EMERSON, RALPH WALDO: _The American Scholar_, _Self-Reliance_,
+        _Culture_ and _Behavior_ may be read with profit by the young,
+        even if they do not fully understand the philosophy.
+
+     HALE, EDWARD EVERETT: _American Essays_ and _English Essays_, two
+        books edited by Hale. They contain selections from the writings
+        of George William Curtis, Ralph Waldo Emerson, Washington
+        Irving, James Russell Lowell, Addison, Goldsmith, Lamb and
+        Thackeray.
+
+     HOLMES, OLIVER WENDELL: _The Autocrat of the Breakfast Table_, a
+        charming series of talks which embody the best of Holmes's wit,
+        wisdom and philosophy. One of those things everybody must read.
+
+     IRVING, WASHINGTON: _The Sketch Book_ contains such perfect stories
+        as _Rip Van Winkle_ and _The Legend of Sleepy Hollow_, as well
+        as a number of fine essays for later reading.
+
+     ROOSEVELT, THEODORE: _American Ideals and Other Essays_. Putnam.
+
+     RUSKIN, JOHN: _Sesame and Lilies_. In spite of its seeming
+        difficulty, this book contains some of the most inspiring words
+        ever spoken on books and reading.
+
+     WARNER, CHARLES DUDLEY: _A-Hunting of the Deer and Other Essays_, a
+        delightful little collection that young people will enjoy and
+        that has fine literary qualities. Houghton, Mifflin Co.
+
+
+Nature
+
+     THOREAU, HENRY DAVID: _Walden_, a vivid book of outdoor life. Such
+        also are _A Week on the Concord and Merrimac Rivers_ and
+        _Excursions in Field and Forest_.
+
+
+Biography
+
+     FABRE, JEAN-HENRI: _Our Humble Helpers_, familiar talks on the
+        domestic animals. The Century Co.
+
+     BOSWELL, JAMES: _Life of Samuel Johnson_. The first great
+        biography, and still the most remarkable in its intimacy. Not of
+        general interest to young people.
+
+     BROOKS, ELDRIDGE STREETER: _Historic Girls_. G. P. Putnam's Sons.
+
+     BROOKS, NOAH: _Life of Abraham Lincoln_. G. P. Putnam's Sons.
+
+     BURROUGHS, JOHN: _John James Audubon_. Small, Maynard & Co.
+
+     GOLDING, VAUTIER: _The Story of Henry M. Stanley_. E. P. Dutton &
+        Co.
+
+     HARRISON, FREDERICK: _Oliver Cromwell_. Macmillan.
+
+     IRVING, WASHINGTON: _Washington_, and _Mahomet_.
+
+     LODGE, HENRY CABOT: _Alexander Hamilton_. Houghton, Mifflin Co.
+
+     NICOLAY, JOHN G.: _Boys' Life of Abraham Lincoln_.
+
+     OBER, FREDERICK O.: _Pizarro_. Harper.
+
+     RIIS, JACOB A.: _The Making of an American_. Macmillan.
+
+     SCHURZ, CARL: _Life of Henry Clay_. Houghton, Mifflin Co.
+
+     SCUDDER, HORACE ELISHA: _George Washington_. Houghton, Mifflin Co.
+
+     TRENT, W. P.: _Robert E. Lee_.
+
+     WISTER, OWEN: _U. S. Grant_. Beacon Biography.
+
+
+History
+
+     BANCROFT, GEORGE: _History of the United States_ (to the
+        inauguration of Washington). A voluminous history with
+        interesting passages, but tedious to young readers.
+
+     DRAPER, ANDREW SLOAN: _The Rescue of Cuba_. Silver, Burdett & Co.
+
+     FISKE, JOHN: _The War of Independence_. Houghton, Mifflin Co.
+
+     LODGE, HENRY CABOT, and ROOSEVELT, THEODORE: _Hero Tales from
+        American History_. The Century Company.
+
+     MOTLEY, JOHN LOTHROP: _The Rise of the Dutch Republic_. This, with
+        other histories by the same writer, is a long and brilliant
+        account, full of interest to the older youths who have a taste
+        for history.
+
+     PARKMAN, FRANCIS: _La Salle and the Northwest_, _The Conspiracy of
+        Pontiac_, and _Montcalm and Wolfe_ are three histories of a
+        brilliant series on the French explorations and colonizations in
+        the Northwest. Parkman is one of our finest historical writers,
+        and his graphic style has given many a young man a deep interest
+        in history.
+
+     PRESCOTT, WILLIAM HICKLING: _The Conquest of Mexico_ and _The
+        Conquest of Peru_ are two interesting histories of the longer
+        type, written in an interesting style that many youths will
+        enjoy. Prescott's work lies with the Spanish, as Motley's with
+        the Dutch and Parkman's with the French.
+
+     ROOSEVELT, THEODORE (see LODGE, HENRY CABOT).
+
+
+Travel and Geography
+
+     BUTTERWORTH, HEZEKIAH: _Zig-Zag Journeys in Classic Lands_. There
+        are other interesting Zig-Zag Journeys by the same author.
+
+     DANA, RICHARD HENRY: _Two Years Before the Mast_.
+
+     DARWIN, CHARLES: _Voyage of a Naturalist_.
+
+     DU CHAILLU, PAUL: _The Land of the Long Night_. A winter journey
+        through Northern Europe.
+
+     INGERSOLL, ERNEST: _The Book of the Ocean_.
+
+     JENKS, TUDOR: _The Boy's Book of Exploration_. Deals principally
+        with Africa.
+
+     KNOX, THOS.: _The Boy Travelers in South America_. There are other
+        interesting books in the same series.
+
+     ROOSEVELT, THEODORE: _Stories of the Great West_. Century Co.
+
+     STANLEY, HENRY M.: _In Darkest Africa_.
+
+     STOCKTON, FRANK RICHARD: _Personally Conducted_. Interesting
+        descriptions of places in Europe.
+
+     TAYLOR, BAYARD: _Views Afoot_.
+
+     TWAIN, MARK (Samuel Langhorne Clemens): _Innocents Abroad_. An
+        amusing account of European travel with good descriptions.
+
+     WARNER, CHARLES DUDLEY: _My Winter on the Nile_.
+
+
+Miscellaneous
+
+The books in the following list have not been selected because of their
+literary qualities, but because they contain things that are of interest
+and value to young people. It is thought that parents may wish some
+information concerning such books as are mentioned, and those given in
+the list can be relied upon as being interesting, instructive and not
+expensive. The arrangement is by title.
+
+     AMERICAN BOYS' HANDY BOOK OF CAMP LORE AND WOODCRAFT, by _Daniel
+        Cortes Beard_. Tells how to fish, hunt, camp, and how to make a
+        great variety of things.
+
+     AMERICAN GIRLS' HANDY BOOK, by _Adelia B. Beard_. Directions for
+        making and doing. A companion to _American Boys' Handy Book_.
+
+     AMERICAN GIRLS' HOME BOOK OF WORK AND PLAY, by _Helen Campbell_.
+        Outdoor and indoor games and amusements, Christmas gifts,
+        cooking, etc.
+
+     AMONG THE LAW MAKERS, by _Edmund Alton Bailey_. Deals with the
+        national Congress, largely the recollections of a former page.
+
+     BEGINNER'S GARDEN BOOK, THE, by _Allen French_.
+
+     BOYS' BOOK OF INVENTIONS, THE, by _Ray Stannard Baker_.
+        Descriptions of our latest inventions.
+
+     BOYS' SECOND BOOK OF INVENTIONS, THE, by _Ray Stannard Baker_.
+
+     BOY SCOUTS' BOOK OF STORIES, Edited by _Franklin K. Mathiews_.
+
+     CAREERS OF DANGER AND DARING, by _Cleveland Moffett_. Deals with
+        the dangerous occupations of man, steeple-climbing, fire
+        service, ballooning, etc.
+
+     CENTURY BOOK FOR YOUNG AMERICANS, THE, by _Eldridge Streeter
+        Brooks_. Deals with Washington and the government of the United
+        States.
+
+     COMPLETE HOUSEKEEPER, by _Emily Holt_.
+
+     ELECTRIC TOY-MAKING FOR AMATEURS, by _T. O'Connor Sloane_. A
+        practical book, interesting to boys.
+
+     EXPERIMENTAL SCIENCE, by _G. M. Hopkins_. A large and rather
+        expensive book on experimental physics.
+
+     FLAME, ELECTRICITY AND THE CAMERA. An account of man's progress
+        from the first kindling of fire to the present time.
+
+     GARDEN MAKING, by _Liberty Hyde Bailey_. A practical book for
+        school and house.
+
+     HANDYCRAFT FOR HANDY GIRLS, by _A. Neely Hall_ and _Dorothy
+        Perkins_. Practical plans for work and play.
+
+     HARPER'S INDOOR BOOK FOR BOYS, and HARPER'S OUTDOOR BOOK FOR BOYS,
+        by _J. H. Adams_. Practical directions for work and play.
+
+     MARY FRANCES SEWING-BOOK, by _Jane Eyre Foyer_.
+
+     OUTLINES OF THE EARTH'S HISTORY, by _N. S. Shaler_. A popular book
+        on physiography.
+
+     PRACTICAL TRACK AND FIELD ATHLETICS, by _John Graham_ and _Ellery
+        H. Clark_.
+
+     RULES OF ORDER (Pocket Manual), by _General Henry M. Roberts_.
+        Deals with rules of practice in deliberating assemblies.
+
+     YOUNG PEOPLE'S STORY OF ART, by _Ida Prentice Whitcomb_.
+
+     YOUNG AMERICAN, by _Harry Pratt Judson_. An outline of our system
+        of government.
+
+     WITH MEN WHO DO THINGS, by _A. Russell Bond_. "Scientific American"
+        Series.
+
+
+
+
+HANDY TABLE OF ENGLISH WRITERS
+
+  A. PERIOD OF PREPARATION. From Caedmon's _Paraphrase_, (670),
+     to the death of Chaucer (1400).
+     I. Prior to Chaucer's birth (1340?).
+        _Beowulf._
+        Caedmon, ?-680.
+        Bede, 673-735.
+
+    II. During Chaucer's life.
+        Sir John Mandeville, 1300-1372.
+        John Wyclif, 1324-1384.
+        William Langland, _Piers Plowman_, 1332-?.
+        CHAUCER, 1340?-1400.
+
+  B. PERIOD OF ACCOMPLISHMENT. From the death of Chaucer to present time.
+     I. The Period of Italian Influence. From the death of Chaucer to the
+        Restoration of Charles II (1660).
+        1. The Age of Reaction. From the death of Chaucer to the
+           Accession of Queen Elizabeth (1558).
+           Malory, _Morte d'Arthur_.
+           William Tyndale, 1449-1536.
+        2. The Age of Elizabeth. From 1558 to 1603,
+           the Accession of James I.
+           John Lyly, 1554?-1606.
+           FRANCIS BACON, 1561-1626.
+           Sir Philip Sidney, 1554-1586.
+           Sir Walter Raleigh, 1552-1618.
+           EDMUND SPENSER, 1552-1599.
+           Christopher Marlowe, 1564-1593.
+           WILLIAM SHAKESPEARE, 1564-1616.
+           Ben Jonson, 1573-1637.
+           Francis Beaumont, 1584-1616.
+           John Fletcher, 1579-1625.
+
+        3. The Puritan Age. From the Accession of James I to the
+           Restoration of Charles II (1660).
+             Izaak Walton, 1593-1683.
+             Jeremy Taylor, 1613-1667.
+             Sir Thomas Browne, 1605-1682.
+             John Bunyan, 1628-1688.
+             JOHN MILTON, 1608-1674.
+             Robert Herrick, 1591-1674.
+
+    II. The Period of French Influence. From the Restoration of Charles
+        II to the death of Pope (1744).
+        1. Age of the Restoration. From the Restoration of Charles II
+           to the Accession of Queen Anne (1702).
+             Samuel Butler, 1612-1680.
+             JOHN DRYDEN, 1631-1700.
+             John Locke, 1632-1704.
+             Samuel Pepys, 1633-1703.
+             Sir Isaac Newton, 1642-1727.
+
+        2. The Age of Queen Anne. From the Accession of Queen Anne to
+           the death of Pope.
+             Jonathan Swift, 1667-1745.
+             Daniel De Foe, 1661?-1731.
+             Richard Steele, 1672-1729.
+             JOSEPH ADDISON, 1662-1745.
+             ALEXANDER POPE, 1688-1744.
+
+   III. The Modern English Period. From the death of Pope to the present
+        time.
+        1. The Beginnings. From the death of Pope to 1780.
+             Samuel Richardson, 1689-1761.
+             Henry Fielding, 1707-1754.
+             Dr. Samuel Johnson, 1709-1784.
+             David Hume, 1711-1776.
+             Laurence Sterne, 1713-1768.
+             Thomas Gray, 1716-1771.
+             Tobias George Smollett, 1721-1771.
+             OLIVER GOLDSMITH, 1728-1774.
+             Edmund Burke, 1729-1797.
+             Edward Gibbon, 1737-1794.
+
+        2. The Romantic School. From 1780 to 1837,
+           the Accession of Queen Victoria.
+             William Cowper, 1731-1800.
+             Robert Burns, 1759-1796.
+             WILLIAM WORDSWORTH, 1770-1850.
+             SIR WALTER SCOTT, 1771-1832.
+             Samuel Taylor Coleridge, 1772-1834.
+             Robert Southey, 1774-1843.
+             Charles Lamb, 1775-1834.
+             Lord Byron, 1788-1824.
+             Percy Bysshe Shelley, 1792-1822.
+             John Keats, 1795-1821.
+
+        3. The Victorian Age. From the Accession of Victoria to the
+           present time.
+             Thomas Carlyle, 1795-1881.
+             Thomas Macaulay, 1800-1859.
+             Elizabeth Barrett Browning, 1806-1861.
+             ALFRED TENNYSON, 1809-1892.
+             William Makepeace Thackeray, 1811-1863.
+             Charles Dickens, 1812-1870.
+             Robert Browning, 1812-1889.
+             John Ruskin, 1819-1900.
+             GEORGE ELIOT, 1819-1880.
+             Matthew Arnold, 1822-1888.
+             Robert Louis Stevenson, 1850-1894.
+
+
+
+
+HANDY TABLE OF AMERICAN WRITERS
+
+  A. The Colonial Period. The seventeenth and eighteenth century writers.
+       Anne Bradstreet, 1612-1672.
+       Cotton Mather, 1663-1728.
+       BENJAMIN FRANKLIN, 1706-1790.
+
+  B. The National Period. The nineteenth century writers.
+      I. The Earlier Group.
+           William Ellery Channing, 1780-1842.
+           WASHINGTON IRVING, 1783-1859.
+           James Fenimore Cooper, 1789-1851.
+           William Cullen Bryant, 1794-1878.
+           William Hickling Prescott, 1796-1859.
+           Edgar Allan Poe, 1809-1849.
+
+     II. The Civil War Group.
+           George Bancroft, 1800-1891.
+           RALPH WALDO EMERSON, 1803-1882.
+           NATHANIEL HAWTHORNE, 1804-1864.
+           HENRY WADSWORTH LONGFELLOW, 1807-1882.
+           JOHN GREENLEAF WHITTIER, 1807-1892.
+           OLIVER WENDELL HOLMES, 1809-1894.
+           John Lothrop Motley, 1814-1877.
+           Henry David Thoreau, 1817-1862.
+           JAMES RUSSELL LOWELL, 1819-1891.
+           Francis Parkman, 1823-1893.
+
+    III. Later Writers.
+           Walt Whitman, 1819-1892.
+           Richard Henry Stoddard, 1825-1903.
+           Bayard Taylor, 1825-1878.
+           Edmund Clarence Stedman, 1833-1908.
+           Mark Twain, 1835-1910.
+           Eugene Field, 1850-1895.
+
+
+
+
+GENERAL INDEX
+
+
+  A
+
+  _Abou Ben Adhem_: IX, 11.
+
+  _Abraham Lincoln_: IX, 324.
+
+  ADDISON, JOSEPH.
+    Selections: _The Vision of Mirza_: IX, 285.
+      _Sir Roger de Coverley_: IX, 371.
+
+  ADVENTURE.
+    _Robinson Crusoe_: III, 45.
+    _The Swiss Family Robinson_: III, 99.
+    _The Escape from Prison_: IV, 130.
+    _The Sunken Treasure_: IV, 199.
+    _The Arickara Indians_: IV, 472.
+    _Gulliver's Travels_: V, 6.
+    _Reminiscences of a Pioneer_: V, 340.
+    _The Buccaneers_: V, 359.
+    _Captain Morgan at Maracaibo_: V, 365.
+    _The Lion and the Missionary_: VI, 93.
+    _The Shipwreck_: VI, 371.
+    _Elephant Hunting_: VI, 385.
+    _An Exciting Canoe Race_: VII, 79.
+    _The Buffalo_: VII, 96.
+    _A Gorilla Hunt_: VII, 247.
+    _The Recovery of the Hispaniola_: VII, 352.
+    _Ringrose and His Buccaneers_: VIII, 1.
+    _David Crockett in the Creek War_: VIII, 37.
+    _A Descent into the Maelstrom_: VIII, 95.
+    _How They Took the Gold-Train_: VIII, 180.
+    _Ascent of the Jungfrau_: IX, 1.
+    _The Gold-Bug_: IX, 232.
+    _Modestine_: IX, 403.
+
+  ĆSOP.
+    Biography: II, 1.
+
+  _Afterwhile_: II, 123.
+
+  _Aladdin, The Story of._ See _Story of Aladdin_.
+
+  ALEXANDER, CECIL FRANCES.
+    Selection: _The Burial of Moses_: IV, 266.
+
+  _Alfred the Great_: IV, 260.
+
+  _Alhambra, The_: VIII, 153.
+
+  ALLEN, GRANT.
+    Selection: _A Bed of Nettles_: VIII, 209.
+
+  ALLINGHAM, WILLIAM.
+    Selections: _Fairies, The_: I, 405.
+      _Four Ducks on a Pond_: VI, 98.
+      _Leprecaun, The_: III, 33.
+
+  ALLSTON, WASHINGTON.
+    Selection: _Boyhood_: VI, 122.
+
+  _America_: VIII, 60.
+
+  _American Flag, The_: V, 396.
+
+  _American Writers, Handy Table of_: X, 473.
+
+  _Ancient Mariner, The Rime of the._ See _Rime of the Ancient
+     Mariner, The_.
+
+  ANDERSEN, HANS CHRISTIAN.
+    Biography: II, 81.
+    Selections: _Darning-Needle, The_: II, 463.
+      _Fir Tree, The_: II, 68.
+      _Flax, The_: I, 378.
+      _Hardy Tin Soldier, The_: I, 148.
+      _Holger Danske_: II, 377.
+      _Pea Blossom, The_: I, 205.
+      _Snow Queen, The_: II, 124.
+      _"Something:"_ I, 395.
+      _Ugly Duckling, The_: I, 414.
+      _What the Old Man Does Is Always Right_: II, 387.
+
+  _Annabel Lee_: VII, 341.
+
+  _Annie Laurie_: VI, 119.
+
+  _Apostrophe_: X, 266.
+
+  _Arabian Nights._
+    Selections: _Falcon and the Partridge, The_: II, 6.
+      _Second Voyage of Sinbad the Sailor, The_: III, 340.
+      _Sparrow and the Eagle, The_: II, 8.
+      _Story of Aladdin, The_: III, 288.
+
+  ARCHIBALD, MRS.
+    Selection: _John's Pumpkin_: III, 1.
+
+  _Arickara Indians, The_: IV, 472.
+
+  ARNOLD, MATTHEW.
+    Selections: _Forsaken Merman, The_: VII, 180.
+      _Sohrab and Rustum_: VI, 173.
+
+  _Arthur, King_: V, 113.
+
+  ARTON, BERNARD.
+    Selection: _Bruce and the Spider_: V, 314.
+
+  _Ascent of the Jungfrau_: IX, 1.
+
+  _Ass in the Lion's Skin, The_: I, 65.
+
+  _Atalanta's Race_: I, 386.
+
+  _Attack on the Castle, The_: IV, 322.
+
+  _At the Seaside_: I, 129.
+
+  _Auld Lang Syne_: VI, 228.
+
+  _Autumn Fires_: I, 394.
+
+  _Away_: IV, 460.
+
+  AYTOUN, WILLIAM E.
+    Selection: _The Heart of Bruce_: V, 316.
+
+
+  B
+
+  _Baby, The_: II, 11.
+
+  BACON, SIR FRANCIS.
+    Biography: IX, 395.
+    Selections: _Of Expence_: IX, 397.
+      _Of Studies_: IX, 400.
+
+  BAKER, SIR SAMUEL W.
+    Selection: _The Escape from Prison_: IV, 130.
+
+  _Bald Knight, The_: I, 385.
+
+  _Balin and Balan_: V, 130.
+
+  _Ballad of Agincourt, The_: V. 95.
+
+  BALLADS.
+    _Lochinvar_: III, 432.
+    _Robin Hood_: III, 436.
+    _Robin Hood and Little John_: III, 437.
+    _Robin Hood and the Stranger_: III, 444.
+    _Robin Hood and the Widow's Three Sons_: III, 449.
+    _Robin Hood and Allin a Dale_: III, 454.
+    _The Wreck of the Hesperus_: IV, 89.
+    _Chevy-Chase_: IV, 312.
+    _The Ballad of Agincourt_: V, 95.
+    _The Heart of Bruce_: V, 316.
+    _The Inchcape Rock_: V, 465.
+    _Lord Ullin's Daughter_: VI, 23.
+    _Hervé Riel_: VIII, 168.
+
+  _Bannockburn_: VII, 15.
+
+  _Barbara Frietchie_: III, 347.
+
+  _Barefoot Boy, The_: IV, 3.
+
+  _Baron Munchausen._ See _Munchausen, Baron_.
+
+  _Bat and the Two Weasels, The_: I, 154.
+
+  _Battle Hymn of the Republic_: V, 399.
+
+  _Battle of Cressy, The_: IX, 161.
+
+  _Battle of Hastings, The_: IX, 330.
+
+  _Battle of Ivry_: VIII, 76.
+
+  _Battle of Saratoga, The_: IX, 176.
+
+  _Battle of Thermopylć, The_: VIII, 81.
+
+  _Battle of Trafalgar, The_: VIII, 284.
+
+  _Battle of Waterloo, The_: VIII, 176.
+
+  _Baucis and Philemon_: I, 431.
+
+  _Beauty and the Beast_: I, 318.
+
+  _Bed in Summer_: I, 173.
+
+  _Bed of Nettles, A_: VIII, 209.
+
+  BEERS, MRS. ETHEL LYNN.
+    Selection: _The Picket Guard_: VII, 177.
+
+  BELT, THOMAS.
+    Selections: _Some Clever Monkeys_: VI, 402.
+      _Trees and Ants That Help Each Other_: VII, 306.
+
+  _Beowulf and Grendel_: III, 350.
+
+  _Bernardo del Carpio_: IV, 270.
+
+  _Beth Gelert_: III, 42.
+
+  _Better Than Gold_: IV, 1.
+
+  BIOGRAPHY.
+    _Robert Louis Stevenson_: I, 128.
+    _Eugene Field_: I, 242.
+    _Ćsop_: II, 1.
+    _Hans Christian Andersen_: II, 81.
+    _Henry Wadsworth Longfellow_: IV, 62.
+    _Alice Cary_: IV, 116.
+    _Phoebe Cary_: IV, 116.
+    _Nathaniel Hawthorne_: IV, 180.
+    _Alfred the Great_: IV, 260.
+    _John Bunyan_: IV, 417.
+    _Jonathan Swift_: V, 1.
+    _Sir Walter Scott_: VI, 26.
+    _Matthew Arnold_: VI, 204.
+    _John Howard Payne_: VI, 221.
+    _Charles Dickens_: VI, 232.
+    _Thomas Gray_: VI, 369.
+    _George Rogers Clark_: VI, 422.
+    _Queen Victoria_: VII, 152.
+    _William Cowper_: VII, 331.
+    _John Greenleaf Whittier_: VII, 381.
+    _William Cullen Bryant_: VII, 391.
+    _Oliver Wendell Holmes_: VII, 398.
+    _James Russell Lowell_: VII, 411.
+    _Elizabeth Barrett Browning_: VII, 419.
+    _David Crockett_: VIII, 29.
+    _Pčre Marquette_: VIII, 121.
+    _Washington Irving_: VIII, 216.
+    _Charles Lamb_: VIII, 328.
+    _Mary Lamb_: VIII, 328.
+    _William Shakespeare_: VIII, 468.
+    _Florence Nightingale_: IX, 13.
+    _Julius Caesar_: IX, 155.
+    _Geoffrey Chaucer_: IX, 201.
+    _Samuel Johnson_: IX, 216.
+    _Sir Francis Bacon_: IX, 395.
+    _John Keats_: IX, 457.
+    See LEGENDARY HEROES; HISTORY.
+
+  BJÖRNSON, BJÖRNSTJERNE.
+    Selection: _The Tree_: I, 301.
+
+  _Black Hawk Tragedy, The_: VII, 58.
+
+  BLAKE, WILLIAM.
+    Selection: _Infant Joy_: II, 10.
+
+  _Blind Lassie, The_: VI, 120.
+
+  _Block City_: I, 196.
+
+  _Bluebeard_: II, 22.
+
+  _Boat Song_: VII, 17.
+
+  _Book Lists, Supplementary_: X, 451.
+
+  _Boston Massacre, The_: IV, 217.
+
+  BOSWELL, JAMES.
+    Selection: From _The Life of Johnson_: IX, 216.
+
+  _Boy and the Nettle, The_: I, 65.
+
+  _Boyhood_: VI, 122.
+
+  _Boys and the Frogs, The_: I, 63.
+
+  _Braddock's Defeat_: V, 379.
+
+  BRANCH, MARY BOLLES.
+    Selection: _The Petrified Fern_, VII, 77.
+
+  _Breathes There the Man_: VII, 151.
+
+  _Brook, The._ See _Song of the Brook_.
+
+  _Brother and Sister, The_: I, 410.
+
+  BROWN, JOHN, M. D.
+    Selection: _Rab and His Friends_: VI, 99.
+
+  BROWNING, ELIZABETH BARRETT.
+    Biography: VII, 419.
+    Selections: _Child's Thought of God, A_: VII, 418.
+      _Romance of the Swan's Nest, The_: VIII, 315.
+
+  BROWNING, ROBERT.
+    Selections: _Hervé Riel_: VIII, 168.
+      _How They Brought the Good News from Ghent to Aix_: V, 335.
+      _Incident of the French Camp_: IV, 174.
+      _Pied Piper of Hamelin, The_: III, 384.
+      _Pippa Passes_: IX, 293.
+
+  _Brown Thrush, The_: I, 147.
+
+  _Bruce, Robert, The Rise of._ See _Rise of Robert Bruce, The_.
+
+  _Bruce and the Spider_: V, 314.
+
+  _Brute Neighbors_: VII, 260.
+
+  BRYANT, WILLIAM CULLEN.
+    Biography: VII, 391.
+    Selections: _Robert of Lincoln_: IX, 444.
+      _To a Waterfowl_: VII, 395.
+      _To the Fringed Gentian_: VII, 4.
+
+  _Buccaneers, The_: V, 359.
+
+  _Buffalo, The_: VII, 96.
+
+  _Bugle Song, The_: VI, 133.
+
+  BUNYAN, JOHN.
+    Biography: IV, 417.
+    Selection: _The Pilgrim's Progress_: IV, 423.
+
+  _Burial of Moses_: IV, 266.
+
+  BURNS, ROBERT.
+    Selections: _Auld Lang Syne_: VI, 228.
+      _Bannockburn_: VII, 15.
+      _Cotter's Saturday Night, The_: VIII, 319.
+      _For A' That and A' That_: VII, 149.
+      _To a Mountain Daisy_: VII, 8.
+      _To a Mouse_: VII, 5.
+
+  BYRON, GEORGE GORDON, LORD.
+    Selections: _Battle of Waterloo, The_: VIII, 176.
+      _Destruction of Sennacherib, The_: VI, 141.
+      _Vision of Belshazzar, The_: VI, 153.
+      _Call to Arms, A_: IX, 475.
+
+
+  C
+
+  CAMPBELL, THOMAS.
+    Selections: _Lord Ullin's Daughter_: VI, 23.
+      _Rainbow, The_: VI, 91.
+      _Soldier's Dream, The_: VII, 170.
+
+  _Captain Morgan at Maracaibo_: V, 365.
+
+  _Capture of Vincennes, The_: VI, 428.
+
+  CARROLL, LEWIS.
+    Selections: _Mock Turtle's Story, The_: III, 3.
+      _Queen Alice_: III, 23.
+      _Walrus and the Carpenter, The_: III, 36.
+
+  CARY, ALICE.
+    Biography: IV, 116.
+    Selection: _Pictures of Memory_: IV, 127.
+
+  CARY, PHOEBE.
+    Biography: IV, 116.
+    Selection: _Nearer Home_: IV, 126.
+
+  _Casabianca_: VIII, 313.
+
+  _Cat and the Chestnuts, The_: I, 142.
+
+  CERVANTES. (Miguel de Cervantes Saavedra.)
+    Selection: _Don Quixote_: VII, 431.
+
+  _Charge of the Light Brigade, The_: VII, 147.
+
+  _Chambered Nautilus, The_: IX, 454.
+
+  _Character, Influence of Reading in Formation of_: X, 88.
+
+  CHARACTER, _Selections in_ Journeys _Teaching Valuable
+    Lessons in_ (see also Chapter V, page 85, Volume X):
+    _Wisdom, Ignorance_:--
+      _The Ass in the Lion's Skin_: I, 65.
+      _The Fox and the Stork_: I, 73.
+      _The Fox and the Grapes_: I, 135.
+      _The Bat and the Two Weasels_: I, 154.
+      _The Horse and the Stag_: I, 388.
+      _The Fox, the Wolf and the Horse_: I, 377.
+      _The Bold Knight_: I, 385.
+      _The Wolf and the Lamb_: I, 455.
+      _Minerva and the Owl_: II, 7.
+      _The Country Squire_: VI, 474.
+
+    _Attention to Little Things_:--
+      _The Lion and the Mouse_: I, 75.
+      _The Reaper and the Flowers_: I, 410.
+      _The Daffodils_: VII, 1.
+      _The Petrified Fern_: VII, 77.
+
+    _Promptness, Industry, Perseverance_:--
+      _Time to Rise_: I, 340.
+      _The Hare and the Tortoise_: I, 71.
+      _The Lark and Her Young Ones_: I, 131.
+      _Industry and Sloth_: I, 300.
+      _Whittington and His Cat_: I, 442.
+      _Tom, the Water Baby_: II, 215.
+      _The Village Blacksmith_: IV, 86.
+      _Bruce and the Spider_: V, 314.
+
+    _Independence, Equality of Man_:--
+      _The Village Blacksmith_: IV, 86.
+      _For A' That and A' That_: VII, 149.
+
+    _Courage and Bravery_:--
+      _The Boy and the Nettle_: I, 65.
+      _The Mice and the Cat_: I, 197.
+      _Roland at Roncesvalles_: III, 460.
+      _Cid Campeador_: IV, 9.
+      _Ulysses_: IV, 398.
+      _Horatius_: VI, 1.
+
+    _Evil of Conceit_:--
+      _The Gnat and the Bull_: I, 70.
+      _The Cock and the Horses_: I, 146.
+      _The Pea Blossom_: I, 205.
+      _The Sparrow and the Eagle_: II, 8.
+      _The Milkmaid_: II, 374.
+
+    _Flattery as a Vice_:--
+      _The Fox and the Crow_: I, 64.
+      _The Spider and the Fly_: III, 19.
+
+    _Love of Home and Family_:--
+      _The Rock-a-By Lady_: I, 94.
+      _Little Birdie_: I, 142.
+      _Sleep, Baby, Sleep_: I, 204.
+      _Old Gaelic Lullaby_: I, 203.
+      _Lady Button-Eyes_: I, 366.
+      _The First Snowfall_: II, 403.
+      _Rain on the Roof_: IV, 7.
+      _Pictures of Memory_: IV, 127.
+      _Bernardo del Carpio_: IV, 270.
+      _Rab and His Friends_: VI, 99.
+      _Childhood_: VI, 124.
+      _Home, Sweet Home_: VI, 221.
+      _Home They Brought Her Warrior Dead_: VI, 231.
+      _A Christmas Carol_: VI, 244.
+      _To My Infant Son_: VI, 478.
+      _The Old Oaken Bucket_: VII, 11.
+      _My Old Kentucky Home_: VII, 179.
+      _The Forsaken Merman_: VII, 180.
+      _Tom and Maggie Tulliver_: VII, 186.
+      _The Family of Michael Arout_: VII, 314.
+      _My Mother's Picture_: VII, 335.
+      _Snowbound_ (Extract from): VII, 388.
+      _The Cotter's Saturday Night_: VIII, 319.
+      _Dream Children_: VIII, 335.
+
+    _Honesty and Truthfulness_:--
+      _The Shepherd Boy and the Wolves_: I, 92.
+      _The Falcon and the Partridge_: II, 6.
+      _The Pied Piper of Hamelin_: III, 384.
+      _The Cubes of Truth_: VII, 406.
+
+    _Friendliness, Kindness, Consideration of Others_:--
+      _The Two Travelers_: I, 109.
+      _Cinderella_: I, 224.
+      _Baucis and Philemon_: I, 431.
+      _The Snow Queen_: II, 124.
+      _The King of the Golden River_: II, 405.
+      _Auld Lang Syne_: VI, 228.
+      _A Christmas Carol_: VI, 244.
+      _Florence Nightingale_: IX, 13.
+
+    _Generosity_:--
+      _The Two Travelers_: I, 109.
+      _The Two Travelers and the Oyster_: I, 111.
+      _The Cat and the Chestnuts_: I, 142.
+      _Baucis and Philemon_: I, 431.
+
+    _Kindness to Animals_:--
+      _The Boys and the Frogs_: I, 63.
+      _The Brown Thrush_: I, 147.
+      _Mercy to Animals_: I, 413.
+      _The Ugly Duckling_: I, 414.
+      _Tom, the Water Baby_: II, 215.
+      _Who Stole the Bird's Nest?_: II, 399.
+      _A Dog of Flanders_: IV, 93.
+      _Rab and His Friends_: VI, 99.
+      _The Rime of the Ancient Mariner_: VII, 29.
+
+    _Patience and Gentleness_:--
+      _The Wind and the Sun_: I, 95.
+      _Cinderella_: I, 224.
+      _Rab and His Friends_: VI, 99.
+
+    _Faithfulness_:--
+      _"Something"_: I, 395.
+      _Whittington and His Cat_: I, 442.
+      _The Mirror of Matsuyana_: II, 36.
+      _The Snow Queen_: II, 124.
+      _Casabianca_: VIII, 313.
+
+    _Envy and Covetousness as Evils_:--
+      _The Dog and His Shadow_: I, 63.
+      _The Frog Who Wished to Be as Big as an Ox_: I, 66.
+      _The Golden Touch_: II, 43.
+
+    _Contentment, Hopefulness_:--
+      _The Town Mouse and the Country Mouse_: I, 199.
+      _The Pea Blossom_: I, 205.
+      _The Flax_: I, 378.
+      _The Discontented Stonecutter_: II, 12.
+      _The Fir Tree_: II, 68.
+      _The Blind Lassie_: VI, 120.
+      _Pippa Passes_: IX, 293.
+
+    _Patriotism--Love of Country_:--
+      _Holger Danske_: II, 377.
+      _Incident of the French Camp_: IV, 174.
+      _The American Flag_: V, 396.
+      _Battle Hymn of the Republic_: V, 399.
+      _Stonewall Jackson's Way_: V, 400.
+      _Horatius_: VI, 1.
+      _Bannockburn_: VII, 15.
+      _Breathes There the Man_: VII, 151.
+      _How Sleep the Brave_: VII, 151.
+      _Make Way for Liberty_: VII, 172.
+      _The Old Continentals_: VII, 175.
+      _America_: VIII, 60.
+      _The Battle of Thermopylae_: VIII, 81.
+      _The Fall of the Alamo_: VIII, 141.
+      _Hervé Riel_: VIII, 168.
+      _The Battle of Trafalgar_: VIII, 284.
+      _The Gettysburg Address_: IX, 321.
+
+    _Religious Feeling--Devotion to God_:--
+      _A Thought_: I, 66.
+      _The First Snowfall_: II, 403.
+      _Nearer Home_: IV, 126.
+      _Stonewall Jackson's Way_: V, 400.
+      _The Rainbow_: VI, 91.
+      _A Child's Thought of God_: VII, 418.
+
+  _Character, The Building of_: X, 85.
+
+  _Chaucer, Geoffrey_: IX, 201.
+
+  _Chevy-Chase_: IV, 312.
+
+  CHILD, L. MARIA.
+    Selection: _Who Stole the Bird's Nest?_: II, 399.
+
+  _Childhood_: VI, 124.
+
+  _Children's Books of the Past, Some._ See _Some Children's Books
+     of the Past_.
+
+  _Child's Thought of God, A_: VII, 418.
+
+  _Child's World, The_: II, 66.
+
+  _Chimera, The_: II, 173.
+
+  _Christmas Carol, A_: VI, 244.
+
+  _Christmas in Old Time_: VI, 356.
+
+  _Cid Campeador_: IV, 9.
+
+  _Cinderella_: I, 224.
+
+  CLARK, GEORGE ROGERS.
+    Biography: VI, 422.
+    Selection: _The Capture of Vincennes_: VI, 428.
+
+  _Classification of Masterpieces, Graphic_: X, 12.
+
+  CLEVELAND, HENRY R.
+    Selection: _Henry Hudson's Fourth Voyage_: V, 254.
+
+  _Close Reading or Study_: X, 224.
+
+  _Cloud, The_: VII, 257.
+
+  _Cock and the Horses, The_: I, 146.
+
+  COE, EDWIN D.
+    Selections: _Black Hawk Tragedy, The_: VII, 58.
+      _Reminiscences of a Pioneer_: V, 340.
+
+  COLERIDGE, SAMUEL TAYLOR.
+    Selection: _The Rime of the Ancient Mariner_: VII, 29.
+
+  COLLINS, WILLIAM.
+    Selection: _How Sleep the Brave_: VII, 151.
+
+  _Comic Songs, On._ See _On Comic Songs_.
+
+  _Contrast, A_: II, 42.
+
+  COOPER, JAMES FENIMORE.
+    Selection: _An Exciting Canoe Race_: VII, 79.
+
+  _Correlation of_ Journeys _with the School_: X, 345.
+    _Reading_: X, 315, 348.
+    _Language_: X, 345, 349.
+    _Nature Study_: X, 380.
+    _Geography and History_: X, 400.
+    _High School_: X, 425.
+
+  _Cortés, The Retreat of._ See _Retreat of Cortés, The_.
+
+  _Cotters Saturday Night, The_: VIII, 319.
+
+  _Country Squire, The_: VI, 474.
+
+  _Cow, The_: I, 106.
+
+  COWPER, WILLIAM.
+    Biography: VII, 331.
+    Selections: _Mercy to Animals_: I, 413.
+      _My Mother's Picture_: VII, 335.
+
+  CREASY, E. S.
+    Selections: _Battle of Hastings, The_: IX, 330.
+      _Battle of Saratoga, The_: IX, 176.
+
+  _Creation, Stories of the._ See _Stories of the Creation_.
+
+  CROCKETT, DAVID.
+    Biography: VIII, 29.
+    Selections: _David Crockett in the Creek War_: VIII, 37.
+      _Fiddling Parson, The_: V, 440.
+      _Knock-Out, The_: VI, 471.
+
+  _Cubes of Truth, The_: VII, 406.
+
+  CUMMING, ROUALEYN GORDON.
+    Selection: _Elephant Hunting_: VI, 385.
+
+  _Cupid and Psyche_: III, 365.
+
+
+  D
+
+  _Daffodils, The_: VII, 1.
+
+  _Darning-Needle, The_: II, 463.
+
+  _David_: IV, 274.
+
+  _David Crockett in the Creek War_: VIII, 37.
+
+  _Death of Balder, The_: II, 99.
+
+  _Death of Cćsar, The_: IX, 126.
+
+  _Death of Cćsar, The_: IX, 143.
+
+  _Death of Hector, The_: IV, 364.
+
+  _Definition of a Gentleman_: IV, 170.
+
+  DEFOE, DANIEL.
+    Selection: _Robinson Crusoe_: III, 45.
+
+  DEKKER, THOMAS.
+    Selection: _Lullaby_: I, 96.
+
+  DE QUINCEY, THOMAS.
+    Selection: _Joan of Arc_: IV, 225.
+
+  _Descent into the Maelstrom, A_: VIII, 95.
+
+  _Destruction of Sennacherib, The_: VI, 141.
+
+  DICKENS, CHARLES.
+    Biography: VI, 232.
+    Selections: _Alfred the Great_: IV, 260.
+      _Christmas Carol, A_: VI, 244.
+      _Pickwick and Sam Weller_: IX, 76.
+
+  DIMOND, WILLIAM.
+    Selection: _The Mariner's Dream_: III, 95.
+
+  _Discontented Stonecutter, The_: II, 12.
+
+  _Discreet Hans_: II, 15.
+
+  _Dissensions at King Arthur's Court_: V, 232.
+
+  _Dissertation upon Roast Pig, A_: IX, 56.
+
+  DOBELL, SYDNEY.
+    Selection: _How's My Boy?_: VII, 169.
+
+  _Dog and his Shadow, The_: I, 63.
+
+  _Dog in the Manger, The_: I, 134.
+
+  _Dog of Flanders, A_: IV, 93.
+
+  _Don Quixote_: VII, 431.
+
+  DOUGLAS, WILLIAM.
+    Selection: _Annie Laurie_: VI, 119.
+
+  DRAKE, JOSEPH RODMAN.
+    Selection: _The American Flag_: V, 396.
+
+  DRAMA.
+    _The Tempest_: VIII, 364.
+    _The Death of Cćsar_: IX, 143.
+
+  _Drama, Definition and Study of_: X, 325.
+
+  _Dramatic Poetry, Definition of_: X, 339.
+
+  DRAYTON, MICHAEL.
+    Selection: _The Ballad of Agincourt_: V, 95.
+
+  _Dream Children: A Revery_: VIII, 335.
+
+  _Drummer, The_: I, 303.
+
+  DU CHAILLU, PAUL.
+    Selection: _A Gorilla Hunt_: VII, 247.
+
+  _Duel, The_: I, 384.
+
+  DUFFERIN, LADY.
+    Selection: _Katey's Letter_: IV, 470.
+
+
+  E
+
+  _Echo_: III, 286.
+
+  _Education, Forces in_: X, 3.
+
+  _Elegy on the Death of a Mad Dog_: IV, 57.
+
+  _Elegy Written in a Country Churchyard_: VI, 360.
+
+  _Elephant Hunting_: VI, 385.
+
+  ELIOT, GEORGE.
+    Selection: _Tom and Maggie Tulliver_: VII, 186.
+
+  _Emotional Power in Fiction_: X, 176.
+
+  _Enchanted Stag, The_: I, 341.
+
+  _English Robin, The_: II, 214.
+
+  _English Writers, Handy Table of_: X, 469.
+
+  _Epic Poetry, Definition of_: X, 331.
+
+  _Escape from Prison, The_: IV, 130.
+
+  _Essay, Definition and Study of the_: X, 322, 431.
+
+  ESSAYS.
+    _Some Children's Books of the Past_: V, 101.
+    _Childhood_: VI, 124.
+    _Poor Richard's Almanac_: VI, 407.
+    _Cubes of Truth_: VII, 406.
+    _The Alhambra_: VIII, 153.
+    _Dream Children_: VIII, 335.
+    _The Impeachment of Warren Hastings_: IX, 32.
+    _A Dissertation upon Roast Pig_: IX, 56.
+    _The Praise of Chimney Sweepers_: IX, 66.
+    _The Vision of Mirza_: IX, 285.
+    _Sir Roger de Coverley_: IX, 371.
+    _Of Expense_: IX, 397.
+    _Of Studies_: IX, 400.
+    _Modestine_: IX, 403.
+
+  _Esther, The Story of_: II, 448.
+
+  _Exciting Canoe Race, An_: VII, 79.
+
+  _Expense, Of_: IX, 397.
+
+
+  F
+
+  FABLES.
+    _The Boys and the Frogs_: I, 63.
+    _The Dog and His Shadow_: I, 63.
+    _The Fox and the Crow_: I, 64.
+    _The Ass in the Lion's Skin_: I, 65.
+    _The Boy and the Nettle_: I, 65.
+    _The Frog Who Wished to Be as Big as an Ox_: I, 66.
+    _The Gnat and the Bull_: I, 70.
+    _The Hare and the Tortoise_: I, 71.
+    _The Fox and the Stork_: I, 73.
+    _The Lion and the Mouse_: I, 75.
+    _The Old Man and His Sons_: I, 78.
+    _The Shepherd Boy and the Wolves_: I, 92.
+    _The Wind and the Sun_: I, 95.
+    _The Wolf and the Crane_: I, 96.
+    _The Two Travelers_: I, 109.
+    _The Two Travelers and the Oyster_: I, 111.
+    _The Lark and Her Young Ones_: I, 131.
+    _The Goose That Laid the Golden Eggs_: I, 173.
+    _The Dog in the Manger_: I, 134.
+    _The Fox and the Grapes_: I, 135.
+    _The Cat and the Chestnuts_: I, 142.
+    _The Cock and the Horses_: I, 146.
+    _The Bat and the Two Weasels_: I, 154.
+    _The Mice and the Cat_: I, 197.
+    _The Town Mouse and the Country Mouse_: I, 199.
+    _The Lion, the Fox and the Ass_: I, 223.
+    _Industry and Sloth_: I, 300.
+    _The Horse and the Stag_: I, 338.
+    _The Fox, the Wolf and the Horse_: I, 377.
+    _The Bald Knight_: I, 385.
+    _The Brother and Sister_: I, 410.
+    _The Wolf and the Lamb_: I, 455.
+    _Ćsop_: II, 1.
+    _Minerva and the Owl_: II, 7.
+    _The Falcon and the Partridge_: II, 6.
+    _The Sparrow and the Eagle_: II, 8.
+    _The Old Man and Death_: II, 9.
+
+  _Fairies, The_: I, 405.
+
+  _Fairies of the Caldon-Low, The_: II, 395.
+
+  _Fairy Bread_: I, 198.
+
+  FAIRY LORE AND FOLK LORE.
+    _Little Red Riding Hood_: I, 79.
+    _Tom Thumb_: I, 84.
+    _The Little Old Woman and Her Pig_: I, 97.
+    _Silver-Locks and the Three Bears_: I, 101.
+    _The Ladybird and the Fly_: I, 107.
+    _Hop-O'-My-Thumb_: I, 112.
+    _The Three Little Pigs_: I, 136.
+    _The Hardy Tin Soldier_: I, 148.
+    _Jack and the Beanstalk_: I, 156.
+    _Jack the Giant-Killer_: I, 174.
+    _The Pea Blossom_: I, 205.
+    _Hansel and Grethel_: I, 210.
+    _Cinderella_: I, 224.
+    _The Three Tasks_: I, 247.
+    _The Snow Maiden_: I, 257.
+    _The Twin Brothers_: I, 264.
+    _The Drummer_: I, 303.
+    _Beauty and the Beast_: I, 318.
+    _The Enchanted Stag_: I, 341.
+    _The Golden Bird_: I, 352.
+    _The Flax_: I, 378.
+    _"Something"_: I, 395.
+    _The Fairies_: I, 405.
+    _The Ugly Duckling_: I, 414.
+    _Whittington and His Cat_: I, 442.
+    _The Discontented Stonecutter_: II, 12.
+    _Discreet Hans_: II, 15.
+    _Bluebeard_: II, 22.
+    _Rumpelstiltzkin_: II, 33.
+    _Mirror of Matsuyana_, II, 36.
+    _The Fir Tree_: II, 68.
+    _The Snow Queen_: II, 124.
+    _Tom, The Water Baby_: II, 215.
+    _The Fairies of the Caldon-Low_: II, 395.
+    _The Darning-Needle_: II, 463.
+    _Why the Sea Is Salt_: II, 484.
+    _Origin of the Opal_: II, 480.
+    _What the Old Man Does Is Always Right_: II, 387.
+    _Holger Danske_: II, 377.
+    _The King and the Golden River_: II, 405.
+    _The Mock Turtle's Story_: III, 3.
+    _Queen Alice_: III, 23.
+    _The Leprecaun_: III, 33.
+    _The Walrus and the Carpenter_: III, 36.
+    _The Pied Piper of Hamelin_: III, 384.
+    _The Forsaken Merman_: VII, 180.
+    See MYTHS and LEGENDARY HEROES.
+
+  _Faithless Sally Brown_: III, 92.
+
+  _Falcon and the Partridge, The_: II, 6.
+
+  _Fall of the Alamo, The_: VIII, 141.
+
+  _Family of Michael Arout, The_: VII, 314.
+
+  _Farewell, A_: III, 22.
+
+  _Fate of the Indians, The_: IX, 466.
+
+  _Father and Son_: X, 107.
+
+  FICTION. See ADVENTURE; FABLES; FAIRY LORE AND FOLK LORE; NARRATIVE
+    POEMS; NOVELS; STORIES.
+
+  _Fiction, How to Read_: X, 143.
+
+  _Fiddling Parson, The_: V, 440.
+
+  FIELD, EUGENE.
+    Biography: I, 242.
+    Selections: _Duel, The_: I, 384.
+      _Lady Button-Eyes_: I, 366.
+      _Little Blue Pigeon_: I, 133.
+      _Norse Lullaby_: I, 246.
+      _Rock-a-By-Lady, The_: I, 94.
+      _Seein' Things_: I, 240.
+      _Shuffle-Shoon and Amber-Locks_: II, 121.
+      _Wynken, Blynken, and Nod_: I, 262.
+
+  _Figures of Speech_: X, 256.
+
+  _First Snowfall, The_: II, 403.
+
+  _Fir Tree, The_: II, 68.
+
+  _Flax, The_: I, 378.
+
+  _Florence Nightingale_: IX, 13.
+
+  FOLK LORE. See FAIRY LORE AND FOLK LORE.
+
+  FOLLEN, MRS. ELIZA LEE.
+    Selection: _Stop, Stop, Pretty Water_: I, 317.
+
+  _Footsteps of Angels_: IV, 82.
+
+  _For A' That and A' That_: VII, 149.
+
+  _Forces in Education_: X, 3.
+
+  _Foreign Children_: I, 351.
+
+  _Foreign Lands_: I, 130.
+
+  _Forsaken Merman, The_: VII, 180.
+
+  FOSTER, STEPHEN COLLINS.
+    Selection: _My Old Kentucky Home_: VII, 179.
+
+  _Four Ducks on a Pond_: VI, 98.
+
+  _Fox and the Crow, The_: I, 64.
+
+  _Fox and the Grapes, The_: I, 135.
+
+  _Fox and the Stork, The_: I, 73.
+
+  _Fox, the Wolf, and the Horse, The_: I, 377.
+
+  FRANKLIN, BENJAMIN.
+    Selections: _Braddock's Defeat_: V, 379.
+      _Poor Richard's Almanac_: VI, 407.
+
+  _Frithiof the Bold_: III, 394.
+
+  _Frog Who Wished to be as Big as an Ox, The_: I, 66.
+
+  FROISSART, JEAN.
+    Selection: _The Battle of Cressy_: IX, 161.
+
+  _From a Railway Carriage_: I, 198.
+
+  FROUDE, JAMES ANTHONY.
+    Selection: _Julius Cćsar_: IX, 155.
+
+
+  G
+
+  _Geography, Analysis and Classification of Selections Correlated
+     with_: X, 402.
+
+  _Geography, The Teaching of_: X, 400.
+
+  _Geraint and Enid_: V, 148.
+
+  _Gettysburg Address, The_: IX, 321.
+
+  GILBERT, W. S.
+    Selection: _The Yarn of the "Nancy Bell"_: IV, 466.
+
+  _Gnat and the Bull, The_: I, 70.
+
+  _Gold-Bug, The_: IX, 232.
+
+  _Golden Bird, The_: I, 352.
+
+  _Golden Touch, The_: II, 43.
+
+  GOLDSMITH, OLIVER.
+    Selection: _Elegy on the Death of a Mad Dog_: IV, 57.
+
+  _Goose That Laid the Golden Eggs, The_: I, 173.
+
+  _Gorilla Hunt, A_: VII, 247.
+
+  _Governor and the Notary, The_: VII, 20.
+
+  _Graphic Classification of Masterpieces_: X, 12.
+
+  GRAY, THOMAS.
+    Selection: _Elegy Written in a Country Churchyard_: VI, 360.
+
+  GRIFFIN, GERALD.
+    Selection: _Limestone Broth_: VI, 467.
+
+  GRIMM, JAKOB AND WILHELM.
+    Selections: _Discreet Hans_: II, 15.
+      _Drummer, The_: I, 303.
+      _Enchanted Stag, The_: I, 341.
+      _Golden Bird, The_: I, 352.
+      _Hansel and Grethel_: I, 210
+      _Ladybird and the Fly, The_: I, 107.
+      _Three Tasks, The_: I, 247.
+      _Twin Brothers, The_: I, 264.
+      _Rumpelstiltzken_: II, 33.
+
+  _Gulliver's Travels_: V, 6.
+
+
+  H
+
+  HALLECK, FITZ-GREENE.
+    Selection: _Marco Bozzaris_: VIII, 90.
+
+  _Handy Tables of American Writers_: X, 473.
+
+  _Handy Tables of English Writers_: X, 469.
+
+  _Hansel and Grethel_: I, 210.
+
+  _Hardy Tin Soldier, The_: I, 148.
+
+  _Hare and the Tortoise, The_: I, 71.
+
+  HAWTHORNE, NATHANIEL.
+    Biography: IV, 180.
+    Selections: _Boston Massacre, The_: IV, 217.
+      _Chimera, The_: II, 173.
+      _Golden Touch, The_: II, 43.
+      _Hutchinson Mob, The_: IV, 208.
+      _Pine-Tree Shillings, The_: IV, 192.
+      _Sunken Treasure, The_: IV, 199.
+
+  HAY, JOHN.
+    Selection: _Little Breeches_: IV, 462.
+
+  _Heart of Bruce, The_: V, 316.
+
+  HEMANS, FELICIA BROWNE.
+    Selections: _Bernardo del Carpio_: IV, 270.
+      _Casabianca_: VIII, 313.
+      _Landing of the Pilgrim Fathers in New England_: IV, 197.
+
+  HENRY, PATRICK.
+    Selection: _A Call to Arms_: IX, 475.
+
+  HEROES. See LEGENDARY HEROES.
+
+  _Hervé Riel_: VIII, 168.
+
+  _High School, Correlation of_ Journeys _with_: X, 425.
+
+  HISTORY.
+    _The Story of Joseph_: I, 456.
+    _The Hutchinson Mob_: IV, 208.
+    _The Boston Massacre_: IV, 217.
+    _Joan of Arc_: IV, 226.
+    _Alfred the Great_: IV, 260.
+    _Henry Hudson's Fourth Voyage_: V, 254.
+    _The Arickara Indians_: IV, 472.
+    _The Rise of Robert Bruce_: V, 278.
+    _The Buccaneers_: V, 359.
+    _Captain Morgan at Maracaibo_: V, 365.
+    _Braddock's Defeat_: V, 379.
+    _The Capture of Vincennes_: VI, 428.
+    _The Black Hawk Tragedy_: VII, 58.
+    _Ringrose and His Buccaneers_: VIII, 1.
+    _David Crockett in the Creek War_: VIII, 37.
+    _The Retreat of Cortés_: VIII, 63.
+    _The Battle of Thermopylć_: VIII, 81.
+    _Pčre Marquette_: VIII, 121.
+    _The Fall of the Alamo_: VIII, 141.
+    _The Battle of Trafalgar_: VIII, 284.
+    _The Impeachment of Warren Hastings_: IX, 32.
+    _The Death of Cćsar_: IX, 126.
+    _The Death of Cćsar_: IX, 143.
+    _The Battle of Cressy_: IX, 161.
+    _The Battle of Saratoga_: IX, 176.
+    _The Battle of Hastings_: IX, 330.
+
+  _History, Analysis and Classification of Selections Correlated with_:
+     X, 403-410.
+
+  _History, The Teaching of_: X, 400.
+
+  _Holger Danske_: II, 377.
+
+  HOLMES, OLIVER WENDELL.
+    Biography: VII, 398.
+    Selections: _The Cubes of Truth_: VII, 406.
+      _The Chambered Nautilus_: IX, 454.
+
+  _Holy Grail, The_: V, 207.
+
+  _Home, Sweet Home_: VI, 221.
+
+  _Home They Brought Her Warrior Dead_: VI, 231.
+
+  HOMER.
+    Selection: _The Death of Hector_: IV, 364.
+
+  HOOD, THOMAS.
+    Selections: _Faithless Sally Brown_: III, 92.
+      _To My Infant Son_: VI, 478.
+
+  _Hop-O'-My-Thumb_: I, 112.
+
+  _Horatius_: VI, 1.
+
+  _Horse and the Stag, The_: I, 338.
+
+  HOWE, JULIA WARD.
+    Selection: _Battle Hymn of the Republic_: V, 399.
+
+  HOWITT, MARY.
+    Selections: _Fairies of the Caldon-Low, The_: II, 395.
+      _Spider and the Fly, The_: III, 19.
+      _Why the Sea Is Salt_: II, 484.
+
+  _How Sleep the Brave_: VII, 151.
+
+  _How's My Boy?_: VII, 169.
+
+  _How the Wolf Was Bound_: II, 91.
+
+  _How They Brought the Good News from Ghent to Aix_: V, 335.
+
+  _How They Took the Gold-Train_: VIII, 180.
+
+  _How to Read Aloud_: X, 311.
+
+  _How to Read Fiction_: X, 143.
+
+  _How to Read Poetry_: X, 272.
+
+  _How to Read Stories_: X, 145.
+
+  _Hudson's Fourth Voyage_: V, 254.
+
+  HUGHES, THOMAS.
+    Selection: _Tom Brown at Rugby_: V, 469.
+
+  HUMOR. See WIT AND HUMOR.
+
+  HUNT, LEIGH.
+    Selection: _Abou Ben Adhem_: IX, 11.
+
+  _Hutchinson Mob, The_: IV, 208.
+
+
+
+  I
+
+  _Imitation of Christ_: VI, 134.
+
+  _Impeachment of Warren Hastings, The_: IX, 32.
+
+  _Inchcape Rock, The_: V, 465.
+
+  _Incident of the French Camp_: IV, 174.
+
+  _Industry and Sloth_: I, 300.
+
+  _Infant Joy_: II, 10.
+
+  INGELOW, JEAN.
+    Selection: _Seven Times One_: II, 119.
+
+  _Interpretations._ See STUDIES.
+
+  _In Time's Swing_: II, 481.
+
+  IRVING, WASHINGTON.
+    Biography: VIII, 216.
+    Selections: _Alhambra, The_: VIII, 153.
+      _Arickara Indians, The_: IV, 472.
+      _Governor and the Notary, The_: VII, 20.
+      _Knickerbocker History of New York, The_: VIII, 224.
+
+
+  J
+
+  _Jack and the Beanstalk_: I, 156.
+
+  _Jack the Giant-Killer_: I, 174.
+
+  JEROME, JEROME K.
+    Selections: _On Comic Songs_: V, 455.
+      _We Plan a River Trip_: V, 443.
+
+  _Joan of Arc_: IV, 226.
+
+  _Johnson, Samuel, The Life of_: IX, 216.
+
+  _John's Pumpkin_: III, 1.
+
+  _Joseph, The Story of_: I, 456.
+
+  _Julius Cćsar_: IX, 155.
+
+
+  K
+
+  _Katey's Letter_: IV, 470.
+
+  KEATS, JOHN.
+    Biography: IX, 457.
+    Selection: _Ode on a Grecian Urn_: IX, 462.
+
+  _Keepsake Mill_: I, 349.
+
+  KEMPIS, THOMAS Ŕ.
+    Selection: From _Imitation of Christ_: VI, 134.
+
+  KEY, FRANCIS SCOTT.
+    Selection: _Star-Spangled Banner, The_: VII, 167.
+
+  _King Arthur._ See _Arthur, King_.
+
+  _King of the Golden River, The_: II, 405.
+
+  KINGSLEY, CHARLES.
+    Selections: _A Farewell_: III, 22.
+      _How They Took the Gold-Train_: VIII, 180.
+      _Sands of Dee, The_: I, 412.
+      _Three Fishers, The_: VII, 343.
+      _Tom, the Water Baby_: II, 215.
+
+  KINNEY, COATES.
+    Selection: _Rain on the Roof_: IV, 7.
+
+  KIPLING, RUDYARD.
+    Selections: _Recessional, The_: VII, 164.
+      _Salmon Fishing_: VII, 285.
+
+  _Knickerbocker History of New York, The_: VIII, 224.
+
+  _Knock-Out, The_: VI, 471.
+
+  KRAUT, MARY HANNAH.
+    Selection: _Little Brown Hands_: I, 441.
+
+  KRUMMACHER.
+    Selection: _The Moss Rose_: VI, 98.
+
+
+  L
+
+  _Ladybird and the Fly, The_: I, 107.
+
+  _Lady Button-Eyes_: I, 366.
+
+  LAMB, CHARLES.
+    Biography: VIII, 328.
+    Selections: _Dissertation upon Roast Pig, A_: IX, 56.
+      _Dream Children: A Revery_: VIII, 335.
+      _Praise of Chimney Sweepers, The_: IX, 66.
+      _Tempest, The_: VIII, 348.
+
+  LAMB, MARY.
+    Biography: VIII, 328.
+    Selection: _The Tempest_: VIII, 348.
+
+  _Landing of the Pilgrim Fathers in New England_: IV, 197.
+
+  _Land of Counterpane, The_: I, 144.
+
+  _Language, Analysis and Classification of Selections for the Study of_:
+    X, 354, 378.
+
+  _Language, Correlation of_ Journeys _with Study of_: X, 345, 349.
+
+  _Language, The Teaching of_: X, 349.
+
+  LARCOM, LUCY.
+    Selections: _Brown Thrush, The_: I, 147.
+      _In Time's Swing_: II, 481.
+
+  _Lark and Her Young Ones, The_: I, 131.
+
+  LATTO, T. C.
+    Selection: _The Blind Lassie_: VI, 120.
+
+  _Lead, Kindly Light_: V, 110.
+
+  LEAR, EDWARD.
+    Selection: _The Owl and the Pussy-Cat_: I, 339.
+
+  LEGENDARY HEROES.
+    _Beowulf and Grendel_: III, 350.
+    _Frithiof the Bold_: III, 394.
+    _The Story of Siegfried_: III, 410.
+    _Roland at Roncesvalles_: III, 460.
+    _Cid Campeador_: IV, 9.
+    _The Death of Hector_: IV, 364.
+    _The Wooden Horse_: IV, 383.
+    _Ulysses_: IV, 398.
+    _King Arthur_: V, 113.
+    _Balin and Balan_: V, 130.
+    _Geraint and Enid_: V, 148.
+    _The Holy Grail_: V, 207.
+    _Dissensions at King Arthur's Court_: V, 232.
+    _The Passing of Arthur_: V, 237.
+    _Horatius_: VI, 1.
+    _Sohrab and Rustem_: VI, 157.
+    _Sohrab and Rustum_: VI, 173.
+
+  _Leprecaun, The_: III. 33.
+
+  _Lesson and the Author's Purpose, in Fiction, The_: X, 170.
+
+  _Let Something Good Be Said_: V, 111.
+
+  _Life of Samuel Johnson, The_: IX, 216.
+
+  _Limestone Broth_: VI, 467.
+
+  LINCOLN, ABRAHAM.
+    Selection: _The Gettysburg Address_: IX, 321.
+
+  _Lincoln, Abraham._ See _Abraham Lincoln_.
+
+  _Lion and The Missionary, The_: VI, 93.
+
+  _Lion and the Mouse, The_: I, 75.
+
+  _Lion, the Fox and the Ass, The_: I, 223.
+
+  _Literature and Its Forms_: X, 317.
+
+  _Literature, Different Kinds of_: X, 143.
+
+  _Little Birdie_: I, 142.
+
+  _Little Blue Pigeon_: I, 133.
+
+  _Little Breeches_: IV, 462.
+
+  _Little Brown Hands_: I, 441.
+
+  _Little Giffin of Tennessee_: IV, 461.
+
+  _Little Old Woman and Her Pig, The_: I, 97.
+
+  _Little Red Riding-Hood_: I, 79.
+
+  LIVINGSTONE, DAVID.
+    Selection: _The Lion and the Missionary_: VI, 93.
+
+  _Lochinvar_: III, 432.
+
+  LONGFELLOW, HENRY WADSWORTH.
+    Biography: IV, 62.
+    Selections: _Footsteps of Angels_: IV, 82.
+      _Reaper and the Flowers, The_: I, 410.
+      _Skeleton in Armor, The_: V, 327.
+      _Village Blacksmith, The_: IV, 86.
+      _Wreck of the Hesperus, The_: IV, 89.
+
+  _Looking Forward_: I, 106.
+
+  _Lord Ullin's Daughter_: VI, 23.
+
+  _Lost Child, The_: VII, 409.
+
+  LOVER, SAMUEL.
+    Selection: _Widow Machree_: VI, 464.
+
+  LOWELL, JAMES RUSSELL.
+    Biography: VII, 411.
+    Selections: _First Snowfall, The_: II, 403.
+      _Lost Child, The_: VII, 409.
+      _To H. W. L._: IV, 84.
+
+  LULLABIES.
+    _The Rock-a-By Lady_: I, 94.
+    _Little Blue Pigeon_: I, 133.
+    _Sleep, Baby, Sleep_: I, 204.
+    _Old Gaelic Lullaby_: I, 203.
+    _Norse Lullaby_: I, 246.
+    _Wynken, Blynken, and Nod_: I, 262.
+    _Lady Button-Eyes_: I, 366.
+    _Lullaby_: I, 96, II, 32.
+
+  _Lyric Poetry, Definition of_: X, 333.
+
+  LYRICS.
+    _A Thought_: I, 66.
+    _The Swing_: I, 67.
+    _The Sun's Travels_: I, 68.
+    _Singing_: I, 88.
+    _Looking Forward_: I, 106.
+    _The Cow_: I, 106.
+    _Rain_: I, 110.
+    _System_: I, 111.
+    _My Bed Is a Boat_: I, 126.
+    _Foreign Lands_: I, 130.
+    _At the Seaside_: I, 129.
+    _The Land of Counterpane_: I, 144.
+    _Bed in Summer_: I, 173.
+    _Block City_: I, 196.
+    _From a Railway Carriage_: I, 198
+    _Fairy Bread_: I, 198.
+    _Seein' Things_: I, 240.
+    _Whole Duty of Children_: I, 301.
+    _The Tree_: I, 301.
+    _Young Night Thought_: I, 302.
+    _Where Go the Boats?_: I, 256.
+    _Stop, Stop, Pretty Water_: I, 317.
+    _Time to Rise_: I, 340.
+    _Keepsake Mill_: I, 349.
+    _Foreign Children_: I, 351.
+    _The Duel_: I, 384.
+    _Autumn Fires_: I, 394.
+    _The Reaper and the Flowers_: I, 410.
+    _The Wind_: I, 440.
+    _Little Brown Hands_: I, 441.
+    _Infant Joy_: II, 10.
+    _The Baby_: II, 11.
+    _Poppyland Express_: II, 21.
+    _A Contrast_: II, 42.
+    _The Child's World_: II, 66.
+    _Afterwhile_: II, 123.
+    _Windy Nights_: II, 123.
+    _Shuffle-Shoon and Amber-Locks_: II, 121.
+    _Picture-Books in Winter_: II, 87.
+    _Seven Times One_: II, 119.
+    _The First Snowfall_: II, 403.
+    _In Time's Swing_: II, 481.
+    _A Farewell_: III, 22.
+    _Night_: III, 431.
+    _Better Than Gold_: IV, 1.
+    _The Barefoot Boy_: IV, 3.
+    _Rain on the Roof_: IV, 7.
+    _Mother's Way_: IV, 58.
+    _Footsteps of Angels_: IV, 82.
+    _The Village Blacksmith_: IV, 86.
+    _Pictures of Memory_: IV, 127.
+    _Landing of the Pilgrim Fathers in New England_: IV, 197.
+    _Away_: IV, 460.
+    _Lead, Kindly Light_: V, 110.
+    _Let Something Good be Said_: V, 111.
+    _Boyhood_: VI, 122.
+    _The Rainbow_: VI, 91.
+    _Four Ducks on a Pond_: VI, 98.
+    _The Blind Lassie_: VI, 120.
+    _Home They Brought Her Warrior Dead_: VI, 231.
+    _Elegy Written in a Country Churchyard_: VI, 360.
+    _The Daffodils_: VII, 1.
+    _The Recessional_: VII, 164.
+    _The Cloud_: VII, 257.
+    _My Mother's Picture_: VII, 335.
+    _Annabel Lee_: VII, 341.
+    _The Lost Child_: VII, 409.
+    _A Child's Thought of God_: VII, 418.
+    _Robert of Lincoln_: IX, 444.
+    _The Chambered Nautilus_: IX, 454.
+
+
+  M
+
+  MACAULAY, THOMAS BABINGTON.
+    Selections: _Battle of Ivry_: VIII, 76.
+      _Horatius_: VI, 1.
+      _Impeachment of Warren Hastings, The_: IX, 32.
+
+  MCCALEB, ANNA.
+    Adaptations: _Atalanta's Race_: I, 386.
+      _Baucis and Philemon_: I, 431.
+      _Cupid and Psyche_: III, 365.
+      _Death of Balder, The_: II, 99.
+      _How the Wolf Was Bound_: II, 91.
+      _Punishment of Loki, The_: II, 111.
+      _Queen of the Underworld, The_: II, 468.
+      _Story of Phaethon, The_: II, 245.
+      _Wonderful Gifts, The_: I, 368.
+    Selections: _Battle of Thermopylć, The_: VIII, 81.
+      _Browning, Elizabeth Barrett_: VII, 419.
+      _Cary, Alice and Phoebe_: IV, 116.
+      _Dickens, Charles_: VI, 232.
+      _Nightingale, Florence_: IX, 13.
+      _Queen Victoria_: VII, 152.
+
+  MACDONALD, GEORGE.
+    Selection: _The Baby_: II, 11.
+
+  MCMASTER, GUY HUMPHREY.
+    Selection: _The Old Continentals_: VII, 175.
+
+  _Make Way for Liberty_: VII, 172.
+
+  MALORY, SIR THOMAS.
+    Selection: (Abridgment of) _The Holy Grail_: V, 207.
+
+  _Mandeville, The Travels of Sir John_: IX, 207.
+
+  _Marching Song_: I, 155.
+
+  _Marco Bozzaris_: VIII, 90.
+
+  _Mariner's Dream, The_: III, 95.
+
+  _Marquette, Pčre._ See _Pčre Marquette_.
+
+  MARVEL, IK. See MITCHELL, DONALD G.
+
+  _Masterpieces, Graphic Classification of_: X, 12.
+
+  _Memorizing_: X, 128.
+
+  _Mercy to Animals_: I, 413.
+
+  _Metaphor, The_: X, 264.
+
+  _Method and Style of the Authors, in Fiction_: X, 174.
+
+  _Metonymy_: X, 265.
+
+  _Mice and the Cat, The_: I, 197.
+
+  _Milkmaid, The_: II, 374.
+
+  _Minerva and the Owl_: II, 7.
+
+  _Mirror of Matsuyana, The_: II, 36.
+
+  MITCHELL, DONALD G.
+    Selection: _Childhood_: VI, 124.
+
+  _Mock Turtle's Story, The_: III, 3.
+
+  _Modern Belle, The_: VI, 463.
+
+  _Modestine_: IX, 403.
+
+  MONTGOMERY, JAMES.
+    Selection: _Make Way for Liberty_: VII, 172.
+
+  MOORE, CLEMENT C.
+    Selection: _A Visit from Saint Nicholas_: II, 202.
+
+  MOORE, THOMAS.
+    Selections: _Potato, The_: II, 467.
+      _Those Evening Bells_: VII, 340.
+
+  _Moral Instruction_: X, 126.
+
+  _Moss Rose, The_: VI, 98.
+
+  _Mother's Way_: IV, 58.
+
+  _Munchausen, Baron_: V, 403.
+
+  _My Bed Is a Boat_: I, 126.
+
+  _My Heart Leaps Up_: IV, 2.
+
+  _My Mother's Picture_: VII, 335.
+
+  _My Old Kentucky Home_: VII, 179.
+
+  MYTHS.
+    _The Wonderful Gifts_: I, 368.
+    _Atalanta's Race_: I, 386.
+    _Baucis and Philemon_: I, 431.
+    _The Golden Touch_: II, 43.
+    _How the Wolf Was Bound_: II, 91.
+    _The Death of Balder_: II, 99.
+    _The Punishment of Loki_: II, 111.
+    _The Chimera_: II, 173.
+    _The Story of Phaethon_: II, 206.
+    _The Queen of the Underworld_: II, 468.
+    _Cupid and Psyche_: III, 365.
+    _Stories of the Creation_: IV, 159.
+
+
+  N
+
+  NARRATIVE POEMS.
+    _The Sands of Dee_: I, 412.
+    _A Visit from Saint Nicholas_: II, 202.
+    _The Spider and the Fly_: III, 19.
+    _Beth Gelert_: III, 42.
+    _The Mariner's Dream_: III, 95.
+    _The Pied Piper of Hamelin_: III, 384.
+    _Incident of the French Camp_: IV, 174.
+    _Sheridan's Ride_: IV, 223.
+    _Burial of Moses_: IV, 266.
+    _Bernardo del Carpio_: IV, 270.
+    _The Death of Hector_: IV, 364.
+    _The Wooden Horse_: IV, 383.
+    _Little Giffin of Tennessee_: IV, 461.
+    _Little Breeches_: IV, 462.
+    _Geraint and Enid_: V, 148.
+    _The Passing of Arthur_: V, 237.
+    _Bruce and the Spider_: V, 314.
+    _The Skeleton in Armor_: V, 327.
+    _How They Brought the Good News from Ghent to Aix_: V, 335.
+    _Horatius_: VI, 1.
+    _The Destruction of Sennacherib_: VI, 141.
+    _The Vision of Belshazzar_: VI, 153.
+    _Sohrab and Rustum_: VI, 173.
+    _The Rime of the Ancient Mariner_: VII, 29.
+    _How's My Boy?_: VII, 169.
+    _The Soldier's Dream_: VII, 170.
+    _The Forsaken Merman_: VII, 180.
+    _The Reaper's Dream_: VII, 345.
+    _Battle of Ivry_: VIII, 76.
+    _The Battle of Waterloo_: VIII, 176.
+    _Casabianca_: VIII, 313.
+    _The Romance of the Swan's Nest_: VIII, 315.
+    _The Cotter's Saturday Night_: VIII, 319.
+    _Abou Ben Adhem_: IX, 11.
+    _Pippa Passes_: IX, 293.
+    See BALLADS.
+
+  NATURE.
+    _The Brown Thrush_: I, 147.
+    _Mercy to Animals_: I, 413.
+    _The English Robin_: II, 214.
+    _Who Stole the Bird's Nest?_: II, 399.
+    _The Lion and the Missionary_: VI, 93.
+    _The Moss Rose_: VI, 98.
+    _Elephant Hunting_: VI, 385.
+    _Some Clever Monkeys_: VI, 402.
+    _The Petrified Fern_: VII, 77.
+    _The Buffalo_: VII, 96.
+    _A Gorilla Hunt_: VII, 247.
+    _Brute Neighbors_: VII, 260.
+    _The Pond in Winter_: VII, 280.
+    _Salmon Fishing_: VII, 285.
+    _Winter Animals_: VII, 293.
+    _Trees and Ants That Help Each Other_: VII, 306.
+    _A Bed of Nettles_: VIII, 209.
+    _Owls_: IX, 229.
+    _Robert of Lincoln_: IX, 444.
+
+  _Nature Study_: X, 380.
+
+  _Nature Study, Analysis and Classification of Selections related to_:
+    X, 381-393.
+
+  _Nearer Home_: IV, 126.
+
+  NEWMAN, JOHN HENRY (Cardinal).
+    Selections: _Definition of a Gentleman_: IV, 170.
+      _Lead, Kindly Light_: V, 110.
+
+  _Night_: III, 431.
+
+  NIGHTINGALE, FLORENCE.
+    Biography: IX, 13.
+
+  _Norse Lullaby_: I, 246.
+
+  NOVELS (Selections from).
+    _Robinson Crusoe_: III, 45.
+    _The Swiss Family Robinson_: III, 99.
+    _Cast Up by the Sea_:--
+      _The Escape from Prison_: IV, 130.
+    _Fabiola_:--
+      _Pancratius_: IV, 245.
+    _Ivanhoe_:--
+      _The Attack on the Castle_: IV, 322.
+      _The Tournament_: VI, 38.
+    _Tom Brown's School Days_:--
+      _Tom Brown at Rugby_: V, 469.
+    _An Attic Philosopher in Paris_:--
+      _The Poet and the Peasant_: VI, 206.
+      _The Family of Michael Arout_: VII, 314.
+    _Kidnapped_:--
+      _The Shipwreck_: VI, 371.
+    _The Last of the Mohicans_:--
+      _An Exciting Canoe Race_: VII, 79.
+    _The Mill on the Floss_:--
+      _Tom and Maggie Tulliver_: VII, 186.
+    _Treasure Island_:--
+      _The Recovery of the Hispaniola_: VII, 352.
+    _Don Quixote_:--
+      _Don Quixote Prepares to Set Out on His Adventures_: VII, 433.
+      _The Adventure of the Windmills_: VII, 438.
+      _Mambrino's Helmet_: VII, 441.
+      _Don Quixote's Encounter with the Lions_: VII, 448.
+      _The Adventure of the Enchanted Bark_: VII, 459.
+      _The Adventure of the Wooden Horse_: VII, 467.
+      _The Story of the Lashes_: VII, 480.
+    _Westward Ho!_:--
+      _How They Took the Gold-Train_: VIII, 180.
+    _Pickwick Papers_:--
+      _Mr. Pickwick and Sam Weller_: IX, 76.
+
+  NURSERY RHYMES: I, 3.
+
+  _Nursery Rhymes, Analysis of_: X, 18.
+
+
+  O
+
+  ODES.
+    _To H. W. L._: IV, 84.
+    _To the Fringed Gentian_: VII, 4.
+    _To a Mouse_: VII, 5.
+    _To a Mountain Daisy_: VII, 8.
+    _Ode to a Skylark_: VII, 275.
+    _To a Waterfowl_: VII, 395.
+    _Ode on a Grecian Urn_: IX, 462.
+
+  _Ode on a Grecian Urn_: IX, 462.
+
+  _Ode to a Skylark_: VII, 275.
+
+  _Old Continentals, The_: VII, 175.
+
+  _Old Gaelic Lullaby_: I, 203.
+
+  _Old Man and Death, The_: II, 9.
+
+  _Old Man and His Sons, The_: I, 78.
+
+  _Old Oaken Bucket, The_: VII, 11.
+
+  _On Comic Songs_: V, 455.
+
+  _On the Receipt of My Mother's Picture_: VII, 331.
+
+  _Oration, Definition and Study of_: X, 324.
+
+  _Oration, Illustrative Study of "A Call to Arms," as a type of_: IX, 481.
+
+  ORATIONS.
+    _The Gettysburg Address_: IX, 321.
+    _Abraham Lincoln_: IX, 324.
+    _The Fate of the Indians_: IX, 466.
+    _A Call to Arms_: IX, 475.
+
+  _Origin of the Opal_: II, 480.
+
+  _Owl and the Pussy-Cat, The_: I, 339.
+
+  _Owls_: IX, 229.
+
+
+  P
+
+  PALMER, J. W.
+    Selection: _"Stonewall" Jackson's Way_: V, 400.
+
+  _Pancratius_: IV, 245.
+
+  PARKMAN, FRANCIS.
+    Selection: _The Buffalo_: VII, 96.
+
+  _Passing of Arthur, The_: V, 237.
+
+  PATRIOTIC POEMS.
+    _The American Flag_: V, 396.
+    _"Stonewall" Jackson's Way_: V, 400.
+    _Bannockburn_: VII, 15.
+    _The Charge of the Light Brigade_: VII, 147.
+    _Breathes There the Man_: VII, 151.
+    _For A' That and A' That_: VII, 149.
+    _Make Way for Liberty_: VII, 172.
+    _The Old Continentals_: VII, 175.
+    _The Picket Guard_: VII, 177.
+    _Marco Bozzaris_: VIII, 90.
+
+  PAYNE, JOHN HOWARD.
+    Biography: VI, 221.
+    Selection: _Home, Sweet Home_: VI, 224.
+
+  _Pea Blossom, The_: I, 205.
+
+  _Pčre Marquette_: VIII, 121.
+
+  PERRAULT, CHARLES.
+    Adaptations from _Cinderella_: I, 224.
+      _Hop-O'-My-Thumb_: I, 112.
+      _Little Red Riding-Hood_: I, 79.
+
+  _Personification_: X, 266.
+
+  _Persons, in Fiction, Study of_: X, 156.
+
+  _Petrified Fern, The_: VII, 77.
+
+  _Phaethon, The Story of_: II, 206.
+
+  _Picket-Guard, The_: VII, 177.
+
+  _Pickwick and Sam Weller_: IX, 76.
+
+  _Picture Books in Winter_: II, 87.
+
+  _Pictures and Their Use_: X, 36.
+
+  _Pictures and Their Value in Literature_: X, 44.
+
+  _Pictures in_ Journeys, _On the Use of_: X, 48.
+
+  _Pictures of Memory_: IV, 127.
+
+  _Pied Piper of Hamelin, The_: III, 384.
+
+  _Pilgrim's Progress, The_: IV, 423.
+
+  _Pine-Tree Shillings, The_: IV, 192.
+
+  _Pippa Passes_: IX, 293.
+
+  _Plan and Contents of_ Journeys: X, 7.
+
+  _Plan and Contents of Each Volume_: X, 24.
+
+  _Plot, in Fiction, Study of_: X, 149.
+
+  PLUTARCH.
+    Selection: _The Death of Cćsar_: IX, 126.
+
+  POE, EDGAR ALLAN.
+    Selections: _Annabel Lee_: VII, 341.
+      _Descent into the Maelstrom, A_: VIII, 95.
+      _Gold-Bug, The_: IX, 232.
+      _Three Sundays in a Week_: VI, 453.
+
+  _Poet and the Peasant, The_: VI, 206.
+
+  POETRY. See BALLADS; DRAMA; LULLABIES; LYRICS; NARRATIVE POEMS; ODES;
+    PATRIOTIC POEMS; SONGS; WIT AND HUMOR.
+
+  _Poetry, Kinds of_: X, 331.
+
+  _Poetry, Reading_: X, 272.
+
+  _Polonius' Advice_: V, 112.
+
+  _Pond in Winter, The_: VII, 280.
+
+  _Poor Richard's Almanac_: VI, 407.
+
+  POPE, ALEXANDER.
+    Selection: _The Universal Prayer_: IV, 172.
+
+  _Poppyland Express, The_: II, 21.
+
+  _Potato, The_: II, 467.
+
+  _Praise of Chimney Sweepers, The_: IX, 66.
+
+  PRESCOTT, WILLIAM HICKLING.
+    Selection: _The Retreat of Cortés_: VIII, 63.
+
+  PRONUNCIATION OF PROPER NAMES:
+    Volume I, 487.
+    Volume II, 491.
+    Volume III, 487.
+    Volume IV, 491.
+    Volume V, 497.
+    Volume VI, 481.
+    Volume VII, 485.
+    Volume VIII, 489.
+    Volume IX, 489.
+
+  _Prose, Kinds of_: X, 318.
+
+  _Punishment of Loki, The_: II, 111.
+
+
+  Q
+
+  _Queen Alice_: III, 23.
+
+  _Queen of the Underworld, The_: II, 468.
+
+  QUEEN VICTORIA. See VICTORIA, QUEEN.
+
+  _Quotations, One Hundred Choice_: X, 131.
+
+
+  R
+
+  RAMEE, LOUISE DE LA.
+    Selection: _A Dog of Flanders_: IV, 93.
+
+  _Rab and His Friends_: VI, 99.
+
+  _Rain_: I, 110.
+
+  _Rainbow, The_: VI, 91.
+
+  _Rain on the Roof_: IV, 7.
+
+  RANDS, W. B.
+    Selection: _The Child's World_: II, 66.
+
+  READ, THOMAS BUCHANAN.
+    Selections: _Reaper's Dream, The_: VII, 345.
+      _Sheridan's Ride_: IV, 223.
+
+  _Reading, Correlation of_ Journeys _with Study of_: X, 345.
+
+  _Reading Aloud_: X, 123, 311.
+
+  _Reading and the Building of Character_: X, 85.
+
+  _Reading History_: V, 394.
+
+  _Reading Poetry_: X, 272.
+
+  _Reading Shakespeare_: VIII, 346.
+
+  _Reading Stories_: X, 145.
+
+  _Reaper and the Flowers, The_: I, 410.
+
+  _Reaper's Dream, The_: VII, 345.
+
+  _Recessional, The_: VII, 164.
+
+  _Recitations and Special Days in School_: X, 436.
+
+  _Recovery of the Hispaniola, The_: VII, 352.
+
+  _Reminiscences of a Pioneer_: V, 340.
+
+  _Retreat of Cortés, The_: VIII, 63.
+
+  _Riddles_: I, 72, 202, 245.
+
+  RILEY, JAMES WHITCOMB.
+    Selections: _Afterwhile_: II, 123.
+      _Away_: IV, 460.
+      _Let Something Good be Said_: V, 111.
+
+  _Rime of the Ancient Mariner, The_: VII, 29.
+
+  _Ringrose and His Buccaneers_: VIII, 1.
+
+  RINGROSE, BASIL.
+    Selection: _Ringrose and His Buccaneers_: VIII, 1.
+
+  _Rise of Robert Bruce, The_: V, 278.
+
+  _Robert of Lincoln_: IX, 444.
+
+  _Robin Hood_: III, 436.
+    _Robin Hood and Little John_: III, 437.
+    _Robin Hood and the Stranger_: III, 444.
+    _Robin Hood and the Widow's Three Sons_: III, 449.
+    _Robin Hood and Allin a Dale_: III, 454.
+
+  _Robinson Crusoe_: III, 45.
+
+  _Rock-a-by Lady, The_: I, 94.
+
+  _Roland at Roncesvalles_: III, 460.
+
+  _Romance of the Swan's Nest, The_: VIII, 315.
+
+  ROOSEVELT, THEODORE.
+    Selection: _Abraham Lincoln_: IX, 324.
+
+  _Rumpelstiltzkin_: II, 33.
+
+  RUSKIN, JOHN.
+    Selection: _The King of the Golden River_: II, 405.
+
+  _Ruth_: VI, 143.
+
+  RYAN, FATHER.
+    Selections: _Better Than Gold_: IV, 1.
+      _Mother's Way_: IV, 58.
+
+
+  S
+
+  _Salmon Fishing_: VII, 285.
+
+  _Sands of Dee, The_: I, 412.
+
+  SAXE, JOHN GODFREY.
+    Selection: _Echo_: III, 286.
+
+  _Scenes, in Fiction, Study of_: X, 162.
+
+  SCOTT, SIR WALTER.
+    Biography: VI, 26.
+    Selections: _Attack on the Castle, The_: IV, 322.
+      _Boat Song_: VII, 17.
+      _Breathes There the Man_: VII, 151.
+      _Christmas in Old Time_: VI, 356.
+      _Lochinvar_: III, 432.
+      _Rise of Robert Bruce, The_: V, 278.
+      _Tournament, The_: VI, 38.
+
+  _Second Voyage of Sinbad the Sailor, The_: III, 340.
+
+  _Seein' Things_: I, 240.
+
+  SELLON, GRACE E.
+    Adaptations: _Frithiof the Bold_: III, 394.
+      _Pippa Passes_: IX, 293.
+      _Snow Maiden, The_: I, 257.
+      _Story of Siegfried, The_: III, 410.
+    Selections: _Bryant, William Cullen_: VII, 391.
+      _Hawthorne, Nathaniel_: IV, 180.
+      _Holmes, Oliver Wendell_: VII, 398.
+      _Irving, Washington_: VIII, 216.
+      _Longfellow, Henry Wadsworth_: IV, 62.
+      _Lowell, James Russell_: VII, 411.
+      _Scott, Sir Walter_: VI, 26.
+      _Some Children's Books of the Past_: V, 101.
+      _Whittier, John Greenleaf_: VII, 381.
+
+  _Seven Times One_: II, 119.
+
+  SHAKESPEARE, WILLIAM.
+    Biography: VIII, 468.
+    Selections: _Death of Cćsar, The_: IX, 143.
+      _Polonius' Advice_: V, 112.
+      _Tempest, The_: VIII, 364.
+
+  SHEALE, RICHARD.
+    Selection: _Chevy-Chase_: IV, 312.
+
+  SHELLEY, PERCY BYSSHE.
+    Selections: _Cloud, The_: VII, 257.
+      _Ode to a Skylark_: VII, 275.
+
+  _Shepherd Boy and the Wolves, The_: I, 92.
+
+  _Sheridan's Ride_: IV, 223.
+
+  _Shipwreck, The_: VI, 371.
+
+  _Shuffle-Shoon and Amber-Locks_: II, 121.
+
+  _Siegfried, The Story of_: III, 410.
+
+  _Silver-Locks and the Three Bears_: I, 101.
+
+  _Simile, The_: X, 263.
+
+  _Sinbad the Sailor, The Second Voyage of._ See _Second Voyage of
+    Sinbad the Sailor, The_.
+
+  _Singing_: I, 83.
+
+  _Sir Roger de Coverley_: IX, 371.
+
+  _Skeleton in Armor, The_: V, 327.
+
+  _Sleep, Baby, Sleep_: I, 204.
+
+  SMITH, SAMUEL FRANCIS.
+    Selection: _America_: VIII, 60.
+
+  _Snow Maiden, The_: I, 257.
+
+  _Snow Queen, The_: II, 124.
+
+  _Sohrab and Rustem_: VI, 157.
+
+  _Sohrab and Rustum_: VI, 173.
+
+  _Soldier's Dream, The_: VII, 170.
+
+  _Some Children's Books of the Past_: V, 101.
+
+  _Some Clever Monkeys_: VI, 402.
+
+  _"Something"_: I, 395.
+
+  _Song of the Brook_: IV, 60.
+
+  _Sonnet, Definition of_: X, 337.
+
+  SONGS.
+    _Singing_: I, 83.
+    _Little Birdie_: I, 142.
+    _Marching Song_: I, 155.
+    _The Owl and The Pussy Cat_: I, 339.
+    _Song of the Brook_: IV, 60.
+    _Nearer Home_: IV, 126.
+    _Lead, Kindly Light_: V, 110.
+    _Battle Hymn of the Republic_: V, 399.
+    _Annie Laurie_: VI, 119.
+    _Sweet and Low_: VI, 122.
+    _The Bugle Song_: VI, 133.
+    _Home, Sweet Home_: VI, 221.
+    _Auld Lang Syne_: VI, 228.
+    _The Old Oaken Bucket_: VII, 11.
+    _Boat Song_: VII, 17.
+    _The Star-Spangled Banner_: VII, 167.
+    _How Sleep the Brave_: VII, 151.
+    _My Old Kentucky Home_: VII, 179.
+    _Those Evening Bells_: VII, 340.
+    _The Three Fishers_: VII, 343.
+    _America_: VIII, 60.
+
+  SOUTHEY, ROBERT.
+    Selections: _Battle of Trafalgar, The_: VIII, 284.
+      _Inchcape Rock, The_: V, 465.
+      _Night_: III, 431.
+
+  SOUVESTRE, EMILE.
+    Selections: _Family of Michael Arout, The_: VII, 314.
+      _Poet and the Peasant, The_: VI, 206.
+
+  SPARKS, JARED.
+    Selection: _Pčre Marquette_: VIII, 121.
+
+  _Sparrow and the Eagle, The_: II, 8.
+
+  SPENCER, WILLIAM R.
+    Selection: _Beth Gelert_: III, 42.
+
+  _Spider and the Fly, The_: III, 19.
+
+  SPRAGUE, CHARLES.
+    Selection: _The Fate of the Indians_: IX, 466.
+
+  _Star-Spangled Banner, The_: VII, 167.
+
+  STARK.
+    Selection: _The Modern Belle_: VI, 463.
+
+  STEVENSON, ROBERT LOUIS.
+    Biography: I, 128.
+    Selections: _At the Seaside_: I, 129.
+      _Autumn Fires_: I, 394.
+      _Bed in Summer_: I, 173.
+      _Block City_: I, 196.
+      _Cow, The_: I, 106.
+      _Fairy Bread_: I, 198.
+      _Foreign Children_: I, 351.
+      _Foreign Lands_: I, 130.
+      _From a Railway Carriage_: I, 198.
+      _Keepsake Mill_: I, 349.
+      _Land of Counterpane, The_: I, 144.
+      _Looking Forward_: I, 106.
+      _Marching Song_: I, 155.
+      _Modestine_: IX, 403.
+      _My Bed Is a Boat_: I, 126.
+      _Picture-Books in Winter_: II, 87.
+      _Rain_: I, 110.
+      _Recovery of the Hispaniola, The_: VII, 352.
+      _Shipwreck, The_: VI, 371.
+      _Singing_: I, 83.
+      _Sun's Travels, The_: I, 68.
+      _Swing, The_: I, 67.
+      _System_: I, 111.
+      _Thought, A_: I, 66.
+      _Time to Rise_: I, 340.
+      _Where Go the Boats?_: I, 256.
+      _Whole Duty of Children_: I, 301.
+      _Wind, The_: I, 440.
+      _Windy Nights_: II, 123.
+      _Young Night Thought_: I, 302.
+
+  _"Stonewall" Jackson's Way_: V, 400.
+
+  _Stop, Stop, Pretty Water_: I, 317.
+
+  STORIES.
+    _A Dog of Flanders_: IV, 93.
+    _The Pine-Tree Shillings_: IV, 192.
+    _Gulliver's Travels_: V, 6.
+    _Rab and His Friends_: VI, 99.
+    _A Christmas Carol_: VI, 244.
+    _Three Sundays in a Week_: VI, 453.
+    _The Governor and the Notary_: VII, 20.
+    _A Descent into the Maelstrom_: VIII, 95.
+    _The Tempest_: VIII, 364.
+    _The Gold-Bug_: IX, 232.
+    See ADVENTURE; FAIRY LORE AND FOLK LORE; NOVELS.
+
+  STORIES OF ADVENTURE. See ADVENTURE.
+
+  _Stories, Reading_: X, 145.
+
+  _Stories, Telling_: X, 63.
+
+  _Stories of the Creation_: IV, 159.
+
+  _Story of Aladdin, or the Wonderful Lamp, The_: III, 288.
+
+  _Story of Esther, The._ See _Esther, The Story of_.
+
+  _Story of Joseph, The._ See _Joseph, The Story of_.
+
+  _Story of Phaethon, The._ See _Phaethon, The Story of_.
+
+  _Story of Ruth, The._ See _Ruth, The Story of_.
+
+  _Story of Siegfried, The._ See _Siegfried, The Story of_.
+
+  _Studies, Of_: IX, 400.
+
+  STUDIES. (The following are selections upon which the studies are
+  based. In chapter XIX of Volume X the more important studies are
+  arranged in the order in which the selections appear in the several
+  volumes.)
+    _Alfred the Great_: IV, 260.
+       (Study in History--X, 414.)
+    _America_: VIII, 60.
+    _American Flag, The_: V, 396.
+    _Annie Laurie_: VI, 119.
+       (Study in Close Reading--X, 243.)
+    _Ballad of Agincourt_: V, 95.
+       (Story Told--X, 74.)
+    _Bannockburn_: VII, 15.
+    _Barefoot Boy, The_: IV, 3.
+       (Study--X, 286.)
+    _Battle of Saratoga_: IX, 176.
+       (Study in History--X, 419.)
+    _Boat Song_: VII, 17.
+    _Boston Massacre, The_: IV, 217.
+       (Study in Argument--X, 370.)
+    _Braddock's Defeat_: V, 379.
+       (Study in Close Reading--X, 227.)
+    _Brown Thrush, The_: I, 147.
+       (Study--X, 276.)
+    _Brute Neighbors_: VII, 260.
+       (Nature Study--X, 383.)
+    _Bugle Song, The_: VI, 133.
+       (Study--X, 287.)
+    _Call to Arms, A_: IX, 475.
+    _Chambered Nautilus, The_: IX, 454.
+    _Child's World, The_: II, 66.
+       (Study--X, 277.)
+    _Christmas Carol, A_: VI, 244.
+       (Study in Scene--X, 168.)
+       (Study of Picture, _Bob and Tiny Tim_--X, 41.)
+    _Christmas in Old Time_: VI, 356.
+    _Cid Campeador_: IV, 9.
+       (Study in Exposition--X, 368.)
+    _Cinderella_: I, 224.
+       (Character Study--I, 238.)
+       (Complete Study--X, 150.)
+    _Cloud, The_: VII, 257.
+       (Study--X, 301.)
+    _Country Squire, The_: VI, 474.
+    _Cubes of Truth, The_: VII, 406.
+    _Cupid and Psyche_: III, 365.
+    _Daffodils, The_: VII, 1.
+    _David Crockett in the Creek War_: VIII, 37.
+       (Study--X, 244.)
+    _Death of Cćsar, The_: IX, 143.
+       (Study--X, 253.)
+    _Definition of a Gentleman_: IV, 170.
+       (Study in Close Reading--X, 234)
+    _Descent into the Maelstrom, A_: VIII, 95.
+    _Dog and His Shadow, The_: I, 63.
+       (Study on Scene--X, 164.)
+    _Down Tumbled Wheelbarrow_: I, 46.
+       (Study of Picture--X, 58.)
+    _Dream Children: A Revery_: VIII, 335.
+    _Drummer, The_: I, 303.
+       (Complete Study--X, 193.)
+    _Exciting Canoe Race, An_: VII, 79.
+       (Study in Forms of Expression--X, 376.)
+    _Expense, Of_: IX, 397.
+    _Fairies, The_: I, 405.
+    _Fairies of Caldon-Low, The_: II, 395.
+       (Story Told--X, 68.)
+    _Faithless Sally Brown_: III, 92.
+       (Study in Close Reading--X, 232.)
+    _Fate of the Indians, The_: IX, 466.
+    _Fir Tree, The_: II, 68.
+       (Study of Picture, _The Swallow and the Stork Came_--X, 55.)
+       (Study in The Lesson and the Author's Purpose--X, 173.)
+    _First Snowfall, The_: II, 403.
+       (Study in Figures--X, 270.)
+       (Complete Study--X, 281.)
+    _Forsaken Merman, The_: VII, 180.
+       (Study--X, 295.)
+    _Fox and the Crow, The_: I, 64.
+       (Complete Study--X, 187.)
+    _Fox and the Stork, The_: I, 73.
+       (Study on Scene--X, 166.)
+    _Frithiof the Bold_: III, 394.
+    _Geraint and Enid_: V, 148.
+       (Study of Picture, _Geraint Hears Enid Singing_--X, 60.)
+    _Gettysburg Address, The_: IX, 321.
+    _Gold-Bug, The_: IX, 232.
+       (Study--IX, 283.)
+    _Golden Touch, The_: II, 43.
+    _Gulliver's Travels_: V, 6.
+       (Study in Close Reading on _Adventures in Lilliput_--X, 235.)
+    _Hardy Tin Soldier, The_: I, 148.
+       (Character Study--X, 158.)
+    _Hare and the Tortoise, The_: I, 71.
+       (Complete Study--X, 185.)
+    _Heart of Bruce, The_: V, 316.
+       (Study in Close Reading--X, 238.)
+    _Hervé Riel_: VIII, 168.
+       (Story Told--X, 78.)
+    _Holger Danske_: II, 377.
+    _How They Brought the Good News from Ghent to Aix_: V, 335.
+    _Impeachment of Warren Hastings, The_: IX, 32.
+       (Study--X, 248.)
+    _In Time's Swing_: II, 481.
+    _Incident of the French Camp_: IV, 174.
+    _Industry and Sloth_: I, 300.
+       (Study in Close Reading--X, 229.)
+    _Jack and The Beanstalk_: I, 156.
+       (Study of Picture--X, 52.)
+    _Keepsake Mill_: I, 349.
+    _King of The Golden River, The_: II, 405.
+       (Study--II, 441.)
+       (Study in Description--X, 366.)
+       (Complete Study--X, 393.)
+    _Land of Counterpane_: I, 144.
+    _Lead, Kindly Light_: V, 110.
+       (Study--X, 98.)
+    _Little Blue Pigeon_: I, 133.
+    _Little Giffin of Tennessee_: IV, 461.
+       (Story Told--X, 71.)
+    _Lochinvar_: III, 432.
+    _Lost Child, The_: VII, 409.
+       (Study in Close Reading--X, 243.)
+    _Milkmaid, The_: II, 374.
+    _My Bed is My Boat_: I, 126.
+       (Study of Picture--X, 52.)
+    _My Mother's Picture_: VII, 331.
+       (Study in Description--X, 367.)
+    _Ode on a Grecian Urn_: IX, 462.
+    _Ode to a Skylark_: VII, 275.
+       (Study in Figures--X, 268.)
+       (Study in Reading Poetry--X, 306.)
+    _Old Gaelic Lullaby_: I, 203.
+    _Old Oaken Bucket_: VII, 11.
+    _Origin of the Opal_: II, 480.
+       (Study--X, 285.)
+    _Passing of Arthur, The_: V, 237.
+       (Complete Study--X, 214.)
+    _Petrified Fern, The_: VII, 77.
+       (Study--X, 291.)
+    _Phaethon, the Story of_: II, 206.
+    _Picture Books in Winter_: II, 87.
+    _Pippa Passes_: IX, 293.
+       (Study--IX, 316.)
+    _Pond in Winter, The_: VII, 280.
+       (Nature Study--X, 384.)
+    _Poor Richard's Almanac_: VI, 407.
+       (Study in Character Building--X, 101.)
+    _Potato, The_: II, 467.
+       (Study--X, 285.)
+    _Queen of The Underworld, The_: II, 468.
+    _Rab and His Friends_: VI, 99.
+       (Study in Emotional Power--X, 177.)
+       (Study in Close Reading--X, 225.)
+    _Reading History_: V, 394.
+    _Reading Shakespeare_: VIII, 346.
+    _Reaper and the Flowers, The_: I, 410.
+       (Study--X, 272.)
+    _Reapers Dream, The_: VII, 345.
+    _Recessional, The_: VII, 164.
+    _Recovery of the Hispaniola, The_: VII, 352.
+    _Reminiscences of a Pioneer_: V, 340.
+       (Study--X, 119.)
+    _Robert of Lincoln_: IX, 444.
+    _Robin Hood and the Stranger_: III, 444.
+       (Study in Narration--X, 363.)
+    _Robinson Crusoe_: III, 45.
+       (Nature Study--X, 382.)
+    _Rock-a-By Lady, The_: I, 94.
+    _Seven Times One_: II, 119.
+       (Study--X, 278.)
+    _Shuffle-Shoon and Amber-Locks_: II, 121.
+       (Study of Picture--X, 54.)
+    _Snow Queen, The_: II, 124.
+       (Study on Plot--II, 169.)
+    _Some Children's Books of the Past_: V, 101.
+    _"Something"_: I, 395.
+    _Sweet and Low_: VI, 122.
+    _Swiss Family Robinson_: III, 99.
+       (Nature Study--X, 382.)
+    _Tempest, The_: VIII, 364.
+       (Studies for The Tempest--VIII, 468.)
+    _To H. W. L._: IV, 84.
+    _To My Infant Son_: VI, 478.
+    _Tom, the Water Baby_: II, 215.
+       (Study of Picture, _Tom and the Dragon Fly_--X, 55.)
+       (Study of Story--X, 198.)
+       (Nature Study Lesson--X, 381.)
+    _Tom and Maggie Tulliver_: VII, 186.
+    _Town Mouse and the Country Mouse, The_: I, 199.
+    _Trees and Ants that Help Each Other_: VII, 306.
+       (Study--X, 385.)
+    _Twin Brothers, The_: I, 264.
+    _Ugly Duckling, The_: I, 414.
+    _Village Blacksmith, The_: IV, 86.
+    _Vision of Mirza, The_: IX, 285.
+       (Study in Notes.)
+    _Visit from St. Nicholas, A_: II, 202.
+       (Study in Figures--X, 270.)
+    _Who Stole the Bird's Nest?_: II, 399.
+       (Character Study--X, 95.)
+    _Why the Sea Is Salt_: II, 484.
+       (Study in Close Reading--X, 231.)
+    _Wind and the Sun, The_: I, 95.
+       (Lesson in Language--X, 357.)
+    _Winter Animals_: VII, 293.
+       (Study--X, 384.)
+    _Wynken, Blynken, and Nod_: I, 262.
+       (Study of Picture--X, 53.)
+
+  _Studies for The Tempest_: VIII, 468.
+
+  _Study, or Close Reading_: X, 224.
+
+  _Style and Method of the Author, in Fiction_: X, 174.
+
+  _Sunken Treasure, The_: IV, 199.
+
+  _Sun's Travels, The_: I, 68.
+
+  _Sweet and Low_: VI, 122.
+
+  SWIFT, JONATHAN.
+    Biography: V, 1.
+    Selection: _Gulliver's Travels_: V, 6.
+
+  _Swing, The_: I, 67.
+
+  _Swiss Family Robinson, The_: III, 99.
+
+  _Synecdoche_: X, 265.
+
+  _System_: I, 111.
+
+
+  T
+
+  TAYLOR, JEFFREYS.
+    Selection: _The Milkmaid_: II, 374.
+
+  _Telling Stories_: X, 63.
+
+  _Tempest, The_ (A Tale from Shakespeare): VIII, 348.
+
+  _Tempest, The_: VIII, 364.
+    Studies for: VIII, 468.
+
+  TENNYSON, ALFRED.
+    Selections: _Bugle Song, The_: VI, 133.
+      _Charge of the Light Brigade, The_: VII, 147.
+      _Geraint and Enid_: V, 148.
+      _Home They Brought Her Warrior Dead_: VI, 231.
+      _Little Birdie_: I, 142.
+      _Passing of Arthur, The_: V, 237.
+      _Song of the Brook_: IV, 60.
+      _Sweet and Low_: VI, 122.
+
+  THOREAU, HENRY DAVID.
+    Selections: _Brute Neighbors_: VII, 260.
+      _Pond in Winter, The_: VII, 280.
+      _Winter Animals_: VII, 293.
+
+  _Those Evening Bells_: VII, 340.
+
+  _Thought, A_: I, 66.
+
+  _Three Fishers, The_: VII, 343.
+
+  _Three Little Pigs, The_: I, 136.
+
+  _Three Sundays in a Week_: VI, 453.
+
+  _Three Tasks, The_: I, 247.
+
+  _Time to Rise_: I, 340.
+
+  _To a Mountain Daisy_: VII, 8.
+
+  _To a Mouse_: VII, 5.
+
+  _To a Waterfowl_: VII, 395.
+
+  _To H. W. L._: IV, 84.
+
+  _Tom and Maggie Tulliver_: VII, 186.
+
+  _Tom Brown at Rugby_: V, 469.
+
+  _Tom, the Water Baby_: II, 215.
+
+  _Tom Thumb_: I, 84.
+
+  _To My Infant Son_: VI, 478.
+
+  _To The Fringed Gentian_: VII, 4.
+
+  _Tournament, The_: VI, 38.
+
+  _Town Mouse and the Country Mouse, The_: I, 199.
+
+  _Travels of Sir John Mandeville, The_: IX, 207.
+
+  _Tree, The_: I, 301.
+
+  _Trees and Ants That Help Each Other_: VII, 306.
+
+  _Twin Brothers, The_: I, 264.
+
+  _Two Travelers, The_: I, 109.
+
+  _Two Travelers and the Oyster, The_: I, 111.
+
+  TYNDALL, JOHN.
+    Selection: _Ascent of the Jungfrau_: IX, 1.
+
+
+  U
+
+  _Ugly Duckling, The_: I, 414.
+
+  _Ulysses_: IV, 398.
+
+  _Universal Prayer, The_: IV, 172.
+
+
+  V
+
+  VERGIL.
+    Selection: _The Wooden Horse_: IV, 383.
+
+  VICTORIA, QUEEN.
+    Biography: VII, 152.
+
+  _Village Blacksmith, The_: IV, 86.
+
+  VILLENEUVE, MADAME.
+    _Beauty and the Beast_ (Adapted): I, 318.
+
+  _Vision of Belshazzar, The_: VI, 153.
+
+  _Vision of Mirza, The_: IX, 285.
+
+  _Visit from Saint Nicholas, A_: II, 202.
+
+
+  W
+
+  _Walrus and the Carpenter, The_: III, 36.
+
+  WEIR, HARRISON.
+    Selection: _The English Robin_: II, 214.
+
+  _We Plan a River Trip_: V, 443.
+
+  _What the Old Man Does Is Always Right_: II, 387.
+
+  _Where Go the Boats?_: I, 256.
+
+  WHITE, GILBERT.
+    Selection: _Owls_: IX, 229.
+
+  WHITTIER, JOHN GREENLEAF.
+    Biography: VII, 381.
+    Selections: _Barbara Frietchie_: III, 347.
+      _Barefoot Boy, The_: IV, 3.
+
+  _Whittington and His Cat_: I, 442.
+
+  _Whole Duty of Children_: I, 301.
+
+  _Who Stole the Bird's Nest?_: II, 399.
+
+  _Why the Sea Is Salt_: II, 484.
+
+  _Widow Machree_: VI, 464.
+
+  _Wind, The_: I, 440.
+
+  _Wind and the Sun, The_: I, 95.
+
+  _Windy Nights_: II, 123.
+
+  _Winter Animals_: VII, 293.
+
+  WISEMAN, CARDINAL.
+    Selection: _Pancratius_: IV, 245.
+
+  WIT AND HUMOR.
+    _Time to Rise_: I, 340.
+    _The Cow_: I, 106.
+    _System_: I, 111.
+    _Rain_: I, 110.
+    _Seein' Things_: I, 240.
+    _Whole Duty of Children_: I, 301.
+    _The Owl and the Pussy-Cat_: I, 339.
+    _The Duel_: I, 384.
+    _The Potato_: II, 467.
+    _The Milkmaid_: II, 374.
+    _John's Pumpkin_: III, 1.
+    _Faithless Sally Brown_: III, 92.
+    _Echo_: III, 286.
+    _Elegy on the Death of a Mad Dog_: IV, 57.
+    _The Yarn of the "Nancy Bell"_: IV, 466.
+    _Katey's Letter_: IV, 470.
+    _Baron Munchausen_: V, 403.
+    _The Fiddling Parson_: V, 440.
+    _We Plan a River Trip_: V, 443.
+    _On Comic Songs_: V, 455.
+    _The Modern Belle_: VI, 463.
+    _Widow Machree_: VI, 464.
+    _Limestone Broth_: VI, 467.
+    _The Knock-Out_: VI, 471.
+    _The Country Squire_: VI, 474.
+    _To My Infant Son_: VI, 478.
+    _The Knickerbocker History of New York_: VIII, 224.
+
+  _Wolf and the Crane, The_: I, 96.
+
+  _Wolf and the Lamb, The_: I, 455.
+
+  _Wonderful, Gifts, The_: I, 368.
+
+  _Wooden Horse, The_: IV, 383.
+
+  WOODWORTH, SAMUEL.
+    Selection: _the Old Oaken Bucket_: VII, 11.
+
+  WORDSWORTH, WILLIAM.
+    Selection: _My Heart Leaps Up_: IV, 2.
+      _The Daffodils_: VII, 1.
+
+  _Wreck of the Hesperus, The_: IV, 89.
+
+  _Wynken, Blynken, and Nod_: I, 262.
+
+  WYSS, JOHANN RUDOLPH.
+    Selection: _The Swiss Family Robinson_: III, 99.
+
+
+  Y
+
+  _Yarn of the "Nancy Bell," The_: IV, 466.
+
+  _Young Night Thought_: I, 302.
+
+  YRIARTE, THOMAS.
+    Selection: _The Country Squire_: VI, 474.
+
+
+
+       *       *       *       *       *
+
+
+
+
+Transcriber's Note
+
+
+The following corrections have been made:
+
+   60  made clear? changed to made clear?)
+   61  After the childen changed to After the children
+   75  long been forgotton changed to long been forgotten
+   94  _Something_, Volume, I changed to _Something_, Volume I
+  105  Pride breakfasted changed to "Pride breakfasted
+  121  Pere Marquette changed to Pčre Marquette
+  126  you select changed to you to select
+  145  _2. Reading Stories_ changed to 2. _Reading Stories_
+  239  hundred years ago. changed to hundred years ago.)
+  239  What causes it? changed to What causes it?)
+  242  forty-sixth stanza. changed to forty-sixth stanza?
+  294  poet when he changed to poet when she
+  303  are the genii" changed to are the "genii"
+  303  mean: Wherever changed to  mean: "Wherever
+  313  person can forciby changed to person can forcibly
+  356  Pere Marquette changed to Pčre Marquette
+  363  are easily modifed changed to are easily modified
+  363  rough and-tumble changed to rough-and-tumble
+  386  a. Nursery rhymes: changed to _a._ Nursery rhymes:
+  390  Fox, The Wolf changed to Fox, the Wolf
+  405  Pere Marquette changed to Pčre Marquette
+  434  of his death. changed to of his death.)
+  452  to subject-matter, changed to to subject-matter.
+  473  Fennimore changed to Fenimore
+  479  The Forsken changed to The Forsaken
+  481  Psyche. changed to Psyche:
+  483  MYTHS AND LEGENDARY changed to MYTHS and LEGENDARY
+  485  Pére Marquette changed to Pčre Marquette
+  489  SELECTIONS (under Macaulay) changed to Selections
+  491  a Grecian Urn, changed to a Grecian Urn: (twice)
+  491  Illustrative Study of "A Call to Arms," as a type of changed to
+       _Illustrative Study of "A Call to Arms," as a type of_
+  492  DRAMA: changed to DRAMA;
+  493  _Queen Victoria._ changed to QUEEN VICTORIA.
+  494  of the Past. changed to of the Past:
+
+The following words were inconsistently spelled or hyphenated:
+
+  Ćsop / Aesop
+  archway / arch-way
+  Cćsar / Caesar
+  clearcut / clear-cut
+  Cortés / Cortez
+  De la Ramée / de la Ramee
+  highborn / high-born
+  lifelike / life-like
+  medićval / medieval
+  Nowadays / Now-a-days
+  retelling / re-telling
+  rewritten / re-written
+  Rock-a-by Lady / Rock-a-By Lady / Rock-a-By-Lady
+  Rumpelstiltzkin / Rumpelstiltzken
+  subtitles / sub-titles
+  Thermopylć / Thermopylae
+  today / to-day
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK JOURNEYS THROUGH BOOKLAND, VOL. 10***
+
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+******* This file should be named 24857-8.txt or 24857-8.zip *******
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+<body>
+<h1>The Project Gutenberg eBook, Journeys Through Bookland, Vol. 10, by
+Charles Herbert Sylvester</h1>
+<pre>
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Journeys Through Bookland, Vol. 10</p>
+<p>       The Guide</p>
+<p>Author: Charles Herbert Sylvester</p>
+<p>Release Date: March 16, 2008  [eBook #24857]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK JOURNEYS THROUGH BOOKLAND, VOL. 10***</p>
+<p>&nbsp;</p>
+<h3>E-text prepared by Juliet Sutherland, Julia Miller,<br />
+    and the Project Gutenberg Online Distributed Proofreading Team<br />
+    (http://www.pgdp.net)</h3>
+<p>&nbsp;</p>
+<div style="background-color: #EEE; padding: 0.5em 1em 0.5em 1em;">
+<p class="center"><b>Transcriber&#8217;s&nbsp;Note</b></p>
+
+<p class="noindent">Obvious typographical errors have been corrected. A <a href="#trans_note">list</a> of these changes
+is found at the end of the text. Inconsistencies in spelling and
+hyphenation have been maintained. A <a href="#trans_note">list</a> of inconsistently spelled and
+hyphenated words is found at the end of the text.</p>
+</div>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="image01" id="image01"></a><a href="images/image01-full.jpg"><img src="images/image01.jpg" width="600" height="432" alt="A knight on horseback is approaching the sea. A castle is visible in the background and there are ships on the sea" title="Endpaper" /></a>
+</div>
+
+
+
+<hr class="storybreak" />
+
+<div class="figcenter" style="width: 400px;">
+<a name="image02" id="image02"></a><a href="images/image02-full.jpg"><img src="images/image02.jpg" width="251" height="400" alt="Portraits" title="Oliver Wendell Holmes, Nathaniel Hawthorne,
+Henry Wadsworth Longfellow, Washington Irving, John Greenleaf Whittier, James Russell Lowell,
+William Cullen Bryant" /></a><br />
+<span class="caption smcap">Oliver Wendell Holmes&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Nathaniel Hawthorne<br />
+Henry Wadsworth Longfellow<br />
+Washington Irving&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;John Greenleaf Whittier<br />
+James Russell Lowell&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;William Cullen Bryant</span>
+</div>
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_v" id="Page_v">[v]</a></span></p>
+
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image03.png" width="400" height="144" alt="Journeys Through Bookland" title="Journeys Through Bookland" />
+</div>
+
+<p class="titlepage" style="margin-top: 2em;">A NEW AND ORIGINAL<br />
+PLAN FOR READING APPLIED TO THE<br />
+WORLD&#8217;S BEST LITERATURE<br />
+FOR CHILDREN</p>
+
+<p class="titlepage" style="margin-top: 2em;"><i>BY</i><br />
+<span style="margin-top: 1.5em;">CHARLES H. SYLVESTER</span><br />
+<i>Author of English and American Literature</i></p>
+
+<p class="titlepage" style="margin-top: 2em;">VOLUME TEN&mdash;THE GUIDE<br />
+<i>New Edition</i></p>
+
+<div style="width: 15em; margin-left: auto; margin-right: auto;">
+<p class="noindent">For parents, teachers, and all who have<br />
+children under their charge; for adult<br />
+who wish to renew their acquaintance<br />
+with the friends of their youth, or to<br />
+open for the first time the world&#8217;s great<br />
+treasure house of literature; for youthful<br />
+readers who must study the classics</p>
+</div>
+
+<p class="titlepage" style="margin-top: 2em;">
+Chicago<br />
+BELLOWS-REEVE COMPANY<br />
+PUBLISHERS</p>
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_vi" id="Page_vi">[vi]</a></span></p>
+
+
+
+<p class="titlepage">Copyright, 1922<br />
+BELLOWS-REEVE COMPANY</p>
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_vii" id="Page_vii">[vii]</a></span></p>
+
+
+<h2 class="chapterhead"><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+
+
+<table border="0" cellpadding="0" cellspacing="0" summary="table of contents">
+<tr>
+  <td></td>
+  <td></td>
+  <td class="tdr" style="font-size: smaller;">PAGE</td>
+</tr>
+<tr>
+  <td class="tdr">I.</td>
+  <td class="smcap"><a href="#CHAPTER_I">Introduction</a></td>
+  <td class="tdr"><a href="#CHAPTER_I">1</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">II.</td>
+  <td class="smcap level1"><a href="#CHAPTER_II">Journeys Through Bookland&mdash;Its Contents and Plan</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_II">7</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#The_Masterpieces">The Masterpieces</a></td>
+  <td class="tdr"><a href="#The_Masterpieces">9</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Arrangement_and_Grading">Arrangement and Grading</a></td>
+  <td class="tdr"><a href="#Arrangement_and_Grading">10</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#The_Studies_and_Helps">The Studies and Helps</a></td>
+  <td class="tdr"><a href="#The_Studies_and_Helps">13</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#a_Studies">Studies</a></td>
+  <td class="tdr"><a href="#a_Studies">15</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#b_Notes">Notes</a></td>
+  <td class="tdr"><a href="#b_Notes">15</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#c_Introductory_Notes">Introductory Notes</a></td>
+  <td class="tdr"><a href="#c_Introductory_Notes">15</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#d_Biographies">Biographies</a></td>
+  <td class="tdr"><a href="#d_Biographies">16</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#e_Pronouncing_Vocabularies">Pronouncing Vocabularies</a></td>
+  <td class="tdr"><a href="#e_Pronouncing_Vocabularies">16</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#f_Pictures">Pictures</a></td>
+  <td class="tdr"><a href="#f_Pictures">17</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#g_Tables_of_Contents">Tables of Contents</a></td>
+  <td class="tdr"><a href="#g_Tables_of_Contents">17</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#h_Index">Index</a></td>
+  <td class="tdr"><a href="#h_Index">17</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#The_Nursery_Rhymes">The Nursery Rhymes</a></td>
+  <td class="tdr"><a href="#The_Nursery_Rhymes">18</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Discussion_of_Each_Volume">Discussion of each Volume</a></td>
+  <td class="tdr"><a href="#Discussion_of_Each_Volume">24</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Ch_II_Volume_One">Volume One</a></td>
+  <td class="tdr"><a href="#Ch_II_Volume_One">24</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Ch_II_Volume_Two">Volume Two</a></td>
+  <td class="tdr"><a href="#Ch_II_Volume_Two">26</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Ch_II_Volume_Three">Volume Three</a></td>
+  <td class="tdr"><a href="#Ch_II_Volume_Three">28</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Ch_II_Volume_Four">Volume Four</a></td>
+  <td class="tdr"><a href="#Ch_II_Volume_Four">29</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Ch_II_Volume_Five">Volume Five</a></td>
+  <td class="tdr"><a href="#Ch_II_Volume_Five">29</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Ch_II_Volume_Six">Volume Six</a></td>
+  <td class="tdr"><a href="#Ch_II_Volume_Six">30</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Ch_II_Volume_Seven">Volume Seven</a></td>
+  <td class="tdr"><a href="#Ch_II_Volume_Seven">31</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Ch_II_Volume_Eight">Volume Eight</a></td>
+  <td class="tdr"><a href="#Ch_II_Volume_Eight">33</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Ch_II_Volume_Nine">Volume Nine</a></td>
+  <td class="tdr"><a href="#Ch_II_Volume_Nine">34</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Ch_II_Volume_Ten">Volume Ten&mdash;The Guide</a></td>
+  <td class="tdr"><a href="#Ch_II_Volume_Ten">35</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">III.</td>
+  <td class="smcap level1"><a href="#CHAPTER_III">Pictures and Their Use</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_III">36</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#I_What_Should_We_Notice_in_a_Picture">What Should We Notice in a Picture?</a></td>
+  <td class="tdr"><a href="#I_What_Should_We_Notice_in_a_Picture">36</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#a_Line">Line</a></td>
+  <td class="tdr"><a href="#a_Line">36</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#b_Light_and_Shade">Light and Shade</a></td>
+  <td class="tdr"><a href="#b_Light_and_Shade">37</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#c_Tone_and_Color">Tone and Color</a></td>
+  <td class="tdr"><a href="#c_Tone_and_Color">39</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#d_Composition">Composition</a></td>
+  <td class="tdr"><a href="#d_Composition">39</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#e_Atmosphere_and_Perspective">Atmosphere and Perspective</a></td>
+  <td class="tdr"><a href="#e_Atmosphere_and_Perspective">40</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#f_An_Application_of_the_Foregoing_Principles">Application of Principles</a></td>
+  <td class="tdr"><a href="#f_An_Application_of_the_Foregoing_Principles">41</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Bob_and_Tiny_Tim"><i>Bob and Tiny Tim</i></a></td>
+  <td class="tdr"><a href="#Bob_and_Tiny_Tim">41</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#II_Pictures_and_Their_Value_in_Literature">Pictures and Their Value in Literature</a></td>
+  <td class="tdr"><a href="#II_Pictures_and_Their_Value_in_Literature">44</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#III_On_the_Use_of_the_Pictures_in_Journeys">On the Use of Pictures in <i>Journeys</i></a></td>
+  <td class="tdr"><a href="#III_On_the_Use_of_the_Pictures_in_Journeys">48</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Nursery_Rhymes"><i>Nursery Rhymes</i></a></td>
+  <td class="tdr"><a href="#Nursery_Rhymes">51</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Jack_and_the_Beanstalk"><i>Jack and the Beanstalk</i></a></td>
+  <td class="tdr"><a href="#Jack_and_the_Beanstalk">52</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Nurse_helps_me_when_I_embark"><i>Nurse Helps Me when I Embark</i></a></td>
+  <td class="tdr"><a href="#Nurse_helps_me_when_I_embark">52</a></td>
+</tr>
+<tr>
+  <td><span class='pagenum'><a name="Page_viii" id="Page_viii">[viii]</a></span></td>
+  <td class="level3"><a href="#Wynken_Blynken_and_Nod"><i>Wynken, Blynken, and Nod</i></a></td>
+  <td class="tdr"><a href="#Wynken_Blynken_and_Nod">53</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Shuffle-Shoon_and_Amber_Locks"><i>Shuffle-Shoon and Amber-Locks</i></a></td>
+  <td class="tdr"><a href="#Shuffle-Shoon_and_Amber_Locks">54</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Tom_and_The_Dragon_Fly"><i>Tom and the Dragon Fly</i></a></td>
+  <td class="tdr"><a href="#Tom_and_The_Dragon_Fly">55</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#The_Swallow_and_the_Stork_Came"><i>The Swallow and the Stork Came</i></a></td>
+  <td class="tdr"><a href="#The_Swallow_and_the_Stork_Came">55</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Down_Tumbled_Wheelbarrow"><i>Down Tumbled Wheelbarrow</i></a></td>
+  <td class="tdr"><a href="#Down_Tumbled_Wheelbarrow">58</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Geraint_hears_Enid_singing"><i>Geraint Hears Enid Singing</i></a></td>
+  <td class="tdr"><a href="#Geraint_hears_Enid_singing">60</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">IV.</td>
+  <td class="smcap level1"><a href="#CHAPTER_IV">Telling Stories</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_IV">63</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#The_Fairies_of_the_Caldon-Low"><i>The Fairies of the Caldon-Low</i></a></td>
+  <td class="tdr"><a href="#The_Fairies_of_the_Caldon-Low">68</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Little_Giffin_of_Tennessee"><i>Little Giffin of Tennessee</i></a></td>
+  <td class="tdr"><a href="#Little_Giffin_of_Tennessee">71</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#The_Ballad_of_Agincourt"><i>The Ballad of Agincourt</i></a></td>
+  <td class="tdr"><a href="#The_Ballad_of_Agincourt">74</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Herve_Riel"><i>Herv&eacute; Riel</i></a></td>
+  <td class="tdr"><a href="#Herve_Riel">78</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">V.</td>
+  <td class="smcap level1"><a href="#CHAPTER_V">Reading, and the Building of Character</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_V">85</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Who_Stole_the_Birds_Nest"><i>Who Stole the Bird&#8217;s Nest?</i></a></td>
+  <td class="tdr"><a href="#Who_Stole_the_Birds_Nest">95</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Lead_Kindly_Light"><i>Lead, Kindly Light</i></a></td>
+  <td class="tdr"><a href="#Lead_Kindly_Light">98</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Poor_Richards_Almanac"><i>Poor Richard&#8217;s Almanac</i></a></td>
+  <td class="tdr"><a href="#Poor_Richards_Almanac">101</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">VI.</td>
+  <td class="smcap level1"><a href="#CHAPTER_VI">Father and Son</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_VI">107</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">VII.</td>
+  <td class="smcap level1"><a href="#CHAPTER_VII">Memorizing</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_VII">128</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#One_Hundred_Choice_Quotations">One Hundred Choice Quotations</a></td>
+  <td class="tdr"><a href="#One_Hundred_Choice_Quotations">131</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">VIII.</td>
+  <td class="smcap level1"><a href="#CHAPTER_VIII">How to Read Fiction</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_VIII">143</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Different_Kinds_of_Literature">Different Kinds of Literature</a></td>
+  <td class="tdr"><a href="#Different_Kinds_of_Literature">143</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Reading_Stories">Reading Stories</a></td>
+  <td class="tdr"><a href="#Reading_Stories">145</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#A_The_Plot">Plot</a></td>
+  <td class="tdr"><a href="#A_The_Plot">149</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Cinderella"><i>Cinderella</i></a></td>
+  <td class="tdr"><a href="#Cinderella">150</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#B_The_Persons">Persons</a></td>
+  <td class="tdr"><a href="#B_The_Persons">156</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Hardy_Tin_Soldier"><i>The Hardy Tin Soldier</i></a></td>
+  <td class="tdr"><a href="#The_Hardy_Tin_Soldier">158</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#C_The_Scenes">The Scenes</a></td>
+  <td class="tdr"><a href="#C_The_Scenes">162</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Dog_and_His_Shadow"><i>The Dog and His Shadow</i></a></td>
+  <td class="tdr"><a href="#The_Dog_and_His_Shadow">164</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Fox_and_the_Stork"><i>The Fox and the Stork</i></a></td>
+  <td class="tdr"><a href="#The_Fox_and_the_Stork">166</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#A_Christmas_Carol"><i>A Christmas Carol</i></a></td>
+  <td class="tdr"><a href="#A_Christmas_Carol">168</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#D_and_E_The_Lesson_and_the_Authors_Purpose">The Lesson and the Author&#8217;s Purpose</a></td>
+  <td class="tdr"><a href="#D_and_E_The_Lesson_and_the_Authors_Purpose">170</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Fir_Tree"><i>The Fir Tree</i></a></td>
+  <td class="tdr"><a href="#The_Fir_Tree">173</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#F_The_Method_and_Style_of_the_Author">The Method and Style of the Author</a></td>
+  <td class="tdr"><a href="#F_The_Method_and_Style_of_the_Author">174</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#G_Emotional_Power">Emotional Power</a></td>
+  <td class="tdr"><a href="#G_Emotional_Power">176</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Rab_and_His_Friends"><i>Rab and His Friends</i></a></td>
+  <td class="tdr"><a href="#Rab_and_His_Friends">177</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#General_Principles_and_Reflections">General Principles and Reflections</a></td>
+  <td class="tdr"><a href="#General_Principles_and_Reflections">181</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Completed_Studies">Completed Studies</a></td>
+  <td class="tdr"><a href="#Completed_Studies">185</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Hare_and_the_Tortoise"><i>The Hare and the Tortoise</i></a></td>
+  <td class="tdr"><a href="#The_Hare_and_the_Tortoise">185</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Fox_and_the_Crow"><i>The Fox and the Crow</i></a></td>
+  <td class="tdr"><a href="#The_Fox_and_the_Crow">187</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Drummer"><i>The Drummer</i></a></td>
+  <td class="tdr"><a href="#The_Drummer">193</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Tom_the_Water_Baby"><i>Tom, the Water Baby</i></a></td>
+  <td class="tdr"><a href="#Tom_the_Water_Baby">198</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Passing_of_Arthur"><i>The Passing of Arthur</i></a></td>
+  <td class="tdr"><a href="#The_Passing_of_Arthur">214</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">IX.</td>
+  <td class="smcap level1"><a href="#CHAPTER_IX">Close Reading or Study</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_IX">224</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Rab_and_His_Friends_IX"><i>Rab and His Friends</i></a></td>
+  <td class="tdr"><a href="#Rab_and_His_Friends_IX">225</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Braddocks_Defeat"><i>Braddock&#8217;s Defeat</i></a></td>
+  <td class="tdr"><a href="#Braddocks_Defeat">227</a></td>
+</tr>
+<tr>
+  <td><span class='pagenum'><a name="Page_ix" id="Page_ix">[ix]</a></span></td>
+  <td class="level4"><a href="#Industry_and_Sloth"><i>Industry and Sloth</i></a></td>
+  <td class="tdr"><a href="#Industry_and_Sloth">229</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Why_the_Sea_Is_Salt"><i>Why the Sea is Salt</i></a></td>
+  <td class="tdr"><a href="#Why_the_Sea_Is_Salt">231</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Faithless_Sally_Brown"><i>Faithless Sally Brown</i></a></td>
+  <td class="tdr"><a href="#Faithless_Sally_Brown">232</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Definition_of_a_Gentleman"><i>The Definition of a Gentleman</i></a></td>
+  <td class="tdr"><a href="#The_Definition_of_a_Gentleman">234</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Adventures_in_Lilliput"><i>Adventures in Lilliput</i></a></td>
+  <td class="tdr"><a href="#Adventures_in_Lilliput">235</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Heart_of_Bruce"><i>The Heart of Bruce</i></a></td>
+  <td class="tdr"><a href="#The_Heart_of_Bruce">238</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Annie_Laurie"><i>Annie Laurie</i></a></td>
+  <td class="tdr"><a href="#Annie_Laurie">243</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Lost_Child"><i>The Lost Child</i></a></td>
+  <td class="tdr"><a href="#The_Lost_Child">243</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#David_Crockett_in_the_Creek_War"><i>David Crockett in the Creek War</i></a></td>
+  <td class="tdr"><a href="#David_Crockett_in_the_Creek_War">244</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Impeachment_of_Warren_Hastings"><i>The Impeachment of Warren Hastings</i></a></td>
+  <td class="tdr"><a href="#The_Impeachment_of_Warren_Hastings">248</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#From_The_Death_of_Caesar">From <i>The Death of C&aelig;sar</i></a></td>
+  <td class="tdr"><a href="#From_The_Death_of_Caesar">253</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">X.</td>
+  <td class="level1"><a href="#CHAPTER_X"><span class="smcap">Close Reading</span> (Concluded)</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_X">256</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#The_Author">The Author</a></td>
+  <td class="tdr"><a href="#The_Author">257</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Sentences">Sentences</a></td>
+  <td class="tdr"><a href="#Sentences">258</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Figures_of_Speech">Figures of Speech</a></td>
+  <td class="tdr"><a href="#Figures_of_Speech">259</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Allusions">Allusions</a></td>
+  <td class="tdr"><a href="#Allusions">259</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Basis_of_Figures">Basis of Figures</a></td>
+  <td class="tdr"><a href="#Basis_of_Figures">262</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Simile">Simile</a></td>
+  <td class="tdr"><a href="#Simile">263</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Metaphor">Metaphor</a></td>
+  <td class="tdr"><a href="#Metaphor">264</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Synecdoche_and_Metonymy">Synecdoche and Metonymy</a></td>
+  <td class="tdr"><a href="#Synecdoche_and_Metonymy">265</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Apostrophe_and_Personification">Apostrophe and Personification</a></td>
+  <td class="tdr"><a href="#Apostrophe_and_Personification">266</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Studies_in_Figures">Studies in Figures</a></td>
+  <td class="tdr"><a href="#Studies_in_Figures">268</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Ode_to_a_Skylark"><i>Ode to a Skylark</i></a></td>
+  <td class="tdr"><a href="#Ode_to_a_Skylark">268</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#A_Visit_from_Saint_Nicholas"><i>A Visit from Saint Nicholas</i></a></td>
+  <td class="tdr"><a href="#A_Visit_from_Saint_Nicholas">270</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_First_Snowfall"><i>The First Snowfall</i></a></td>
+  <td class="tdr"><a href="#The_First_Snowfall">270</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">XI.</td>
+  <td class="smcap level1"><a href="#CHAPTER_XI">Reading Poetry</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_XI">272</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Reaper_and_the_Flowers"><i>The Reaper and the Flowers</i></a></td>
+  <td class="tdr"><a href="#The_Reaper_and_the_Flowers">272</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Brown_Thrush"><i>The Brown Thrush</i></a></td>
+  <td class="tdr"><a href="#The_Brown_Thrush">276</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Childs_World"><i>The Child&#8217;s World</i></a></td>
+  <td class="tdr"><a href="#The_Childs_World">277</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Seven_Times_One"><i>Seven Times One</i></a></td>
+  <td class="tdr"><a href="#Seven_Times_One">278</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_First_Snowfall"><i>The First Snowfall</i></a></td>
+  <td class="tdr"><a href="#The_First_Snowfall">281</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Potato"><i>The Potato</i></a></td>
+  <td class="tdr"><a href="#The_Potato">285</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Origin_of_the_Opal"><i>Origin of the Opal</i></a></td>
+  <td class="tdr"><a href="#Origin_of_the_Opal">285</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Barefoot_Boy"><i>The Barefoot Boy</i></a></td>
+  <td class="tdr"><a href="#The_Barefoot_Boy">286</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Bugle_Song"><i>The Bugle Song</i></a></td>
+  <td class="tdr"><a href="#The_Bugle_Song">287</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Petrified_Fern"><i>The Petrified Fern</i></a></td>
+  <td class="tdr"><a href="#The_Petrified_Fern">291</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Forsaken_Merman"><i>The Forsaken Merman</i></a></td>
+  <td class="tdr"><a href="#The_Forsaken_Merman">295</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Cloud"><i>The Cloud</i></a></td>
+  <td class="tdr"><a href="#The_Cloud">301</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Ode_to_a_Skylark"><i>Ode to a Skylark</i></a></td>
+  <td class="tdr"><a href="#Ode_to_a_Skylark">306</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">XII.</td>
+  <td class="smcap level1"><a href="#CHAPTER_XII">Reading Aloud</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_XII">311</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Articulation_and_Enunciation">Articulation and Enunciation</a></td>
+  <td class="tdr"><a href="#Articulation_and_Enunciation">311</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Emphasis_and_Inflection">Emphasis and Inflection</a></td>
+  <td class="tdr"><a href="#Emphasis_and_Inflection">312</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Emotional_States">Emotional States</a></td>
+  <td class="tdr"><a href="#Emotional_States">312</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#a_Pitch">Pitch</a></td>
+  <td class="tdr"><a href="#a_Pitch">312</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#b_Rate_or_Time">Rate or Time</a></td>
+  <td class="tdr"><a href="#b_Rate_or_Time">313</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#c_Quality">Quality</a></td>
+  <td class="tdr"><a href="#c_Quality">315</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#d_Force">Force</a></td>
+  <td class="tdr"><a href="#d_Force">315</a></td>
+</tr>
+<tr>
+  <td class="tdr level1"><span class='pagenum'><a name="Page_x" id="Page_x">[x]</a></span>XIII.</td>
+  <td class="smcap level1"><a href="#CHAPTER_XIII">Literature and Its Forms</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_XIII">317</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Prose">Prose</a></td>
+  <td class="tdr"><a href="#Prose">318</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Methods_of_expression">Methods of Expression</a></td>
+  <td class="tdr"><a href="#Methods_of_expression">318</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Narration">Narration</a></td>
+  <td class="tdr"><a href="#Narration">318</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Description">Description</a></td>
+  <td class="tdr"><a href="#Description">321</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Exposition">Exposition</a></td>
+  <td class="tdr"><a href="#Exposition">321</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Argumentation">Argumentation</a></td>
+  <td class="tdr"><a href="#Argumentation">322</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Forms_of_prose">Forms of Prose</a></td>
+  <td class="tdr"><a href="#Forms_of_prose">322</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Fiction">Fiction</a></td>
+  <td class="tdr"><a href="#Fiction">322</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Essays">Essays</a></td>
+  <td class="tdr"><a href="#Essays">322</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Orations">Orations</a></td>
+  <td class="tdr"><a href="#Orations">324</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Drama">Drama</a></td>
+  <td class="tdr"><a href="#Drama">325</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Poetry">Poetry</a></td>
+  <td class="tdr"><a href="#Poetry">327</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Structure_of_Poetry">Structure of Poetry</a></td>
+  <td class="tdr"><a href="#The_Structure_of_Poetry">328</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Rhythm">Rhythm</a></td>
+  <td class="tdr"><a href="#Rhythm">328</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Rhyme">Rhyme</a></td>
+  <td class="tdr"><a href="#Rhyme">329</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Alliteration">Alliteration</a></td>
+  <td class="tdr"><a href="#Alliteration">330</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Kinds_of_Poetry">Kinds of Poetry</a></td>
+  <td class="tdr"><a href="#Kinds_of_Poetry">331</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Epic">Epic</a></td>
+  <td class="tdr"><a href="#Epic">331</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Lyric">Lyric</a></td>
+  <td class="tdr"><a href="#Lyric">333</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level5"><a href="#Songs">Songs</a></td>
+  <td class="tdr"><a href="#Songs">333</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level5"><a href="#Odes">Ode</a></td>
+  <td class="tdr"><a href="#Odes">335</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level5"><a href="#Elegy">Elegy</a></td>
+  <td class="tdr"><a href="#Elegy">335</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level5"><a href="#Sonnet">Sonnet</a></td>
+  <td class="tdr"><a href="#Sonnet">337</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level6"><a href="#Victor_and_Vanquished"><i>Victor and Vanquished</i></a></td>
+  <td class="tdr"><a href="#Victor_and_Vanquished">338</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Dramatic">Dramatic</a></td>
+  <td class="tdr"><a href="#Dramatic">339</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level5"><a href="#Miracle_plays">Miracle Plays</a></td>
+  <td class="tdr"><a href="#Miracle_plays">340</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level5"><a href="#Morality_plays">Morality Plays</a></td>
+  <td class="tdr"><a href="#Morality_plays">340</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level5"><a href="#Masques">Masques</a></td>
+  <td class="tdr"><a href="#Masques">341</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level5"><a href="#Tragedies_comedies">Tragedies and Comedies</a></td>
+  <td class="tdr"><a href="#Tragedies_comedies">341</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">XIV.</td>
+  <td class="smcap level1"><a href="#CHAPTER_XIV">Journeys in Its Relation to the School&mdash;Reading and Language</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_XIV">345</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#A_Reading">Reading</a></td>
+  <td class="tdr"><a href="#A_Reading">348</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#B_Language">Language</a></td>
+  <td class="tdr"><a href="#B_Language">349</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Oral_Lessons">Oral Lessons</a></td>
+  <td class="tdr"><a href="#Oral_Lessons">352</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Wind_and_the_Sun"><i>The Wind and the Sun</i></a></td>
+  <td class="tdr"><a href="#The_Wind_and_the_Sun">357</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Written_Lessons">Written Lessons</a></td>
+  <td class="tdr"><a href="#Written_Lessons">360</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#A_Introduction">Introduction</a></td>
+  <td class="tdr"><a href="#A_Introduction">360</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#B_Literature_in_Written_Lessons">Literature in Written Lessons</a></td>
+  <td class="tdr"><a href="#B_Literature_in_Written_Lessons">363</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Narration_XIV">Narration</a></td>
+  <td class="tdr"><a href="#Narration_XIV">363</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level5"><a href="#Robin_Hood_and_the_Stranger"><i>Robin Hood and the Stranger</i></a></td>
+  <td class="tdr"><a href="#Robin_Hood_and_the_Stranger">363</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Description_XIV">Description</a></td>
+  <td class="tdr"><a href="#Description_XIV">365</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level5"><a href="#The_King_of_the_Golden_River"><i>The King of the Golden River</i></a></td>
+  <td class="tdr"><a href="#The_King_of_the_Golden_River">366</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Exposition_XIV">Exposition</a></td>
+  <td class="tdr"><a href="#Exposition_XIV">368</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level5"><a href="#Cid_Campeador"><i>Cid Campeador</i></a></td>
+  <td class="tdr"><a href="#Cid_Campeador">368</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Argument">Argument</a></td>
+  <td class="tdr"><a href="#Argument">370</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level5"><a href="#The_Boston_Massacre"><i>The Boston Massacre</i></a></td>
+  <td class="tdr"><a href="#The_Boston_Massacre">370</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Conclusion">Conclusion</a></td>
+  <td class="tdr"><a href="#Conclusion">376</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level5"><a href="#An_Exciting_Canoe_Race"><i>An Exciting Canoe Race</i></a></td>
+  <td class="tdr"><a href="#An_Exciting_Canoe_Race">376</a></td>
+</tr>
+<tr>
+  <td class="tdr level1"><span class='pagenum'><a name="Page_xi" id="Page_xi">[xi]</a></span>XV.</td>
+  <td class="smcap level1"><a href="#CHAPTER_XV">Journeys in Its Relation To the School&mdash;Nature Study</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_XV">380</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#A_Seven_Long_Selections">Seven Long Selections</a></td>
+  <td class="tdr"><a href="#A_Seven_Long_Selections">381</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Tom_the_Water_Baby"><i>Tom, the Water Baby</i></a></td>
+  <td class="tdr"><a href="#Tom_the_Water_Baby">381</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Robinson_Crusoe"><i>Robinson Crusoe</i></a></td>
+  <td class="tdr"><a href="#Robinson_Crusoe">382</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Swiss_Family_Robinson"><i>The Swiss Family Robinson</i></a></td>
+  <td class="tdr"><a href="#The_Swiss_Family_Robinson">382</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Brute_Neighbors"><i>Brute Neighbors</i></a></td>
+  <td class="tdr"><a href="#Brute_Neighbors">383</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_Pond_in_Winter"><i>The Pond in Winter</i></a></td>
+  <td class="tdr"><a href="#The_Pond_in_Winter">384</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Winter_Animals"><i>Winter Animals</i></a></td>
+  <td class="tdr"><a href="#Winter_Animals">384</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#Trees_and_Ants_That_Help_Each_Other"><i>Trees and Ants that Help Each Other</i></a></td>
+  <td class="tdr"><a href="#Trees_and_Ants_That_Help_Each_Other">385</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Classified_Selections">Classified Selections</a></td>
+  <td class="tdr"><a href="#Classified_Selections">386</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#I._Flowers_and_plant_life">Flowers and Plant Life</a></td>
+  <td class="tdr"><a href="#I._Flowers_and_plant_life">386</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#II_Birds">Birds</a></td>
+  <td class="tdr"><a href="#II_Birds">387</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#III_Four-footed_animals">Four-footed Animals</a></td>
+  <td class="tdr"><a href="#III_Four-footed_animals">389</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#IV_Reptiles">Reptiles</a></td>
+  <td class="tdr"><a href="#IV_Reptiles">391</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#V_Insects">Insects</a></td>
+  <td class="tdr"><a href="#V_Insects">391</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#VI_Denizens_of_the_water">Denizens of the Water</a></td>
+  <td class="tdr"><a href="#VI_Denizens_of_the_water">391</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#VII_Natural_Phenomena">Natural Phenomena</a></td>
+  <td class="tdr"><a href="#VII_Natural_Phenomena">392</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#VIII_Geographical_in_Nature">Geography in Nature</a></td>
+  <td class="tdr"><a href="#VIII_Geographical_in_Nature">392</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Complete_Study">Complete Study</a></td>
+  <td class="tdr"><a href="#Complete_Study">393</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level4"><a href="#The_King_of_the_Golden_River"><i>The King of the Golden River</i></a></td>
+  <td class="tdr"><a href="#The_King_of_the_Golden_River">393</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">XVI.</td>
+  <td class="smcap level1"><a href="#CHAPTER_XVI">Journeys in Its Relation to the School&mdash;Geography and History</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_XVI">400</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Classified_Selections">Classified References</a></td>
+  <td class="tdr"><a href="#Classified_Selections">402</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Model_geography_lesson">Model Geography Lesson</a></td>
+  <td class="tdr"><a href="#Model_geography_lesson">411</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#The_wind">The Wind</a></td>
+  <td class="tdr"><a href="#The_wind">411</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Model_history_lesson">Model History Lessons</a></td>
+  <td class="tdr"><a href="#Model_history_lesson">413</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Alfred_the_great">Alfred the Great</a></td>
+  <td class="tdr"><a href="#Alfred_the_great">413</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Burgoynes_Campaign">Burgoyne&#8217;s Campaign</a></td>
+  <td class="tdr"><a href="#Burgoynes_Campaign">419</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">XVII.</td>
+  <td class="smcap level1"><a href="#CHAPTER_XVII">Journeys in Its Relation to the High School</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_XVII">425</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Classification_of_Studies">Classification of Studies</a></td>
+  <td class="tdr"><a href="#Classification_of_Studies">427</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Type_Studies">Type Studies</a></td>
+  <td class="tdr"><a href="#Type_Studies">431</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">XVIII.</td>
+  <td class="smcap level1"><a href="#CHAPTER_XVIII">Recitations and Special Days in School</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_XVIII">436</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#I_Bird_Day">Bird Day</a></td>
+  <td class="tdr"><a href="#I_Bird_Day">437</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#II_Memorial_Day">Memorial Day</a></td>
+  <td class="tdr"><a href="#II_Memorial_Day">438</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#III_Christmas">Christmas</a></td>
+  <td class="tdr"><a href="#III_Christmas">438</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#IV_Birthdays">Birthdays</a></td>
+  <td class="tdr"><a href="#IV_Birthdays">438</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#V_Dramatization">Dramatization</a></td>
+  <td class="tdr"><a href="#V_Dramatization">439</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#VI_An_Old-fashioned_Afternoon">An Old-Fashioned Afternoon</a></td>
+  <td class="tdr"><a href="#VI_An_Old-fashioned_Afternoon">440</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">XIX.</td>
+  <td class="smcap level1"><a href="#CHAPTER_XIX">Handy List of the Studies in Journeys Through Bookland</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_XIX">441</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Volume_One">Volume One</a></td>
+  <td class="tdr"><a href="#Volume_One">442</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Volume_Two">Volume Two</a></td>
+  <td class="tdr"><a href="#Volume_Two">443</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Volume_Three">Volume Three</a></td>
+  <td class="tdr"><a href="#Volume_Three">445</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Volume_Four">Volume Four</a></td>
+  <td class="tdr"><a href="#Volume_Four">446</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Volume_Five">Volume Five</a></td>
+  <td class="tdr"><a href="#Volume_Five">446</a></td>
+</tr>
+<tr>
+  <td><span class='pagenum'><a name="Page_xii" id="Page_xii">[xii]</a></span></td>
+  <td class="level2"><a href="#Volume_Six">Volume Six</a></td>
+  <td class="tdr"><a href="#Volume_Six">447</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Volume_Seven">Volume Seven</a></td>
+  <td class="tdr"><a href="#Volume_Seven">448</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Volume_Eight">Volume Eight</a></td>
+  <td class="tdr"><a href="#Volume_Eight">449</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Volume_Nine">Volume Nine</a></td>
+  <td class="tdr"><a href="#Volume_Nine">449</a></td>
+</tr>
+<tr>
+  <td class="tdr level1">XX.</td>
+  <td class="smcap level1"><a href="#CHAPTER_XX">Supplementary Book Lists</a></td>
+  <td class="tdr level1"><a href="#CHAPTER_XX">451</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#For_separate_volumes">For the Separate Volumes</a></td>
+  <td class="tdr"><a href="#For_separate_volumes">454</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Volume_I">Volume One</a></td>
+  <td class="tdr"><a href="#Volume_I">454</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Volume_II">Volume Two</a></td>
+  <td class="tdr"><a href="#Volume_II">455</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Volume_III">Volume Three</a></td>
+  <td class="tdr"><a href="#Volume_III">457</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Volume_IV">Volume Four</a></td>
+  <td class="tdr"><a href="#Volume_IV">458</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Volume_V">Volume Five</a></td>
+  <td class="tdr"><a href="#Volume_V">459</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Volume_VI">Volume Six</a></td>
+  <td class="tdr"><a href="#Volume_VI">460</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Volume_VII">Volume Seven</a></td>
+  <td class="tdr"><a href="#Volume_VII">461</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Classified_Lists">Classified Lists</a></td>
+  <td class="tdr"><a href="#Classified_Lists">462</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Fiction_XX">Fiction</a></td>
+  <td class="tdr"><a href="#Fiction_XX">463</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Poetry_and_Drama">Poetry and Drama</a></td>
+  <td class="tdr"><a href="#Poetry_and_Drama">464</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Essays_XX">Essays</a></td>
+  <td class="tdr"><a href="#Essays_XX">464</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Nature">Nature</a></td>
+  <td class="tdr"><a href="#Nature">465</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Biography">Biography</a></td>
+  <td class="tdr"><a href="#Biography">465</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#History">History</a></td>
+  <td class="tdr"><a href="#History">465</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level3"><a href="#Travel_and_Geography">Travel and Geography</a></td>
+  <td class="tdr"><a href="#Travel_and_Geography">466</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#Miscellaneous">Miscellaneous</a></td>
+  <td class="tdr"><a href="#Miscellaneous">466</a></td>
+</tr>
+<tr>
+  <td class="smcap level1" colspan="2">Appendix&mdash;</td>
+  <td></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#HANDY_TABLE_OF_ENGLISH_WRITERS">Handy Table of English Writers</a></td>
+  <td class="tdr"><a href="#HANDY_TABLE_OF_ENGLISH_WRITERS">469</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td class="level2"><a href="#HANDY_TABLE_OF_AMERICAN_WRITERS">Handy Table of American Writers</a></td>
+  <td class="tdr"><a href="#HANDY_TABLE_OF_AMERICAN_WRITERS">473</a></td>
+</tr>
+<tr>
+  <td class="smcap level1" colspan="2"><a href="#GENERAL_INDEX">General Index</a></td>
+  <td class="tdr level1"><a href="#GENERAL_INDEX">475</a></td>
+</tr>
+</table>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_xiii" id="Page_xiii">[xiii]</a></span></p>
+
+<h2 class="chapterhead"><a name="ILLUSTRATIONS" id="ILLUSTRATIONS"></a>ILLUSTRATIONS</h2>
+
+<p class="titlepage smcap">Halftone Portraits of Authors</p>
+
+
+<table border="0" cellpadding="0" cellspacing="0" summary="list of illustrations">
+<tr>
+  <td></td>
+  <td></td>
+  <td class="tdr" style="font-size: smaller;">PAGE</td>
+</tr>
+<tr>
+  <td class="smcap"><a href="#image02">Group One</a></td>
+  <td></td>
+  <td class="tdr"><a href="#image02">Frontispiece</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td><i>Henry Wadsworth Longfellow</i><br />
+<i>Oliver Wendell Holmes</i><br />
+<i>Nathaniel Hawthorne</i><br />
+<i>Washington Irving</i><br />
+<i>John Greenleaf Whittier</i><br />
+<i>James Russell Lowell</i><br />
+<i>William Cullen Bryant</i></td>
+  <td></td>
+</tr>
+<tr>
+  <td class="smcap level1"><a href="#image05">Group Two</a></td>
+  <td></td>
+  <td class="tdr level1"><a href="#image05">52</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td><i>William Shakespeare</i><br />
+<i>Alfred, Lord Tennyson</i><br />
+<i>Robert Browning</i><br />
+<i>Sir Walter Scott</i><br />
+<i>William Wordsworth</i><br />
+<i>Geoffrey Chaucer</i><br />
+<i>Joseph Addison</i></td>
+  <td></td>
+</tr>
+<tr>
+  <td class="smcap level1"><a href="#image06">Group Three</a></td>
+  <td></td>
+  <td class="tdr level1"><a href="#image06">100</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td><i>Cardinal Newman</i><br />
+<i>Sir Francis Bacon</i><br />
+<i>Jonathan Swift</i><br />
+<i>Daniel Defoe</i><br />
+<i>Cardinal Wiseman</i><br />
+<i>Cervantes</i><br />
+<i>Father Ryan</i></td>
+  <td></td>
+</tr>
+<tr>
+  <td class="smcap level1"><a href="#image07">Group Four</a></td>
+  <td></td>
+  <td class="tdr level1"><a href="#image07">148</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td><i>Julia Ward Howe</i><br />
+<i>Benjamin Franklin</i><br />
+<i>Henry David Thoreau</i><br />
+<i>Patrick Henry</i><br />
+<i>William H. Prescott</i><br />
+<i>Francis Parkman</i><br />
+<i>James Fenimore Cooper</i></td>
+  <td></td>
+</tr>
+<tr>
+  <td class="smcap level1"><a href="#image08">Group Five</a></td>
+  <td></td>
+  <td class="tdr level1"><a href="#image08">198</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td><i>Edgar Allan Poe</i><br />
+<i>Donald G. Mitchell</i><br />
+<i>James Whitcomb Riley</i><br />
+<i>Thomas Buchanan Read</i><br />
+<i>Eugene Field</i><br />
+<span class='pagenum'><a name="Page_xiv" id="Page_xiv">[xiv]</a></span><i>John Howard Payne</i><br />
+<i>John G. Saxe</i></td>
+  <td></td>
+</tr>
+<tr>
+  <td class="smcap level1"><a href="#image09">Group Six</a></td>
+  <td></td>
+  <td class="tdr level1"><a href="#image09">246</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td><i>Elizabeth Barrett Browning</i><br />
+<i>Phoebe Cary</i><br />
+<i>Alice Cary</i><br />
+<i>Lucy Larcom</i><br />
+<i>Felicia Hemans</i><br />
+<i>George Eliot</i><br />
+<i>Jean Ingelow</i></td>
+  <td></td>
+</tr>
+<tr>
+  <td class="smcap level1"><a href="#image10">Group Seven</a></td>
+  <td></td>
+  <td class="tdr level1"><a href="#image10">294</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td><i>Robert Burns</i><br />
+<i>Robert Southey</i><br />
+<i>William Cowper</i><br />
+<i>Lord Byron</i><br />
+<i>John Keats</i><br />
+<i>Percy Bysshe Shelley</i><br />
+<i>Samuel Taylor Coleridge</i></td>
+  <td></td>
+</tr>
+<tr>
+  <td class="smcap level1"><a href="#image11">Group Eight</a></td>
+  <td></td>
+  <td class="tdr level1"><a href="#image11">342</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td><i>Rudyard Kipling</i><br />
+<i>Robert Louis Stevenson</i><br />
+<i>Paul Du Chaillu</i><br />
+<i>Thomas Hughes</i><br />
+<i>Hans Christian Andersen</i><br />
+<i>Jakob Grimm</i><br />
+<i>Wilhelm Grimm</i></td>
+  <td></td>
+</tr>
+<tr>
+  <td class="smcap level1"><a href="#image12">Group Nine</a></td>
+  <td></td>
+  <td class="tdr level1"><a href="#image12">400</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td><i>John Ruskin</i><br />
+<i>Oliver Goldsmith</i><br />
+<i>Matthew Arnold</i><br />
+<i>Thomas Babington Macaulay</i><br />
+<i>John Bunyan</i><br />
+<i>Thomas De Quincey</i><br />
+<i>Charles Lamb</i></td>
+  <td></td>
+</tr>
+<tr>
+  <td class="smcap level1"><a href="#image13">Group Ten</a></td>
+  <td></td>
+  <td class="tdr level1"><a href="#image13">454</a></td>
+</tr>
+<tr>
+  <td></td>
+  <td><i>John Tyndall</i><br />
+<i>Charles Kingsley</i><br />
+<i>Thomas Moore</i><br />
+<i>Alexander Pope</i><br />
+<i>Thomas Campbell</i><br />
+<i>David Livingstone</i><br />
+<i>George MacDonald</i></td>
+  <td></td>
+</tr>
+</table>
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I<br />
+<br />
+<span class="smcap">Introduction</span></h2>
+
+
+<p class="opening"><span class="dropcape"><span class="hide">E</span></span><span class="upper">veryone</span> who associates with children becomes deeply interested in them.
+Their helplessness during their early years appeals warmly to sympathy;
+their acute desire to learn and their responsiveness to suggestion make
+teaching a delight; their loyalty and devotion warm the heart and
+inspire the wish to do the things that count for most. Everything
+combines to increase a sense of responsibility and to make the elders
+active in bringing to bear those influences that make for character,
+power and success.</p>
+
+<p>Every worthy teacher in every school gives more than her salary commands
+and puts heart power into every act. By example and precept the lessons
+are taught and growth follows in response to cultivation. But the
+schools are handicapped by lack of time for much personal care, by lack
+of facilities for the best of instruction and by the multiplicity of
+things that must be done. Under the best conditions a teacher has but a
+small part of a child&#8217;s time and then instruction must be given usually
+to classes and not to individuals. Outside of school for a considerable
+time each day the child falls under the influence of playmates who may
+or may not be helpful, but the greater part of every twenty-four hours
+belongs to the home.</p>
+
+<p><span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span>Parents, guardians, brothers and sisters, servants, consciously or
+unconsciously, wisely or unwisely, are teaching all the time. It is from
+this great complex of influences that every child builds his character
+and lays the foundation of whatever success he afterwards achieves.</p>
+
+<p>Undoubtedly the home is the greatest single influence and that is
+strongest during the early years. Before a boy is seven the elements of
+his character begin to form; by the time he is fourteen his future
+usually can be predicted, and after he is twenty, few real changes are
+brought about in the character of the man. The schools can do little
+more than plant the seeds of culture; in the family must the young
+plants be watered, nourished and trained. Then will the growth be
+symmetrical and beautiful.</p>
+
+<p>When the school and the home work together, when parents and teacher are
+in hearty sympathy, the great work is easily accomplished. But this
+harmony in interest is difficult to secure. In the first place it is not
+possible frequently for parents and teachers to become acquainted;
+usually is it impossible for them to know one another intimately. Here
+there are two forces, each ignorant of the other, but both trying for a
+common end. Again, parents in many, many instances are not acquainted
+with the schools nor with the methods of instruction which are followed
+therein. What is done by one may be undone by the other. If there could
+be a common ground of meeting, much labor would be saved and greater
+harmony of effort established.</p>
+
+<p>When fathers and mothers are willing to take time enough from their
+other duties to show that <span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span>sympathetic interest in juvenile tasks which
+is the greatest stimulus to intelligent effort, when they wish to know
+what work each child is doing and where in each text book his lessons
+are, when the multiplication table and the story of Cinderella are of as
+much importance as the price of meat or the profit on a yard of silk,
+then will the parents and the teachers come together in whatever field
+appears mutually acceptable.</p>
+
+<p>Everybody reads, and reading is now the greatest single influence upon
+humanity. The day of the orator has passed, the day of print has long
+been upon us. No adult remains long uninfluenced by what he reads
+persistently, and every child receives more impressions from his reading
+than from all other sources put together.</p>
+
+<p>Someone has shown forcibly by a graphic diagram the ideas we are most
+anxious to establish. In this diagram of <i>Forces in Education</i>, the
+circle represents the sum total of all those influences which tend to
+make the mind and character of the growing child. That half of the
+circle to the right of the heavy line represents the forces of the
+school; the half to the left, the forces that come into play outside the
+teacher&#8217;s domain. In school are the various studies taught; reading,
+writing, language, nature, geography, history, arithmetic. Other things
+such as morals, manners, hygiene, etc., come in for their share of force
+in the division &#8220;Miscellaneous.&#8221; Out of school the child&#8217;s work
+influences him; his playmates affect him more; the example and
+instruction of his parents form his habits, thought and character to a
+still greater extent; but more than any one, as much as the three
+<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span>combined, does his home reading shape his destiny.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="image04" id="image04"></a><a href="images/image04-full.png"><img src="images/image04.png" width="300" height="266" alt="Diagram of learning" title="" /></a>
+</div>
+
+<p>That this last statement is no exaggeration is proved by the testimony
+of many a wise and thoughtful man, by the observation of teachers
+everywhere. When a child has learned to read, he possesses the
+instrument of highest culture, but at the same time the instrument of
+greater danger. Bad books or bad methods of reading good books lead the
+reader&#8217;s mind astray or stimulate a destructive imagination that affects
+character forever; but good books and right methods of reading make the
+soul sensitive to right and wrong, improve the mind, inspire to higher
+ideals and lead to loftier effort.</p>
+
+<p><span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span>Here is the one fertile field wherein teacher, parent and every other
+person interested in the welfare of children and youth may meet and work
+together in the noblest cause God ever gave us the grace to see.</p>
+
+<p>&#8220;I have a notion,&#8221; said Benjamin Harrison, &#8220;that children are about the
+only people we can do anything for. When we get to be men and women we
+are either spoiled or improved. The work is done.&#8221; One of the best
+things we can do is to create a taste for good reading and cultivate a
+habit of reading in the right manner. It is an easy and a delightful
+task.</p>
+
+<p>How many parents do it? Let them live with their children in the realm
+the little ones love. Let them read the fairy tales, the myths, the
+stories, the history that childhood appreciates, not in a spirit of
+criticism or in the role of a dictator but as a child of a little larger
+growth, a man or woman with a youthful mind.</p>
+
+<p>How many teachers assist? By so teaching that reading becomes an
+inspiration in itself; that only mastery contents; that beauty, high
+sentiment, lofty ideals may be found and followed; by making the reading
+recitation the one delightful hour of the day.</p>
+
+<p>If any mature person at home can spend each week a few hours in reading
+and talking with the children about what has been read he will be
+surprised to find how lightly the time passes and how quickly his own
+cares and anxieties are dissipated. He will find greater delight than he
+has ever known in the society of his equals; and the younger ones, whose
+minds glow with helpful curiosity and <span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span>absorbing interest will be kept
+to that extent from the street and its attractions, while at the same
+time they are learning those things that count for most in life&#8217;s great
+battle.</p>
+
+<p>Let no one feel in the least uncertain of his power to interest and
+delight. Let him have no hesitation in joining in with the children, in
+meeting them on their level and in sharing thought and feeling with
+them. By being a child himself he most easily makes of himself a wise
+and inspiring leader.</p>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II<br />
+<br />
+<span class="smcap">Journeys Through Bookland&mdash;Its Contents And Plan</span></h2>
+
+
+<p class="opening"><span class="dropcapj"><span class="hide"><i>J</i></span></span><span class="upper"><i>ourneys</i></span> <i>Through Bookland</i> is what the title signifies, a series of
+excursions into the field of the world&#8217;s greatest literature.
+Accordingly, the base of the work is laid in those great classics that,
+since first they found expression in words, have been the education and
+inspiration of man. But these excursions are taken hand-in-hand with a
+leader, whose province it is to explain, to interpret, to guide and to
+direct. Suiting his labors to the age and acquirement of the readers he
+helps them all, from the child halting in his early attempts to
+interpret the printed page to the high school or college student who
+wishes to master the innermost secrets of literature. In no small sense
+is this leadership a labor of love, for it follows an experience of
+twenty years of personal instruction in the public schools and among the
+teachers of the country.</p>
+
+<p><i>Journeys Through Bookland</i> must be considered as a unit; for one plan,
+one purpose, controls from the first page of the first volume to the
+last page of the tenth. The literary selections were not chosen
+haphazard nor were they graded and arranged after any ordinary plan. In
+this respect they differ in character and arrangement from the
+selections in any other work now upon the market.</p>
+
+<p><span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span>Moreover, the notes, interpretations, original articles and multifarious
+helps are an integral part and are inseparable. In this respect, again,
+is the work original and unique.</p>
+
+<p>Further, the pictures, of which there are many hundreds, were drawn or
+painted expressly for <i>Journeys Through Bookland</i> and are as much a part
+of the general scheme as any other help to appreciation. Again, the type
+page, the decorations, the paper, binding and endsheets, all combine to
+give an artistic setting to literary masterpieces and a stimulating
+atmosphere for literary study.</p>
+
+<p>The masterpieces which make the field of the <i>Journeys</i> naturally fall
+into three classes. First, there is the literature of culture, those
+things which you and I and everybody must know if we expect to be
+considered educated or to be able to read with intelligence and
+appreciation the current writings of the day. To this class belong all
+those nursery rhymes, lyrics, classic myths, legends and so on to which
+allusion is constantly made and which are themselves the legal tender of
+polite and cultured conversation. Next, there are those selections whose
+power lies in the profound influence they exert upon the unfolding
+character of boy or girl. As a child readeth so is he. Masterpieces of
+this type abound in the books and it is by means of them that the author
+hopes and expects to exert his greatest influence upon his unknown
+friends among the children. The third group consists of the masterpieces
+which lend interest to school work and make it pleasanter, easier and
+more profitable. It is what some may call the practical side of
+litera<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span>ture. It is what, at first, appeals most strongly to those who
+have read little, but which ultimately appears of less value than the
+influence of cultural and character-building literature.</p>
+
+<p>Any treatment of <i>Journeys</i> that is worthy of the name must consider the
+masterpieces themselves in their three great functions, as well as the
+devices by which the selections are made effective.</p>
+
+
+<h3 class="section"><a name="The_Masterpieces" id="The_Masterpieces"></a><i>1. The Masterpieces</i></h3>
+
+<p class="opening"><span class="dropcapt"><span class="hide">T</span></span><span class="upper">he</span> table of contents at the beginning of each volume shows a wide
+selection of the best things that have ever been written for
+children&mdash;not always the new things, but always the best things for the
+purpose. The masterpieces are the tried and true ones that have long
+been popular with children and have formed a large part of the literary
+education of the race.</p>
+
+<p>There are a host of complete masterpieces and many selections from other
+works which are too long to print here or which are otherwise
+unavailable. It has often happened that something written for older
+heads and for serious purposes has in it some of the most charming and
+helpful things for the young. For instance, <i>Gulliver&#8217;s Travels</i> is a
+political satire, and as such it is long since dead. Yet parts of it
+make the most fascinating reading for children. Moreover, Swift and many
+other great writers defiled their pages with matter which ought to be
+unprintable. To bring together the good things from such writers, to
+reprint them with all the graces of style they originally possessed, and
+yet so carefully to edit them that there <span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span>can be no suggestion of
+offense, has been the constant aim of the writer.</p>
+
+<p>The books contain, too, many beautiful selections translated from
+foreign languages and made fresh, attractive and inspiring. Many of the
+old fables and folk stories have been rewritten, but others which have
+existed long in good form have been left untouched. In the great
+masterpieces no liberties have been taken with the text without making
+known the fact, and in every case the most reliable edition has been
+followed. It is hoped that children will have nothing to &#8220;unlearn&#8221; from
+the reading of these books.</p>
+
+<p>There are not a few old things in the set that are really new, because
+they have heretofore been inaccessible to children except in musty books
+not likely to be met.</p>
+
+<p>This is no haphazard collection made hastily, and largely at the
+suggestion of others. Everything in the books has been read and reread
+by the writer. True, he has availed himself of the help of others, and
+to many his obligations are deep and lasting; but in the end the
+responsibility for selection and for the quantity and quality of the
+helps is wholly his.</p>
+
+
+<h3 class="section"><a name="Arrangement_and_Grading" id="Arrangement_and_Grading"></a><i>2. Arrangement and Grading</i></h3>
+
+<p class="opening"><span class="dropcapt"><span class="hide">T</span></span><span class="upper">he</span> contents of the books have been graded from the nursery rhymes in
+the first volume to the rather difficult selections in the ninth volume.
+In the arrangement, however, not all the simplest reading is in the
+first volume. It might be better understood if we <span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span>say that one volume
+overlaps another, so that, for instance, the latter part of the first
+volume is more difficult than the first part of the second volume. When
+a child is able to read in the third volume he will find something to
+interest him in all the volumes.</p>
+
+<p>What has been said, however, does not wholly explain the system of
+arrangement. Fiction, poetry, essays, biography, nature-study, science
+and history are all fairly represented in the selections, but no book is
+given over exclusively to any subject. Rather is it so arranged that the
+child who reads by course will traverse nearly every subject in every
+volume, and to him the different subjects will be presented logically in
+the order in which his growing mind demands them. We might say that as
+he reads from volume to volume, he travels in an ever widening and
+rising spiral. The fiction of the first volume consists of fables, fairy
+tales and folk stories; the poetry of nursery rhymes and children&#8217;s
+verses; the biography of anecdotal sketches of Field and Stevenson; and
+history is suggested in the quaintly written <i>Story of Joseph</i>. On a
+subsequent turn of the spiral are found fiction from Scott and Swift;
+poetry from Homer, Vergil, Hay, Gilbert and Tennyson; hero stories from
+Malory; history from Washington Irving.</p>
+
+<p>If, however, some inquiring young person should wish to read all there
+is on history, biography or any other subject, the full index in the
+tenth volume will show him where everything of the nature he wishes is
+to be found.</p>
+
+<p>Another valuable feature of arrangement is the frequent bringing
+together of selections that bear <span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span>some relation to one another. A simple
+cycle of this sort may be seen where in the eighth volume the account of
+Lord Nelson&#8217;s great naval victory is followed by <i>Casabianca</i>; a better
+one where in the fifth volume there is an account of King Arthur,
+followed by tales of the Round Table Knights from Malory, and <i>Geraint
+and Enid</i> and <i>The Passing of Arthur</i> from Tennyson. By this plan one
+selection serves as the setting for another, and a child often can see
+how the real things of life prove the inspiration for great writers.
+Again, in the fourth volume is <i>The Pine Tree Shillings</i>, a New England
+story or tradition for girls; this is followed immediately by <i>The
+Sunken Treasure</i>, a vivid story for boys; next comes <i>The Hutchinson
+Mob</i>, a semi-historical sketch, followed in turn by <i>The Boston
+Massacre</i>, which is pure history. The cycle is completed by <i>The Landing
+of the Pilgrims</i> and <i>Sheridan&#8217;s Ride</i>, two historical poems.</p>
+
+<p><i>Graphic Classification of Masterpieces</i> on page 14 will show more
+clearly what is meant by the overlapping of subjects. In the column at
+the left are given the names of the subjects under which the selections
+have been classified, running from <i>Fables</i> to <i>Drama</i>, and <i>Studies</i>,
+the last name including all the varied helps given by the author. Across
+the top of the table the Roman numerals, I to X, indicate the numbers of
+the ten volumes. The shading in the squares shows the relative quantity
+of material. In using the <i>Classification</i>, &#8220;read across to learn in
+which volume the subjects are treated; read down to find what each
+volume contains.&#8221; Thus: The first volume contains (reading down), a
+great many fables, many fairy stories and <span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span>much folk lore, a few myths
+and old stories, a little biography, some biblical or religious
+material, selections that may be classified under the heads of nature,
+humor and poetry; but there is no account of legendary heroes, no travel
+and adventure, no history, nothing of a patriotic nature and no drama.
+On the other hand (reading across), there are many fables in the first
+volume, a few in the second but none thereafter; a few myths and some
+classic literature are found in the first three volumes, more in the
+fourth and fifth, but the number and quantity decrease in the sixth and
+do not appear thereafter; nature work is to be found in all the volumes
+but is strongest in the seventh; drama appears in the eighth and the
+ninth. Biography has a place in all volumes, but is strongest in the
+seventh; while the Studies, appearing in all volumes, reach their
+highest point in the tenth.</p>
+
+
+<h3 class="section"><a name="The_Studies_and_Helps" id="The_Studies_and_Helps"></a><i>3. The Studies and Helps</i></h3>
+
+<p>As has been said, the chief factors in making <i>Journeys Through
+Bookland</i> unique and of greatest value are the many helps that are given
+the readers, young and old. These helps are varied in character and are
+widely distributed through the volumes. They must be considered one at a
+time by the person who would assist others to use them to the best
+purpose. These helps consist of what are technically known as studies,
+notes, introductory notes, biographies, pronouncing vocabularies,
+pictures, tables of contents and index. The following comments will make
+clear the purpose of each.</p>
+
+<p><span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span></p>
+
+<p class="titlepage"><span class="smcap">Graphic Classification of Masterpieces</span></p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="Graphic Classification of Masterpieces">
+<tr>
+  <td class="cell1">Analysis</td>
+  <td class="tdc cell1">I</td>
+  <td class="tdc cell1">II</td>
+  <td class="tdc cell1">III</td>
+  <td class="tdc cell1">IV</td>
+  <td class="tdc cell1">V</td>
+  <td class="tdc cell1">VI</td>
+  <td class="tdc cell1">VII</td>
+  <td class="tdc cell1">VIII</td>
+  <td class="tdc cell1">IX</td>
+  <td class="tdc cell1 br">X</td>
+</tr>
+<tr>
+  <td class="cell1">Fables</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell2 bb" rowspan="15" style="vertical-align: middle; font-size: smaller;">Volume <br />
+X is a <br />Guide for <br />Parents, <br />Teachers <br />
+and <br />Students</td>
+</tr>
+<tr>
+  <td class="cell1">Fairy Stories<br />Folk Lore</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+</tr>
+<tr>
+  <td class="cell1">Stories Old<br />and New</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+</tr>
+<tr>
+  <td class="cell1">Myths and<br />Classic Literature</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+</tr>
+<tr>
+  <td class="cell1">Legendary Heroes</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+</tr>
+<tr>
+  <td class="cell1">Biography</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+</tr>
+<tr>
+  <td class="cell1">Travel and Adventure</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+</tr>
+<tr>
+  <td class="cell1">History</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+</tr>
+<tr>
+  <td class="cell1">Biblical, Moral, Religious</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+</tr>
+<tr>
+  <td class="cell1">Patriotism</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+</tr>
+<tr>
+  <td class="cell1">Nature</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch2">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+</tr>
+<tr>
+  <td class="cell1">Humor</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+</tr>
+<tr>
+  <td class="cell1">Poetry</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+</tr>
+<tr>
+  <td class="cell1">Drama</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+  <td class="cell1hatch1">&nbsp;</td>
+</tr>
+<tr>
+  <td class="cell1 bb">Studies</td>
+  <td class="cell1hatch1 bb">&nbsp;</td>
+  <td class="cell1hatch1 bb">&nbsp;</td>
+  <td class="cell1hatch1 bb">&nbsp;</td>
+  <td class="cell1hatch1 bb">&nbsp;</td>
+  <td class="cell1hatch1 bb">&nbsp;</td>
+  <td class="cell1hatch1 bb">&nbsp;</td>
+  <td class="cell1hatch1 bb">&nbsp;</td>
+  <td class="cell1hatch1 bb">&nbsp;</td>
+  <td class="cell1hatch2 bb">&nbsp;</td>
+</tr>
+</table>
+
+<p>Read across to learn in which volumes the subjects are treated; read down to find what each volume contains.</p>
+
+<p><span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span><a name="a_Studies" id="a_Studies"></a><i>a. Studies.</i> Every volume contains a large number of helps of different
+kinds for young people. Usually these are in connection with some
+selection and are adapted to the age of the boy or girl most likely to
+read the piece. As each study is presented in an interesting and
+informal manner and does not cover many points, it is felt that young
+people will enjoy them only less than the masterpieces themselves.</p>
+
+<p>The studies are arranged as systematically as the selections, and are
+graded even more carefully. Their scope and method will be more fully
+explained in subsequent sections of this volume.</p>
+
+<p><a name="b_Notes" id="b_Notes"></a><i>b. Notes.</i> These consist of explanatory notes, that are placed wherever
+they seem to be needed. They explain words not usually found readily in
+the dictionaries, foreign phrases, and such historical or other
+allusions as are necessary to an understanding of the text by youthful
+readers. These notes are placed at the bottom of the page that needs
+explanation, and so are immediately available. In such a position they
+are more liable to be read than if gathered together at the end of the
+volume. They are neither formal nor pedantic, and are as brief as is
+consistent with clearness. Their purpose is to help the reader, not to
+show the writer&#8217;s knowledge.</p>
+
+<p><a name="c_Introductory_Notes" id="c_Introductory_Notes"></a><i>c. Introductory Notes.</i> At the heads of selections from longer
+masterpieces are introductory notes which give some little account of
+the larger work and enough of the context so that the selection may not
+seem a fragment. In some instances this note gives the historical
+setting of a masterpiece or tells something of the circumstances under
+<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span>which it was written, when those facts help to an appreciation of the
+selection. Sometimes an acquaintance with the personality of an author
+is so necessary to a clear understanding of what he writes that a brief
+sketch of his life or a few anecdotes that show his character are given
+in the note preceding what he has written. These notes are printed in
+the same type as the text, especially in the first four volumes, for
+they are felt to be worthy of equal consideration.</p>
+
+<p><a name="d_Biographies" id="d_Biographies"></a><i>d. Biographies.</i> Besides the biographical notes appended to selections,
+there are not a few more pretentious sketches that have been given
+prominent titles in the body of the books. These have been prepared
+expressly for this work, either by the editor or by some one fully
+acquainted with the subject and accustomed to writing for young people.
+These biographies are written from the point of view of young people,
+and contain the things that boys and girls like to know about their
+favorite authors or some of the noble men and women whose lives have
+made this world a better and a happier place in which to live. In the
+earlier volumes they are brief, simple, and largely made up of
+anecdotes; later they are more mature, and show something of the reasons
+that make the lives interesting and valuable material for studies. There
+are, also, in the books a few lengthy extracts from some of the world&#8217;s
+great biographies. Care has been exercised in the selection of these, so
+that in each case, while the extract is of interest to young people, it
+is also fairly representative of the larger work from which it has been
+taken.</p>
+
+<p><a name="e_Pronouncing_Vocabularies" id="e_Pronouncing_Vocabularies"></a><i>e. Pronouncing Vocabularies.</i> Children often <span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span>find difficulty in
+pronouncing proper names, and not many have at hand any books from which
+they can obtain the information. At the end of every volume is a list of
+the important proper names in that book, and after each name the
+pronunciation is given phonetically, so that no dictionary or other
+reference work is necessary. Since each volume has its own list, it is
+not necessary even to lay down the book in hand and take up the last
+volume.</p>
+
+<p><a name="f_Pictures" id="f_Pictures"></a><i>f. Pictures.</i> The illustrations in the several volumes form one great
+feature in the general plan. They alone will do much to interest
+children in the reading, and if attention is called to them they will be
+found to increase in value. The color plates in each volume, the
+numerous fine halftones of special design, and the hundreds of pen and
+ink drawings that illuminate the text have been painted and drawn for
+these books, and will be found nowhere else. More than twenty artists
+have given their skill and enthusiasm to make the books brighter,
+clearer, and more inspiring. The initial letters and the many fine
+decorations also belong exclusively to the set, and combine to give it
+esthetic value. Everything of this nature will command attention and
+hold interest.</p>
+
+<p><a name="g_Tables_of_Contents" id="g_Tables_of_Contents"></a><i>g. Tables of Contents.</i> Beginning each volume is a table showing the
+contents of the volume and the names of authors. It forms a means of
+ready reference to the larger divisions of the work and is a handy
+supplement to the index.</p>
+
+<p><a name="h_Index" id="h_Index"></a><i>h. Index.</i> At the end of the tenth volume is an index to the whole ten
+volumes. There may be found not only each author and title in
+alphabetical order, but also a complete classification of the
+selec<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span>tions in the set. To find the history in this series, look in the
+index under the title &#8220;History.&#8221; When a topic has as many sub-divisions
+as has &#8220;Fiction,&#8221; for instance, or &#8220;Poetry,&#8221; cross references are given.</p>
+
+
+<h3 class="section"><a name="The_Nursery_Rhymes" id="The_Nursery_Rhymes"></a><i>4. The Nursery Rhymes</i></h3>
+
+<p class="opening"><span class="dropcapw"><span class="hide">W</span></span><span class="upper">hen</span> a child is taught the little nursery rhymes which to us may seem to
+be meaningless jingles, he is really peeping into the fields of
+literature, taking the first steps in those journeys that will end in
+Shakespeare, Browning and Goethe. When his infantile ear is caught by
+the lively rhythm and the catchy rhymes, he is receiving his first
+lessons in poetry. That the lessons are delightful now he shows by his
+smiles, and in middle life he will appreciate the joy more keenly as he
+teaches the same little rhymes to his own children.</p>
+
+<p>Most children know the rhymes when they come to school and they will
+like to read them there. A child&#8217;s keenest interest is in the things he
+knows. Later, perhaps in the high school or the grammar grades, he will
+be interested again in learning that the rhymes are not wholly frivolous
+and that there may be reasons why these rhymes should have survived for
+centuries in practically unchanged forms. Some of the facts that may be
+brought out at various times are the following:</p>
+
+<p>I. There is a hidden significance in some of the nursery rhymes. For
+instance:</p>
+
+<p><i>a. Daffy-Down-Dilly</i> (page 47). In England one of the earliest and most
+common of spring <span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span>flowers is the daffodil, a bright yellow, lily-like
+blossom, with long, narrow green leaves all growing from the bulb. The
+American child may know them as the big double monstrosities the florist
+sells in the spring, or he may have some single and prettier ones
+growing in his garden. The jonquil and the various kinds of narcissus
+are nearly related white or white and pink flowers. This picture on page
+47 of <i>Journeys Through Bookland</i> shows a few daffodils growing. Miss
+Daffy-Down-Dilly, then, in her yellow petticoat and her green gown, is
+the pretty flower; and the rhyme so understood brings a breath of spring
+with it.</p>
+
+<p><i>b. Humpty Dumpty</i> (page 55). This is really a riddle of the
+old-fashioned kind. There are many of them in English folk lore. Usually
+a verse was repeated and then a question asked; as, &#8220;Who was Humpty
+Dumpty?&#8221; The artist has answered the question for us in the picture.
+Possibly many people who learned the rhyme in childhood never thought of
+Humpty as an egg.</p>
+
+<p>What answer would you give to the question, Who was Taffy (page 54)? For
+similar riddles, see <i>Nancy Netticoat</i> (Vol. I, p. 72), <i>The Andiron</i>
+(page 245) and <i>St. Ives</i> (page 202).</p>
+
+<p>II. Some were intended to teach certain facts. For instance:</p>
+
+<p><i>a.</i> When children were taught the alphabet as the first step to
+reading, <i>The Apple Pie</i> (page 43) gave the letters in their order,
+including the obsolete &#8220;<i>Ampersand</i>.&#8221;</p>
+
+<p><i>b.</i> As children grew a little older and could begin to read what they
+already knew, things in which the same words were many times repeated
+were <span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span>helpful. Two examples are <i>The House that Jack Built</i> (page 56)
+and <i>There Is the Key of the Kingdom</i> (page 45).</p>
+
+<p><i>c.</i> The numbers from one to twenty were taught by <i>One, Two</i> (page 41).</p>
+
+<p><i>d.</i> The days of the week were taught by <i>Solomon Grundy</i> (page 42),
+which with its amusing provision for repetition is sure to catch the
+fancy of a child and keep his thoughts on the words.</p>
+
+<p>III. Some of them teach kindness to animals:</p>
+
+<p><i>a. Dapple Gray</i> (page 22).</p>
+
+<p><i>b. Ladybird</i> (page 12). This is sometimes known as ladybug, and the
+<i>bug</i> is the little, round, reddish beetle whose wings are black dotted.
+It is a pretty, harmless beetle that gardeners like to see around their
+plants. Children repeat the rhyme when they find the beetle in the house
+and always release it to &#8220;fly away and save its children.&#8221;</p>
+
+<p><i>c. Poor Robin</i> (page 16).</p>
+
+<p><i>d.</i> Old Mother Hubbard&#8217;s amusing adventures with her dog (page 24)
+leave a very kindly feeling toward both.</p>
+
+<p>IV. Some are philosophical, or inculcate moral precepts or good habits,
+in a simple or amusing way.</p>
+
+<p><i>a. Early to Bed</i> (page 34).</p>
+
+<p><i>b. Little Bo-Peep</i> (page 9). Is it not better to let cares and worries
+alone? Why cry about things that are lost?</p>
+
+<p><i>c. Three Little Kittens</i> (page 13) suggests care for our possessions.</p>
+
+<p><i>d. There Was a Man</i> (page 60) has the same idea that we often hear
+expressed in the proverb &#8220;A hair from the same dog will cure the
+wound.<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span>&#8221;</p>
+
+<p><i>e. Rainbow in the Morning</i> (page 48) has some real weather wisdom in
+it.</p>
+
+<p><i>f. There Was a Jolly Miller</i> (page 47), gives a good lesson in
+contentment.</p>
+
+<p><i>g. A Diller, A Dollar</i> (page 59).</p>
+
+<p><i>h. See a Pin</i> (page 59) suggests in its harmless superstition a good
+lesson in economy.</p>
+
+<p><i>i. Little Boy Blue</i> (page 33) makes the lazy boy and the sluggard
+unpopular.</p>
+
+<p><i>j. Come, Let&#8217;s to Bed</i> (page 34) ridicules sleepiness, slowness and
+greediness.</p>
+
+<p>V. Mother&#8217;s loving care, at morning and evening, when dressing and
+undressing the baby or when putting the little folks to bed, has
+prompted several of the rhymes:</p>
+
+<p><i>a. This Little Pig</i> (page 5) the mother repeats to the baby as she
+counts his little toes.</p>
+
+<p><i>b. Pat-a-Cake</i> (page 4) is another night or morning rhyme; and here
+mother &#8220;marks it with&#8221; the initial of <i>her</i> baby&#8217;s name and puts it in
+the oven for her baby and herself. Another of similar import is: <i>Up,
+Little Baby</i> (page 7).</p>
+
+<p><i>c. Diddle, Diddle, Dumpling</i> (page 7) has kept many a little boy awake
+till he was safely undressed.</p>
+
+<p><i>d.</i> What an old rhyme must <i>Bye, Baby Bunting</i> be (page 6)! It goes
+back to the days when &#8220;father went a-hunting, to get a rabbit skin to
+wrap Baby Bunting in.&#8221; Some one, more recently, has added the idea of
+<i>buying</i> the rabbit skin.</p>
+
+<p><i>e.</i> The simple little lyric, <i>Twinkle, Twinkle, Little Star</i> (page 44)
+has filled many a childish soul with gentle wonder, and many a
+night-robed lassie has wandered to the window and begged the <span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span>little
+stars to keep on lighting the weary traveler in the dark.</p>
+
+<p>VI. Some of the rhymes are pure fun, and even as such are worthy of a
+place in any person&#8217;s memory:</p>
+
+<p><i>a. There Was an Old Woman</i> (page 36); <i>Great A</i> (page 14); <i>Jack Be
+Nimble</i> (page 28); <i>To Market, to Market</i> (page 6), and <i>There Was a
+Monkey</i> (page 14); <i>Goosey-Goosey</i> (page 21); <i>Hey, Diddle, Diddle</i>
+(page 23); <i>There Was a Rat</i> (page 14), and others, belong to this
+category.</p>
+
+<p><i>b. Three Blind Mice</i> (page 12) is an old-fashioned <i>Round</i>. Many a band
+of little folks has been divided into groups and has sung the
+nonsensical rhymes until every boy and girl broke down in laughter. Do
+you poor modern people know how it was done? The school was divided into
+a half-dozen sections. The first section began to sing and when its
+members reached the end of the first line, the second section began; the
+third section began when the second reached the end of the first line,
+and so on till all sections were singing. When any section reached the
+word &#8220;As&mdash;&#8221; they began again at the beginning. The first line was
+chanted in a low, slow monotone, the others were sung as rapidly as
+possible to a rattling little tune on a high pitch. Imagine the noise,
+confusion and laughter. Many a dull afternoon in school has been broken
+up by it, and countless children have returned to their little tasks
+with new enthusiasm. The old things are not always to be scorned.</p>
+
+<p><i>c. Old King Cole</i> (page 52) is a jolly rhyme, and the illustration is
+one of the finest in the books. Everybody should study it.</p>
+
+<p><span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span>VII. Two, at least, of the rhymes are of the &#8220;counting out&#8221; kind. Often
+children want to determine who is to be &#8220;It&#8221; in a game of tag, who is to
+be blinded in a game of hide-and-seek, or who takes the disagreeable
+part in some other play. They are lined up and one begins to &#8220;count out&#8221;
+by repeating a senseless jingle, touching a playmate at each word. The
+one on whom the last word falls is &#8220;out,&#8221; safe from the unpleasant task.
+One at a time they are counted out till only the &#8220;It&#8221; remains.</p>
+
+<p><i>Wire, brier</i> and <i>One-ery, Two-ery</i> (page 51) are examples. The artist
+has shown a group being counted out, in her very lifelike picture on
+pages 50 and 51.</p>
+
+<p>VIII. There are some errors in grammar in the rhymes, many words you
+cannot find in a dictionary, and some of the rhymes may seem a little
+coarse and vulgar; but they have lived so long in their present form
+that it seems almost a pity to change them. Encourage the older children
+to find the errors and to criticise and correct as much as they wish.
+Probably they will not like the rhymes in their new form and correct
+dress any better than we would.</p>
+
+<p>IX. There is really a practical value, too, in a knowledge of the
+nursery rhymes. Allusions to them are found in all literature and many a
+sentence is unintelligible to him who does not recognize the nursery
+rhyme alluded to. It would be safe, almost, to say that not a day passes
+in which the daily papers do not contain allusions to some simple little
+lines dear to our childhood. They are not to be sneered at; they are to
+be loved in babyhood <span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span>and childhood, understood in youth, and treasured
+in middle life and old age.</p>
+
+
+<h3 class="section"><a name="Discussion_of_Each_Volume" id="Discussion_of_Each_Volume"></a><i>5. Discussion of Each Volume</i></h3>
+
+<p class="opening"><span class="dropcapo"><span class="hide">O</span></span><span class="upper">ur</span> <i>Journeys Through Bookland</i> contains a wealth of material and a host
+of studies and helps. It is not an easy matter to get even the plan of
+it into one&#8217;s mind in a few minutes. The object of this volume is to
+guide the parent, teacher or student and to show as many of the
+important phases of <i>Journeys</i> as is possible. In other chapters we take
+up different methods of reading or show ways in which the books can be
+used to accomplish certain definite purposes, and how to select the
+material needed for any occasion. By means of cross references to the
+other books this volume serves as a key to them all.</p>
+
+<p><a name="Ch_II_Volume_One" id="Ch_II_Volume_One"></a><i>Volume One.</i> The first sixty pages of this volume are given over to the
+best known of the old nursery rhymes. That they are old is one of their
+great merits. That all cultured people know them is proof of their value
+and interest. The words are old words but the pictures are new. Every
+one was drawn expressly for <i>Journeys</i> and all show the conception of
+artists who have not lost the appreciation of childhood. Little children
+love the rhymes and will learn them and repeat them at sight of the
+pictures long before they can read. Elsewhere in this volume are
+suggestions which show how the rhymes may be used profitably.</p>
+
+<p><i>Journeys</i> does not pretend to teach reading in the sense in which it is
+understood in the kindergarten and the early primary grades. Rather it
+begins to <span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span>be of service as a reader only after the child has been
+taught how to read for himself. Children in the third grade will read
+many stories for themselves; from the fourth grade on they are nearly
+all independent readers. Every teacher knows, however, that children
+like to listen to stories which it would be utterly impossible for them
+to read, and that later they best love to read the things which they
+have heard from the lips of parent or teacher. Therefore, the literature
+of the first volume forms a treasure house from which the parent may
+draw many a good story to tell, and where he may find more that will be
+excellent for him to read aloud. The taste for the best literature is
+often formed in early childhood. So no child is too young for <i>Journeys</i>
+and no child is too old. The real things we read over and over with
+increasing interest as the years go on. Elsewhere in this volume are
+directions for story-telling, and many especially good selections are
+named. What the parent shall read aloud is best left to him to
+determine; at first he will do well not to read aloud any of the
+comments with which the books are fitted. If he finds that the interest
+warrants it he can use the comments for himself and ask questions that
+will lead to thoughtful consideration of what is being read, even by
+very young children. The only thing necessary is that the reading should
+be taken seriously and that the parent should be as much interested as
+the youthful listener.</p>
+
+<p>There are stories and poems, fairy tales and folk lore, biography in
+simple anecdotes of the great favorites of children and toward the end
+of the volume a few rather difficult selections for older <span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span>children. In
+this volume as in all of them it is hoped that parents will look over
+the table of contents again and again, select the things that seem best
+and suit them to the occasion. How beautiful the lullabies are for the
+babies, and how much the older boys and girls will enjoy them when read
+at baby&#8217;s side! When the children are interested in the whimsical rhymes
+of Stevenson, his biography should be read; and Eugene Field&#8217;s life is
+interesting when his sweet poems are lending their charm to the evening
+by the fireside. Some of the fables contain deep lessons that may be
+absorbed by the older children while the younger ones are interested in
+the story only.</p>
+
+<p><a name="Ch_II_Volume_Two" id="Ch_II_Volume_Two"></a><i>Volume Two.</i> The selections in the first part of the second volume are
+intentionally simpler than the last ones in the first volume. It is a
+good thing for a child to handle books, to learn to find what he wants
+in a book the greater part of which is too difficult for him. Oliver
+Wendell Holmes thought it was an excellent thing for himself that he had
+had the opportunity to &#8220;tumble around in a library&#8221; when he was a
+youngster. Every student who has had the opportunity so to indulge
+himself has felt the same thing. There are so many books published every
+month and so much reading to be done that a discriminating sense must be
+cultivated. No one can read it all or even a small part of it. Older
+people will discriminate by reading what they like. Children must learn
+to handle books and to find out what they are able to read. To put into
+their hands all they can read of the simple things they like is not
+wise. Most children read too much. Fairy stories are all right in their
+way, but to give a child <span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span>all the fairy tales he can read is a serious
+mistake. Hundreds of pretty, inane, senseless stories in attractive
+bindings with pretty, characterless illustrations tempt the children to
+vitiate their taste in reading, long before they are able by themselves
+to read the best literature.</p>
+
+<p>Because they are valuable, there are fairy stories in <i>Journeys</i>;
+because their use may be abused, there are few of them; because
+something else should be read with them, they are not all in one volume
+nor in one place in a volume. The same rule of classification applies to
+other selections than fairy tales.</p>
+
+<p>This is the volume in which the myths appear in the form of simple
+tales: three from the northland, two from Greece. Each story is
+attractive in itself, has some of the interest that surrounds a fairy
+tale and serves as the fore-shadowing of history. That they are
+something more than fairy tales is shown in the comments and elementary
+explanations that accompany them.</p>
+
+<p>Little poems, lullabies, pretty things that children love are dropped
+into the pages here and there. Children seem to fear poetry after they
+have been in school a little while, largely because they have so much
+trouble in reading it aloud under the criticisms of the teacher and
+because the form has made the meaning a little difficult. It is,
+however, a great misfortune if a person grows up without an appreciation
+of poetry when it is so simple a matter to give the young an abiding
+love for it. A little help now and then, a word of appreciation, a
+manifestation of pleasure when reading it and almost without effort the
+child begins to read and love poetry as he does good prose.</p>
+
+<p><span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span>The beginnings of nature study appear in the second volume in the form
+of beautiful selections that encourage a love for birds and other
+animals, and <i>Tom, The Water Baby</i>, is a delightful story, half fairy
+tale, half natural history romance.</p>
+
+<p>In this volume also is found <i>The King of the Golden River</i>, perhaps the
+best fairy story ever written.</p>
+
+<p><a name="Ch_II_Volume_Three" id="Ch_II_Volume_Three"></a><i>Volume Three.</i> A glance at the table of contents in the third volume
+will show the general nature of the selections. Fairy stories or tales
+with a highly imaginative basis predominate. There are some that are
+humorous, as for instance the selections from the writings of Lewis
+Carroll, and one or two of the poems.</p>
+
+<p>The long selection from <i>The Swiss Family Robinson</i> is a good
+introduction to nature literature and contains all of the book that is
+worth reading by anyone. The two tales from <i>The Arabian Nights</i> are
+among the best in that collection and are perhaps the ones most
+frequently referred to in general literature and in conversation. The
+story of Beowulf and Grendel is a prose rendering of the oldest poem in
+the English language, and valuable for that reason. While it is rather
+terrifying in some of its details its unreality saves it from harmful
+possibilities. Parents and teachers are inclined rather to overestimate
+the unpleasant consequences of reading terrifying things when they are
+of this character. Few, if any, children will read the story if it
+displeases them and those who do will not retain the disagreeable
+impression it makes for any great length of time.</p>
+
+<p>In this volume we begin our acquaintance with <span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span>the legendary heroes of
+the great nations. <i>Frithiof</i>, <i>Siegfried</i>, <i>Robin Hood</i> and <i>Roland</i>
+are all in this book, to be followed by <i>Cid Campeador</i> in Volume IV.</p>
+
+<p><a name="Ch_II_Volume_Four" id="Ch_II_Volume_Four"></a><i>Volume Four.</i> In this volume, with many fine poems and tales
+interspersed, is found the continuation of the legendary hero stories
+begun in Volume III, also as a natural sequence, a cycle of history that
+begins with a story and ends in a narrative of an actual historical
+occurrence. These may be found in the six selections beginning with <i>The
+Pine-Tree Shillings</i>. The article on <i>Joan of Arc</i>, the story of
+<i>Pancratius</i> and the account of <i>Alfred the Great</i>, though not related
+in any way, yet still serve to carry out the idea that this volume is
+largely an introduction to readings in history.</p>
+
+<p><i>The Attack on the Castle</i> is a stirring account of a medi&aelig;val battle.
+It prepares the way to the medi&aelig;val spirit made more prominent in the
+next volume. In <i>The Arickara Indians</i> the boys will begin to find the
+interest that the aborigines always have for our youth.</p>
+
+<p><a name="Ch_II_Volume_Five" id="Ch_II_Volume_Five"></a><i>Volume Five.</i> The legendary great, the half-historical personages that
+have been for so many centuries the inspiration of youths of many lands
+are found again in this volume in the person of the Greek heroes and, at
+much greater length, in England&#8217;s famous King Arthur. The story of his
+Round Table and its knights is told in an extremely interesting way. The
+spirit of Sir Thomas Malory is retained in his quaint accounts and
+Tennyson&#8217;s noble poems show how great a factor the legends of Arthur
+have been in literature. Besides the articles that are instructive there
+are a <span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span>few that are highly entertaining or merely humorous, for every
+child has a right to read sometimes for amusement only. It will be seen
+that some classes of literature have ceased to appear and that others
+are coming into view. The &#8220;spiral arrangement&#8221; is nicely illustrated in
+the reappearance of history and the legendary heroes and in the
+disappearance of myths and fairy tales, for which there is, however,
+some compensation in the highly imaginative <i>Gulliver&#8217;s Travels</i>, an
+extract from Dean Swift.</p>
+
+<p>In this volume are also included a little cycle on one of the great
+heroes of the Scotch, Robert Bruce. These carry on the series of
+selections on legendary heroes, begun in Volume Three. These are
+followed by stories of adventure, of frontier life in the Central West,
+tales from the early history of our country. <i>Reminiscences of a
+Pioneer</i>, <i>The Buccaneers</i>, <i>Captain Morgan at Maracaibo</i>, and
+<i>Braddock&#8217;s Defeat</i> are examples of this kind of literature. These
+selections are authentic accounts from original sources and are among
+those things which boys really like, but which have not heretofore been
+accessible to them. Patriotic Poems, somewhat in the same vein, are
+given where they will be noticed and read.</p>
+
+<p><a name="Ch_II_Volume_Six" id="Ch_II_Volume_Six"></a><i>Volume Six.</i> In this volume the series of legendary and semi-historical
+selections is completed. It includes the best of the legends concerning
+the national hero of Persia, also the story of <i>The Tournament</i> from
+<i>Ivanhoe</i>, inserted here as a fitting introduction to Scott&#8217;s novels.
+There are several examples of nature studies in literature and several
+fine stories that have their place in the education of <span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span>everyone. The
+best of these stories and one of the finest ever written is <i>Rab and His
+Friend</i>. A cycle of a religious nature is found in those selections
+which are named <i>The Imitation of Christ</i>, <i>The Destruction of
+Sennacherib, Ruth</i>, and <i>The Vision of Belshazzar</i>.</p>
+
+<p>The longest and best story in this book is <i>A Christmas Carol</i> by
+Charles Dickens. This is a model in construction and furnishes the basis
+for all the studies that would naturally accompany the most elaborate
+piece of fiction.</p>
+
+<p>The sixth volume is one of interest and one that will give plenty of
+opportunity for study to those who have the inclination to follow out
+the suggestions that accompany the selections. Close study should be
+upon those things which are already somewhat familiar. The high school
+student will find his time more profitably spent in working on the
+things in this volume than in poring over the more difficult
+masterpieces that are sometimes prescribed in courses of study. What we
+desire is power to read, understand and appreciate, and that is obtained
+by study upon those things that interest us and about which we know
+enough to enable us to use our minds to best advantage.</p>
+
+<p><a name="Ch_II_Volume_Seven" id="Ch_II_Volume_Seven"></a><i>Volume Seven.</i> On the whole, this is a more mature volume than any that
+has preceded it and yet there are some selections of a simple character
+inserted for the purpose of interesting those who cannot yet read very
+heavy literature. From this point on, however, there is little
+difference in the grade of the volumes. The way in which the literature
+is studied marks the difference in rank. In fact, when a person can read
+intelligently and with <span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span>appreciation such selections as appear in this
+volume he can read anything that is set before him. There may be some
+things that will require effort and perhaps explanation, but it is
+merely a question of vocabulary and parallel information. Besides the
+stories, there are selections in every department of literature except
+those that have been passed in the progress of the plan of grading. The
+legendary heroes, the myths and the stories of classic literature are no
+longer to be found. In their place are more selections on nature, more
+of biography and history and the real literature of inspiration. Some of
+the last group appear in the form of fine lyrics which everyone loves
+but which are made more attractive and inspiring by proper setting and
+helpful interpretations.</p>
+
+<p>In this volume biography, which has had its share of attention in every
+volume, becomes a strong feature, especially in the fine sketches that
+are given of famous writers. It is a fact that most writers have lived
+so quietly and in such comparative seclusion that their lives are devoid
+of the exciting events that make the liveliest appeal to young people,
+yet every one has done so much for the world and in such varied ways
+that there are things in their lives that interest and enthrall the mind
+if only they are properly presented. Our great American writers have
+been noble men and women and their lives are models worthy of imitation.
+That is the thing for us to glory in and for our young people to know,
+for it is not by any means a universal fact that people who wrote
+inspiring literature have lived inspiring lives. The literature of
+nature is probably stronger in this volume than in any other and the
+selections <span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span>are of the most absorbing kind. It is not expected to give a
+vast amount of information but to create a love for reading about the
+great facts in nature and an appreciation of the beauties in the
+writings of those who love it. This is the last volume in which there is
+much fiction and it marks the beginnings of the really fine essays which
+form a large part of the succeeding volume. The history is of a higher
+type and includes excerpts from the writings of some of our greatest
+historians.</p>
+
+<p><a name="Ch_II_Volume_Eight" id="Ch_II_Volume_Eight"></a><i>Volume Eight.</i> The notable feature of the eighth volume is the
+selection from the plays of Shakespeare. Nothing is more important in
+the literary education of a child than his proper introduction to the
+greatest of our great writers, and this has been accomplished in the
+following manner. <i>The Tempest</i> was selected as the play, because it is
+simple and lively in its style, appeals to young people and has in it
+just enough of the marvelous, the beautiful and the terrible to make a
+decided impression on one who reads it for the first time. There are
+other plays that are greater but none that may be taught so easily to
+juvenile readers. In this volume there is a brief article on the reading
+of Shakespeare; this is followed by the inimitable tale of <i>The Tempest</i>
+by Charles and Mary Lamb; this by the play, <i>The Tempest</i>, practically
+as it was written; and this, in turn, by a long series of interesting
+studies on the drama. The whole is attractive from start to finish and
+the studies are certain to lead the reader to think.</p>
+
+<p>The drama, then, is the new feature of the ninth volume, but this is
+also the volume of fine essays, the highest type of prose. The essays
+are best rep<span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span>resented by the following titles, all of which may be found
+in the table of contents of the eighth volume: <i>The Alhambra</i> by Irving,
+<i>A Bed of Nettles</i> by Allen, <i>Dream Children</i>, by Charles Lamb. These
+titles, too, show how broad is the field covered by the essay and how
+delightful a variety there may be in the one style of composition. The
+departments of Travel and Adventure, Patriotism and History have not
+been neglected. On the whole it is a serious volume, one which will give
+the high school student and the older members of the family a plentiful
+supply of good reading material and a suggestion of study for the
+evenings of many a winter day.</p>
+
+<p><a name="Ch_II_Volume_Nine" id="Ch_II_Volume_Nine"></a><i>Volume Nine.</i> Most of the selections in this volume are rather
+difficult reading for young people but there are helps enough to make
+the task a pleasant one. The series of essays, begun in Volume Eight is
+here continued, with <i>The Ascent of the Jungfrau</i> by Tyndall, <i>A
+Dissertation upon Roast Pig</i> and <i>The Praise of Chimney Sweepers</i> by
+Charles Lamb, and two representative essays by Sir Francis Bacon. The
+studies are of an advanced nature and if carried out as intended will be
+of decided service to high school students. In a few cases the
+selections are simple, like <i>Robert of Lincoln</i>, for instance, but the
+studies that accompany it are the more complete. It is hoped by such an
+arrangement to show how inexhaustible a field for study literature
+offers and how many things there are to be known about the least of our
+fine lyrics. <i>The Ode on a Grecian Urn</i> is of a different type. This
+poem makes no direct appeal to sentiment or to the knowledge of the
+average young <span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span>person, yet by study it is seen to be a lyric of
+exquisite beauty. This volume introduces the writings of several authors
+who have not before appeared because of their slight appeal to young
+people. Among them may be mentioned particularly Addison, Boswell, and
+Bacon. The volume contains also orations that should be studied as
+models, viz: <i>The Gettysburg Address</i>, <i>The Fate of the Indians</i> and
+<i>The Call to Arms</i>. Each has a series of studies following it. As a
+relief from the serious work of the volume there are included an extract
+from <i>Pickwick Papers</i>; that fascinating story, <i>The Gold-Bug</i>; and the
+delightful essay, <i>Modestine</i>, an extract from <i>Travels with a Donkey</i>,
+by Stevenson.</p>
+
+<p><a name="Ch_II_Volume_Ten" id="Ch_II_Volume_Ten"></a><i>Volume Ten.</i> At the end of this volume are given two tables; the first
+arranges the leading English writers chronologically, and the second
+follows a similar plan with the American authors. The index with which
+the book closes is for the entire series and enables the reader to find
+the selections readily, if he knows either the title or the name of the
+author; to find all the selections on any given topic; and to find the
+studies quickly if they are wanted. The index should prove as useful as
+any of the devices with which the books are filled.</p>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III<br />
+<br />
+<span class="smcap">Pictures and Their Use</span></h2>
+
+
+<h3 class="section"><a name="I_What_Should_We_Notice_in_a_Picture" id="I_What_Should_We_Notice_in_a_Picture"></a><i>I. What Should We Notice in a Picture?</i></h3>
+
+<p class="opening"><span class="dropcapi"><span class="hide">I</span></span><span class="upper">n his</span> excellent little book, <i>How to Judge of a Picture</i>, Van Dyke
+speaks of the things that constitute a good painting as follows: &#8220;First,
+it is good in tone, or possess a uniformity of tone that is refreshing
+to the eye; second, it is good in atmosphere&mdash;something you doubtless
+never thought could be expressed with a paint-brush; third, it is well
+composed, and a landscape requires composition as well as a figure
+piece; fourth, &#8216;values&#8217; are well maintained, its qualities good, its
+poetic feeling excellent.&#8221; A second writer has said that beauty is
+manifested in four ways: by line, by light and shade, by color and by
+composition. We will consider these characteristics in order.</p>
+
+<p><a name="a_Line" id="a_Line"></a><i>a. Line.</i> We define the boundaries of objects and limit space by means
+of lines, and the use of lines constitutes drawing in pictures. These
+lines so used may be narrow or broad, straight or curved, perfect or
+broken, and definite or vague and undetermined. Upon their proper use,
+however, depends the beauty of proportion, the strength of personality
+and the impressions of truthfulness and reality. There are few rigid
+lines in nature. What we see is an impression of line, not sharp lines.
+If you look at a book you may see the sharp lines that <span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span>bound its edges
+but if you move it away a little or put it in shadow its boundaries are
+a little hazy and gradually you lose the impression of the lines that
+bound it and see only a book. A tree has no sharp outline except when it
+stands on a horizon and looks like a silhouette against the light.
+Ordinarily it is a mass of moving light and shade, of color. The leaves
+are not separately limited by lines and yet we know that leaves are
+there. If the artist drew each leaf separately and accurately the
+general effect would be extremely unnatural and instead of a tree we
+should see only the minute carefulness of a painter who had failed.
+Perfect lines, then, are rare in good pictures. The artist does not
+intend to make exact representations of reality but to convey the
+<i>appearance</i> of reality, and just in so far as he succeeds in conveying
+that appearance of reality is he successful. This does not mean that
+good drawing is not necessary in a picture; it merely tells you what
+constitutes good drawing. If the lines of the human figure are perfect
+it is almost certain that the figure will be strained, unnatural and
+without the appearance of life or motion. In a good picture the lines of
+good drawing are present but they are broken, subdued and lead into one
+another as do the lines we see in nature.</p>
+
+<p><a name="b_Light_and_Shade" id="b_Light_and_Shade"></a><i>b. Light and Shade.</i> It is the distribution of light and shadows in a
+picture that gives it the appearance of reality. A mere outline drawing
+is flat and has no semblance of life. The paintings of the ancient
+Egyptians are good examples of pictures that have no light and shade,
+and we all know how flat, stiff and unreal they appear. In pen and ink,
+and charcoal drawings, light is in<span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span>dicated by white and shadow by black,
+but between the two extremes are introduced various shades and tints of
+gray that make the variety of tone in shadows. This varying of the
+strength of shadows is everywhere in nature, though most of us are blind
+to it. In looking at any object for the purpose of distinguishing the
+lights and shades upon it we should half close our eyes and look
+intently at all parts of it. Under an inspection of this sort the
+building which we thought to be all of even light is seen to be dotted
+with patches of shadow of different intensity, showing that there are
+projections where the light from the sun strikes clearly or depressions
+into which it cannot enter so freely. A picture should give the same
+effect, and it is this effect, which includes also the distance from the
+eye as well as the shades from the light source, that we call &#8220;values.&#8221;
+If we look at a tree in the way described we see that it is covered with
+patches of green in light or dark tints and that these color values are
+the lights and shades of which we are speaking. There will be one point
+of highest light and an opposing point of deepest shadow, and upon the
+proper arrangement of these as well as upon the patches of minor
+importance depends the lifelike appearance of the objects in the
+picture. Van Dyke says there are three things concerning light and shade
+that should be looked for in every picture, viz.: that everything, no
+matter how small it be, has its due proportion of light and shade; that
+there be one point of compass from which the light comes; that there be
+a center of light in the picture itself, from which all other lights
+radiate and decrease until they are lost in the color or shadow.</p>
+
+<p><span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span><a name="c_Tone_and_Color" id="c_Tone_and_Color"></a><i>c. Tone and Color.</i> The first thing that seizes the eye in a painting
+is color, and the brightest, gayest colors are the ones that are most
+likely to attract. In fact they are the only colors that the
+inexperienced may see, for many a person is blind to the subdued tints
+and shades that are really the most attractive to the trained eye. Good
+coloring, then, does not mean brightness alone. It is the relationship,
+the qualities and the suitableness of colors one to another, whether
+they be in shadow, half-tint or light, that constitute good coloring.
+Brilliant dresses and inharmonious ornaments strike the refined eye with
+displeasure, the wearer is &#8220;loud&#8221; in her dress. Subdued colors relieved
+here and there with a harmonious dash of brightness show correct taste.
+So in pictures those that have the low or deep tones, that are rich and
+harmonious, are the ones that are most appreciated by the experts, and
+are the ones usually found to have been painted by the masters.
+Nevertheless if high color combines richness and harmony it shows a fine
+skill. Tone has to do with the quantity of color used in the painting,
+and harmony with the qualities of colors. Tone and harmony must combine
+to make perfect coloring.</p>
+
+<p><a name="d_Composition" id="d_Composition"></a><i>d. Composition.</i> If we study any great poem, drama or novel, one that
+is constructed with a due regard for unity, we find there is one central
+character or idea and that all other persons, all incidents, scenes and
+all the little devices that go to give reality to the conception are
+subordinated to the central person or idea. Unless this is done the
+creation lacks unity and therefore lacks force, beauty and coherence.
+The same facts hold true of a pic<span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span>ture. Every good picture is so
+arranged and drawn that the important idea is centralized and the parts
+are unified and harmonized until the whole is single in its effect. This
+is accomplished by what is called in the language of the painter,
+&#8220;composition.&#8221; Important things are recognized and lesser things
+subordinated to give beauty, clearness and brilliancy to the central
+idea. While these facts are most obvious in pictures that contain
+figures, it is no less true in landscapes or other pictures which
+contain no figures. For instance, a moonlight scene on the Hudson would
+have as its central idea the beauty of the light on the water and the
+mountains. To secure this the artist would keep down the lines of the
+mountains, subordinate the details in the foreground and place as the
+central idea in the picture the pale shimmering light from the moon
+whether that body be itself visible or not. Oftentimes in looking at a
+picture it is difficult to tell wherein its excellent composition lies,
+but the absence of strength and unity is unerringly felt.</p>
+
+<p><a name="e_Atmosphere_and_Perspective" id="e_Atmosphere_and_Perspective"></a><i>e. Atmosphere and Perspective.</i> We are all familiar with the diminished
+size of objects seen at a distance and realize that the apparent coming
+together of two parallel lines, as those of a railway track, is owing to
+the same cause. We know, too, that this diminishing must be shown in a
+picture or there is no sense of distance for the spectator. What is not
+so clear to us usually, is that there is as great a difference in color
+and the appearance of objects. The diminution of size is linear
+perspective and the change of color due to distance and atmospheric
+conditions is commonly called aerial perspective. The tendency among
+<span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span>amateurs is to paint a tree green no matter how far away from the
+spectator it is, while a little observation and study would show the
+veriest tyro that the green of a distant tree has faded till to the eye
+it looks a bluish gray. Moreover, outlines have faded and seem to flow
+into those of other objects, and all combine to give to the picture the
+true appearance of distance, which is what the artist seeks and the one
+who looks at the picture has a right to expect.</p>
+
+<p><a name="f_An_Application_of_the_Foregoing_Principles" id="f_An_Application_of_the_Foregoing_Principles"></a><i>f. An Application of the Foregoing Principles.</i> What has been said on
+this subject of judging a picture may be made clearer by an application
+to one of the pictures in <i>Journeys</i>. Let us take, for instance, the
+color plate facing page 304, in Volume VI. It is a reproduction in color
+of the painting in water colors, <a name="Bob_and_Tiny_Tim" id="Bob_and_Tiny_Tim"></a><i>Bob and Tiny Tim</i>, and will show what
+is meant by the comments above almost as well as the original painting
+would have done.</p>
+
+<p>1. Tone and color. Are the colors in the picture bright and gay or are
+they subdued? What are the brightest colors? Are the colors harmonious
+or do they &#8220;quarrel&#8221; as they come to the eye?</p>
+
+<p>Are the shades of blue and purple and lighter colors in the clothing of
+the various persons glaring or subdued? Do you observe any inharmony
+which offends the eye, or are you pleased with contrasting colors and
+tones? The harmony in color is due to the choice of colors that do not
+contrast too strongly. The artist knew which were complementary colors;
+that is, which, united, form white. Which colors in the picture do you
+think <span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span>show warmth, and which show cold, as suitable to out-of-door
+scenes? What effect on the rest of the picture does the olive green of
+the interior of the room have? What effect does the gray green of the
+open door have?</p>
+
+<p>2. Light and Shade. Is the picture flat and without appearance of life,
+or do the persons and objects stand out in a life-like manner? Are parts
+of the picture in shade, so that outlines are lost? The artist has shown
+the left of the building in the foreground as in shadow; how is this
+effect produced? Do you observe gradations of tone in the shawl on Tiny
+Tim, which indicate relative light and shadow? Where is the highest
+light in the picture, and where the darkest shadow? Are the lights
+strong as if the sun were shining, or soft and diffused, as is
+noticeable on a snowy winter&#8217;s day?</p>
+
+<p>3. Line. Although you cannot see Bob&#8217;s feet in the picture, do you feel
+that his body is well supported? Is his position natural, as of one
+carrying a burden on one shoulder? Are the lines of the figures in the
+foreground clear and distinct? How do they compare with the lines of the
+figures and building across the street? In both cases the artist gives
+us all that is necessary to convey the impression of reality. In the use
+of oils and water colors, sharp lines are avoided. Colors are used so
+that different surfaces and effects flow into one another; the lines are
+concealed and we have the very counterfeit of reality. This constitutes
+good drawing.</p>
+
+<p>4. Composition. What is the central idea of the picture? The artist has
+brought the principal figures into the immediate foreground; do the
+ar<span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span>rangement of color, contrasts of tone values, and the smaller figures
+in the background give life and significance to the figures of Bob and
+Tiny Tim? Would the effectiveness of the picture be greater or less if
+the artist had failed to show the snowy outdoor scene, with its holiday
+spirit? Do you recall the incident in the story portrayed by the
+picture? Are the characteristics of Bob and Tiny Tim, as described by
+Dickens, faithfully followed by the artist? Do their faces show the
+spirit of Christmas? If you had not read the story, would you not feel a
+glow of sympathy for the little boy, and a wish that you could join in
+making a happy holiday for him? Has not the artist succeeded in bringing
+the scene described by the author more vividly and beautifully to us?</p>
+
+<p>5. Atmosphere and Perspective. How far from the figures of Bob and the
+little boy are the people on the sidewalk? How does the artist express
+the idea of relative distance? Are there any lines in the picture which
+help us to determine distance? If the eye follows the lines of the cross
+pieces on the door, will they not come together if extended far enough
+to the left? Of course the buildings across the street are not very far
+away, but their outlines are a little hazy. Does this haziness help to
+give the effect of distance? Do you think the door was really a
+gray-green? Has the artist used this tone to show the effect of the
+outdoor light on a gray, or possibly a white door? The building across
+the street, at the left, has yellow and red and purple tones; do you
+think these were the actual colors? If not, why has the artist selected
+these particular shades? Do parts of buildings or other objects in
+<span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span>shadow take on different shades from parts in bright lights? What
+colors appear most frequently in the picture? Has the artist succeeded
+in giving the picture the atmosphere of Dickens&#8217;s story?</p>
+
+
+<h3 class="section"><a name="II_Pictures_and_Their_Value_in_Literature" id="II_Pictures_and_Their_Value_in_Literature"></a><i>II. Pictures and Their Value in Literature</i></h3>
+
+<p class="opening"><span class="dropcapp"><span class="hide">P</span></span><span class="upper">ictures</span> are in themselves a language&mdash;the oldest as well as the most
+universal tongue of the world. The primitive man of all races resorted
+to a picture-writing in his first efforts to transcribe his thoughts and
+emotions into a more lasting form than the oral expression. Our earliest
+authentic history of the customs, beliefs and life of the ancient
+Egyptians, the Babylonians, the Chinese and even our own American
+Indians comes to us from the pictured records they left on stone, wood
+or clay.</p>
+
+<p>In the present age, what child does not yield to the magic rhythm and
+the compelling lilt of the old nursery rhymes! With what added joy does
+he discover that there are pictures for these treasured jingles! And
+long before the printed words can be recognized he enters the alluring
+world of books by &#8220;reading&#8221; the illustrations. With glowing eyes on the
+picture he repeats the rhyme he had learned from its many demanded
+repetitions.</p>
+
+<p>By giving him simple, clear, realistic conceptions through pictures, we
+influence the child to read eagerly the text, to discover the whole
+story, of which such a fascinating hint is given in the portion
+illustrated. These first pictures must satisfy the child&#8217;s love of
+action and movement, and portray <span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span>only the most dramatic scenes, the big
+important facts with all superfluous happenings omitted.</p>
+
+<p>In fables, where the primary purpose is to convey an abstract truth, a
+something bigger and broader than the mere interesting events described,
+the illustrations add much to the meaning and purpose of the text. Here
+the artist shows not only the physical attributes of the real animal,
+but in a subtle way goes a step further and through the features or the
+attitude suggests the characteristics attributed in the fable. Thus
+unconsciously the little reader gets from the picture an increased
+conception of the sly, clever, crafty ways of the fox or the slow,
+plodding, steadfast patience of the tortoise.</p>
+
+<p>As literature develops from the simple nursery rhyme and the brief,
+abrupt fable to the fairy tale with its illusive beauty, so the pictures
+should advance in a parallel and a closely related manner. The
+illustrations now take on a mysterious, unreal, esthetic quality, in
+harmony with the world of fairy lore, and train the imagination as much
+as the direct words of the author. The child realizes that the forest
+scenes which furnish the background for so many of his favorite fairy
+tales have a subtle beauty which has never been seen by him. Gradually
+through such pictures he is led to seek an ideal beauty in the real
+world. He also becomes able not only to appreciate the poetic rendering
+of this expression of the ideal but is capable of forming more varied
+mental images of things about which he reads; to put more of his own
+individuality, his own conceptions, into his mental picture.</p>
+
+<p>The passing ages have so completely revolution<span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span>ized the customs and ways
+of life that the child of today finds comparatively little in his
+familiar surroundings which he can link with the world of history and
+legend. Literature should be supplemented by pictures to bridge this
+chasm and to bring legendary and historical heroes into the child&#8217;s own
+world and enable him to follow their thoughts, interpret their emotions
+and appreciate their actions.</p>
+
+<p>The child who sees a picture of court life where the cavalier is attired
+in richly colored velvet, silk, lace, and jewels, and surrounded by the
+luxuries of the court, and compares it with another of the same period
+which portrays a Puritan in his somber-hued, severe suit, stiff linen
+collar and cuffs, broad-brimmed, plain hat and not a single jewel or
+ornament used for mere decorative or esthetic value, realizes the vast
+difference in the types and character of the two men. He is furnished
+with an appropriate mental atmosphere in which to follow their history
+and in which to comprehend the inevitable clash that came between the
+Cavaliers and the Roundheads. He will then eagerly and sympathetically
+follow the Pilgrims in their lonely stay in Holland and in their brave
+struggle in the new country. Here, again, the various pictures portray a
+land and climate as vigorous, uncompromising and stern as the characters
+of the Pilgrims themselves. Then the great forests, the felling of the
+trees, the erection of the log houses and forts, the meeting of Puritans
+with the neighboring Indians, with their curious costumes, homes,
+customs and occupations, introduce other phases of life that put the
+child in a receptive mood for the <span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span>reading of colonial history, Indian
+legends and stories of pioneer life.</p>
+
+<p>Familiarity with the author&#8217;s portrait, with pictures of his home or his
+favorite scenes, brings a something of the writer&#8217;s personality to the
+child. He feels the story is told <i>more directly to him</i>. A sympathetic
+bond is established that leads him to a more intimate and a more
+intelligent acquaintance with the author&#8217;s emotions, thoughts, style and
+purposes as expressed in his works. He reads Thoreau&#8217;s <i>Journal</i>, and
+notes uncomprehendingly, the potent sway of nature over the heart and
+life of the man. It requires the keen vision and the genius of the
+artist to give him a realization of the mesmeric influence nature
+frequently exerts.</p>
+
+<p>If this author&#8217;s portrait is the work of a great artist it will perform
+a double service. For example, the reproduction of the <i>Aesop</i> of
+Velasquez not only gives the child an idea of the appearance of that
+creator of the wonderful fables, but it also introduces the great
+Spanish artist who has depicted marvelous interpretations of life on
+canvas and has so wonderfully influenced the style and method of the
+work of many of the artists who succeeded him.</p>
+
+<p>The world of literature is filled with poems and stories which emphasize
+abstract truths, teach needed lessons or give universal principles of
+beauty. Many of these have been the subject and the inspiration of
+pictures. And, in the re-telling of the poem or story with brush or pen,
+the artists have added a something of their own individuality and
+character which serves not only to emphasize and perpetuate themselves
+through their pictured <span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span>translation of these noble thoughts, but also
+makes the principles inculcated by the author become a part of the
+child&#8217;s moral creed.</p>
+
+<p>All have long realized the value of pictures in connection with stories
+involving scientific knowledge, but the co-operation of the artist with
+the author in presenting literature to children is of equal importance.
+The picture arrests the interest of the child and wins his love for
+books long before he can read; it arouses his desire to master the
+meaning of the printed forms, that he may discover the story for
+himself; it gives him facts regarding unfamiliar things without which
+knowledge the printed symbol means little; it leads him to the discovery
+of unseen beauties in his environment; it develops his imagination; it
+arouses his creative faculties; it aids him to grasp the deepest,
+highest meaning of the world&#8217;s literature; it opens up the undreamed
+beauties of the vast world of art; it interprets abstract thoughts until
+they become a part of his character, and CHARACTER is the true end of
+all READING and of all EDUCATION.</p>
+
+
+<h3 class="section"><a name="III_On_the_Use_of_the_Pictures_in_Journeys" id="III_On_the_Use_of_the_Pictures_in_Journeys"></a><i>III. On the Use of the Pictures in &#8220;Journeys&#8221;</i></h3>
+
+<p class="opening"><span class="dropcapc"><span class="hide">C</span></span><span class="upper">hildren</span> love pictures, and they love to make them. We of riper years
+are inclined to forget how very strong was our pictorial instinct when
+we were young. A little girl may make on a sheet of paper a few
+irregular lines not very well connected, wholly meaningless to us, and
+see in them very plainly every lineament of her favorite doll. She sees
+no lines, no paper, only her own precious doll.<span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span> A little later she will
+draw pictures to illustrate a story, and while we may see nothing in her
+work, she sees enough to make the story more real, and is in this way
+preparing herself to read more intelligently and with greater
+appreciation as she grows older. We should not laugh at these crude
+drawings, nor try to make them better. They express her ideas in her
+way, and that is enough. On the other hand, we should encourage her to
+try other pictures for other stories till she learns herself to distrust
+her drawings, or finds a way to express herself so that others may
+understand what she thinks and feels.</p>
+
+<p>Pictures mean something, always. In the first place they show to him who
+can read them what some one else has thought and felt. If they are meant
+to illustrate something in literature, they may fail because the artist
+has not caught the spirit of what he is trying to depict, or because he
+lacks in execution. On our side, they may fail because we cannot
+interpret his work, either from lack of understanding or from the
+dullness of our sensibilities. Again, we may object to the artist&#8217;s
+interpretation of the literature, and his pictures may merely excite our
+opposition. Usually, however, we see through the artist&#8217;s eyes from a
+new point of view, so that, even if we do not altogether approve what we
+see, we are led to question and find for ourselves something new,
+pleasing and helpful.</p>
+
+<p>Children are harsh critics, not only of pictures but of literature
+itself, and the critical spirit is a good one to cultivate, if it is not
+allowed to fall into captious fault-finding. On the whole, however, it
+is far better to point out the good things <span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span>in a picture than to call
+attention to poor execution or poor conception. Leave criticism
+generally to those infrequent cases in which the artist has actually
+blundered because he has not read the selection closely or accurately,
+or has been careless in the things he ought to know. For instance, it
+would be absurd to show King Arthur in a modern dress suit, or to put
+fire-arms in the hands of the Indians who met Columbus for the first
+time. But such faults occur infrequently. Usually the pictures are
+careful studies, and give many a hint on costuming, manners and customs,
+as well as on the proper surroundings of the characters.</p>
+
+<p>Some selections are so universal in their nature, so freely applicable
+to all times and places, that the artist may be allowed to delineate any
+people, anywhere, at any time. Nursery rhymes, so often alluded to, lend
+themselves to an endless variety of imaginary people and places. The old
+woman might be living still in her shoe and whipping her children
+soundly, in a twentieth-century wrapper, or clothed in skins she might
+send them supperless to bed in pre-historic ages. Whether Jack and Jill
+wore wooden shoes or patent-leather pumps we shall never really know;
+perhaps their little feet were encased in moccasins, or they may have
+been bare and ornamented with rings: what we do know is that Jack broke
+his crown and Jill came tumbling after.</p>
+
+<p>So we will give the artists all the latitude they wish, as long as they
+keep the facts straight, and we will try to help the children to see
+what the artist saw, and so get clearer visions for themselves.</p>
+
+<p>The pictures in these books are from many artists, <span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span>all of whom have
+given an interpretation of the selection they were working upon, and
+have given it in such a way as to be helpful and inspiring to their
+youthful readers. Every time the artists have tried to get a child&#8217;s
+view of things and to draw so that a child will like their work. Their
+enthusiasm has been boundless, and their execution remarkably good. Some
+of their pictures are gay, some are grave, a few sad; some are highly
+imaginative and others very realistic. Not a few are wonderfully
+beautiful. Among so many designs, so many kinds, everyone will find
+something to admire.</p>
+
+<p>Among the many, let us take a few for a brief study to show that they
+may be used with children to make literature clear, to give interest and
+keener appreciation.</p>
+
+<p><a name="Nursery_Rhymes" id="Nursery_Rhymes"></a>The very first picture in Volume One (sub-title, <i>Nursery Rhymes</i>, page
+1) is frankly intended as an introduction to the rhymes which follow,
+and is also a good illustration of many of the principles stated in this
+chapter.</p>
+
+<p>The little boy is fond of his playthings and especially of his toy cat,
+but you see he is giving his chief thought just now to the rhymes and
+jingles which his mother is repeating, while the baby is absorbed and
+happy in looking at the pictures. Do you see the sewing-basket with the
+knitting which the mother has laid aside while she devotes an hour to
+play? Do the other books on the table suggest that she sets a value on
+good reading as an important element in the training of children even as
+young as these in the picture? The idea is carried out further in the
+decorations of the draperies around the window. You see there in simple
+out<span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span>line characters which appear in fuller detail with the rhymes which
+follow in this volume. The color tones are subdued and restful, not loud
+and glaring, but they are so happily blended, or contrasted, that both
+persons and objects are clear and distinct. It tells without words the
+story of happy childhood.</p>
+
+<p><a name="Jack_and_the_Beanstalk" id="Jack_and_the_Beanstalk"></a><i>Jack and the Beanstalk</i> (Volume One, page 159) is a picture which will
+repay study. A child&#8217;s imagination reaches out more or less vaguely,
+though often to his satisfaction, for a visualization of the
+exaggerations of nature which appear in almost all fables and fairy
+tales. Our artist has given this subject a realistic touch, which makes
+Jack&#8217;s adventure seem almost possible.</p>
+
+<p>Does the beanstalk look natural? Does it look like the beanstalk which
+grows in your garden? Are the bean pods like those you have seen? Is the
+color natural? Does the stalk look strong enough to bear Jack&#8217;s weight?
+How high up do you think he must go to reach the giant&#8217;s home? How is
+the impression of height given? Do you see the landscape stretching away
+in the distance? Do the fields and the stream look far away? Do you
+think Jack became frightened or dizzy as he went on&mdash;up and up? Doesn&#8217;t
+the picture help you to understand his courage and determination to
+carry out his purpose?</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="image05" id="image05"></a><a href="images/image05-full.jpg"><img src="images/image05.jpg" width="251" height="400" alt="Portraits" title="Alfred Tennyson
+Robert Browning
+William Shakespeare
+Sir Walter Scott
+William Wordsworth
+Geoffrey Chaucer
+Joseph Addison" /></a><br />
+<span class="caption smcap">Alfred Tennyson&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Robert Browning<br />
+William Shakespeare<br />
+Sir Walter Scott&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;William Wordsworth<br />
+Geoffrey Chaucer&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Joseph Addison</span>
+</div>
+
+<p><a name="Nurse_helps_me_when_I_embark" id="Nurse_helps_me_when_I_embark"></a><i>Nurse helps me when I embark</i> (Volume One page 127) is a fine picture
+for study. Ask questions like the following: What toys do you see in the
+picture? Do boys like toys which suggest adventure? Do you think he
+likes his small boat? Why? Did it suggest to his mind that he would call
+his bed a boat, and sail away in it to dreamland? Is <span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span>he saying his
+prayer? Will the small candle give light enough? Why does it smoke? What
+kind of a bed is it? What is the canopy over the bed made of?
+Interesting questions may be asked about the poem: What is a prudent
+sailor? What do prudent sailors have to take on board? What is a pier?
+What is the pier beside which the boy finds his vessel fast?</p>
+
+<p><a name="Wynken_Blynken_and_Nod" id="Wynken_Blynken_and_Nod"></a>On page 262 of Volume One is printed <i>Wynken, Blynken, and Nod</i>, Eugene
+Field&#8217;s musical lyric for little ones. The attractive picture may be
+looked at before the poem is read. Questions help the children more than
+explanations and comments, particularly where they are logically asked.
+The natural order is to ask about the prominent things first, and then
+about minor details, thus: How many children are there? Where are they?
+What does their boat look like? What is the child nearest the toe of the
+shoes doing? Where are the other two standing? What have they in their
+hands? What are they doing with the net? Are they catching any fish?
+Where is the moon? What can you see in the moon? Is the face laughing?
+Now let us read the poem, and when we have done so, let us see what
+lines in particular the artist was thinking about. Who are the three
+children? &#8220;Wynken, Blynken, and Nod.&#8221; What did they do? &#8220;Sailed off in a
+wooden shoe ... into a sea of dew.&#8221; What did the moon say? &#8220;&#8216;Where are
+you going and what do you wish?&#8217;&#8221; What did the children answer? &#8220;&#8216;We
+have come to fish for the herring fish.&#8217;&#8221; What kind of nets have they?
+&#8220;Nets of silver and gold.&#8221; What did the old moon do? &#8220;The old moon
+laughed and sang a song.&#8221; What were the herring <span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span>fish? &#8220;The herring fish
+were the little stars.&#8221; How long did they fish? &#8220;All night long their
+nets they threw.&#8221; Where did they throw their nets? &#8220;To the stars in the
+twinkling foam.&#8221; * * * * Were there really three little children? No.
+How many were there? Only one. Who, then, were Wynken and Blynken? The
+little child&#8217;s eyes. And who was Nod? His head. What was the wooden shoe
+that sailed the skies? Only a trundle-bed. What then was all this story
+about fishing from a wooden shoe for herring fish with nets of silver
+and gold? Only a wee one&#8217;s dream. How can you see the &#8220;wonderful sights
+that be&#8221;? By shutting our eyes while mother sings. Don&#8217;t you suppose the
+artist shut her eyes when she thought of the picture, and perhaps
+dreamed of the time when she lay in her little bed and her mother sang
+of the wonderful sights that be? Wasn&#8217;t that just why she made such a
+beautiful picture, and thought even of putting wings to the shoe, so it
+could sail through the sky? After such a talk as that with a little
+child, do you not think, dear parent, that he would come nearer to you,
+and while you read the poem softly and smoothly to him he would learn to
+like its music, and through its refining influence learn to love you a
+little better? When he has grown to manhood, do you not think there will
+come times when his heart will be touched, when he will long for the
+loving arms around him and the sweet mother voice to sing once more of
+the wonderful sights that be? There are holier things to be done for
+children than to feed and clothe them.</p>
+
+<p><a name="Shuffle-Shoon_and_Amber_Locks" id="Shuffle-Shoon_and_Amber_Locks"></a>In Volume Two, on page 121 may be found the picture <i>Shuffle-Shoon and
+Amber Locks</i>. How <span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span>many persons are shown in the picture? How is the old
+man dressed? In what is he sitting? How is the boy dressed? Where is he
+sitting? Can you sit comfortably that way? What does he hold in his left
+hand? What is the little boy doing? How many blocks are there in his
+building? How many blocks are on the floor? What is the old man placing
+on top of the blocks? What is on the wall back of the chair? Of what is
+the curtain made? Which is Shuffle-Shoon? Why is he called
+Shuffle-Shoon? Why is the boy called Amber-Locks? What is the color of
+amber? Do you think the old man has a kind face? How old do you suppose
+he is? How old is Amber-Locks? Do you like his face?</p>
+
+<p><a name="Tom_and_The_Dragon_Fly" id="Tom_and_The_Dragon_Fly"></a>From Volume Two, page 264, <i>Tom and The Dragon Fly</i>: What is the first
+thing you notice when you look at this picture? What is the second
+thing? Where is Tom standing? Where is the dragon-fly? How many wings
+has it? How many legs can you see on the dragon-fly? Does Tom&#8217;s hair
+look as though he had just come from the water? What is he looking at?
+Does he seem to be afraid, or happy? Can you tell where the surface of
+the water is? Is any part of Tom in the water? Can you see sky or clouds
+in the picture? Does any land show?</p>
+
+<p><a name="The_Swallow_and_the_Stork_Came" id="The_Swallow_and_the_Stork_Came"></a>From Volume Two, page 69, <i>The Swallow and the Stork Came</i>: After a
+picture has been examined, as has been explained, it is sometimes a good
+thing to study the way in which the artist has produced his effects. The
+effects in this picture are remarkably fine and Mr. Rudeen has
+accomplished his purposes very skilfully. What effect is <span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span>given by the
+mass of white in the center of the picture? Does it help to give
+emphasis to the principal figures? Does the artist use his colors in
+proper tones and shadings? Does he succeed in making the birds seem
+really to fly? Do you see the face in the fir tree? How are the eyes
+indicated? Are the lines and patches that make the face any different
+from those that indicate other leaves on the tree? Why then does it look
+like a face? Does the face have an expression of surprise? If the
+branches and leaves on the left side of the tree were curved downward
+instead of upward, would the expression be changed? Is there any
+indication of feathers on the swallows? How are feathers indicated on
+the stork? The artist drew the original of this picture with pen and
+black ink. The engraver made one plate for this drawing in black, then
+another plate for those portions of the picture which have any shade or
+tone of orange, and still another for the blue tones. The green is
+produced by printing from the orange and the blue inks over the same
+surface. Facing page 82, Volume Two is the portrait of Hans Christian
+Andersen. This was taken from a photograph, and under a microscope it
+can be seen that the ink is put on in fine dots. The border was drawn
+with pen and ink. The original photograph of Andersen was photographed
+through a screen and reduced to the size you see it. The pictures in the
+book are printed from the metal plates which put the ink on the paper in
+little dots. These prints are called <i>halftones</i>: the pen and ink
+drawings in the texts are called <i>zinc etchings</i>. The original of the
+colored frontispiece of the same volume was a water-color <span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span>painting by
+Mr. Henderson. This was reduced in size by photography and four plates
+were made, one showing all the black, and another all the red, a third
+all the blue and a fourth all the yellow in the original. Then the paper
+was run through the press four times, each time with the color of ink
+for which each plate was etched. By printing one color over another this
+way, the different shades were made. No better way is known for
+reproducing colored pictures. The border was drawn with pen and ink. The
+title page was drawn with pen and ink and a zinc etching made by
+photographic process, from which an electrotype plate was made. The end
+sheets are decorated by a zinc etching reduced from a large drawing made
+by Mr. Mitchell. The title and ornaments on the back of the books are
+made from strong brass dies that were engraved from drawings made by
+special artists. Gold leaf is laid over the section to be lettered and
+the dies are pressed upon it with such force as to fasten the gold upon
+the cover. Then the parts of the gold leaf that have not been pressed
+into the cover are brushed away and the design is perfect.</p>
+
+<p>To learn what a picture really contains, to appreciate its purpose and
+merit, we should study it systematically. The following topics suggest
+themselves:</p>
+
+<ol class="outline">
+  <li>1. The general view.</li>
+  <li>2. The details.</li>
+  <li>3. The center of interest.</li>
+  <li>4. The purpose.</li>
+  <li>5. The artists&#8217; conception and its appropriateness.</li>
+  <li>6. Elements of beauty.</li>
+</ol>
+
+<p><a name="Down_Tumbled_Wheelbarrow" id="Down_Tumbled_Wheelbarrow"></a><span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span>As in other cases, the best way to explain a method is to apply it.
+Accordingly, let us study by this method the picture <i>Down Tumbled
+Wheelbarrow</i>, on page 46 of Volume One.</p>
+
+<p>1. <i>The general view.</i> Here is a picture of a man wheeling his wife
+through a London street, and the breaking down of his wheelbarrow.</p>
+
+<p>2. <i>The details.</i> The man, and his wife sitting in the wheelbarrow; the
+cobbled street, the sidewalk, the houses on one side of the street, the
+arch-way with the house above it, and the street showing through the
+arch-way; the man in the distance. A shop in the middle ground, with
+fruit and vegetables displayed outside the window. The man with the
+wheelbarrow is dressed in the fashion of the past, with tall hat, blue
+cut-a-way long-tailed coat, black breeches and blue stockings, white
+vest and white gloves. His neckerchief and shoes are orange color. His
+wife is also fashionably gowned. Her bonnet has blue and orange
+feathers, she has an embroidered shawl of orange color, with a blue
+overdress and a gray skirt; her blue parasol is in the air, dropped in
+the shock of the breaking of the wheelbarrow. Her arms are extended in
+effort to save herself. The wheel is bent under the barrow.</p>
+
+<p>3. <i>The center of interest.</i> The center of interest of most pictures is
+found near the center of the picture. It is plainly so in this picture;
+the man with the wheelbarrow, and his bride engage our attention, while
+secondarily we note the rough cobbled pavement and the narrow street.</p>
+
+<p>4. <i>The purpose.</i> The artist&#8217;s intention is to show the dramatic moment
+when the wheelbarrow broke, and the bride got the fall.</p>
+
+<p><span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span>5. <i>The artist&#8217;s conception and its appropriateness.</i> In choosing the
+line &#8220;Down Tumbled Wheelbarrow,&#8221; the artist selected the moment which
+was the climax of the adventure, and in so doing he shows the shock of
+surprise and alarm in the attitude and expression of both bride and
+groom as contrasted with their very fine holiday costumes, which show
+how much care they had given to their preparation for their wedding
+journey. The artist has not overlooked the opportunity to show us a
+typical London street of the olden time, narrow and paved with cobble
+stones. The arch-way gives us the assurance that the street was very
+narrow, so that the wheelbarrow had to go over the rough cobbles. The
+conception seems appropriate and true to the story in the simple rhyme.</p>
+
+<p>6. <i>Elements of beauty.</i> There are two main elements in this picture,
+which contribute to the pleasure it gives us, aside from the story it
+tells. In the composition of the picture, the artist has placed the main
+figures in the foreground and drawn them in full detail. Note the
+contrast of the masses of black with the open spaces of white and light
+shadings. The walls of the houses are indicated by few lines which are
+sufficient but which do not draw the eye from the center. The rough
+street is skillfully indicated by a few deftly drawn round cobbles,
+leaving the larger white space to give air and light to the central
+figures. The treatment of color is the second element of beauty to be
+noticed. Not all the picture is colored; in this class of illustration,
+the white spaces have the effect of giving background to the colors, and
+bringing out their best values.</p>
+
+<p><a name="Geraint_hears_Enid_singing" id="Geraint_hears_Enid_singing"></a><span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span>Another profitable study can be made on the full-page illustration that
+appears on page 159, in Volume Five. Questions best induce interest in a
+picture, but the questions should be asked systematically. The following
+is a model on the picture named above, <i>Geraint hears Enid singing</i>.</p>
+
+<p>1. <i>General view.</i> How many men are in the picture? What do they appear
+to be doing? What is the building at the right?</p>
+
+<p>2. <i>Details.</i> Who is the man on horse-back? How is he dressed? What is
+hanging from a chain on his breast? What is he looking at? What is the
+expression on his face? What is the color of his horse? Have you ever
+seen a bridle and a harness like these in the picture? Do you think the
+man loved his horse and took good care of him? Who is the man standing
+beside the horse? How would you describe his garments? What has he in
+his right hand? What is its use, and what does it signify? What does the
+gesture with his left hand indicate? What do you think of the building
+on the right? Is it new or old? What seems to be growing on the walls?
+What does this mean? What seems to be growing up between the stones of
+the pavement?</p>
+
+<p>3. <i>The center of interest.</i> Are the men talking together? If so, why
+are they not looking at each other? Does the attitude and expression of
+the man on the horse suggest an interesting topic? (Tell the story in
+part, and read the lines covering this episode, page 156. Is the center
+of interest now made clear?)</p>
+
+<p>4. <i>Purpose.</i> What did the artist mean to do by means of this picture?
+Did he select an important and interesting event in the story?</p>
+
+<p><span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span>5. <i>Conception and appropriateness.</i> Has the artist followed the text
+truthfully in his conception? Do you think there is a dramatic interest
+in this scene, which made it appropriate for illustration? Would it have
+been as effective without the old man in the picture? Why? Does the man
+on the horse show his character in his bearing? Has the artist succeeded
+in portraying the old man in the character described in the text? Does
+the picture please you? Do you think it is a success?</p>
+
+<p>6. <i>Elements of beauty.</i> Do you like the soft, even tones of the
+picture, the heavy touches of the pen in the main figures and the light
+touches in the background? Is the day bright or gloomy? Is the effect of
+light on the wall, balcony and doorway pleasing? From what direction
+does the light come? How does the artist indicate surfaces in shadow?
+Does the outline of the castle through the arch add interest and beauty
+to the picture?</p>
+
+<p>After the children have been taught to observe properly, you have in the
+pictures numberless interesting subjects for language exercises. A good,
+clear-cut description of a picture is worth reading, and to write one
+means thought and study. The exercise may be varied by asking the child
+to describe the picture before he has any knowledge of the subject and
+then asking him to call his imagination into play and write a story to
+fit the picture. Later you may read him the story the artist meant to
+illustrate.</p>
+
+<hr style='width: 45%;' />
+
+<p>Besides the color plates and halftones which are found in their proper
+places in the several volumes, the following pen and ink drawings are
+good <span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span>examples of the kind of pictures that best repay study:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="reference list">
+<tr>
+  <td>Volume I,</td>
+  <td>page&nbsp; 22.</td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page&nbsp; 30.</td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page&nbsp; 35.</td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page&nbsp; 67.</td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 159.</td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 203.</td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 375.</td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 391.</td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 111.</td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 228.</td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 384.</td>
+</tr>
+<tr>
+  <td>Volume III,</td>
+  <td>page 141.</td>
+</tr>
+<tr>
+  <td>Volume III,</td>
+  <td>page 324.</td>
+</tr>
+<tr>
+  <td>Volume IV,</td>
+  <td>page 452.</td>
+</tr>
+<tr>
+  <td>Volume V,</td>
+  <td>page&nbsp; 97.</td>
+</tr>
+<tr>
+  <td>Volume V,</td>
+  <td>page 253.</td>
+</tr>
+<tr>
+  <td>Volume VI,</td>
+  <td>page 145.</td>
+</tr>
+<tr>
+  <td>Volume VI,</td>
+  <td>page 361.</td>
+</tr>
+<tr>
+  <td>Volume VII,</td>
+  <td>page 281.</td>
+</tr>
+<tr>
+  <td>Volume VII,</td>
+  <td>page 439.</td>
+</tr>
+<tr>
+  <td>Volume VIII,</td>
+  <td>page 160.</td>
+</tr>
+<tr>
+  <td>Volume VIII,</td>
+  <td>page 321.</td>
+</tr>
+<tr>
+  <td>Volume IX,</td>
+  <td>page 118.</td>
+</tr>
+<tr>
+  <td>Volume IX,</td>
+  <td>page 248.</td>
+</tr>
+</table>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV<br />
+<br />
+<span class="smcap">Telling Stories</span></h2>
+
+
+<p class="opening"><span class="dropcapb"><span class="hide">B</span></span><span class="upper">efore</span> a child can read he develops a passion for stories, and nothing
+delights him more than an interesting tale from the loving lips of
+father or mother. In good kindergartens and primary schools, there are
+teachers who tell stories to the little ones and do it well, but parents
+will not wish to delegate it entirely to teachers, for story-telling is
+the best way of getting at the hearts of children and planting those
+germs which later grow into refined taste in reading as well as ripen
+into real character. On the other hand, the teachers may neglect to tell
+stories to their pupils or are not skilled either in selection or in
+manner of telling. Parents who are interested in the welfare of their
+small boys and girls will wish to know what is being done and how it is
+accomplished, but may have little idea of the material it is wise to use
+or where to find good subjects for their tales.</p>
+
+<p>Proper selection is highly important, for taste and appetite for certain
+kinds of literature may be created long before the child can read for
+himself. Strong-minded, courageous little boys will love to hear of
+giants and ogres, and will revel in adventures that may terrify their
+more delicate sisters. George hates the fierce foes that Jack the
+Giant-Killer meets, and dreams of the time when he can <span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span>overpower and
+slay his own ogres. Alice listens tremblingly, and when she goes to her
+little bed at night lies in fear and trembling, while hideous faces leer
+at her from out the shadowed recesses. George never wearies of our
+oldest poem, <i>Beowulf</i>, while Alice wants only <i>Cinderella</i>, or at most
+<i>Bluebeard</i>. It is nothing less than cruelty to fill the imaginations of
+sensitive children with deeds of violence and tales of sadness and woe.
+Yet it is no less true that some young folks are the better for their
+giants, their knights and their battles. On the whole, it is wiser to
+keep the giants, the ogres and the suffering people in the background,
+or to dwell upon them only when there seems a demand for them; later,
+lead the young imaginations into the realms of history and real life
+where giants are very real and ogres yet remain to be subdued. Do not
+tell sad or exciting stories in the evening. Keep the quiet, peaceful
+things for bed-time stories.</p>
+
+<p>Here, then, is the great opportunity for the parent. The teacher has
+thirty or more children of as many different temperaments from homes as
+varied in culture as the children are different in appearance, and to
+them she must tell her story as to one. The parent has but his own
+little flock, whom he has known every day of their lives, and whose
+souls are as transparent as glass to his watchful and sympathetic eye.
+How certain may he feel in his selection of material, how powerful in
+his recital!</p>
+
+<p>Perhaps, however, he may find the pleasant task an unaccustomed one, may
+have forgotten what he knew as a boy, and may not know where to turn for
+material. Here these books come to his assistance with material for
+every taste and suited to <span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span>every occasion. In the beginning of the first
+volume are the nursery rhymes which children have enjoyed for ages,
+which are read, or far better told, to infants who rejoice in the
+pictures. Between the nursery rhymes and the literature that follows is
+quite a gap, intentionally left by the editor. There are no pretty
+little tales in words of one syllable for beginners to read, but there
+are good fables and stories to be told while the children are learning
+to read, and later, to be read by the young people themselves. No parent
+can go astray in selection if he knows his own children.</p>
+
+<p>Do not be afraid to <i>tell</i> the story&mdash;reading it aloud will not be half
+so effective. Select a fable or a short story first. Read it carefully,
+and then shut the book and think about it. Be sure you have the plot in
+your mind, make the hero and the other characters seem very real to
+yourself, picture the scenes vividly in your mind&#8217;s eye, and you are
+ready to begin.</p>
+
+<p>1. <i>Use Your Own Words.</i> Simple words, graphic, commonplace words, are
+the best. The older children will be just as much entertained, and the
+younger ones can understand better. On the other hand, do not talk
+<i>down</i> to their level; they will resent the idea and laugh at you. <i>Keep
+on their level.</i> That means that you must be sure you know your audience
+before you begin to talk.</p>
+
+<p>2. <i>Talk Naturally.</i> Forget that you are telling a story for the effect
+it will produce. Forget yourself. Tell the story as you would tell them
+an incident you have just seen.</p>
+
+<p>3. <i>Look Your Children in the Eyes.</i> Find the responsive eyes and get
+your inspiration from <span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span>them; seek out the dull and uninterested eyes and
+talk to them till they brighten up and respond to your enthusiasm. Let
+every child know that many times you have looked him square in the face
+and make everyone feel you are talking straight at him.</p>
+
+<p>4. <i>Supply Many Details.</i> Children love them; their lives are made up of
+little things. Don&#8217;t think you are ignoring the real story by your
+additions. The details you give are probably the very ones the author of
+the original story intended you to supply from your own imagination as
+you read. Under this head comes the giving of names to characters;
+descriptions of clothes, of facts, of feelings; the addition of new
+incidents.</p>
+
+<p>The recital of a bare plot is not an interesting story. For instance: &#8220;A
+boy on his way to school found a yellowbird&#8217;s nest with four little
+birds in it,&#8221; is the recitation of a bare plot. Is it interesting? Would
+the story appeal to children? What do you think of the form following?</p>
+
+<p>&#8220;John told me an interesting story this morning. As he was coming to
+school today he saw a little yellowbird fly from the bushes by the big
+tree at the corner of Mr. Brown&#8217;s yard. He parted the leaves and looked
+into the bush, but for quite a while he could see nothing. At last,
+however, he spied a pretty little nest in the fork of a limb and so low
+that he could look right down into it. John must have made some noise,
+because when he looked in he saw four little, wide-open red mouths, and
+that was about all. Of course, there were little half-naked bodies under
+the gaping mouths, but he couldn&#8217;t see them, for each little bird was
+shaking his head about, stretching it up higher and higher <span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span>and opening
+his mouth wider and wider. You see, to each little bird a rustling sound
+meant that the mother bird had come back with a bit of tasty breakfast
+in her mouth. When the wee babies found that they had made a mistake
+they closed their mouths, drew down their heads and packed themselves
+away so tightly that I&#8217;m sure they can&#8217;t be cold while their mother is
+away.&#8221;</p>
+
+<p>5. <i>Be Intimate and Personal with Your Audience.</i> Express your opinion
+now and then as your own; interrupt the story occasionally (not often
+enough to spoil the interest) by asking for the ideas of the children.
+Let them guess, sometimes, at the outcome of the story. Make them feel
+that they are an important part of the exercise. Sometimes they will
+help you wonderfully.</p>
+
+<p>6. <i>Use Direct Discourse Wherever Possible.</i> Make your characters speak
+in their own words. Say, &#8220;John said, &#8216;I saw the nest,&#8217;&#8221; rather than,
+&#8220;John said that he saw the nest.&#8221;</p>
+
+<p>7. <i>Keep the Climax Out of Sight as Long as Possible.</i> Curiosity is a
+large factor in interest, and if the children know &#8220;how the story is
+coming out&#8221; you are liable to lose their attention. However, you will
+find that some stories will prove such favorites to young children that
+they will call for the tales again and again. Occasionally small
+children are very particular about the way in which a story is
+repeated&mdash;there must be no deviations from the way in which it was first
+told. You may congratulate yourself on having told the story well, if
+the children ask for its repetition; and if they criticise your second
+telling you may know you did very well in your first attempt.</p>
+
+<p><span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span>8. <i>Be Enthusiastic; Be Dramatic.</i> Throw yourself into the tale; <i>see</i>
+what you are describing; <i>feel</i> what your characters feel, and <i>enjoy</i>
+the story itself. Speak distinctly; use clear, sympathetic tones; speak
+slowly or rapidly as the action demands, and use pauses effectively.
+Don&#8217;t be in a hurry. See that your face expresses your feelings, that
+your attitudes are easy and your gestures appropriate and graceful. Act
+your part.</p>
+
+<p>9. <i>Do not Preach.</i> Tell the story so the moral, if there is any, may be
+seen and felt without your striving to point it out.</p>
+
+<p>10. <i>Talk the Story Over Freely with Your Children.</i> Try to get their
+ideas, rather than to give your own. You can tell whether you have
+succeeded and what your faults in narration have been.</p>
+
+
+<h3 class="section"><a name="The_Fairies_of_the_Caldon-Low" id="The_Fairies_of_the_Caldon-Low"></a><i>The Fairies of the Caldon-Low</i></h3>
+
+<p class="opening"><span class="dropcapt"><span class="hide">T</span></span><span class="upper">he</span> difference between poetry and prose may be shown in rather a
+startling manner with such a selection as <i>The Fairies of the
+Caldon-Low</i> (Volume II, page 395). Children like Mary Howitt&#8217;s little
+narrative, but what does it really say? Let us put it in plain prose and
+see!</p>
+
+<p>&#8220;Where have you been, Mary?&#8221;</p>
+
+<p>&#8220;I&#8217;ve been to the top of Caldon-Low to see the midsummer night.&#8221;</p>
+
+<p>&#8220;What did you see?&#8221;</p>
+
+<p>&#8220;I saw the sunshine come down and the winds blow.&#8221;</p>
+
+<p>&#8220;What did you hear?<span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span>&#8221;</p>
+
+<p>&#8220;I heard the water-drops made and the ears of corn fill.&#8221;</p>
+
+<p>&#8220;Tell me everything, Mary, for you must have seen the fairies.&#8221;</p>
+
+<p>&#8220;Then take me on your knee, mother, and listen. Last night a hundred
+fairies danced on lively feet to the merry music of nine harpers, but
+the merriest thing was the sound of the fairy talk.&#8221;</p>
+
+<p>&#8220;What did you hear them say?&#8221;</p>
+
+<p>&#8220;I&#8217;ll tell you, but let me do it in my own way. Some rolled water down
+the hill and said, &#8216;this will turn the poor old miller&#8217;s wheel, and a
+busy man he will be by morning. There has been no rain since the first
+of May, and how the jolly old miller will laugh till the tears fill his
+eyes when he sees the water rise in the milldam.&#8217; And some seized the
+winds and put horns to their mouths and blew sharply. &#8216;And there!&#8217; said
+they shrilly, &#8216;the merry winds go from every horn to clear the damp
+mildew from the blind old widow&#8217;s corn. Though she has been blind for a
+long time she&#8217;ll be merry enough when the corn stands up stiff and
+strong without any mildew!&#8217; Then some brought flax seed and flung it
+down, saying, &#8216;by sunrise this will be growing in the weaver&#8217;s field,
+and how the poor lame fellow will laugh when he sees his vacant field
+filled with blue flax flowers in a single day.&#8217; Then a brownie with a
+long beard spoke, &#8216;I have spun all the tow and I want more. I have spun
+a linen sheet for Mary&#8217;s bed and an apron for her mother.&#8217; I couldn&#8217;t
+help but laugh out loud, and then I was alone. On the top of Caldon-Low,
+the mists were cold and gray and I could see nothing but mossy stones
+lying about me. But as I came down I <span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span>heard the jolly miller laughing
+and his wheel going merrily. I peeped into the widow&#8217;s cornfield and,
+sure enough, the golden corn was free from mildew, and at the gate of
+the croft stood the weaver, whose eye told the good news about his flax
+field. Now that&#8217;s all I heard and all I saw, so please make my bed,
+mother, for I&#8217;m as tired as I can be.&#8221;</p>
+
+<p>Rather a pretty story, even in plain prose, is it not? It is re-written
+just about as it would be told to a little child for the first time, a
+child interested in the good fairies who do good things for the poor and
+the suffering. Then a little later, when the child reads for himself he
+can see how much better Mary Howitt tells the story in verse.
+Nevertheless, some children will prefer it in prose and often may ask to
+have other poems &#8220;told in prose.&#8221; There is no reason for refusing. Story
+first, poem afterward, is a good rule to follow if you want to create a
+taste for poetry. Sometimes just a remark, &#8220;Let us see how this sounds
+in poetry,&#8221; will create enough interest to enable the parent to begin
+reading aloud to an attentive audience. Most children will not learn to
+like poetry if left to their own devices. It must be read aloud to them
+and its beauties pointed out occasionally to create a love for so
+artificial a thing as metrical composition.</p>
+
+<p>Parents will find in the General Index at the end of this volume not
+only reference to the contents of <i>Journeys</i> by title and author, but
+also a classification of subject matter, so that it will be easy to find
+different examples of poetry,&mdash;lyric, ballad, sonnet,&mdash;and of
+prose,&mdash;fiction, adventure, history, etc., offering a wide range of
+selection for story-telling purposes.</p>
+
+<p><span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span></p>
+
+
+<h3 class="section"><a name="Little_Giffin_of_Tennessee" id="Little_Giffin_of_Tennessee"></a><i>Little Giffin of Tennessee</i></h3>
+
+<p class="opening"><span class="dropcapt"><span class="hide">T</span></span><span class="upper">his</span> little narrative poem (Volume IV, page 461), is intensely dramatic.
+Too abrupt in style for easy reading and filled with words the children
+may not understand, it is not well adapted to the very young. But
+there&#8217;s a story in it of courage and deep patriotism that will be an
+inspiration to every child who can hear it. What better subject can a
+parent find for his son&#8217;s encouragement than a tale told in his own
+words or read in the following?</p>
+
+<p>Little Giffin of Tennessee was only a boy, only a boy of sixteen, not
+bigger nor stronger than Charlie, Thomas or George Jones whom you see
+going by to school every day. Yet he wasn&#8217;t running along bareheaded
+carrying a bat or swinging his books by a strap. Little Giffin was a
+poor wounded soldier boy who had been already in eighteen battles; more
+than one, you see, for every year of his short life.</p>
+
+<p>In the last terrible charge, a grape shot had struck him in the leg and
+arm and torn the flesh from his broken bones. Over him his comrades
+swept up to the face of the enemy&#8217;s guns, and little Giffin was left to
+fight his battle with cold, and rain and hunger. All night long he lay
+moaning on the ground, and it was late in the forenoon of the next day
+when he was found and taken to the hospital.</p>
+
+<p>There they laid his mangled body among the hundreds of others who had
+met with a fate as hard as his own. It was hours before the surgeons
+could <span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span>come to him, and then so hurried were they by other calls upon
+them that only a hasty dressing of his poisoned wound was possible.</p>
+
+<p>Some kindly visitors found him there, his fair young face flushed with
+the deadly fever, and begged the surgeons to do something for him.</p>
+
+<p>&#8220;We can do nothing,&#8221; they said. &#8220;Our hands are full. His case is
+hopeless. We must help where it will do some good.&#8221;</p>
+
+<p>&#8220;But may we take him with us? May we see what we can do for him? Perhaps
+we can find a doctor who can cure him.&#8221;</p>
+
+<p>&#8220;Take him and welcome,&#8221; the surgeon replied. &#8220;But you can find no doctor
+who can save the dead. Little Giffin can never get well.&#8221;</p>
+
+<p>But the good people lifted the broken form and carried it out from the
+hospital&#8217;s deadly air, into the golden sunshine and away to a clean
+little cot in a humble home where a good doctor treated him and a kind
+motherly nurse hung over him and soothed his feverish brain for many a
+weary hour. For days it seemed that every breath would be his last and
+for months his sufferings wrung the hearts of his friends.</p>
+
+<p>But at last there came a day when he could sit up a little, and then for
+weeks he hobbled about, an almost helpless cripple with a rude crutch
+for his only support.</p>
+
+<p>But his new friends had known that he would get well, for even during
+the days of burning fever and the weeks of weary recovery his heart had
+been filled with courage and his steel blue eye had glinted with a
+dauntless spirit that would not die.</p>
+
+<p>The crippled right arm and mangled fingers <span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span>were slow in healing and
+nearly useless when the wounds were closed and only ugly scars remained.
+In spite of all, though, he learned again to write, and you can imagine
+that the first letter, in its scraggly writing, began, &#8220;My Dearest
+Mother,&#8221; and the next, &#8220;Dear Captain.&#8221;</p>
+
+<p>Mother&#8217;s answer came first and brought warmth and love to the heart of
+the brave little cripple who dreamed now only of home&mdash;home, which he
+had not dared hope to see again. But then the Captain&#8217;s letter came:</p>
+
+<p>&#8220;Dear Giffin:</p>
+
+<p>&#8220;Your letter reached me tonight. God bless you, my boy. I thought you
+were gone with the others. Of the eighty-five who made that fatal charge
+only you and I are now alive. They say that Johnston is hard pressed and
+needs every man&mdash;&mdash;&#8221;</p>
+
+<p>Little Giffin never finished reading the letter. He was up and ready to
+start away to the front, to his Captain and to Johnston.</p>
+
+<p>&#8220;Johnston needs every man,&#8221; he said, as the first tears he had shed came
+to his brave blue eyes. &#8220;He needs every man and I&#8217;ll be some help. I&#8217;ll
+write to you, if I&#8217;m spared. Good bye. God bless you, kindest of
+friends.&#8221;</p>
+
+<p>He was gone. Long his friends waited for word from Giffin, little Giffin
+of Tennessee. But there came only the news of a terrible battle with
+Johnston, where indeed every man was needed.</p>
+
+<p>And little Giffin? Little Giffin never wrote.</p>
+
+<p>But I&#8217;d rather have one loyal Giffin, in a nameless grave on a southern
+battle field, than all the cowardly men who would fawn around me if I
+were a king.</p>
+
+<p><span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span>Now I&#8217;ll read you a little poem which tells better than I can the story
+of brave little Giffin of Tennessee.</p>
+
+
+<h3 class="section"><a name="The_Ballad_of_Agincourt" id="The_Ballad_of_Agincourt"></a><i>The Ballad of Agincourt</i></h3>
+
+<p class="opening"><span class="dropcapb"><span class="hide">B</span></span><span class="upper">y</span> telling the story and giving some explanation of difficult terms, we
+are often able to create an interest in poems that would otherwise
+remain unread. The best of old English ballads are so full of martial
+spirit that they may well prove an inspiration to many a boy in these
+days when war has so recently rent the whole world and proved the
+courage of our own young men. Back of the action that brought bloodshed
+and suffering is a spirit of loyalty, a genuine patriotism that is as
+much needed now as when it animated the souls of the British soldiery in
+those days of long ago. It is part of our inheritance, and may not be
+forgotten. It is to be hoped that we may never need it again amid the
+smoke and carnage of the battlefield, or in the silent horror of the
+trenches, but we have each for himself conflicts to wage with foes more
+insidious than the armed forces of rival nations, and we can win them
+only by the same spirit of devotion that brought victory at Agincourt.
+<i>The Ballad of Agincourt</i> (Volume V, page 95), is followed by notes that
+make clear its historical setting, but a few comments may help to a
+better appreciation of the inspirational value of the selection.</p>
+
+<p>It is natural that in verses written about three hundred years ago there
+should be found some crudities in style, some lapses in syntax, and not
+<span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span>a few words strange to us or having a meaning somewhat different from
+their present significance. Among such lapses in syntax we find the
+slight confusion of tenses in the first stanza, caused in the poet&#8217;s
+mind by the necessity of making a rhyme for France, though this might
+have been obviated by writing &#8220;stands&#8221; for &#8220;stood&#8221; and using the present
+tense throughout. The necessities of rhyme troubled Drayton not a
+little: he must pronounce &#8220;Agincourt&#8221; as it is written to rhyme with
+&#8220;sort,&#8221; which, by the way, is not a perfect rhyme for &#8220;fort&#8221; in the
+sixth stanza, and &#8220;great&#8221; does not rhyme with &#8220;seat&#8221; nor &#8220;feat&#8221;; in the
+seventh, &#8220;rear,&#8221; &#8220;there&#8221; and &#8220;were&#8221; do not rhyme; other instances are
+easily found. Of words not now familiar, or used in an unfamiliar sense,
+the following are examples: We do not frequently speak of the wind
+&#8220;standing&#8221; in a certain direction; we do not often &#8220;advance&#8221; our sails
+nor &#8220;prove&#8221; our chance; &#8220;vaward&#8221; and &#8220;bilboes&#8221; are old words; &#8220;ding&#8221; in
+the sense used here has long been forgotten; of &#8220;archery&#8221; except as a
+sport we know nothing; &#8220;Spanish yew&#8221; is no longer valuable for bows, and
+few can tell how long a &#8220;clothyard&#8221; (the English ell, 45 inches long)
+is, or whether it differs from any other &#8220;yard&#8221; as a measure of length.</p>
+
+<p>If the things just mentioned are defects they are of little moment and
+add to the quaintness of the verses without detracting from their force.
+Anyone who reads for inspiration and for his own betterment puts aside
+the critical spirit, places himself in the position of the writer,
+harmonizes thoughts and reads for the message without much concern for
+the medium. But there are force, <span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span>action, rhythm, clearness and beauty
+in this old ballad. Let us see what we can find without carrying
+analysis to the point where it destroys the spirit. All we need is an
+understanding of the meaning of the sentences and an expressive reading
+aloud. The former, we can supply here, the latter the reader must
+contribute. Poetry must be read aloud to be appreciated by any but those
+who can listen to their thoughts and hear the words their eyes garner
+from the printed page. Such readers are few.</p>
+
+<p>Here is the paraphrase that makes the meaning clear.</p>
+
+<p>With a wind blowing straight for France the English soldiery spread
+their sails to try one more campaign against their ancient enemies.
+Crossing the open sea they landed at the mouth of the Seine river,
+following King Henry and his noble courtiers.</p>
+
+<p>There was fighting all the way, and many a strongly garrisoned fort was
+taken, to the joy of all the English. Every day had its skirmish with
+the French, who stoutly defended the way to Agincourt where lay their
+commander with all his great army of fifty thousand men. Here the
+Frenchman sent to King Henry the sarcastic message: &#8220;You are going to
+your doom. Better get your ransom ready before you advance further.&#8221; To
+this insult the English king made no answer, but an angry smile that
+foreshadowed the fall of his vile opponents flashed from his eyes.</p>
+
+<p>Turning to his men, however, the brave king spoke: &#8220;Don&#8217;t be alarmed if
+they do outnumber us ten to one. We have begun nobly. Battles so bravely
+won as these we have fought, have always <span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span>been lauded to the skies. Your
+fame shall never die. And as for myself, this is my task. I shall not
+ask England to mourn for me nor to praise me. If I am not victor here,
+or if I am slain, never shall she be asked for one penny to redeem me.
+From the great battles of Poitiers and Cressy we learn that when the
+French were the most swollen with pride they fell beneath our swords.
+Our skill is none the less than that of those who fought under our great
+grandsire when he defeated the French and cut their national emblems to
+the ground.&#8221;</p>
+
+<p>What a battle array it was! The vanguard was led by the dread Duke of
+York; the king himself in the midst of his brave guards sped in the
+center with the main body of the troops, while the valiant rearguard was
+captained by Excester, courageous as any man in the great army.</p>
+
+<p>And now the fight begins! Armour on armour shines; drum now to drum does
+groan,&mdash;to hear is wonder; that, with the cries they make, shakes the
+very earth; trumpet to trumpet speaks, thunder to thunder.</p>
+
+<p>From the ambuscade of our hidden forces the noble Erpingham gives the
+signal for the English archers to fire. Now like a storm the
+cloth-yard-long arrows sped by the strong bows of Spanish yew strike the
+French horses, stinging them like serpents through the withers. Every
+bowman stands to his place, not one deserting; every true English heart
+rejoices in the slaughter.</p>
+
+<p>Down go the bows when the arrows are shot, out spring the great swords,
+as the English fly on the French, not one laggard in the company;
+straight from their shoulders spring the blows that <span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span>cleave the heads of
+the French peasants and drop them in the dust of trampling feet.</p>
+
+<p>Meantime the noble king, brandishing his broad-sword, dashes along the
+French line as though to overwhelm it with his mighty blows, while many
+a wound sheds blood on his arms and many a cruel dint sinks into his
+helmet.</p>
+
+<p>The good duke Glo&#8217;ster, next of the royal blood, fights side by side
+with his brave brother, and the youthful Clarence in this almost the
+first of his battles fights as furiously as any experienced knight;
+Warwick wades in blood, and Oxford adds to the cruel slaughter of the
+foe. Suffolk plies his axe manfully while Beaumont, Willoughby, Ferrers
+and Fanhope, names for the English to conjure with, bear themselves as
+bravely.</p>
+
+
+<h3 class="section"><a name="Herve_Riel" id="Herve_Riel"></a><i>Herv&eacute; Riel</i></h3>
+
+<p class="opening"><span class="dropcapl"><span class="hide">L</span></span><span class="upper">et</span> us take, as a final example, Browning&#8217;s poem <i>Herv&eacute; Riel</i> (Volume
+VIII, page 168). We will set about the preparation of it together. First
+we will read the note and then the poem. * * * It is a stirring thing, a
+noble monument to a noble man. It is worth the telling. We will read
+through it again and mark the passages that contain the incidents that
+make the story, so that we may not have to hesitate for ideas after we
+begin to talk. * * * Really, the plot is more simple than we thought. It
+is merely this: &#8220;The French fleet, defeated by the English, arrives off
+the harbor of Saint Halo. They call for pilots, but none will try to
+conduct the big ships through the dangerous channel, and the captains
+<span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span>decide to wreck and burn their ships, so the English may not capture
+them. Just at this time a simple Breton sailor offers to pilot the
+vessels through, under penalty of death. The commander puts him in
+charge of the fleet and he takes them safely into the harbor. The
+English arrive just too late to do any damage, and the French commander,
+grateful to his deliverer, offers him any reward he may wish. The Breton
+laughs and asks for one day&#8217;s leave to go and visit his wife who lives
+near by.&#8221;</p>
+
+<p>Let us consider the persons. Evidently Herv&eacute; Riel is the only one we
+need mention by name. We could give him a simpler name, but if the story
+is true, everyone ought to remember him. We must try to make him seem
+alive. We must make his deed seem great and must make a point of his
+patriotic devotion and of his beautiful love for his wife.</p>
+
+<p>Now we are ready to talk, as soon as we have thought a little and
+assured ourselves that we are in the right spirit. So, facing our
+audience of small children, we begin:</p>
+
+<p>I&#8217;ve just been reading <i>Herv&eacute; Riel</i>, a story that I like so much I must
+tell it to you. A long time ago, before there was a (name your town),
+really before there was a United States, there was a long war across the
+ocean between the great nations, England and France. There had been a
+bloody battle between their navies, and the French had been beaten.
+Still twenty-two of their ships escaped, sailed to their own country and
+arrived outside the harbor of Saint Malo. But they were not safe, by any
+means. The English were close behind and could soon overtake and capture
+or destroy all the French vessels, and put to death <span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span>many of their
+crews. Inside the harbor the French knew they would be safe, for no
+English vessel could get through the long, crooked channels without a
+pilot, and no Frenchman would lead the English.</p>
+
+<p>Without even waiting to anchor, the captains made signals for pilots and
+many skilled ones came off to the ships. When the pilots heard that the
+French were crippled and must get into the harbor they laughed at the
+captains.</p>
+
+<p>&#8220;Go through there now?&#8221; they said. &#8220;Why, you can&#8217;t do it. Don&#8217;t you see
+it&#8217;s low tide and the rocks are showing everywhere? The channel is
+crooked and very dangerous at high water and now you could not get your
+smallest ship through safely, let alone such a large ship as the
+<i>Formidable</i> here, with her ninety-two big guns. It can&#8217;t be done.&#8221;</p>
+
+<p>Nothing could change the minds of the pilots. They knew their business
+thoroughly. So the captains met to decide what they should do. The
+commander addressed them, saying:</p>
+
+<p>&#8220;The English are at our heels. What shall we do? Do you want them to tow
+us all, one behind the other, back to their country to become their
+prizes? Not I. Better run all the ships aground, set fire to them, and
+escape ourselves if we can.&#8221;</p>
+
+<p>The brave captains all looked at their commander. Every man shut his
+teeth together, set his brows, and with flashing eyes said, &#8220;Speak the
+word; we will obey.&#8221;</p>
+
+<p>But the commander never gave his order! Right into the excited group
+stepped a man; not a captain, not even a second mate; just a plain,
+simple sailor who lived near Saint Malo. He had not even <span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span>joined the
+fleet of his own will, but had been seized and carried on board long
+before the battle, because the navy was short of sailors. You might
+think he would want revenge for being taken away from his home and his
+fishing. Did he? At first he was too much excited to speak, but in a
+moment he stormed out:</p>
+
+<p>&#8220;What&#8217;s the matter with you pilots? Are you mad, or fools, or cowards,
+or have the English bought you body and soul? Don&#8217;t talk to me of rock
+and shallow places and crooked channels! Haven&#8217;t I sailed these waters
+for years, and don&#8217;t I know every shallow place, every dangerous turn,
+every inch of the way? You cowards! There&#8217;s a way through, I tell you.&#8221;</p>
+
+<p>Then Herv&eacute; Riel turned to the commander and shouted, &#8220;Put me in charge
+of this ship, the biggest, this <i>Formidable</i>, and I&#8217;ll steer her
+through. Make the others follow me closely. They&#8217;ll all come safely in.
+Try me; I&#8217;ll do it. I haven&#8217;t much to offer for the chance, but if this
+ship so much as touches her keel on a hidden rock, you may cut off my
+head. Let me try, sir.&#8221;</p>
+
+<p>The commander replied, &#8220;We have not a second to spare. You&#8217;re admiral
+here! Take the helm and lead us through!&#8221;</p>
+
+<p>Herv&eacute; Riel was as prompt as the commander, and seizing the tiller, he
+soon had the great ship sailing along under perfect control. She went
+into the narrow channel, with the great rocks high on both sides. The
+waves beat up angrily and the breakers threw their spray high over the
+decks. With eyes fixed on the channel and both hands on the helm, he
+guided the staunch vessel on the wind<span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span>ing course. Time and again it
+seemed as though she must be wrecked, but just at the moment of greatest
+danger Herv&eacute; Riel shifted the helm, and the stately ship moved safely
+on. With hearts beating high, the officers watched the wonderful deed,
+and the frightened sailors clung speechless to the rail. Finally,
+between two great rocks that seemed to block the channel completely, the
+ship sailed majestically into the harbor, and Herv&eacute; Riel had kept his
+promise. Not once had the great <i>Formidable</i> touched her keel to a rock;
+not a scratch, except the battle scars, marred her fair sides.</p>
+
+<p>After her, one by one, came the other ships of the squadron, till all
+were anchored safely in the harbor. Just as the last ship came to
+anchor, the English fleet, coming up in helpless anger, began to throw
+shells across the passage. The French, however, were out of range and
+could laugh at the fruitless attempts of their enemy. With one voice the
+captains and sailors of the rescued fleet shouted, &#8220;Herv&eacute; Riel! Herv&eacute;
+Riel! Now, let the king of France reward the man who has saved his
+fleet!&#8221;</p>
+
+<p>And what of the brave sailor? He stood calm and quiet without a gleam of
+pride in his frank blue eyes. Just the same man as he was before his
+gallant deed, he answered the commander&#8217;s call and stood before him.</p>
+
+<p>&#8220;My friend,&#8221; began the commander, &#8220;I can scarcely speak, but you know
+praise comes from the heart and not from the lips. You have saved the
+fleet from certain destruction and have preserved the lives of many of
+your countrymen. No reward is too great for you. Ask what you will and
+it shall be granted.<span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span>&#8221;</p>
+
+<p>Herv&eacute; Riel&#8217;s blue eyes danced with merriment as he said, &#8220;Now that my
+work is over I would like, if I may have it, one whole day to visit my
+wife, whom I call &#8216;Beautiful Aurora,&#8217; and who lives just a little way
+from Saint Malo. That is all I want. May I go?&#8221;</p>
+
+<p>You can imagine whether or not his request was granted.</p>
+
+<p>Now, do you know, that brave act was forgotten; Herv&eacute; Riel was forgotten
+for many centuries. No monument was erected to his memory; there seemed
+nothing to keep the patriotic man alive in the hearts of his countrymen.
+But one day, not so many years ago, Robert Browning, the great English
+poet, heard the story, and he was so moved by the heroic deed and the
+quiet humor of the man, that he wrote a fine, manly poem and called it
+<i>Herv&eacute; Riel</i>, so that it should remain as a monument to the patriotism
+and character of the simple French sailor.</p>
+
+<p>If the children are older and studying history, we would give more of an
+idea of the place, and of the occasion and show what the effect of
+saving the ship really was. The poem is an excellent one, but most
+children do not care for it till they have heard the story and have
+studied the text. Then they are delighted with it and will read it again
+and again. It has been many years since the writer of this first read
+<i>Herv&eacute; Riel</i>, but he has never wearied of it and cannot read it now
+without a thrill of admiration for the hero and for Browning&#8217;s monument.</p>
+
+<p>When you tell the story, do not try to tell it as this has been told.
+Use <i>your</i> words, select for emphasis the parts that appeal to <i>you</i> and
+give the children just the ideas that <i>you</i> have conceived.</p>
+
+<p><span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span></p>
+
+
+<p class="noindent"><span class="dropcap">O</span><span class="upper">ther</span> classics that will make just as good subjects for story telling
+are in every volume of <i>Journeys</i>. The following list contains only a
+few of them. By adapting them to the age of the young listeners, almost
+any of them may be made suitable for almost any age:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="story list">
+<tr>
+  <td>Volume I,</td>
+  <td>page&nbsp; 79.</td>
+  <td><i>Little Red Riding Hood.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 101.</td>
+  <td><i>Silver Locks and the Three Bears.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 134.</td>
+  <td><i>The Dog in the Manger.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 431.</td>
+  <td><i>Baucis and Philemon.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 456.</td>
+  <td><i>The Story of Joseph.</i></td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 111.</td>
+  <td><i>The Punishment of Loki.</i></td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 448.</td>
+  <td><i>The Story of Esther.</i></td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 387.</td>
+  <td><i>What the Old Man Does Is Always Right.</i></td>
+</tr>
+<tr>
+  <td>Volume III,</td>
+  <td>page 436.</td>
+  <td><i>Robin Hood.</i></td>
+</tr>
+<tr>
+  <td>Volume IV,</td>
+  <td>page 192.</td>
+  <td><i>The Pine-Tree Shillings.</i></td>
+</tr>
+<tr>
+  <td>Volume IV,</td>
+  <td>page 274.</td>
+  <td><i>David.</i></td>
+</tr>
+<tr>
+  <td>Volume IV,</td>
+  <td>page 383.</td>
+  <td><i>The Wooden Horse.</i></td>
+</tr>
+<tr>
+  <td>Volume V,</td>
+  <td>page 130.</td>
+  <td><i>Balin and Balan.</i></td>
+</tr>
+<tr>
+  <td>Volume V,</td>
+  <td>page 237.</td>
+  <td><i>The Passing of Arthur.</i></td>
+</tr>
+<tr>
+  <td>Volume VI,</td>
+  <td>page 143.</td>
+  <td><i>Ruth.</i></td>
+</tr>
+</table>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V<br />
+<br />
+<span class="smcap">Reading and the Building of Character</span></h2>
+
+
+<h3 class="section"><a name="Ch_V_I" id="Ch_V_I"></a>I</h3>
+
+<p class="opening"><span class="dropcapt"><span class="hide">T</span></span><span class="upper">he</span> influences which unite to make character are so numerous, subtle and
+complex that it is next to impossible to detect them or to classify them
+in order of importance. Not only is this true of the aggregate, but it
+is true of the individual. It is doubtful if any person in middle life
+can tell just what he is or just how he became himself. He is aware of
+some great influences that have exerted their power over him at certain
+crises in his life, but the little things which, taken together, have
+done more to form and fix his character are often unrecognized or
+undervalued. Fortunately, at this time we need to give attention to only
+one phase of the great question.</p>
+
+<p>Character is the one important thing. Great as is the value of book
+education, of practical power and of good health, still greater is the
+importance of sound, wholesome character; and, consciously or
+unconsciously, intentionally or unintentionally, the teacher and the
+parent are incessantly at work building the characters of the young
+people placed in their charge. Most of us, too, are working toward right
+ends as conscientiously as possible. Yet often we grow faint-hearted, or
+are puzzled to know what we can do to help the children and how we can
+do it most effectively.</p>
+
+<p><span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span>That the influence of reading on character is one of the most powerful
+is granted by every high-minded person who has written or spoken upon
+the subject. Really, it is not an influence, but a series of influences,
+wide, complex, far-reaching. The extended range of subjects, the
+infinite variety in style, the unlimited shades in sentiment to be found
+in literature make its presence influential everywhere and always. In
+reading there is comfort for the sorrowing, companionship for the
+lonely, encouragement for the downcast, entertainment for the leisurely,
+inspiration for the sluggish. Gentle, pervasive, almost unnoticed, yet
+stronger than iron bands, is the power of literature over us. We are
+what we read.</p>
+
+<p>If such be the case, then there need be no argument concerning the
+importance of suitable reading matter for the young. To leave a child
+wholly to his own inclinations in reading is as absurd as to send him to
+take honey from a swarm of angry bees and not expect him to be stung.
+Inevitably, he will be injured, and that seriously. To supply him with
+honey, all that he wants, at all times and without exertion to himself,
+is to clog his taste and destroy his appetite. We must see that he is
+led to look for the sweet, taught to recognize it when he finds it, and
+to extract it from the comb. He will enjoy working to get it. On the
+other hand, he must not be sent where his reward is too difficult to
+find and secure, lest he become discouraged and cease to work.</p>
+
+<p>School readers furnish much excellent material for reading; in the
+majority of schools there is furnished more or less of supplementary
+reading <span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span>which is quite as good as that in the text-books and which will
+have the merit of novelty and exclusiveness. Yet, in spite of this,
+parents and teachers are continually finding themselves at a loss for
+fresh and inspiring things for special occasions. All these may be had
+from <i>Journeys Through Bookland</i> and to assist in finding them and in
+using them after found the following has been written.</p>
+
+
+<h3 class="section"><a name="Ch_V_II" id="Ch_V_II"></a>II</h3>
+
+<p class="opening"><span class="dropcapc"><span class="hide">C</span></span><span class="upper">haracter</span> is made up of a great variety of traits; some of the mind,
+some of the heart, some of the soul. That is, what we are is composed of
+what we know, what we feel and what we believe. In response to those
+things we act; we govern ourselves in respect to ourselves and in
+respect to others.</p>
+
+<p>The grave responsibility that rests upon parents and teachers is to
+encourage those traits which make for noble manhood and womanhood and to
+correct or eradicate as far as possible those which are bad in
+themselves or which help to neutralize or destroy the good ones.</p>
+
+<p>Much may be accomplished by correct teaching of good principles, but
+human nature is such that people learn even more through indirection
+than through instruction. By means of the study of literature the best
+direct instruction may be given, and wholesome lessons may be taught
+abundantly in that charming way which accomplishes its purpose without a
+recognition on the part of the readers that they are being <i>taught</i>. The
+force and persistence of a good lesson of the latter kind can<span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span>not be
+estimated. It may be years before it exhausts itself, and its effect may
+be revolutionary.</p>
+
+<p>The wise instructor, though she does not make known all her plans, works
+systematically. That is, having learned that a child is lacking in some
+respect, such as a knowledge of what constitutes good character, or in
+certain desirable traits of character, or possesses some characteristics
+that should be changed, she proceeds slowly and persistently to bring
+about the results she desires.</p>
+
+
+<h3 class="section"><a name="Ch_V_III" id="Ch_V_III"></a>III</h3>
+
+<p class="opening"><span class="dropcapi"><span class="hide">I</span></span><span class="upper">n</span> <i>Journeys Through Bookland</i> the mother will find much to assist her.
+The influence of nearly all the selections will be for the betterment of
+character, will tend to make better men and women of the children. But
+when she is looking for some direct help, for something to produce a
+certain definite result, she will study the books carefully and select
+the things which are most effective. To help her in her selection we
+have prepared the following outline. It does not contain everything of
+value, but it is sufficiently comprehensive for its purpose, and will
+save much time for anyone.</p>
+
+<p>Now let us not be unwise in teaching these things. Let us be satisfied
+if we secure the interest of the pupils in the selection and get from
+them the smile of approval, the look of guilt, the slight indication of
+a determination to profit by the lesson. Many times we will refrain from
+comment lest we spoil the effect of something much finer, more inspiring
+than anything we can say ourselves.</p>
+
+<p><span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span>The things we have chosen for their direct influence on the growing
+character of children will be grouped by subject in three general
+classes:</p>
+
+<p>A. The selections in this group are calculated to set children to
+thinking properly about some serious subjects. While not as important as
+some others may be in the formation of character, they are yet of no
+small consequence.</p>
+
+<p>1. Wisdom, ignorance, keenness, wit, etc., in some of their many phases
+are shown in the fables and the brief poem listed here:</p>
+
+<ul class="booklist">
+  <li><i>The Ass in the Lion&#8217;s Skin</i>, Volume I, page 65.</li>
+  <li><i>The Fox and the Stork</i>, I, 73.</li>
+  <li><i>The Fox and the Grapes</i>, I, 135.</li>
+  <li><i>The Bat and the Two Weasels</i>, I, 154.</li>
+  <li><i>The Horse and the Stag</i>, I, 338.</li>
+  <li><i>The Fox, the Wolf and the Horse</i>, I, 377.</li>
+  <li><i>The Bald Knight</i>, I, 385.</li>
+  <li><i>The Wolf and the Lamb</i>, I, 455.</li>
+  <li><i>Minerva and the Owl</i>, II, 7.</li>
+  <li><i>The Country Squire</i>, VI, 474. (To ridicule ignorance but not the
+ignorant person is sometimes a valuable means of inciting a love for
+knowledge.)</li>
+</ul>
+
+<p>2. The importance of attention to little things is inculcated in the
+following:</p>
+
+<ul class="booklist">
+  <li><i>The Lion and the Mouse</i>, Volume I, page 75.</li>
+  <li><i>The Reaper and the Flowers</i>, I, 410.</li>
+  <li><i>The Daffodils</i>, VII, 1.</li>
+  <li><i>The Petrified Fern</i>, VII, 77.</li>
+</ul>
+
+<p>3. The following will help to create habits of promptness, industry and
+perseverance:</p>
+
+<ul class="booklist">
+  <li><i>Time to Rise</i>, Volume I, page 340.</li>
+  <li><i>The Hare and the Tortoise</i>, I, 71.</li>
+  <li><i>The Lark and Her Young Ones</i>, I, 131.</li>
+  <li><span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span><i>Industry and Sloth</i>, I, 300.</li>
+  <li><i>Whittington and His Cat</i>, I, 442.</li>
+  <li><i>Tom, the Water Baby</i>, II, 215.</li>
+  <li><i>The Village Blacksmith</i>, IV, 86.</li>
+  <li><i>Bruce and the Spider</i>, V, 314.</li>
+</ul>
+
+<p>4. These show the sterling worth of independence and the real equality
+of man:</p>
+
+<ul class="booklist">
+  <li><i>The Village Blacksmith</i>, Volume IV, page 86.</li>
+  <li><i>For A&#8217; That and A&#8217; That</i>, VII, 149.</li>
+</ul>
+
+<p>5. Courage and bravery are shown to be admirable and cowardice is made
+shameful in these selections:</p>
+
+<ul class="booklist">
+  <li><i>The Boy and the Nettle</i>, Volume I, page 65.</li>
+  <li><i>The Mice and the Cat</i>, I, 197.</li>
+</ul>
+
+<p>6. The evil of conceit and overweening self-esteem may be shown
+emphatically by the use of such selections as these:</p>
+
+<ul class="booklist">
+  <li><i>The Gnat and the Bull</i>, Volume I, page 70.</li>
+  <li><i>The Cock and the Horses</i>, I, 146.</li>
+  <li><i>The Pea Blossom</i>, I, 205.</li>
+  <li><i>The Sparrow and the Eagle</i>, II, 8.</li>
+  <li><i>The Milkmaid</i>, II, 374.</li>
+</ul>
+
+<p>7. Flattery as a vice is made to seem unworthy, and its victim
+ridiculous in the two selections following:</p>
+
+<ul class="booklist">
+  <li><i>The Fox and the Crow</i>, Volume I, page 64.</li>
+  <li><i>The Spider and the Fly</i>, III, 19.</li>
+</ul>
+
+<p>B. Our character is largely made up of our feelings and emotions. Reason
+takes us in hand and tells us right from wrong, but we must feel before
+we can act. To cultivate right feeling, laudable emotions; to make one
+<i>wish</i> to do and hence <i>will</i> to do is perhaps the greatest function of
+real literature, that is the literature of beauty and of <span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span>inspiration.
+Our collection is rich in this direction and to find material for
+lessons is an easy task. Yet not everyone has the time to find, classify
+and use everything; hence the following lists.</p>
+
+<p>Before giving them, however, a word of caution is necessary. Remember
+that these selections are not all suitable for children of every age.
+Some that will delight the little children and stimulate them to
+enthusiastic efforts to do right, will not appeal to older ones.
+Moreover, the natural bent of a child&#8217;s mind, the associations he has
+formed, his home surroundings, and his present character will all need
+to be considered before making choice of the subject matter. As for the
+manner of presentation, enough will be found in the studies in <i>Journeys
+Through Bookland</i> and in other parts of this volume safely to guide the
+young and inexperienced.</p>
+
+<p>1. The influences of home and family are the greatest that come into the
+lives of most children. Love of home, of parents, of brothers and
+sisters, of children, are the perfectly natural things of existence. Yet
+often the ties are weak; not infrequently are they broken. Children
+drift away from the restraining and helpful influence of their parents,
+and families disintegrate. The results are bad. By properly teaching
+such selections as the following, much may be done to correct the evil
+and to intensify the highest, holiest emotions of mankind:</p>
+
+<ul class="booklist">
+  <li><i>The Rock-a-by Lady</i>, Volume I, page 94.</li>
+  <li><i>Little Birdie</i>, I, 142.</li>
+  <li><i>Sleep, Baby, Sleep</i>, I, 204.</li>
+  <li><i>Old Gaelic Lullaby</i>, I, 203.</li>
+  <li><span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span><i>Lady Button-Eyes</i>, I, 366.</li>
+  <li><i>The First Snowfall</i>, II, 403.</li>
+  <li><i>Rain on the Roof</i>, IV, 7.</li>
+  <li><i>Pictures of Memory</i>, IV, 127.</li>
+  <li><i>Bernardo del Carpio</i>, IV, 270.</li>
+  <li><i>Rab and his Friends</i>, VI, 99.</li>
+  <li><i>Childhood</i>, VI, 124.</li>
+  <li><i>Home, Sweet Home</i>, VI, 221.</li>
+  <li><i>Home They Brought Her Warrior Dead</i>, VI, 231.</li>
+  <li><i>A Christmas Carol</i>, VI, 244.</li>
+  <li><i>To My Infant Son</i>, VI, 478.</li>
+  <li><i>The Old Oaken Bucket</i>, VII, 11.</li>
+  <li><i>My Old Kentucky Home</i>, VII, 179.</li>
+  <li><i>The Forsaken Merman</i>, VII, 180.</li>
+  <li><i>Tom and Maggie Tulliver</i>, VII, 186.</li>
+  <li><i>The Family of Michael Arout</i>, VII, 314.</li>
+  <li><i>On Receipt of My Mother&#8217;s Picture</i>, VII, 331.</li>
+  <li>Extract from <i>Snowbound</i>, VII, 388.</li>
+  <li><i>The Cotter&#8217;s Saturday Night</i>, VIII, 319.</li>
+  <li><i>Dream Children</i>, VIII, 335.</li>
+</ul>
+
+<p>2. Honesty and truthfulness are cardinal virtues; they are the
+foundation of every strong character. Teach these selections and note
+their effect:</p>
+
+<ul class="booklist">
+  <li><i>The Shepherd Boy and the Wolves</i>, Volume I, page 92.</li>
+  <li><i>The Falcon and the Partridge</i>, II, 6.</li>
+  <li><i>The Pied Piper of Hamelin</i>, III, 384.</li>
+  <li><i>The Cubes of Truth</i>, VII, 406.</li>
+</ul>
+
+<p>3. Friendliness, kindness, consideration of others, charity and love are
+a group of strong characteristics which are admirably shown in the
+following:</p>
+
+<p><span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span></p>
+
+<ul class="booklist">
+  <li><i>The Two Travelers</i>, Volume I, page 109.</li>
+  <li><i>Cinderella</i>, I, 224.</li>
+  <li><i>Baucis and Philemon</i>, I, 431.</li>
+  <li><i>The Snow Queen</i>, II, 124.</li>
+  <li><i>The King of the Golden River</i>, II, 405.</li>
+  <li><i>Auld Lang Syne</i>, VI, 228.</li>
+  <li><i>A Christmas Carol</i>, VI, 244.</li>
+  <li><i>Florence Nightingale</i>, IX, 13.</li>
+</ul>
+
+<p>4. Generosity is admirable; selfishness is despicable. Prove the facts
+by these:</p>
+
+<ul class="booklist">
+  <li><i>The Two Travelers</i>, Volume I, page 109.</li>
+  <li><i>The Two Travelers and the Oyster</i>, I, 111.</li>
+  <li><i>The Cat and the Chestnuts</i>, I, 142.</li>
+  <li><i>Baucis and Philemon</i>, I, 431.</li>
+</ul>
+
+<p>5. Kindness to animals is next to kindness and sympathy for human
+beings. It is best inculcated by teaching the beauty and loveliness of
+animals, their value to man and their dependence upon him. The following
+will help:</p>
+
+<ul class="booklist">
+  <li><i>The Boys and the Frogs</i>, Volume I, page 63.</li>
+  <li><i>The Brown Thrush</i>, I, 147.</li>
+  <li><i>Mercy to Animals</i>, I, 413.</li>
+  <li><i>The Ugly Duckling</i>, I, 414.</li>
+  <li><i>Tom, the Water Baby</i>, II, 215.</li>
+  <li><i>Who Stole the Bird&#8217;s Nest?</i> II, 399.</li>
+  <li><i>A Dog of Flanders</i>, IV, 93.</li>
+  <li><i>Rab and His Friends</i>, VI, 99.</li>
+  <li><i>The Rime of the Ancient Mariner</i>, VII, 29.</li>
+</ul>
+
+<p>6. Patience and gentleness seem charming in these selections:</p>
+
+<ul class="booklist">
+  <li><i>The Wind and the Sun</i>, Volume I, page 95.</li>
+  <li><i>Cinderella</i>, I, 224.</li>
+  <li><i>Rab and His Friends</i>, VI, 99.</li>
+</ul>
+
+<p>7. Faithfulness is a virtue. We admire it in:</p>
+
+<p><span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span></p>
+
+<ul class="booklist">
+  <li><i>Something</i>, Volume I, page 395.</li>
+  <li><i>Whittington and His Cat</i>, I, 442.</li>
+  <li><i>The Mirror of Matsuyana</i>, II, 36.</li>
+  <li><i>The Snow Queen</i>, II, 124.</li>
+  <li><i>Casabianca</i>, VIII, 313.</li>
+</ul>
+
+<p>8. That envy and covetousness are unpleasing and unprofitable are shown
+by these:</p>
+
+<ul class="booklist">
+  <li><i>The Dog and His Shadow</i>, Volume I, page 63.</li>
+  <li><i>The Frog Who Wished to Be as Big as an Ox</i>, I, 66.</li>
+  <li><i>The Golden Touch</i>, II, 43.</li>
+</ul>
+
+<p>9. Contentment, peacefulness, hopefulness are made very attractive in
+the following:</p>
+
+<ul class="booklist">
+  <li><i>The Town Mouse and the Country Mouse</i>, Volume I, page 199.</li>
+  <li><i>The Pea Blossom</i>, I, 205.</li>
+  <li><i>The Flax</i>, I, 378.</li>
+  <li><i>The Discontented Stone Cutter</i>, II, 12.</li>
+  <li><i>The Fir Tree</i>, II, 68.</li>
+  <li><i>The Blind Lassie</i>, VI, 120.</li>
+  <li><i>Pippa Passes</i>, IX, 293.</li>
+</ul>
+
+<p>C. We have grouped together here two classes of selections which
+inculcate patriotism or devotion to one&#8217;s fatherland and devotion to
+God. How admirable the selections are! You have only to read them to
+see:</p>
+
+<p>1. Patriotism:</p>
+
+<ul class="booklist">
+  <li><i>Holger Danske</i>, Volume II, 377.</li>
+  <li><i>Incident of the French Camp</i>, IV, 174.</li>
+  <li><i>The American Flag</i>, V, 396.</li>
+  <li><i>Battle Hymn of the Republic</i>, V, 399.</li>
+  <li><i>Stonewall Jackson&#8217;s Way</i>, V, 400.</li>
+  <li><i>Horatius</i>, VI, 1.</li>
+  <li><i>Bannockburn</i>, VII, 15.</li>
+  <li><span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span><i>Breathes There The Man</i>, VII, 151.</li>
+  <li><i>How Sleep the Brave</i>, VII, 151.</li>
+  <li><i>Make Way for Liberty</i>, VII, 172.</li>
+  <li><i>The Old Continentals</i>, VII, 175.</li>
+  <li><i>America</i>, VIII, 60.</li>
+  <li><i>The Battle of Thermopylae</i>, VIII, 81.</li>
+  <li><i>The Fall of the Alamo</i>, VIII, 141.</li>
+  <li><i>Herv&eacute; Riel</i>, VIII, 168.</li>
+  <li><i>The Battle of Trafalgar</i>, VIII, 284.</li>
+  <li><i>The Gettysburg Address</i>, IX, 321.</li>
+</ul>
+
+<p>2. Suitable selections under this topic are difficult for teachers to
+find, owing to the objection there is against religious teaching in the
+public schools. Parents have greater liberty of selection. The following
+are beautiful and seem wholly unobjectionable:</p>
+
+<ul class="booklist">
+  <li><i>A Thought</i>, Volume I, page 66.</li>
+  <li><i>The First Snowfall</i>, II, 403.</li>
+  <li><i>Nearer Home</i>, IV, 126.</li>
+  <li><i>Stonewall Jackson&#8217;s Way</i>, V, 400.</li>
+  <li><i>The Rainbow</i>, VI, 91.</li>
+  <li><i>A Child&#8217;s Thought of God</i>, VII, 418.</li>
+</ul>
+
+
+<h3 class="section"><a name="Who_Stole_the_Birds_Nest" id="Who_Stole_the_Birds_Nest"></a><i>Who Stole the Bird&#8217;s Nest?</i></h3>
+
+<p class="opening"><span class="dropcapt"><span class="hide">T</span></span><span class="upper">he</span> obvious purpose of these verses (Volume II, page 399), is to create
+a love for birds by making things appear uncomfortable for the boy who
+steals their nests. Perhaps the lesson is too obvious. The people who
+never steal nests and who always treat birds lovingly will approve of
+the verses, but the boy to be reached is the one who does destroy nests
+and <span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span>frightens or kills their owners or the boy who is liable to be led
+to do such things. Such a child may have no interest in the verses, may
+laugh at the sentiment, even if he can be induced to read or listen to
+the rhymes. Sometimes interest can be created and good effects produced
+by making prominent every feature except the moral. This can be made
+into a little play or dialogue with the following characters:</p>
+
+<ul class="booklist">
+  <li>The Yellow-breast</li>
+  <li>The Cow</li>
+  <li>The Dog</li>
+  <li>The Bobolink</li>
+  <li>The Sheep</li>
+  <li>The Crow</li>
+  <li>The Hen</li>
+  <li>A Bird</li>
+  <li>Mary Green</li>
+  <li>Alice Neal</li>
+  <li>The Little Boy</li>
+</ul>
+
+<p>Unfortunately, there is only one boy character and he is any boy, in
+fact almost every boy, at some time in his life. But he is so ashamed
+that he doesn&#8217;t speak, not even to give his name. Suppose, then, we
+don&#8217;t mention him at all. Just leave him off the list. If he isn&#8217;t
+mentioned and is in the audience, he&#8217;ll remember what he has done and
+feel ashamed and go home and perhaps hide behind the bed and resolve
+never to steal another nest. Yes, we are inclined to agree with you that
+the poem might be better if there were no last stanza. So the little
+drama, in outline, is something like this.</p>
+
+<p><i>The Yellow-breast.</i> Who stole my nest and the four eggs I laid?</p>
+
+<p><i>The Cow.</i> I didn&#8217;t take your nest. I wouldn&#8217;t do such a thing. I gave
+you a wisp of hay.</p>
+
+<p><i>The Yellow-breast.</i> Who stole my nest? Bobolink, who do you think stole
+my nest from the plum tree?</p>
+
+<p><span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span><i>The Dog.</i> (Interrupting). I didn&#8217;t; I wouldn&#8217;t be so mean. I gave my
+hairs to make the nest.</p>
+
+<p><i>The Yellow-breast.</i> Now listen to me. Who stole my nest, Bobolink?</p>
+
+<p><i>The Bobolink.</i> Yes, who stole the Yellow-breast&#8217;s pretty nest?</p>
+
+<p><i>The Sheep.</i> Not I. I wouldn&#8217;t treat a bird so. I gave my wool to line
+the nest.</p>
+
+<p><i>The Yellow-breast.</i> Who stole my nest, I say?</p>
+
+<p><i>The Bobolink.</i> Who stole her nest?</p>
+
+<p><i>The Crow.</i> I should like to know the thief. Who was it?</p>
+
+<p><i>The Hen.</i> Don&#8217;t ask me. The chicks and I each gave a feather and she
+used them. We would be ashamed to intrude on her.</p>
+
+<p><i>A Bird.</i> Let&#8217;s all make a stir and find out who it is. Then we&#8217;ll cry
+&#8220;For shame!&#8221; together.</p>
+
+<p><i>Mary Green.</i> I wouldn&#8217;t rob a bird. I never heard anything so mean.</p>
+
+<p><i>Alice Neal.</i> It is very cruel. I wonder if the thief knew how sad the
+Yellow-breast would feel.</p>
+
+<hr style='width: 45%;' />
+
+<p>Boys do not steal nests because they are mean and want to give pain.
+They admire the pretty eggs, they like the skilfully built nests, and
+they do not realize that anything suffers real pain. That is a lesson
+they must be taught. Can you teach kindness by cruelty? Is it not rather
+cruel to say right out before Mary Green and Alice Neal and the other
+girls that the boy was so ashamed he hung his head, hid behind the bed
+and wouldn&#8217;t tell his name?</p>
+
+<p><span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span></p>
+
+
+<h3 class="section"><a name="Lead_Kindly_Light" id="Lead_Kindly_Light"></a><i>Lead, Kindly Light</i></h3>
+
+<p><span class="smcap">Note.</span>&mdash;John Henry Newman, the author of this beautiful poem (Volume V,
+page 110), was born in London in 1801. He entered Oxford before he was
+sixteen and achieved the highest distinction in his college course. He
+entered the Church of England and became noted for his wonderful
+sermons. After some years of prominence in his calling, he was convinced
+that his belief was wrong, and in 1845 he entered the Roman Catholic
+Church. In 1879 he was created cardinal by Pope Leo XIII. but he
+continued to reside in England, where he died in 1890. Besides his great
+influence as a spiritual thinker, Newman&#8217;s writings and sermons were
+characterized by a forcible and elevated style and by remarkably
+melodious utterance. <i>Lead, Kindly Light</i> shows these traits.</p>
+
+
+<p class="opening"><span class="dropcaps"><span class="hide">S</span></span><span class="upper">ome</span> words and phrases in the hymn may be made clearer by explanation:
+&#8220;Kindly Light.&#8221;&mdash;&#8220;The light shall shine upon thy ways.&#8221; (<i>Job</i> xxii,
+28.) &#8220;The Lord is my light and my salvation.&#8221; (<i>Psalms</i> xxvii, 1.) &#8220;The
+Lord shall be thine everlasting light, and the days of thy mourning
+shall be ended.&#8221; (<i>Isaiah</i> lx, 20.)</p>
+
+<p>In the Bible there are many other instances besides those just given in
+which there is a figurative use of the word <i>light</i>. It is a natural and
+beautiful figure. A person in doubt intellectually or spiritually looks
+upon himself as in darkness, and light to him is an intellectual or
+spiritual awakening.<span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span> The light that came to the poet was a <i>kindly</i>
+light; it removed his doubts and comforted him.</p>
+
+<p>&#8220;<i>Garish day.</i>&#8221; The dazzling or glaring day.</p>
+
+<p>&#8220;<i>Moor and fen.</i>&#8221; While these words seem new and unusual to us, we must
+remember that in England they are as common as the terms <i>marsh</i> and
+<i>swamp</i> are with us.</p>
+
+<p>&#8220;<i>Those angel faces smile</i>,&#8221; <i>etc.</i> The subject of this clause is
+<i>faces</i>, and the verb is <i>smile</i>.</p>
+
+<p>Children will love this hymn though they cannot appreciate its full
+significance till maturer years have brought with them the deeper
+experiences of life. Still they should know and love the poem and may be
+led to a partial understanding of its beauty in sentiment by means of
+interpretation carried not too far. By comment and reading somewhat in
+the following manner may the most be accomplished:</p>
+
+<p>1. The poet had reached mature years and had felt the oppressing
+influence of questioning and doubt, but had reached a sublime faith in
+the power and love of God. He still feels, however, the need of the
+personal care and guidance of the Almighty, and asks that it may
+continue through life. So we may imagine him in one of those thoughtful
+moments which come to every one, musing thus: Darkness and night
+surround me with their encircling gloom, and I feel that years must pass
+before I reach my heavenly home, so&mdash;</p>
+
+<p class="poem">
+Lead, kindly light, amid the encircling gloom,<br />
+<span class="i4">Lead thou me on;</span><br />
+The night is dark, and I am far from home;<br />
+<span class="i4">Lead thou me on;</span></p>
+
+<p><span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span>While he no longer doubts the care and protection of God, yet he feels
+that his own strength is not sufficient; that he may err and stumble in
+the path he has chosen. He does not ask that all should be clear, nor
+that he should see the long course of his life, but is content to pray&mdash;</p>
+
+<p class="poem">Keep thou my feet; I do not ask to see<br />
+The distant scene; one step enough for me.</p>
+
+<p>2. After this invocation and prayer, his thoughts turn back into the
+past, and he remembers that in youth he had not this divine faith, nor
+did he wish to place his reliance in God. He preferred to lay out his
+own course and to plan his life far into the future, without the feeling
+of dependence that now rules him. So he sings:</p>
+
+<p class="poem">I was not ever thus, nor prayed that thou<br />
+<span class="i4">Shouldst lead me on;</span><br />
+I loved to choose and see my path, but now<br />
+<span class="i4">Lead thou me on;</span></p>
+
+<p>He remembers that then he loved display and ostentation and was proud,
+wilful and self-confident; nevertheless, there were times when for a
+moment he feared, but in spite of that timidity, he went on in his
+masterful way:</p>
+
+<p class="poem">I loved the garish day, and, spite of fears,<br />
+Pride ruled my will:</p>
+
+<p>The thought of his self-complacency, his pride and arrogance brings out
+the plea, the supplication, &#8220;remember not past years.&#8221;</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="image06" id="image06"></a><a href="images/image06-full.jpg"><img src="images/image06.jpg" width="253" height="400" alt="Portraits" title="Sir Francis Bacon
+Jonathan Swift
+Cardinal Newman
+Daniel Defoe
+Cardinal Wiseman
+Cervantes
+Father Ryan" /></a><br />
+<span class="caption smcap">Sir Francis Bacon&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Jonathan Swift<br />
+Cardinal Newman<br />
+Daniel Defoe&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Cardinal Wiseman<br />
+Cervantes&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br />Father Ryan</span>
+</div>
+
+<p>3. He remembers that through all his rebellions he has been surrounded
+by the power and <span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span>goodness of God, who has led him through all his
+devious paths, and the feeling comes that the same protecting influence
+will surround him till doubt is swept aside.</p>
+
+<p class="poem">So long thy power hath blessed me, sure it still<br />
+<span class="i4">Will lead me on</span><br />
+O&#8217;er moor and fen, o&#8217;er crag and torrent, till<br />
+<span class="i4">The night is gone.</span></p>
+
+<p>He is confident, too, that the same power will lead him through the dark
+night of doubt till the angels of love and faith, in whom he once
+trusted but whom he has doubted for a time, will come about him and
+smile their welcome to the light:</p>
+
+<p class="poem">And with the morn those angel faces smile<br />
+Which I have loved long since, and lost the while.</p>
+
+
+<h3 class="section"><a name="Poor_Richards_Almanac" id="Poor_Richards_Almanac"></a><i>Poor Richard&#8217;s Almanac</i></h3>
+
+<p class="opening"><span class="dropcapi"><span class="hide">I</span></span><span class="upper">t</span> is doubtful if <i>Journeys Through Bookland</i> contains any other
+selection so full of meat as this extract (Volume VI, page 407) from the
+writings of Benjamin Franklin; in fact, it is so full of wisdom on so
+many homely subjects and contains so much practical advice that no one
+can master it in a single reading.</p>
+
+<p>It is condensed to the utmost limit and every sentence should be weighed
+and considered. The wise maxims and old saws need to be expanded in
+thought, illustrated by example and applied to the reader&#8217;s personal
+experience.</p>
+
+<p>As a whole it is not particularly attractive to young people, but every
+child can be attracted to <span class='pagenum'><a name="Page_102" id="Page_102">[102]</a></span>parts of it. A little of it to-day, more of
+it next week, a third part some time in the future, and in time the
+whole will be assimilated.</p>
+
+<p>If the truths in this one selection are thoroughly embedded in the mind
+of a boy, if the traits of character here taught are made a part of him,
+he will be a sound man of business, a sensible head of a family and a
+valuable citizen in a community.</p>
+
+<p><i>Poor Richard&#8217;s Almanac</i> contains the religion of work, of economy, of
+prosperity. It is a manly doctrine, a clear-cut, respectable philosophy,
+a reasonable rule of business activity. Never more than today were the
+precepts needed. The whole tendency of our modern activities is against
+its precepts. Disaster and ruin may be seen on every hand and traced
+directly to the neglect or violation of those sound principles which the
+wise old Franklin put in such homely words.</p>
+
+<p>These maxims of life and policy are not those which it is the special
+province of the school to teach. They are the elementary law which a boy
+or girl must learn in his home and see exemplified therein if they are
+ever to become a practical part of life&#8217;s equipment.</p>
+
+<p>The wisdom of the <i>Almanac</i> is the wisdom of practical experience, the
+wisdom of those who have lived and worked, who have lost and won. It
+does not deal with the finer phases of character, but with those
+practical things which lead to a bread-and-butter success.</p>
+
+<p>A boy who knows what <i>Poor Richard</i> teaches and follows his precepts
+will be a business success. If a parent can grind into the character of
+his child these lessons of industry, simplicity, tem<span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span>perance and
+frugality he will have left a legacy more valuable a thousand times than
+the wealth he may have amassed, although that is reckoned by the
+millions.</p>
+
+<p>Because of the extreme condensation of the address by Father Abraham,
+the following outlines have been made to enable a parent to find easily
+what is wanted and to present it attractively. The selection is one of
+those which children will not master by themselves, but one which the
+parent can easily make interesting if he will follow the plans given
+below.</p>
+
+
+<h3 class="section"><a name="Analysis" id="Analysis"></a>Analysis</h3>
+
+<ol class="outline">
+  <li>I. (Page 409.) Taxes are heavy, but we are taxed:</li>
+  <li class="level2">1. Twice as much by our <i>Idleness</i>.</li>
+  <li class="level2">2. Three times as much by our <i>Pride</i>.</li>
+  <li class="level2">3. Four times as much by our <i>Folly</i>.</li>
+  <li class="level1">II. <i>Idleness</i> and <i>Industry</i>. (pages 409, 411.)</li>
+  <li class="level2">1. Time wasted in doing nothing (page 409), <i>sloth</i>.</li>
+  <li>(In this connection see fable, <i>Industry and Sloth</i>, Volume I, page 300.
+Consult <a href="#GENERAL_INDEX">index</a> in <i>this</i> volume).</li>
+  <li class="level2">2. Time wasted in <i>sleep</i> (page 410).</li>
+  <li class="level2">3. Time wasted in <i>wishing</i> and <i>hoping</i> (page 411).</li>
+  <li class="level2">4. Industry lost by putting off till tomorrow (page 412).</li>
+  <li class="level2">5. Steadiness in industry wins (page 412).</li>
+  <li class="level1">III. <i>Folly.</i> (pages 414-416).</li>
+  <li class="level2">1. Of trusting to others (page 414).</li>
+  <li class="level2">2. Of neglect of small matters (page 414).</li>
+  <li class="level2"><span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span>3. Of extravagance and the sensibleness of frugality (page 414).</li>
+  <li class="level2">4. Of vice (page 415).</li>
+  <li class="level2">5. Of high living (page 415).</li>
+  <li class="level2">6. Of purchasing unnecessary things (page 415).</li>
+  <li class="level2">7. Of luxury (page 416).</li>
+  <li class="level1">IV. <i>Pride.</i> (page 417).</li>
+  <li class="level2">1. Of dress (page 417).</li>
+  <li class="level2">2. In table luxuries (page 417).</li>
+  <li class="level2">3. Of appearance (page 417).</li>
+  <li class="level1">V. <i>The Madness of Debt.</i> (pages 417-420).</li>
+  <li class="level2">1. Brings shame (page 417).</li>
+  <li class="level2">2. Causes lying (page 418).</li>
+  <li class="level2">3. Destroys virtue (page 418).</li>
+  <li class="level2">4. Brings slavery (page 419).</li>
+  <li class="level2">5. Prevents success (page 420).</li>
+  <li class="level1">VI. Ask for the <i>Blessing of Heaven</i> (page 420).</li>
+  <li class="level1">VII. Accept <i>Counsel</i>. Do not wait for <i>Experience</i>.</li>
+</ol>
+
+<p>Following the arrangement of the analysis above we may group a series of
+typical maxims, each of which can be made the basis of one of those
+little fireside talks which bear so prominent a part in the recollection
+of every man and woman who had the blessing to be brought up in a real
+home where father and mother joined in a sincere effort to bring up
+their children to honest, earnest, successful maturity.</p>
+
+<ol class="outline">
+  <li>I. &#8220;We are taxed twice as much by our <i>Idleness</i>, three times as much by
+our <i>Pride</i> and four times as much by our <i>Folly</i>.&#8221;</li>
+  <li class="level1"><span class='pagenum'><a name="Page_105" id="Page_105">[105]</a></span>II. <i>Idleness and Industry.</i></li>
+  <li class="level2">1. &#8220;Sloth, like rust, consumes faster than labor wears; while the
+used key is always bright.&#8221;</li>
+  <li class="level2">2. &#8220;The sleeping fox catches no poultry.&#8221;</li>
+  <li class="level2">3. &#8220;He that lives on hope will die fasting.&#8221;</li>
+  <li class="level2">4. &#8220;Industry need not wish.&#8221;</li>
+  <li class="level2">5. &#8220;Have you somewhat to do tomorrow? Do it today.&#8221;</li>
+  <li class="level2">6. &#8220;Three removes are as bad as a fire.&#8221;</li>
+  <li class="level1">III. <i>Folly.</i></li>
+  <li class="level2">1. &#8220;If you would have a faithful servant and one that you like,
+serve yourself.&#8221;</li>
+  <li class="level2">2. &#8220;For want of a nail the shoe was lost; for want of a shoe the
+horse was lost; for want of a horse the rider was lost.&#8221;</li>
+  <li class="level2">3. &#8220;A fat kitchen makes a lean will.&#8221;</li>
+  <li class="level2">4. &#8220;What maintains one vice would bring up two children.&#8221;</li>
+  <li class="level2">5. &#8220;Who dainties love shall beggars prove.&#8221;</li>
+  <li class="level2">6. &#8220;At a great pennyworth pause awhile.&#8221;</li>
+  <li class="level2">7. &#8220;Silks and satins, scarlets and velvets put out the kitchen
+fire.&#8221;</li>
+  <li class="level1">IV. <i>Pride.</i></li>
+  <li class="level2">1. &#8220;Fond pride of dress is, sure, a very curse.<br />
+    <span class="level2">Ere fancy you consult, consult your purse.&#8221;</span></li>
+  <li class="level2">2. &#8220;Pride breakfasted with plenty, dined with poverty and supped
+with infamy.&#8221;</li>
+  <li class="level2">3. &#8220;What is a butterfly? At best<br />
+<span class="level2">He&#8217;s but a caterpillar drest.&#8221;</span></li>
+  <li class="level1"><span class='pagenum'><a name="Page_106" id="Page_106">[106]</a></span>V. <i>The Madness of Debt.</i></li>
+  <li class="level2">1. &#8220;You will be ashamed to see your creditor.&#8221;</li>
+  <li class="level2">2. &#8220;Lying rides upon debt&#8217;s back.&#8221;</li>
+  <li class="level2">3. &#8220;It&#8217;s hard for an empty bag to stand upright.&#8221;</li>
+  <li class="level2">4. &#8220;Creditors have better memories than debtors.&#8221;</li>
+  <li class="level2">5. &#8220;Those have short Lent who owe money to be paid at Easter.&#8221;</li>
+  <li class="level1">VI. &#8220;Job suffered and was afterward prosperous.&#8221;</li>
+  <li class="level1">VII. &#8220;They that won&#8217;t be counselled can&#8217;t be helped.&#8221;</li>
+  <li class="level2">&#8220;If you will not hear reason, she&#8217;ll surely rap your knuckles.&#8221;</li>
+</ol>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_107" id="Page_107">[107]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI<br />
+<br />
+<span class="smcap">Father and Son</span></h2>
+
+
+<p class="opening"><span class="dropcapp"><span class="hide">P</span></span><span class="upper">roperly</span> enough, the responsibility for health and development of young
+children rests upon the mother, and in most families this care remains
+with her till the children are able to look out for themselves. However,
+upon the father devolves more responsibility than the mere providing for
+the daily need of his children. Especially is it true that the boys of a
+family need the personal influence of the father fully as much as that
+of the mother. However patient, wise and devoted a mother may be, there
+comes a time in every boy&#8217;s life when he ought to be under the influence
+and subject to the control of a man. <i>Every boy looks to men for his
+models and for a time follows them blindly, in spite of the most careful
+training a mother can give.</i> Curiously enough it is often to a man other
+than his father that the boy looks for advice and direction. It is some
+other man who influences his thought and through his thought his actions
+and the development of his character. Even when the relations between
+father and son are of the closest the boy begins to look around him and
+often, for no other reason than the novelty of the influence, he falls
+under the tutelage of another to whom he gives a confidence that his
+father could never secure. As they enter the period of adolescence, boys
+will often talk on <span class='pagenum'><a name="Page_108" id="Page_108">[108]</a></span>many subjects with strangers with a freedom that
+parents, especially fathers, can never hope to see equalled unless the
+most perfect confidence has existed from the earliest childhood. Those
+who have taught for many years and who have had growing boys in their
+charge know how true this fact is and try to make it of service by
+seeing that someone of strong character shall be at hand for the boys to
+lean upon. They are impressionable, these men in embryo, and will go to
+such lengths for persons they happen to admire and who have secured
+their confidence, that those who know tremble when they find evil or
+trifling influences gathering about their charges.</p>
+
+<p>Unfortunately in too many cases the parents fail to realize the
+importance of this change of relationship and allow children to drift
+without any effort to stem the tide that is bearing their progeny away.
+Fathers are particularly blind. One would think that they would remember
+how it was with themselves in their youth and be guided accordingly. But
+as a matter of fact a large majority of the fathers of the land have
+forgotten the perils of their own boyhoods; they look upon their own
+sons as proof against the temptations they weathered, or as being exempt
+because of their better position in life. If these same fathers would
+only consider that the temptations come from within and are inseparable
+from our race and from the age of the children they would regard with
+the greatest concern every influence that is brought to bear upon their
+rapidly developing boys.</p>
+
+<p>This is no light matter we are discussing and is one that ought to be
+considered seriously by every <span class='pagenum'><a name="Page_109" id="Page_109">[109]</a></span>father. Every teacher, every psychologist
+knows that the time comes when a man must lead the changing youth. Who
+shall do it? Obviously the father. No man can put aside his
+responsibilities in this matter nor can he delegate it to the mother.
+She may be the one big factor in the development of her boy&#8217;s character
+and yet there is one time when all her carefully laid plans may go awry,
+when for a little while her restraining influence is powerless to save.
+No father can, in fairness to the children he has brought into the
+world, say that when he has made the home and furnished it, when he has
+fed and clothed his wife and children he has done all that he ought to
+do. It matters not how difficult a task it has been to find the money to
+support his family, nor how hard he has been obliged to work to get the
+daily bread; it matters not how tired or how much in need of recreation
+he may be when he returns to his home at the close of the day; he finds
+his responsibility always facing him. Do not misunderstand the question,
+nor the purpose of these lines. This is in no sense a criticism nor is
+it a bit of preaching at the hard-working fathers upon whom rest the
+hopes of the race. Every true father is willing to give his life if
+necessary for his offspring and there is no greater devotion in the
+world than that of father to son. But the fact remains that many a busy
+man has been so overburdened with the cares of his everyday life that he
+has had no time to make himself familiar with even the smallest of his
+duties to his family.</p>
+
+<p>Suddenly he becomes conscious that his son is growing away from him,
+that the little things that <span class='pagenum'><a name="Page_110" id="Page_110">[110]</a></span>have bound them together have no longer the
+strength to hold, that they are drifting apart. Perhaps the father never
+has been on intimate terms with his son and has never really known what
+his child was thinking about or what his ideas and ideals really were.
+When this consciousness comes to the father, when he learns that he is
+no longer the one big figure on his son&#8217;s horizon and that his words
+have ceased to be accepted as final on every question, he is startled
+and seeks strenuously to regain his position. Difficult will it be. To
+regain what has been lost is always difficult; more difficult is it to
+displace an influence that is already established. How many, many times
+there comes to the earnest teachers the anxious parent with the
+oft-repeated statements and questions. &#8220;My boy has grown away from me. I
+don&#8217;t know him any more. What I say no longer has any influence with
+him. I don&#8217;t know what to do. How can you help me? He thinks more of
+what you say than of what I say and would follow you even if I objected.
+What can I do? What advice can you give?&#8221; In many instances it is too
+late and never again can the father recover the influence he has lost.</p>
+
+<p>On the other hand, it is possible in most cases for the father to
+reinstate himself if he proceeds in the right way. That way is never
+through command or restraint or discipline. <i>By only one process can he
+succeed, and that is by placing himself in the position of the boy,
+learning the boy&#8217;s tastes and interests and in joining with the boy in
+the things the latter likes.</i> If there has never been much community of
+thought between the two, the parent may say in substance or show by his
+acts <span class='pagenum'><a name="Page_111" id="Page_111">[111]</a></span>that he has rather neglected the youth because he was too young to
+be in sympathy with a man&#8217;s work and because it was better for the
+mother to have the care of her son during his boyhood; but that now he
+is old enough to begin to think a man&#8217;s thoughts and to take an interest
+in a man&#8217;s occupations. Sometimes if this is followed by a real hearty
+confidence, if the father takes the boy with him on his business trips,
+shows him how the money for the family is made and what are the joys and
+compensations of a busy career, the boy&#8217;s confidence is won, his
+interest aroused and a frank comradeship established, new bonds are
+created and the father finds a delightful companion, the boy an honored
+friend and a worthy leader. Such fathers have said again and again, &#8220;I
+have found a new and trustworthy friend, a helper whose enthusiasm and
+good sense is worth more to me than anything I have had in years; and it
+is <i>my</i> boy who is doing it.&#8221; Unfortunately, most men fail to realize
+the power of a boy&#8217;s mind, the helpfulness of his companionship. His
+outlook on life is so fresh and true, his ambition so strong and his
+willingness to be taught so refreshing that intimacy with him makes the
+adult much stronger and better able to master the annoyances of the day,
+and to win the commercial victories upon which subsistence depends.</p>
+
+<p>But at its best this latter-day acquaintanceship is never so strong nor
+so helpful as that which begins when the child is an infant and
+continues through boyhood to the larger youth and manhood. And it is
+easy to win the confidence and respect of the very young, easy to retain
+it when won. Yet many a sincere and anxious man fails <span class='pagenum'><a name="Page_112" id="Page_112">[112]</a></span>utterly to earn
+that sympathetic companionship which any father may have for the asking,
+if the request is made in a way the child can understand and appreciate.
+The foundation of it all is a sympathy in the things that children know
+and love. <i>A child lives on a plane of his own. You cannot take him very
+far from it nor substitute anything in its place except by the slowest
+and most careful management.</i> There can be no sympathy, no understanding
+that is not located on the childish plane. The father must come down
+where the child lives, must find his interest in the things that the
+child loves and must be sincere in every manifestation of that interest.
+Right here is where so many fathers fail. They try to interest the child
+in things which the older mind enjoys, and finding themselves unable to
+create the artificial atmosphere give up in discouragement and disgust.
+Such a course is foolish in the extreme. The older person who knows more
+and has had the experiences that are now new to youngsters must go back
+into his memories and join in the little things that make up the big
+complex of a child&#8217;s world. Unless you become as little children you can
+never enter into the lives of children.</p>
+
+<p>To become young again in a genuine fashion is not permitted to many of
+us and we must accordingly seek some common ground where we can meet the
+children and be as they are in seeming if not in reality. We may not be
+able to play their games with interest and sympathy, or the boys may be
+so skilful that we lose standing rather than gain influence by
+participation. We may not be able to sympathize with the rivalries of
+<span class='pagenum'><a name="Page_113" id="Page_113">[113]</a></span>school or talk intelligently on the sports that make up a large part of
+their daily occupation. Where, then, can we meet them and how shall we
+put ourselves on an equality with them and at the same time preserve our
+leadership?</p>
+
+<p>Such a question is not easy to answer in detail, but many a man has
+found a way and a simple one at that. In the first place, play is part
+of the life of every child and he has as much right to his fun as any
+adult has to the recreation he finds necessary to keep him at the top of
+his working power. <i>Many a child may properly complain that he has had
+no childhood</i>, that all the time he was being repressed and never
+allowed to express himself in his own way. He may not realize at the
+time that anything is wrong in the treatment that his father gives him,
+but the time comes when he will know and understand. Right there is a
+fact that every father ought to know and realize so thoroughly that he
+will never lose sight of it. <i>Yes, some time every boy will know just
+what kind of a father he has had and just how worthy of respect and
+veneration that father has been.</i> A little boy is credulity itself and
+everything tends to make him believe in his father. But as he grows
+older he will surely know. Woe be it to the parent who when
+disillusionment comes falls below the standard the child has set. Some
+time the boy will know. If he has never had the pleasure that was his
+due, if he has never had the fun in his home that he had a right to
+expect, his estimate of his parent will be appallingly low.</p>
+
+<p>Through play in the home in the evening after the day&#8217;s work is ended
+has many a father laid the <span class='pagenum'><a name="Page_114" id="Page_114">[114]</a></span>foundation for an influence that controlled
+when other ties seemed strained to the breaking point. It is in this
+playtime that the boy expresses himself most fully. Every animal has its
+playtime, and the most savage of the beasts play with their little ones
+to educate them to succeed in the struggle for existence. If play is a
+natural expression of the child&#8217;s mind and body, anything that represses
+play is a hindrance to development. In the cheery home where to have fun
+and lots of it is a daily habit every child grows and matures as
+perfectly as a plant where there are just the right amounts of sun and
+moisture and where the soil is perfectly adapted to growth. A little
+less light, a little less moisture, and the plant will wither and fail.
+A little less play and more repression and the child will become morose
+and fail to keep pace with his mates. To repress is so easy, to
+reconstruct so difficult!</p>
+
+<p>After the play comes the work, but the work may be made as interesting
+as the play and may proceed in the same spirit of jollity and freedom
+that marked the time given up wholly to amusement. The work is the
+second factor in the father&#8217;s influence&mdash;something on the plane of the
+child&#8217;s own mind, not too difficult, not too long continued. Closely
+related, too, it must be with things that the child has done and
+understands. Some phase of school work may need to be carried on by the
+older ones in the family, but the younger boys are free to work with the
+father in anything that will stimulate and inspire. What shall the work
+be? To every one who has had to do with a large number of children the
+answer comes quickly enough. <i>In reading<span class='pagenum'><a name="Page_115" id="Page_115">[115]</a></span> and conversation will the boy
+and his father come most closely together</i>, in a field that is
+attractive to both and where it is as easy to find entertainment and
+pleasure as it is to gain information and culture.</p>
+
+<p>Two quotations from men of good judgment come into mind at this point.
+Arthur T. Hadley, recently President of Yale University, has said, &#8220;Men
+in every department of practical life, men in commerce, in
+transportation or in manufactures, have told me that what they really
+wanted from our college was men who have this selective power of using
+books efficiently. The beginnings of knowledge are best learned in any
+home fairly well furnished with books.&#8221; Professor William Mathews has
+added, &#8220;It is not the number of books which a young man reads that makes
+him intelligent and well-informed, but the number of well-chosen ones
+that he has mastered so that every valuable thought in them is a
+familiar friend.&#8221;</p>
+
+<p>In those two quotations the ideas of prime importance to every father
+are, first, that the beginnings of knowledge are best learned in the
+home; and, second, that it is the mastery of what is read that really
+counts. In school a child learns to read; at his home he reads to learn.
+At school he learns how he ought to read; but it is at his home that he
+learns to read in that manner. What a boy does in school is a small part
+of the total amount of his reading, and its influence is small indeed.
+In home reading, then, reading of the right material in the right way,
+is to be found the great influence in education and the great factor in
+the building of character.</p>
+
+<p>If such is the case, what more important work <span class='pagenum'><a name="Page_116" id="Page_116">[116]</a></span>can there be for the
+father than to read with his son, to watch these beginnings of education
+which mean so much more than the mere instruction in school, and to be a
+power in developing that right method of reading which means not only
+the acquisition of knowledge but also the acquirement of power and the
+making of character. The busy man is tired at night and inclined to
+think that he has no time to give to reading with his boys. He may
+think, too, that reading childish stories is beneath his dignity. Such
+is not the case. There is a great abundance of literature that is manly,
+and at the same time interesting to a boy. If the father feels that he
+is past the time when he has any sympathy with the fairy stories and the
+little poems that the infants like, if he thinks the nursery rhymes are
+silly and the fables too old to be true, that is because he has not
+recently read them. Busy men, men of power and influence, like to renew
+their youth by going to the simple things they loved as children, and
+not a few of them find that the years have given them new powers of
+interpretation and that what was to them at one time only an amusing
+tale is now replete with the philosophy of the universe. Yet there may
+be fathers of so practical a mind that works of imagination have no hold
+upon them. To them, however, the world of literature is by no means
+barren. There are history, biography and essays upon a thousand
+subjects, any one of which will interest a boy and at the same time his
+father. Particularly is this true when the reading is aloud and
+interspersed with free conversation upon the subjects that come to the
+surface. If the father can only select the right material <span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span>and read it
+with his son there is no question whatever about the interest that will
+develop for both. A busy man has little time to select reading; in all
+probability he has not had the experience to enable him to do so wisely,
+for he has been so absorbed in business that he has forgotten what he
+knew best as a boy and is unable to tell just what appealed to him most.
+It may be that he never in his youth had the opportunity to read the
+best of literature and does not know where to turn to find it. He hears
+his little family talking about what they read at school and how they
+ought to read and feels himself behind the times and hesitates to make
+an exhibition of himself before his children. To any father, a
+collection such as that in <i>Journeys Through Bookland</i> is of inestimable
+value. When it is considered that in addition to the literary material
+there are abundant suggestions as to how interest may be created and how
+the reading may be made most profitable, then the set becomes
+indispensable. In other words, <i>Journeys</i> contains the material that
+must be in every family to make it &#8220;fairly well furnished with books,&#8221;
+and it provides a way of &#8220;mastering the books so that every valuable
+thought is a familiar friend.&#8221;</p>
+
+<p>If fathers could be persuaded to spend one evening with their boys in
+the reading and discussion of some selection in <i>Journeys</i>, they would
+not willingly forego the pleasure thereafter. It has happened so many
+times that we know this is not an overstatement. Fathers by the score
+have written us on the subject. One says, &#8220;I have solved the problem of
+keeping my boys off the streets, or, rather, <i>Journeys</i> has done it for
+me.&#8221; &#8220;I have never <span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span>spent a happier evening. The boys staid up with me
+till after their usual bed time and when they had retired, I read on for
+half the night,&#8221; says another. &#8220;I feel young again, and John and I are
+great chums. <i>Reminiscences of a Pioneer</i> kept me telling stories long
+after we had finished reading the sketch.&#8221; Who are these fathers?
+Clergymen, lawyers, doctors, teachers, we may expect, for they are
+somewhat interested in reading, because of their life work. But they are
+not the most numerous, by any means. Railroad men, manufacturers,
+farmers, men in hundreds of vocations acknowledge the delight of reading
+<i>Journeys</i> with their children. Is there anything finer, more wholesome,
+more inspiring than the thought of fathers and children reading
+together, and together feeling the inspiration that radiates from the
+great masterpieces.</p>
+
+<p>But this chapter is not an argument for the purchase of <i>Journeys</i>. That
+you, father of a growing boy, are reading these lines is evidence that
+you have thought well enough of the <i>Journeys</i> idea to place a set of
+books in your family. You have done this because you recognized that in
+this age of specialists, you, a business man, could not be expected to
+select reading matter for your son and assist him in his growth and
+development with the same skill as can those who have devoted many years
+to that special problem. No attempt is made to advise you on the conduct
+of your business or to direct the management and control of your son.
+But a sincere effort has been made to help you to join with your boy in
+that hearty sympathy which will make him happier, better and more of a
+man; <span class='pagenum'><a name="Page_119" id="Page_119">[119]</a></span>which will make you young again and add to your pleasure without
+increasing your burdens. What we want is to make the books most
+effective, to help them be the power for good that we know they can be,
+and more than anything else, to make them a living bond between father
+and son. So let us examine the books together with these thoughts in
+mind and see if we cannot find just the things that will arouse your
+enthusiasm and make you young again, an equal and a friend who can lead
+your boy where you want him to go and where he will gladly follow you.</p>
+
+<p><a name="Reminiscences_of_a_Pioneer" id="Reminiscences_of_a_Pioneer"></a>For instance, there is in the sixth volume that kindly humorous account
+of a boyhood in Wisconsin in the early part of the last century,
+<i>Reminiscences of a Pioneer</i> (Volume V, 340). Every man will be
+interested in it, and he cannot read it aloud to a boy of seven without
+catching the attention of the child. Even a lad of sixteen will get into
+the spirit of the thing, although it may not be the same incidents that
+will attract him. Think of the contrast between that humble log cabin
+with its visiting Indians and the luxurious steam-heated flat of your
+son, or the farm house with all modern conveniences that a friend of
+yours may have in the very region where our little friend was frightened
+more by the strange Dutch immigrants than he was by the red men whom he
+saw every day. Think of a six or seven year old boy that had never seen
+an apple and who could enjoy chokecherries and crab apples, even though
+he couldn&#8217;t get his face back into line on the same day in which he ate
+them fresh from the tree. Think of offering raw turnips to the guests
+and of <span class='pagenum'><a name="Page_120" id="Page_120">[120]</a></span>people coming twenty miles to get a small piece of salt pork,
+because they were so tired of fresh meat and fish. Think that these
+things happened less than a hundred years ago and within forty miles of
+the now big and flourishing city of Milwaukee. What lessons there are in
+courage, skill, self-reliance and contentment in the lives of these
+early pioneers, especially the devoted mother who kept her yeast alive
+so many years, and stood off the Indians with one hand while she tended
+to her increasing family with the other. Can you imagine a boy who
+wouldn&#8217;t be interested in the sturdy youngster who earned and refused
+his first quarter of a dollar for paddling a man across the river in a
+heavy dugout? Don&#8217;t you think your son will have a host of questions to
+ask about it all and that you will be glad to talk to him about the
+Indians he likes to imitate when he plays? Can&#8217;t you see that reading
+such as this is worth while and that every moment spent in this way is
+an investment for yourself in the boy&#8217;s confidence and good graces?</p>
+
+<p>Other selections of a somewhat similar nature, all of which will appeal
+to boys at the time when Indians and adventure are of more interest than
+anything else, are the following:</p>
+
+<ul class="booklist">
+  <li><i>The Arickara Indians</i>, Volume IV, page 472.</li>
+  <li><i>The Buccaneers</i>, Volume V, page 359.</li>
+  <li><i>Captain Morgan at Maracaibo</i>, Volume V, page 365.</li>
+  <li><i>Ringrose and His Buccaneers</i>, Volume VIII, page 1.</li>
+  <li><i>David Crockett in the Creek War</i>, Volume VIII, page 37.</li>
+  <li><i>Braddock&#8217;s Defeat</i>, Volume V, page 379.</li>
+  <li><i>The Capture of Vincennes</i>, Volume VI, page 428.</li>
+  <li><i>The Black Hawk Tragedy</i>, Volume VII, page 58.</li>
+  <li><i>P&egrave;re Marquette</i>, Volume VIII, page 121.</li>
+  <li><i>George Rogers Clark</i>, Volume VI, page 422.</li>
+</ul>
+
+<p>Have no fear that the boy&#8217;s love for Indians and adventure is a thing to
+suppress. It is an evidence of growth and of development. You know every
+boy lives over in himself the history of his race, and as there was a
+time when the life of mankind was a struggle with physical difficulties
+and personal danger so there is a time when every boy feels within
+himself the admiration for brave deeds and the desire to fight and
+conquer. Your province it is to meet him on that ground, enjoy with him
+the tales of lofty daring and physical prowess, the tales of stirring
+adventure and narrow escapes, and to lead him gently with you into the
+fields of history where achievements in science, commerce and
+engineering take the place of battles with wild animals and wilder
+Indians.</p>
+
+<p>Don&#8217;t feel that you have not the time to do the things recommended. We
+can always find the time to do the things we like to do, and this means
+of joining in the thoughts of your boy will be one of the things you
+will most enjoy when you have once accustomed yourself to it.</p>
+
+<p>We get out of reading just what we put into it. That is to say, the same
+selection read by different people will have just as many meanings as
+there are people reading it. By assistance, a person may be caused to
+see more in what he reads and in time <span class='pagenum'><a name="Page_122" id="Page_122">[122]</a></span>may approximate the full
+understanding of his teacher. But it is unwise and useless to expect a
+child to read with the same appreciation that an adult has. Accordingly
+the father, if he is wise, will be satisfied when his boy is really
+interested in a thoroughly good selection if he sees at the same time
+that the boy is setting about his interpretation in the right way. To
+illustrate: If you are reading about a storm at sea and you are a
+survivor of a shipwreck in such a storm, your appreciation of the
+description will be infinitely more vivid than that of your son, who has
+not even seen the sea. All that you can do is to give him some idea of
+the power of the waves, make him feel that the sight is a thrilling one
+and that there is imminent danger to life and property in the storm.
+Some time he will have the experience to interpret and then his mind
+will recur to the description and he will understand it somewhat as you
+do now. This brings us to think for a moment on the permanent value of
+all that is read. <i>The mind holds things in abeyance, brings them out to
+the light now and then, and each time finds them more and more
+intelligible and influential.</i> Many a maxim learned in youth when an
+understanding of it was impossible becomes a power for good for the
+person in later years when its inner significance appears.</p>
+
+<p>Some poetry will appeal to boys, even though they may look askance at
+most of it. Some lyrics are virile and powerful, well worthy the study
+of the keenest minds. There is an unfounded prejudice against poetry in
+many men because of the fancied puerility of it and its silly sentiment.
+Such a prejudice always disappears if the person reads <span class='pagenum'><a name="Page_123" id="Page_123">[123]</a></span>enough and
+selects the things that are worthy of study. Narrative poems are more
+likely to appeal to men and boys than the lyrics. When the narrative is
+a stirring one and the action dramatic, the poetic form adds decidedly
+to its interest and effectiveness. Take, for instance, that little poem
+by Robert Browning that is known as <i>Incident of the French Camp</i>
+(Volume IV, page 174). No man can read it without being stirred by it,
+and its appeal to boys is immediate and strong. But strong as it is, the
+whole influence of it may be intensified if it is discussed in the
+manner indicated on the pages immediately after the poem. What we would
+have you do is to read the little epic with your boy and talk it over
+with him along the lines of the comments given. It will not be necessary
+for you to point the moral. He will see it for himself, but if you can
+show a little enthusiasm and delight in the incident he will go away
+feeling better toward you and will be a convert to poetry, at least to
+some kinds of it. Later in life the lesson will come back to him and he
+will seek for more of the same sort.</p>
+
+<p>There are a great number of poems of similar import in the books. Any
+one of the following will be capital for reading aloud with your boy.
+Try them and be convinced.</p>
+
+<ul class="booklist">
+  <li><i>Beth Gelert</i>, Volume III, page 42.</li>
+  <li><i>Sheridan&#8217;s Ride</i>, Volume IV, page 223.</li>
+  <li><i>Bernardo Del Carpio</i>, Volume IV, page 270.</li>
+  <li><i>The Wooden Horse</i>, Volume IV, page 383.</li>
+  <li><i>Little Giffin of Tennessee</i>, Volume IV, page 461.</li>
+  <li><i>Bruce and the Spider</i>, Volume V, page 314.</li>
+  <li><span class='pagenum'><a name="Page_124" id="Page_124">[124]</a></span><i>How They Brought the Good News from Ghent to Aix</i>, Volume V, page 335.</li>
+  <li><i>Sohrab and Rustum</i>, Volume VI, page 173.</li>
+  <li><i>How&#8217;s My Boy?</i> Volume VII, page 169.</li>
+  <li><i>The Battle of Ivry</i>, Volume VIII, page 76.</li>
+  <li><i>Herv&eacute; Riel</i>, Volume VII, page 168.</li>
+</ul>
+
+<p>Any one of the national anthems or patriotic poems is fine reading and a
+source for many a kindly talk that will tend to make a better citizen of
+your son and perhaps give you a fresher and truer conception of your own
+duties and responsibilities to the government. These you may readily
+find from the index in the tenth volume, under the title, <i>Patriotic
+Poems</i>.</p>
+
+<p>For older boys there are plenty of good selections, and the discussion
+of some of them must help to bring nearer to the lad his increasing
+responsibilities. A normal boy of sixteen has a lot of the man in him
+and wants to be treated as a man, at least to have his ideas, hopes and
+ambitions given some consideration. He does not want always to be called
+&#8220;Bobby&#8221; or &#8220;Jimmy&#8221; or &#8220;Tommy.&#8221; He likes better to be called &#8220;Smith,&#8221;
+&#8220;Jones,&#8221; or &#8220;Robinson,&#8221; or whatever his last name is. He is tired of
+being told to do this and that and would like to join in some of the
+family councils and feel that father is beginning to see the man and
+forget the &#8220;kid.&#8221; He will be interested in anything that relates to
+commerce, or manufacture or government if it is presented to him in such
+a way that he can &#8220;be somebody&#8221; in the discussion.</p>
+
+<p>It is easy to interest boys in speaking, in orations, in debates. In
+<i>Journeys</i> (Volume IX, page 321) is printed the <i>Gettysburg Address</i> by
+Abraham<span class='pagenum'><a name="Page_125" id="Page_125">[125]</a></span> Lincoln. It is the one great, masterly American address, noted
+not only for its perfect construction, but for its sentiment, its power
+and its brevity. In no other great address are all these elements
+combined. Tested by any standard it rings true in thought and is perfect
+in form. It is worth while to commit it to memory, and father and son
+should be equally interested in the task, if it can be called a task.
+Preceding the address is a note giving its historical setting, and
+following it is an analysis of the thought and a series of questions
+tending to give the thought a more personal application. <i>The Fate of
+the Indians</i> and <i>A Call to Arms</i>, both in Volume IX, are good orations
+accompanied by studies.</p>
+
+<p>An essay that is in effect almost an oration is the extract from the
+<i>Impeachment of Warren Hastings</i> by Macaulay (Volume IX, page 32), and
+in this volume are studies on that essay (page 248).</p>
+
+<p><i>The Boston Massacre</i> by Nathaniel Hawthorne is a pleasing bit of
+history which in this volume (page 370) is used as the basis of a study
+in argument. You may prefer to read the studies first and arrange the
+arguments for your sons or for yourself and your boy. It is surprising
+into what different directions the argument will lead you and how many
+interesting questions will arise which will make good subjects for
+discussion. To make conversation worth while there is needed only
+something interesting to talk about. To be a good talker is worth a
+great deal to any young man and there is no better way to give him this
+power than by conversing freely with him while he is young.</p>
+
+<p><span class='pagenum'><a name="Page_126" id="Page_126">[126]</a></span>Moral instruction is difficult. A thousand little things tend to
+neutralize it and there is an almost universal spirit of opposition to
+moral teaching, on the part of youth. And yet it is easy to give moral
+lessons in an indirect way that shall arouse no opposition and that
+shall be effective for lifetime. <i>Journeys</i> is full of what for lack of
+a better name we call character-building literature. Some of it is
+adapted to boys and girls of a very tender age and more of it to the
+older children. <i>The Cubes of Truth</i> (Volume VI, page 406), by Oliver
+Wendell Holmes, is a beautiful little essay that expresses a great truth
+in a way to impress it indelibly upon the memory of every person who
+reads it. So clear is the language, so clever the idea that the
+selection is read with absorbing interest, and so impressive is the
+lesson that no real attention need be called to it. In reading it the
+beauty of the language and the quaintness of the figure are the real
+subjects of discussion, but all the time the great lesson is making its
+subtle appeal. Cardinal Newman&#8217;s <i>Definition of a Gentleman</i> (Volume IV,
+page 170) is more obviously a didactic selection, but here again the
+definition is given so clearly and so forcibly that no possible offense
+can be taken and the weight of the statements will produce their effect
+without much comment.</p>
+
+<p>In this connection it should be necessary merely to call attention to
+the chapter on character-building, to be found in this volume. In
+preparing that chapter the writer had in mind children of all ages and
+both sexes, but it will be an easy matter for you to select the things
+which you know will appeal to your son.</p>
+
+<p><span class='pagenum'><a name="Page_127" id="Page_127">[127]</a></span>In fact, you will find in every chapter of this volume something to help
+you in making your way into the thoughts and the hearts of your family,
+and we know that as the years pass away and manhood comes to your boys
+they will look back upon the hours spent in reading with you as the most
+momentous of their lives. Do you want your son to say in his manhood, &#8220;I
+look upon Mr. A or Mr. B as the person who most influenced my life&#8221;? Do
+you want him to say, &#8220;I might have been a cultured man with a wide range
+of interests if my father had given to me a little of the time he spent
+at his club&#8221;? Do you want your boy to think that he was a wanderer from
+home, because he could not find in that home the manly sympathy that his
+soul craved? In many a family there is no trouble in keeping the boys
+off the streets. There is no place half so attractive as the home and
+for them no inclination to seek among others the fun and intellectual
+stimulus they crave as they crave their food.</p>
+
+<p>Usually the reading habit must be formed early or not at all. A man in
+middle life will not acquire the habit easily unless there is some
+stimulus which keeps him reading for a time, in spite of himself. In the
+active minds of his boys he may find just that stimulus, and in his
+declining years when time weighs heavily upon his hands and great
+activities are denied him he will find in his later acquirement an
+unfailing source of enjoyment. In such hours will come to recollection
+the days he spent with his boys and his heart will fill with joy that he
+did not neglect his rich opportunities.</p>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_128" id="Page_128">[128]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII<br />
+<br />
+<span class="smcap">Memorizing</span></h2>
+
+
+<p class="opening"><span class="dropcapw"><span class="hide">W</span></span><span class="upper">henever</span> children are interested in any selection, it is well to
+encourage them to commit it to memory, if it be brief, or if they find
+in it phrases or sentences which seem to them beautiful or filled with
+meaning. If, however, the young people are driven to memorizing
+selections of any kind, the practice is of little value, and it is
+likely to create a prejudice against the very things for which they
+should feel admiration. By a show of interest, however, the parents may,
+without difficulty, lead the children to learn a great deal of the best
+literature, and thus not only strengthen their knowledge but improve
+their style of writing as well, for unconsciously the young will follow
+the style of those whom they admire. Moreover, it frequently happens
+that some of the inspiring thoughts which children have learned become
+rules of action to them in after life. If the practice is begun early
+enough children will form the habit of learning those things which they
+like, and such a habit is of greatest value. In many schools, during
+certain years, the learning of &#8220;memory gems&#8221; is a daily practice; it
+should be no less a practice at home.</p>
+
+<p>Some of the many things in these books which may well be learned in
+their entirety are the following:</p>
+
+<p><span class='pagenum'><a name="Page_129" id="Page_129">[129]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="page reference for stories">
+<tr>
+  <td>Volume I,</td>
+  <td>page 66.</td>
+  <td><i>A Thought.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 67.</td>
+  <td><i>The Swing.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 83.</td>
+  <td><i>Singing.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 110.</td>
+  <td><i>Rain.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 133.</td>
+  <td><i>Little Blue Pigeon.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 144.</td>
+  <td><i>The Land of Counterpane.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 204.</td>
+  <td><i>Sleep, Baby, Sleep.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 246.</td>
+  <td><i>Norse Lullaby.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 262.</td>
+  <td><i>Wynken, Blynken and Nod.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 339.</td>
+  <td><i>The Owl and the Pussy Cat.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 340.</td>
+  <td><i>Time to Rise.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 410.</td>
+  <td><i>The Reaper and the Flowers.</i></td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 11.</td>
+  <td><i>The Baby.</i></td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 32.</td>
+  <td><i>Lullaby.</i></td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 123.</td>
+  <td><i>Windy Nights.</i></td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 121.</td>
+  <td><i>Shuffle-Shoon and Amber-Locks.</i></td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 87.</td>
+  <td><i>Picture Books in Winter.</i></td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 119.</td>
+  <td><i>Seven Times One.</i></td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 403.</td>
+  <td><i>The First Snowfall.</i></td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 481.</td>
+  <td><i>In Time&#8217;s Swing.</i></td>
+</tr>
+<tr>
+  <td>Volume III,</td>
+  <td>page 347.</td>
+  <td><i>Barbara Frietchie.</i></td>
+</tr>
+<tr>
+  <td>Volume IV,</td>
+  <td>page 82.</td>
+  <td><i>Footsteps of Angels.</i></td>
+</tr>
+<tr>
+  <td>Volume IV,</td>
+  <td>page 126.</td>
+  <td><i>Nearer Home.</i></td>
+</tr>
+<tr>
+  <td>Volume IV,</td>
+  <td>page 127.</td>
+  <td><i>Pictures of Memory.</i></td>
+</tr>
+<tr>
+  <td>Volume V,</td>
+  <td>page 396.</td>
+  <td><i>The American Flag.</i></td>
+</tr>
+<tr>
+  <td>Volume V,</td>
+  <td>page 399.</td>
+  <td><i>Battle Hymn of the Republic.</i></td>
+</tr>
+<tr>
+  <td>Volume VI,</td>
+  <td>page 119.</td>
+  <td><i>Annie Laurie.</i></td>
+</tr>
+<tr>
+  <td><span class='pagenum'><a name="Page_130" id="Page_130">[130]</a></span>Volume VI,</td>
+  <td>page 122.</td>
+  <td><i>Sweet and Low.</i></td>
+</tr>
+<tr>
+  <td>Volume VI,</td>
+  <td>page 133.</td>
+  <td><i>The Bugle Song.</i></td>
+</tr>
+<tr>
+  <td>Volume VII,</td>
+  <td>page 1.</td>
+  <td><i>The Daffodils.</i></td>
+</tr>
+<tr>
+  <td>Volume VII,</td>
+  <td>page 4.</td>
+  <td><i>To the Fringed Gentian.</i></td>
+</tr>
+<tr>
+  <td>Volume VII,</td>
+  <td>page 340.</td>
+  <td><i>Those Evening Bells.</i></td>
+</tr>
+<tr>
+  <td>Volume VII,</td>
+  <td>page 395.</td>
+  <td><i>To a Waterfowl.</i></td>
+</tr>
+</table>
+
+<p>While usually it is better to allow each person to learn the lines that
+most appeal to him, yet some help should be given children. No two
+people will select all of the same things, though probably all would
+agree on some few things as being of the highest excellence. Some lines
+should be learned because of their beauty in description, others because
+of beauty in phraseology, and still others because of beauty in
+sentiment. Search should be made, too, for those things which are
+inspirational, and which will be strong aids in the building of
+character.</p>
+
+<p>We append a few pages of quotations taken at random from the volumes.
+They will prove handy when the parent or teacher is pressed for time,
+and the references to volume and page will enable the busy person
+readily to find the context, if that seems desirable.</p>
+
+<p>The quotations below are arranged in the order of their appearance in
+<i>Journeys Through Bookland</i>. This will enable anyone to locate them
+easily. The lines cover a wide range of thought and will furnish an
+endless variety of material for stories, comment, question and
+conversation. Some of them cannot be appreciated without a knowledge of
+their setting in the original poem or prose selection, while others are
+complete and perfect as they stand.</p>
+
+<p><span class='pagenum'><a name="Page_131" id="Page_131">[131]</a></span>One of the best ways to teach a poem or selection is to begin by
+creating an interest in a quotation from it. For instance, &#8220;Write me as
+one who loves his fellow men,&#8221; will lead the way to an acquaintance with
+the old favorite <i>Abou Ben Adhem</i>. In fact, only after the poem has been
+read and appreciated will a person get the full force of the idea,
+&#8220;Write me as one who loves his fellow men.&#8221;</p>
+
+
+<h3 class="section"><a name="One_Hundred_Choice_Quotations" id="One_Hundred_Choice_Quotations"></a><i>One Hundred Choice Quotations</i></h3>
+
+<h4 class="volume">(Volume I)</h4>
+
+<div class="quotations">
+<p class="poem">Early to bed, and early to rise,<br />
+Is the way to be healthy, wealthy and <span class="lastword">wise.</span> <span class="pageref">&mdash;Page 48.</span></p>
+
+<p>Had it not been for your buzz I should not even have known you were
+<span class="lastword">there.</span> <span class="pageref">&mdash;Page 70.</span></p>
+
+<p class="poem">The Rock-a-by Lady from Hushaby street,<br />
+With poppies that hang from her head to her <span class="lastword">feet.</span> <span class="pageref">&mdash;Page 94.</span></p>
+
+<p class="poem">I saw the dimpling river pass<br />
+And be the sky&#8217;s blue <span class="lastword">looking-glass.</span> <span class="pageref">&mdash;Page 130.</span></p>
+
+<p class="poem">In through the window a moonbeam comes,<br />
+Little gold moonbeam with misty <span class="lastword">wings.</span> <span class="pageref">&mdash;Page 133.</span></p>
+
+<p class="poem">Oh, the world&#8217;s running over with <span class="lastword">joy.</span> <span class="pageref">&mdash;Page 147.</span></p>
+
+<p>The honorable gentleman has not told us who is to hang the bell around
+the Cat&#8217;s <span class="lastword">neck.</span> <span class="pageref">&mdash;Page 197.</span></p>
+
+<p class="poem">Here is the mill with the humming of thunder,<br />
+<span class="i1">Here is the weir with the wonder of foam,</span><br />
+Here is the sluice with the race running under&mdash;<br />
+<span class="i1pad">Marvelous places, though handy to home.</span> <span class="pageref">&mdash;Page 349.</span></p>
+
+<p><span class='pagenum'><a name="Page_132" id="Page_132">[132]</a></span></p>
+
+<p class="poem">Then she smooths the eyelids down<br />
+Over those two eyes of brown&mdash;<br />
+In such soothing, tender wise<br />
+Cometh Lady <span class="lastword">Button-Eyes.</span> <span class="pageref">&mdash;Page 367.</span></p>
+
+<p>One must be content with the good one has <span class="lastword">enjoyed.</span> <span class="pageref">&mdash;Page 379.</span></p>
+
+<p class="poem">Oh, not in cruelty, not in wrath,<br />
+<span class="i1">The Reaper came that day;</span><br />
+&#8217;Twas an angel visited the green earth,<br />
+<span class="i1pad">And took the flowers away.</span> <span class="pageref">&mdash;Page 411.</span></p>
+
+<p>It matters nothing if one is born in a duck yard, if one can only be
+hatched from a swan&#8217;s <span class="lastword">egg.</span> <span class="pageref">&mdash;Page 427.</span></p>
+</div>
+
+<h4 class="volume">(Volume II)</h4>
+
+<div class="quotations">
+<p>Did you ever hear of a bird in a cage, that promised to stay in <span class="lastword">it?</span>
+<span class="pageref">&mdash;Page 2.</span></p>
+
+<p class="poem">The very violets in their bed<br />
+Fold up their eyelids <span class="lastword">blue.</span> <span class="pageref">&mdash;Page 32.</span></p>
+
+<p>Rejoice in thy youth, rejoice in thy fresh growth,
+and in the young life that is within <span class="lastword">thee.</span> <span class="pageref">&mdash;Page 70.</span></p>
+
+<p class="poem">You are more than the Earth, though you are such a dot&mdash;<br />
+You can love and think, and the Earth <span class="lastword">cannot.</span> <span class="pageref">&mdash;Page 67.</span></p>
+
+<p class="poem">Thank him for his lesson&#8217;s sake,<br />
+<span class="i1">Thank God&#8217;s gentle minstrel there,</span><br />
+Who, when storms make others quake,<br />
+<span class="i1pad">Sings of days that brighter were.</span> <span class="pageref">&mdash;Page 214.</span></p>
+
+<p><span class='pagenum'><a name="Page_133" id="Page_133">[133]</a></span>You must expect to be beat a few times in your life, little man, if you
+live such a life as a man ought to <span class="lastword">live.</span> <span class="pageref">&mdash;Page 242.</span></p>
+
+<p>Those that wish to be clean, clean they will <span class="lastword">be.</span> <span class="pageref">&mdash;Page 247.</span></p>
+
+<p>Reckon not on your chickens before they are <span class="lastword">hatched.</span> <span class="pageref">&mdash;Page 376.</span></p>
+
+<p>He saw the rocks of the mountain tops all crimson and purple with the
+sunset; and there were bright tongues of fiery cloud burning and
+quivering about them; and the river, brighter than all, fell, in a
+wavering column of pure gold, from precipice to precipice, with the
+double arch of a broad purple rainbow stretched across it, flushing and
+fading alternately in the wreaths of <span class="lastword">spray.</span> <span class="pageref">&mdash;Page 420.</span></p>
+</div>
+
+<h4 class="volume">(Volume III)</h4>
+
+<div class="quotations">
+<p>In darkness dissolves the gay frost-work of <span class="lastword">bliss.</span> <span class="pageref">&mdash;Page 96.</span></p>
+
+<p class="poem">Peace and order and beauty draw<br />
+Round thy symbol of light and <span class="lastword">law.</span> <span class="pageref">&mdash;Page 349.</span></p>
+
+<p>Lips where smiles went out and <span class="lastword">in.</span> <span class="pageref">&mdash;Page 386.</span></p>
+
+<p class="poem">All the little boys and girls,<br />
+With rosy cheeks and flaxen curls,<br />
+And sparkling eyes and teeth like <span class="lastword">pearls.</span> <span class="pageref">&mdash;Page 391.</span></p>
+</div>
+
+<h4 class="volume">(Volume IV)</h4>
+
+<div class="quotations">
+<p class="poem">Prince thou art,&mdash;the grown up man<br />
+<span class="i1pad">Only is republican.</span> <span class="pageref">&mdash;Page 3.</span></p>
+
+<p class="poem">O&#8217;er me, like a regal tent,<br />
+Cloudy-ribbed, the sunset bent,<br />
+<span class='pagenum'><a name="Page_134" id="Page_134">[134]</a></span>Purple-curtained, fringed with gold,<br />
+Looped in many a wind-swung <span class="lastword">fold.</span> <span class="pageref">&mdash;Page 6.</span></p>
+
+<p class="poem">Now in memory comes my mother,<br />
+<span class="i1">As she was long years agone,</span><br />
+To regard the darling dreamers<br />
+<span class="i1pad">Ere she left them till the dawn.</span> <span class="pageref">&mdash;Page 8.</span></p>
+
+<p class="poem">I chatter over stony ways,<br />
+<span class="i1">In little sharps and trebles,</span><br />
+I bubble into eddying bays,<br />
+<span class="i1pad">I babble on the pebbles.</span> <span class="pageref">&mdash;Page 60.</span></p>
+
+<p class="poem">For men may come and men may go,<br />
+But I go on <span class="lastword">forever.</span> <span class="pageref">&mdash;Page 61.</span></p>
+
+<p class="poem">And looks the whole world in the face,<br />
+For he owes not any <span class="lastword">man.</span> <span class="pageref">&mdash;Page 86.</span></p>
+
+<p class="poem">Thus at the flaming forge of life<br />
+<span class="i1">Our fortunes may be wrought;</span><br />
+Thus on its sounding anvil shaped<br />
+<span class="i1pad">Each burning deed and thought.</span> <span class="pageref">&mdash;Page 88.</span></p>
+
+<p class="poem">And when the arrows of sunset<br />
+<span class="i1">Lodged in the tree-tops bright,</span><br />
+He fell, in his saint-like beauty,<br />
+<span class="i1pad">Asleep by the gates of light.</span> <span class="pageref">&mdash;Page 129.</span></p>
+
+<p class="poem">Save me alike from foolish pride,<br />
+<span class="i1">Or impious discontent,</span><br />
+Or aught thy wisdom has denied,<br />
+<span class="i1pad">Or aught thy goodness lent.</span> <span class="pageref">&mdash;Page 173.</span></p>
+
+<p><span class='pagenum'><a name="Page_135" id="Page_135">[135]</a></span></p>
+
+<p class="poem">And there through the flash of the morning light,<br />
+A steed as black as the steeds of night,<br />
+Was seen to pass as with eagle <span class="lastword">flight.</span> <span class="pageref">&mdash;Page 224.</span></p>
+
+<p class="poem">Noiselessly as the springtime<br />
+<span class="i1">Her crown of verdure weaves,</span><br />
+And all the trees on all the hills<br />
+<span class="i1pad">Open their thousand leaves.</span> <span class="pageref">&mdash;Page 267.</span></p>
+
+<p class="poem">Who dies in youth and vigor, dies the best,<br />
+Struck through with wounds, all honest, on the <span class="lastword">breast.</span> <span class="pageref">&mdash;Page 369.</span></p>
+</div>
+
+<h4 class="volume">(Volume V)</h4>
+
+<div class="quotations">
+<p class="poem">I was not ever thus, nor prayed that thou<br />
+<span class="i3">Shouldst lead me on;</span><br />
+I loved to choose and see my path, but now<br />
+<span class="i3">Lead thou me on;</span><br />
+I loved the garish day, and, spite of fears,<br />
+Pride ruled my will. Remember not past <span class="lastword">years.</span> <span class="pageref">&mdash;Page 111.</span></p>
+
+<p class="poem">Give every man thy ear, but few thy voice;<br />
+Take each man&#8217;s censure, but reserve thy <span class="lastword">judgment.</span> <span class="pageref">&mdash;Page 112.</span></p>
+
+<p class="poem">This above all: to thine own self be true,<br />
+And it must follow, as the night the day,<br />
+Thou canst not then be false to any <span class="lastword">man.</span> <span class="pageref">&mdash;Page 112.</span></p>
+
+<p class="poem"><span class="i3">the knotted column of his throat,</span><br />
+The massive square of his heroic breast,<br />
+And arms on which the standing muscle sloped,<br />
+As slopes a wild brook o&#8217;er a little stone,<br />
+Running too vehemently to break <span class="lastword">it.</span> <span class="pageref">&mdash;Page 150.</span></p>
+
+<p><span class='pagenum'><a name="Page_136" id="Page_136">[136]</a></span></p>
+
+<p class="poem">Ye think the rustic cackle of your bourg<br />
+The murmur of the <span class="lastword">world!</span> <span class="pageref">&mdash;Page 156.</span></p>
+
+<p class="poem">For man is man and master of his <span class="lastword">fate.</span> <span class="pageref">&mdash;Page 158.</span></p>
+
+<p class="poem">Perseverance gains its meed<br />
+<span class="i1pad">And Patience wins the <span class="lastword">race.</span> <span class="pageref">&mdash;Page 316.</span></span></p>
+
+<p class="poem">Forever float that standard sheet!<br />
+<span class="i1">Where breathes the foe but falls before us,</span><br />
+With Freedom&#8217;s soil beneath our feet,<br />
+<span class="i1pad">And Freedom&#8217;s banner streaming o&#8217;er us?</span> <span class="pageref">&mdash;Page 398.</span></p>
+
+<p class="poem">He has sounded forth the trumpet that shall never call retreat;<br />
+He is sifting out the hearts of men before his judgment seat;<br />
+O, be swift, my soul, to answer him! be jubilant, my feet!<br />
+<span class="i4">Our God is marching on.</span> <span class="pageref">&mdash;Page 399.</span></p>
+
+<p class="poem">Silence! ground arms! kneel all! caps off!<br />
+<span class="i1">&#8220;Old Blue-Light&#8217;s&#8221; going to pray.</span><br />
+Strangle the foe that dares to scoff!<br />
+<span class="i1pad">Attention! It&#8217;s his <span class="lastword">way.</span> <span class="pageref">&mdash;Page 401.</span></span></p>
+</div>
+
+<h4 class="volume">(Volume VI)</h4>
+
+<div class="quotations">
+<p class="poem">To every man upon this earth<br />
+<span class="i1">Death cometh soon or late.</span><br />
+And how can man die better<br />
+<span class="i1">Than facing fearful odds,</span><br />
+For the ashes of his fathers,<br />
+<span class="i1pad">And the temples of his gods.</span> <span class="pageref">&mdash;Page 8.</span></p><p><span class='pagenum'><a name="Page_137" id="Page_137">[137]</a></span></p>
+
+<p class="poem">When by my bed I saw my mother kneel,<br />
+<span class="i2">And with her blessing took her nightly kiss;</span><br />
+<span class="i2">Whatever Time destroys, he cannot this;&mdash;</span><br />
+E&#8217;en now that nameless kiss I <span class="lastword">feel.</span> <span class="pageref">&mdash;Page 122.</span></p>
+
+<p class="poem">Sweet and low, sweet and low,<br />
+<span class="i2">Wind of the western sea;</span><br />
+Low, low, breathe and blow,<br />
+<span class="i2">Wind of the western sea!</span><br />
+Over the rolling waters go,<br />
+Come from the dying moon, and blow,<br />
+<span class="i2">Blow him again to me;</span><br />
+While my little one, while my pretty one, <span class="lastword">sleeps.</span> <span class="pageref">&mdash;Page 122.</span></p>
+
+<p>Sublime words make not a man holy and righteous, but it is a virtuous
+life that maketh him dear to <span class="lastword">God.</span> <span class="pageref">&mdash;Page 134.</span></p>
+
+<p>Who hath a stronger battle than he that useth force to overcome himself?
+This should be our occupation, to overcome ourselves and every day to be
+stronger and somewhat <span class="lastword">holier.</span> <span class="pageref">&mdash;Page 136.</span></p>
+
+<p class="poem">And the sheen on their spears was like stars on the sea,<br />
+Where the blue wave rolls nightly on deep <span class="lastword">Galilee.</span> <span class="pageref">&mdash;Page 142.</span></p>
+
+<p>Whither thou goest, I will go; and where thou lodgest, I will lodge; thy
+people shall be my people and thy God my <span class="lastword">God.</span> <span class="pageref">&mdash;Page 144.</span></p>
+
+<p class="poem">For we are all, like swimmers in the sea,<br />
+Poised on the top of a huge wave of fate,<br />
+Which hangs uncertain to which side to <span class="lastword">fall.</span> <span class="pageref">&mdash;Page 186.</span></p><p><span class='pagenum'><a name="Page_138" id="Page_138">[138]</a></span></p>
+
+<p class="poem">Mid pleasures and palaces though we may roam,<br />
+Be it ever so humble, there&#8217;s no place like <span class="lastword">home.</span> <span class="pageref">&mdash;Page 224.</span></p>
+
+<p>&#8220;God bless us every one!&#8221; said Tiny <span class="lastword">Tim.</span> <span class="pageref">&mdash;Page 309.</span></p>
+
+<p class="poem">All hail&#8217;d, with uncontroll&#8217;d delight<br />
+And general voice, the happy night,<br />
+That to the cottage, as the crown,<br />
+Brought tidings of Salvation <span class="lastword">down.</span> <span class="pageref">&mdash;Page 357.</span></p>
+
+<p>The short and simple annals of the <span class="lastword">poor.</span> <span class="pageref">&mdash;Page 363.</span></p>
+
+<p>The paths of glory lead but to the <span class="lastword">grave.</span> <span class="pageref">&mdash;Page 363.</span></p>
+
+<p class="poem">Full many a gem of purest ray serene<br />
+<span class="i1">The dark unfathomed caves of ocean bear;</span><br />
+Full many a flower is born to blush unseen,<br />
+<span class="i1">And waste its sweetness on the desert air.</span> <span class="pageref">&mdash;Page 365.</span></p>
+
+<p class="poem">Along the cool, sequestered vale of life<br />
+They kept the noiseless tenor of their <span class="lastword">way.</span> <span class="pageref">&mdash;Page 366.</span></p>
+
+<p>He gained from Heaven (&#8217;twas all he wished) a <span class="lastword">friend.</span> <span class="pageref">&mdash;Page 368.</span></p>
+
+<p>Sloth, like rust, consumes faster than labor wears; while the used key
+is always <span class="lastword">bright.</span> <span class="pageref">&mdash;Page 410.</span></p>
+
+<p>He that riseth late must trot all day, and shall scarce overtake his
+business at night; while laziness travels so slowly that poverty soon
+overtakes <span class="lastword">him.</span> <span class="pageref">&mdash;Page 410.</span></p>
+
+<p>Have you somewhat to do tomorrow? Do it <span class="lastword">today.</span> <span class="pageref">&mdash;Page 412.</span></p>
+
+<p><span class='pagenum'><a name="Page_139" id="Page_139">[139]</a></span>For want of a nail the shoe was lost; for want of a shoe the horse was
+lost; and for want of a horse the rider was <span class="lastword">lost.</span> <span class="pageref">&mdash;Page 414.</span></p>
+
+<p>Beware of little expenses; a small leak will sink a great <span class="lastword">ship.</span> <span class="pageref">&mdash;Page
+415.</span></p>
+
+<p>&#8217;Tis foolish to lay out money in the purchase of <span class="lastword">repentance.</span> <span class="pageref">&mdash;Page 416.</span></p>
+
+<p>Fools make feasts and wise men eat <span class="lastword">them.</span> <span class="pageref">&mdash;Page 415.</span></p>
+
+<p>&#8217;Tis hard for an empty bag to stand <span class="lastword">upright!</span> <span class="pageref">&mdash;Page 418.</span></p>
+
+<p>Experience keeps a dear school, but fools will learn in no <span class="lastword">other.</span> <span class="pageref">&mdash;Page
+420.</span></p>
+</div>
+
+<h4 class="volume">(Volume VII)</h4>
+
+<div class="quotations">
+<p class="poem"><span class="i2">That inward eye</span><br />
+Which is the bliss of <span class="lastword">solitude.</span> <span class="pageref">&mdash;Page 1.</span></p>
+
+<p class="poem">Then doth thy sweet and quiet eye<br />
+Look through its fringes to the <span class="lastword">sky.</span> <span class="pageref">&mdash;Page 5.</span></p>
+
+<p class="poem">The bonny lark, companion meet,<br />
+Bending thee &#8216;mang the dewy weet<br />
+<span class="i2">Wi&#8217; spreckled breast,</span><br />
+When upward springing, blithe to greet<br />
+<span class="i2">The purpling east.</span> <span class="pageref">&mdash;Page 8.</span></p>
+
+<p class="poem">He prayeth well, who loveth well<br />
+Both man and bird and beast.<br />
+He prayeth best, who loveth best<br />
+All things both great and <span class="lastword">small.</span> <span class="pageref">&mdash;Page 57.</span></p>
+
+<p class="poem">The rank is but the guinea&#8217;s stamp,<br />
+The man&#8217;s the gowd for a&#8217; <span class="lastword">that!</span> <span class="pageref">&mdash;Page 149.</span></p><p><span class='pagenum'><a name="Page_140" id="Page_140">[140]</a></span></p>
+
+<p class="poem">By fairy hands their knell is rung,<br />
+By forms unseen their dirge is <span class="lastword">sung.</span> <span class="pageref">&mdash;Page 151.</span></p>
+
+<p class="poem">Still stands Thine ancient Sacrifice,<br />
+<span class="i1">An humble and a contrite heart.</span><br />
+Lord God of Hosts, be with us yet,<br />
+<span class="i1pad">Lest we forget&mdash;lest we forget!</span> <span class="pageref">&mdash;Page 164.</span></p>
+
+<p>The remarkably adult yet innocent expression of their open and serene
+eyes is very memorable. All intelligence seems reflected in them. They
+suggest not merely the purity of infancy, but a wisdom clarified by
+experience. Such an eye was not born when the bird was, but is coeval
+with the sky it reflects. The woods do not yield such another <span class="lastword">gem.</span>
+<span class="pageref">&mdash;Page 263.</span></p>
+
+<p class="poem">Sound of vernal showers<br />
+<span class="i3">On the twinkling grass,</span><br />
+Rain-awakened flowers,<br />
+<span class="i3">All that ever was</span><br />
+Joyous, and clear, and fresh, thy music doth <span class="lastword">surpass.</span> <span class="pageref">&mdash;Page 278.</span></p>
+
+<p>Imagine a stream seventy yards broad divided by a pebbly island, running
+over seductive riffles and swirling into deep, quiet pools where the
+good salmon goes to smoke his pipe after his <span class="lastword">meals.</span> <span class="pageref">&mdash;Page 287.</span></p>
+
+<p>I once had a sparrow alight on my shoulder for a moment while I was
+hoeing in a village garden, and I felt that I was more distinguished by
+that circumstance than I should have been by any epaulet I could have
+<span class="lastword">worn.</span> <span class="pageref">&mdash;Page 299.</span></p>
+
+<p><span class='pagenum'><a name="Page_141" id="Page_141">[141]</a></span></p>
+
+<p class="poem">And while in life&#8217;s late afternoon<br />
+<span class="i1">Where cool and long the shadows grow,</span><br />
+I walk to meet the night that soon<br />
+<span class="i1">Shall shape and darkness overflow,</span><br />
+I cannot feel that thou art far,<br />
+<span class="i1">Since near at hand the angels are;</span><br />
+And when the sunset gates unbar,<br />
+<span class="i1">Shall I not see thee waiting stand,</span><br />
+And, white against the evening star,<br />
+<span class="i1pad">The welcome of thy beckoning hand?</span> <span class="pageref">&mdash;Page 389.</span></p>
+
+<p class="poem">He who, from zone to zone,<br />
+<span class="i1">Guides through the boundless sky thy certain flight,</span><br />
+In the long way that I must tread alone,<br />
+<span class="i1pad">Will lead my steps aright.</span> <span class="pageref">&mdash;Page 397.</span></p>
+</div>
+
+<h4 class="volume">(Volume VIII)</h4>
+
+<div class="quotations">
+<p class="poem">Go tell the Spartans, thou that passeth by,<br />
+That here, obedient to their laws, we <span class="lastword">lie.</span> <span class="pageref">&mdash;Page 90.</span></p>
+
+<p class="poem">Thermopylae had her messenger of defeat:<br />
+The Alamo had <span class="lastword">none.</span> <span class="pageref">&mdash;Page 152.</span></p>
+
+<p>England expects every man to do his <span class="lastword">duty.</span> <span class="pageref">&mdash;Page 297.</span></p>
+
+<p class="poem">An&#8217; Oh! be sure to fear the Lord alway!<br />
+An&#8217; mind your duty, duly, morn and <span class="lastword">night!</span> <span class="pageref">&mdash;Page 322.</span></p>
+
+<p>They never sought in vain that sought the Lord <span class="lastword">aright.</span> <span class="pageref">&mdash;Page 322.</span></p>
+
+<p>The best acid is <span class="lastword">assiduity.</span> <span class="pageref">&mdash;Page 332.</span></p>
+
+<p><span class='pagenum'><a name="Page_142" id="Page_142">[142]</a></span></p>
+</div>
+
+<h4 class="volume">(Volume IX)</h4>
+
+<div class="quotations">
+<p>Write me as one who loves his fellow <span class="lastword">men.</span> <span class="pageref">&mdash;Page 11.</span></p>
+
+<p class="poem">When beggars die, there are no comets seen;<br />
+The heavens themselves blaze forth the death of <span class="lastword">princes.</span> <span class="pageref">&mdash;Page 145.</span></p>
+
+<p class="poem">Cowards die many times before their deaths;<br />
+The valiant never taste of death but <span class="lastword">once.</span> <span class="pageref">&mdash;Page 145.</span></p>
+
+<p><i>Et tu Brute!</i> Then fall, <span class="lastword">C&aelig;sar.</span> <span class="pageref">&mdash;Page 154.</span></p>
+
+<p>Surely man is but a shadow, and life a <span class="lastword">dream.</span> <span class="pageref">&mdash;Page 286.</span></p>
+
+<p>All service ranks the same with <span class="lastword">God.</span> <span class="pageref">&mdash;Page 301.</span></p>
+
+<p class="poem">The year&#8217;s at the spring,<br />
+And day&#8217;s at the morn;<br />
+Morning&#8217;s at seven;<br />
+The hillside&#8217;s dew-pearled:<br />
+The lark&#8217;s on the wing;<br />
+The snail&#8217;s on the thorn;<br />
+God&#8217;s in his heaven&mdash;<br />
+All&#8217;s right with the <span class="lastword">world.</span> <span class="pageref">&mdash;Page 303.</span></p>
+
+<p class="poem">For what are the voices of birds&mdash;<br />
+Ay, and of beasts&mdash;but words, our words,<br />
+Only so much more <span class="lastword">sweet?</span> <span class="pageref">&mdash;Page 314.</span></p>
+
+<p class="poem">I will pass each, and see their happiness,<br />
+And envy none&mdash;being just as great, no doubt,<br />
+Useful to men, dear to God as <span class="lastword">they!</span> <span class="pageref">&mdash;Page 317.</span></p>
+</div>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_143" id="Page_143">[143]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII<br />
+<br />
+<span class="smcap">How to Read Fiction</span></h2>
+
+
+<h3 class="section"><a name="Different_Kinds_of_Literature" id="Different_Kinds_of_Literature"></a>1. <i>Different Kinds of Literature</i></h3>
+
+<p class="opening"><span class="dropcapi"><span class="hide">I</span></span><span class="upper">f</span> there were but one kind of literature, it would be an easy matter to
+give the few directions that would be necessary to make good readers. In
+reality there are, however, several types, so different in their
+purpose, style and content that the reader must study them in many
+different ways if he would get the varied and inspiring messages. To
+appreciate what this means, let us look over the field.</p>
+
+<p>For our purposes, as has been said, true literature, as distinguished
+from the practical literature of fact, may be grouped under the two
+general heads of poetry and prose. At first thought the difference
+between the two seems wide and unmistakable. Poetry differs from prose
+not only in form, but also in rhythm, music, beauty and sentiment. The
+former is usually more figurative, and aims to stimulate the imagination
+more keenly and to enthral the feelings more completely. Upon a closer
+consideration it is seen that poetry and good prose have much in common,
+and that often it is really but a question of form, for lyric beauty
+glows in the phrases of our finest prose, and both heart and soul are
+moved by its powerful appeals.</p>
+
+<p>There are narratives and arguments in both poetry and prose, and essays
+in the form of both.<span class='pagenum'><a name="Page_144" id="Page_144">[144]</a></span> For this reason our general method of study may be
+the same for both, except when form alone is considered.</p>
+
+<p>The simplest and most universal form of literature is found in the
+catchy little nursery rhymes which the children of the nation learn at
+their cradles from the lips of their elders. In these, if careful search
+be made, may be found most of the elements which in broader and more
+complex forms appear in the favorite selections of maturer years.
+Following the nursery rhymes appear the fables, fairy tales, myths and
+legends that have formed the literature of earlier races and have come
+down to us to be amplified and placed in modern form for the children of
+this age.</p>
+
+<p>It has been said that in every child is seen the history of the race,
+and that from infancy to manhood he typifies every stage of progress the
+race has seen. In early years he loves the fables where animals speak,
+feel and act like human beings; for in former times mankind believed the
+fables to be truth. A child peoples his world with fairies, good and
+bad, and believes in the limitless power of magic. A little later he
+loves the deeds of the legendary heroes and revels in the marvelous acts
+of the more than human beings in whom the ancients believed. Later the
+stirring adventures of the real heroes of discovery and exploration, the
+heroic exploits of warriors on land and sea, and the courageous acts of
+noble men and women in every walk in life appeal to him; while still
+later, real history seizes the imagination of the youth, who now looks
+for the causes of things and learns to trace out their effects. He
+learns to reason and to <span class='pagenum'><a name="Page_145" id="Page_145">[145]</a></span>separate truth from falsehood. Casting aside
+the wild tales of boyhood, he gathers up instead the facts of life and
+experience, and draws his inspiration from the noble works of the
+world&#8217;s greatest writers.</p>
+
+
+<h3 class="section"><a name="Reading_Stories" id="Reading_Stories"></a>2. <i>Reading Stories</i></h3>
+
+<p class="opening"><span class="dropcapi"><span class="hide">I</span></span><span class="upper">n</span> the development of literary taste, fiction plays as prominent a part
+as fact, and to fiction, considered in its broadest sense, every child
+is deeply indebted. Many err in thinking that a stern diet of facts is
+the only nutriment the child mind needs, and still others err only in a
+less degree when they look upon fiction as perhaps a necessary evil, but
+one which must be avoided as much as possible and set aside at the
+earliest possible moment. All fiction has in it some elements of truth,
+and they are the sources of the inspiration which comes to children
+when, in their world of make-believe, they live with their beautiful and
+heroic friends of the story books.</p>
+
+<p>To read fiction properly is to get from it the truth, which, however, is
+often liable to be lost by the reader in the excitement of the tale, or
+to pass undetected in the easy-running sentences. As fictitious
+narratives in prose and poetry in the great majority of cases form the
+larger part of children&#8217;s reading, it is to them we should turn our
+attention. Before we begin their specific study a few principles claim
+our attention:</p>
+
+<p>Good stories are the most helpful things a child can read.</p>
+
+<p>The more intelligently and sympathetically a story is read, the more
+powerful for good it is.</p>
+
+<p><span class='pagenum'><a name="Page_146" id="Page_146">[146]</a></span>The imagination of a child is the most powerful agent in the development
+of his mind.</p>
+
+<p>The imagination acts only to combine, enlarge, or diminish ideas that
+enter the mind. It never creates.</p>
+
+<p>On the nature of the ideas presented will depend the character of the
+imagination.</p>
+
+<p>A vivid imagination fed with bad ideas is most destructive to human
+character. Good stories with high ideals can do no harm: but evil
+stories, particularly if attractive and entertaining, will undo the
+careful teaching of years.</p>
+
+<p>As evil must appear in life, it may appear in stories, but it must be
+brought in in such a way that it is known as evil, and children must be
+taught to recognize it as evil.</p>
+
+<p>The motives which govern the words and actions of the persons who appear
+in a well-written story are more easily discerned than the motives which
+actuate the human beings around us. Thus a child who reads intelligently
+is helped to discover in the words and deeds of the people whom he meets
+the elements of real character. A study of the heroes of fiction is a
+study in human life.</p>
+
+<p>Improbable stories and those presenting impossible or unreal things are
+not necessarily bad; in fact they are often good and distinctly
+serviceable. No matter how true they appear to a child, the time comes
+when he rejects them as impossible, although he may always be indebted
+to them for keen pleasure and the awakening of his imagination. Belief
+in the myth of Santa Claus never destroyed a child&#8217;s love and respect
+for his parents; faith in the unlimited power of good fairies never
+<span class='pagenum'><a name="Page_147" id="Page_147">[147]</a></span>made a child less able to recognize the laws of nature. It is the
+halfway truths that are troublesome; it is the little misrepresentations
+not liable to be detected that may permanently deceive.</p>
+
+<p>To understand the good and the true, to discriminate between the bad and
+the false, to find pleasure that shall awaken, enliven and inspire, to
+arouse curiosity and interest in wider, more thoughtful and helpful
+study, are some of the important aims of story-reading.</p>
+
+<p>Purposeful reading on the part of children may be brought about by
+direct instruction from parent or teacher or it may be acquired by the
+child through his own efforts. Manifestly the former is the really
+efficient way and its efficiency may be increased if it is carried on
+systematically. The following outline will assist those who have
+children in charge to do their part easily and in the best manner.</p>
+
+<p>In reading any story there are several things to be considered if one is
+to get the most out of it. These things are mentioned in natural order
+in the outline, each item of which will be treated at length in the
+pages immediately following.</p>
+
+<p>In reading stories consider:</p>
+
+<ol class="outline">
+  <li>Primarily,</li>
+  <li class="level2">A. The Plot.</li>
+  <li class="level2">B. The Persons.</li>
+  <li class="level2">C. The Scenes.</li>
+  <li>Secondarily,</li>
+  <li class="level2">D. The Lesson.</li>
+  <li class="level2">E. The Author&#8217;s Purpose.</li>
+  <li class="level2">F. The Method and Style of the Author.</li>
+  <li class="level2">G. Emotional Power.</li>
+</ol>
+
+<p><span class='pagenum'><a name="Page_148" id="Page_148">[148]</a></span>In the volumes of <i>Journeys Through Bookland</i>, intended as they are for
+reading by children, it was not thought wise to make the studies
+extensive nor to attach much comment to the selections, lest the young
+readers weary of the task or neglect it entirely. In this volume a
+different case confronts us and we put the discussions on a higher
+plane. If these suggestions are used in the instruction of children,
+some care in adaptation will be necessary. The age and sex of the
+children, their advancement in their studies, their surroundings at home
+and in school, will all need to be taken into account in determining
+what selections to use and how far to carry the method. A good general
+principle to follow is to present to the children only so much as will
+hold their interest; present it in the manner that will best retain
+their interest, and change the subject or the method when interest
+flags.</p>
+
+<p>Speaking in general terms, children are most interested in that of which
+they already know something, and prefer to study intensively something
+which is &#8220;easy to read.&#8221; The familiar selections of old readers often
+are found to be alive with interest, if studied by a new method. A
+method is understood most easily when it is applied to a simple subject;
+in this case, to a story in which the youngest children will be
+interested. A word of caution may be worth while: Especially with young
+children,&mdash;&#8220;Do not let the method be seen; it is the <i>story</i> that is to
+be brought out.&#8221;</p>
+
+<p>It is evident that the Plot, the Persons and the Scenes of the story
+will interest children of all ages; that all will be benefited by the
+Lesson if it is judiciously presented; but that only the older
+chil<span class='pagenum'><a name="Page_149" id="Page_149">[149]</a></span>dren can be interested to any great extent in the Author&#8217;s
+Purpose, Method or Style or in the study of the Emotional Power of the
+selection, however much it may be felt.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="image07" id="image07"></a><a href="images/image07-full.jpg"><img src="images/image07.jpg" width="254" height="400" alt="Portraits" title="Benjamin Franklin
+Henry David Thoreau
+Julia Ward Howe
+Patrick Henry
+William Prescott
+Francis Parkman
+James Fenimore Cooper" /></a><br />
+<span class="caption smcap">Benjamin Franklin&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Henry David Thoreau<br />
+Julia Ward Howe<br />
+Patrick Henry&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;William Prescott<br />
+Francis Parkman&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;James Fenimore Cooper</span>
+</div>
+
+
+<h3 class="section"><a name="A_The_Plot" id="A_The_Plot"></a>A. The Plot</h3>
+
+<p class="opening"><span class="dropcapt"><span class="hide">T</span></span><span class="upper">he</span> main line of events leading up to the climax of interest in the
+story may be called the plot.</p>
+
+<p>It is the plot that furnishes excitement, and for perhaps the majority
+of readers constitutes the chief interest. In some stories the plot lies
+upon the surface all the time, and everything is made subservient to the
+purpose of holding interest, keeping up excitement and mystifying the
+reader until the climax is reached. Thrilling detective stories of the
+poorer class, exciting love stories and the cheap juvenile tales of
+Indian fighting, with heroines in dire distress and heroes struggling to
+rescue them, are illustrations of this type. No effort is made by the
+author to make real human beings of his characters, and little or no
+profit comes to the reader, while infinite harm may be done to minds
+craving excitement and finding in it nothing to stimulate an interest in
+better things.</p>
+
+<p>In the better stories of greater writers the plot still plays an
+important part, but while it sustains interest unflaggingly, it carries
+with it other things which are of vastly greater importance. In such
+stories the persons are living, breathing realities, and the reader
+feels that he has added permanently to his list of tried and true
+friends. Tom Brown and Tiny Tim, who live only in stories, are as much
+<span class='pagenum'><a name="Page_150" id="Page_150">[150]</a></span>our friends as Henry Thompson and Rudolph De Peyster who live in the
+next block. The great writer, moreover, takes us with him into new
+places, among new scenes, so that Rugby becomes for a time our own
+school, and from Tim&#8217;s poor hearth there enters a warm Christmas glow
+into our doubting hearts. Although the plot is important, yet all
+stories that enthral the mind with exciting incidents must be regarded
+with suspicion until they prove their right to be considered real
+literature by furnishing higher interests or greater inspiration.</p>
+
+<p>To analyze the plot of a story, however, is always helpful; to arrange
+the incidents in order, to determine which are necessary to the
+development of the story, and which are merely contributory to the
+general interest, is an interesting and stimulating thing. The plot of
+short stories may quite often be told in few words, and unless very
+complicated, the plot of a novel may be given in a few sentences. In
+some stories, however, the plot is so loosely constructed and of so
+little real importance that it is hardly more than a train of apparently
+equally important incidents. Again, the plot is oftentimes so
+complicated by secondary plots and incidents that even a careful reader
+becomes confused and loses his interest.</p>
+
+<p><a name="Cinderella" id="Cinderella"></a>Let us consider the plot in such a story as <i>Cinderella</i> (Volume I, page
+224). The main incidents of the plot arrange themselves as follows:</p>
+
+<p>1. Cinderella&#8217;s mother dies.</p>
+
+<p>2. Her father marries a widow, who has two daughters.</p>
+
+<p>3. The stepmother sends Cinderella to the kitchen to work and to the
+garret to sleep.</p>
+
+<p><span class='pagenum'><a name="Page_151" id="Page_151">[151]</a></span>4. The king&#8217;s son gives a great ball to which he invites Cinderella&#8217;s
+stepsisters.</p>
+
+<p>5. The stepsisters require Cinderella to assist them to dress, and abuse
+her shamefully.</p>
+
+<p>6. The sisters go to the ball, and Cinderella sits by the kitchen fire
+wishing she might accompany them.</p>
+
+<p>7. Her fairy godmother appears and sends her to the ball in fine style.</p>
+
+<p>8. Cinderella, beautiful as a picture, dances with the prince, who falls
+in love with her.</p>
+
+<p>9. The clock strikes twelve, and Cinderella goes back to the kitchen.</p>
+
+<p>10. The stepsisters again mistreat Cinderella.</p>
+
+<p>11. She goes to the ball the second day.</p>
+
+<p>12. She forgets her godmother&#8217;s warning, and after midnight rushes back
+home, leaving a single slipper behind her.</p>
+
+<p>13. The prince finds the slipper and searches for its owner.</p>
+
+<p>14. The sisters fail in trying on the slipper, which is then fitted to
+Cinderella&#8217;s foot.</p>
+
+<p>15. The fairy godmother restores to Cinderella the appearance of a
+princess.</p>
+
+<p>16. The prince marries Cinderella, and she forgives her stepsisters.</p>
+
+<p>A summary of these main incidents may be given in a few words, which
+will contain the skeleton of the plot. To say that a certain little girl
+who is shamefully treated by her stepsisters is aided by her fairy
+godmother to attend a ball given by a prince, who finally marries the
+little drudge, is to give the plot and really to tell all that the lax
+and superficial reader gets from the story he peruses.</p>
+
+<p><span class='pagenum'><a name="Page_152" id="Page_152">[152]</a></span>There are in this little story, however, a large number of minor
+incidents which contribute to the interest, and if sought and placed in
+their relation to the main events will be found to have added materially
+to the charm of the narrative.</p>
+
+<p>For instance, when the fairy godmother sends Cinderella to the ball for
+the first time, children are led to a vivid interest in the event by a
+series of fascinating incidents, as follows:</p>
+
+<p>1. The fairy sends her into the garden for a pumpkin.</p>
+
+<p>2. The godmother, scooping out the inside of the pumpkin, leaves the
+rind, which she taps three times, and immediately it becomes a golden
+coach.</p>
+
+<p>3. The fairy spies six mice alive in a trap.</p>
+
+<p>4. Cinderella lets the mice out gently, and as the fairy touches them
+with her wand, each becomes a fine, dapple-gray horse.</p>
+
+<p>5. Cinderella brings the rats, the largest of which the fairy converts
+into a handsome postilion with a fine pair of whiskers.</p>
+
+<p>6. Cinderella finds the six lizards behind the watering pot, which
+become the six sedate and dignified footmen clothed in livery.</p>
+
+<p>7. Cinderella&#8217;s rags are changed to wonderful clothing bedecked with
+costly jewels.</p>
+
+<p>8. The beautiful glass slippers are provided.</p>
+
+<p>How real these incidents all seem! What art is shown in bringing in real
+things to give food to the imagination and to stimulate the interest
+that carries the little reader away from herself where she may riot in
+the wonders her active mind can so readily conceive. Some time when she
+has grown <span class='pagenum'><a name="Page_153" id="Page_153">[153]</a></span>much older, and cares have wrinkled her smooth cheeks, she
+may see that the only fairy godmother who can clothe a Cinderella is
+hard work, and that mice become dapple-grays, and footmen are made from
+lizards behind watering pots only when she has earned the right to them
+herself. Just now it is enough for her to see that fairy godmothers come
+to good children only, and that good princes do not care if their wives
+have worked in the cinders, provided they are beautiful in gentleness
+and service to others.</p>
+
+<p>Children like to understand what they read, and are never so happy as
+when talking over their favorite stories with those of their elders who
+have the power to enter sympathetically into the child world. By no
+means do all boys and girls like to be taught; in fact there are not
+many more certain ways of prejudicing a child against anything than by
+making it the subject of a formal lesson. Still, every child loves to
+learn, and is seeking at every moment to add to his information and to
+exercise his mind. Yet he must do it in his own way and with the things
+in which he is interested. If those facts are borne in mind, no parent
+will have difficulty in interesting his child or in leading the juvenile
+mind where it ought to go.</p>
+
+<p>To apply these ideas to teaching the plot of such a story as
+<i>Cinderella</i>, let the parent who loves his children, and who wishes to
+be no stranger to their interests, joys and sorrows, seat himself among
+them some time and begin to read to them. Pausing now and then to
+explain some word whose meaning may be obscure to them, or to comment on
+some phase of the story that may be of special in<span class='pagenum'><a name="Page_154" id="Page_154">[154]</a></span>terest, let him read
+on to the end without attempting to do much more than to make the story
+a vivid tale where the interest centers in the incident.</p>
+
+<p>When the story has ended, the pleasure has but just begun. Children like
+to ask questions, but they are no less ready to answer them if the
+questions are on things of interest, are related to the things which
+children know and are put in such a way that the genuine interest of the
+questioner is always evident. The I-know-it-all-and-you-know-nothing
+style of questioning; the I&#8217;m-the-master-and-you&#8217;re-the-pupil style; the
+because-I-ask-you-must-answer style are all fatal to interest, and will
+soon prevent that hearty sympathy and living spirit of co&ouml;peration that
+the parent wishes to secure.</p>
+
+<p>If we suppose it is <i>Cinderella</i> that has been read, we may begin our
+questioning in this manner:</p>
+
+<p>&#8220;That&#8217;s a good story. I like it, don&#8217;t you?&mdash;It is rather long, though;
+I&#8217;ve almost forgotten how it began.&mdash;O, was that the first thing that
+happened?&mdash;Was the father a rich man?&mdash;Did the story say he was rich or
+did you just think he was?&mdash;If he had not married a widow could things
+have happened as they did?&mdash;How did the widow and her daughters treat
+Cinderella?&mdash;If Cinderella had not been mistreated would her fairy
+godmother have come to her aid?&mdash;If the fairy had not appeared could the
+story have been the same?&mdash;How did the fairy make the golden
+coach?&mdash;Could she have made it out of anything else?&mdash;If she had made
+one just as good out of something else, could Cinderella have gone to
+the ball just as well?&mdash;If Cinderella went to the ball in good style did
+it <span class='pagenum'><a name="Page_155" id="Page_155">[155]</a></span>matter how she went?&mdash;If Cinderella had not gone to the ball, could
+she have met the prince?&mdash;Was it as important then that she should have
+a coach made from a pumpkin as that she should go to the ball and meet
+the prince?&mdash;Can you think of something else just as necessary to make
+the story come out right as that Cinderella should go to the ball?&mdash;Can
+you think of other things that must have happened just as they did to
+make the story come out right and just as it did?&mdash;Can you think of some
+things that might have happened differently and still not have hurt the
+story at all?&mdash;Let us put together all the things that must have
+happened to make the story right and leave out the things that could be
+changed. Now, what are they?&mdash;Now let us find a few things we could
+leave out or change. What are some of them?&mdash;If we left them out the
+story would come out the same, but would it be as good, as
+interesting?&mdash;Would you like Cinderella as well if these little things
+had been left out?&mdash;Would you think as much of the prince if he had
+found Cinderella right away as you do when he has to do so many hard
+things before he finds her?&#8221;</p>
+
+<p>Every one must realize the impossibility of providing a scheme of
+questioning that would fit exactly any given case, but will not the
+above suggest a method that may lead to many a happy and profitable
+evening at the family round table? Even if there are older children in
+the group they will renew their interest in the old stories and get more
+good from them when it is seen that father and mother do not deem it
+beneath their dignity, nor outside the range of their interests, to read
+and study a fairy tale.</p>
+
+<p><span class='pagenum'><a name="Page_156" id="Page_156">[156]</a></span>In <i>Journeys Through Bookland</i> are here and there outlines and questions
+designed to lead the children to see for themselves what it is hoped
+others will take pleasure in showing them. Examples of the selections
+which contain outlines, questions and comments designed to help in the
+study of the plot may be found as follows:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="story page reference">
+<tr>
+  <td>Volume I,</td>
+  <td>page 264.</td>
+  <td><i>The Twin Brothers.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 395.</td>
+  <td><i>Something.</i></td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 124.</td>
+  <td><i>The Snow Queen.</i></td>
+</tr>
+<tr>
+  <td>Volume IV,</td>
+  <td>page 174.</td>
+  <td><i>Incident of the French Camp.</i></td>
+</tr>
+<tr>
+  <td>Volume VIII,</td>
+  <td>page 364.</td>
+  <td><i>The Tempest.</i></td>
+</tr>
+<tr>
+  <td>Volume IX,</td>
+  <td>page 232.</td>
+  <td><i>The Gold-Bug.</i></td>
+</tr>
+</table>
+
+
+<h3 class="section"><a name="B_The_Persons" id="B_The_Persons"></a>B. <span class="smcap">The Persons</span></h3>
+
+<p class="opening"><span class="dropcapi"><span class="hide">I</span></span><span class="upper">n</span> most stories, be they brief and simple or as long and complicated as
+the two-volume novel, the interest centers in one or more persons whose
+character the reader learns to understand, and whose success or failure,
+joy or grief gives him pleasure or excites his sympathy. All events
+center about the hero or heroes, and while other persons may be
+mentioned, and even win the reader&#8217;s attention for a time, they finally
+subside into the background and are remembered only as they contribute
+to greater interest in the principal characters.</p>
+
+<p>Every author tries to make his heroes and heroines speak and act like
+real human beings and show their characters by their actions and their
+words. Sometimes, however, he tells the reader just how his people look,
+feel and think, and <span class='pagenum'><a name="Page_157" id="Page_157">[157]</a></span>describes their characters to give an interest in
+what happens to them. A more interesting method and a more artistic one
+is to leave the persons to disclose themselves as the story progresses,
+making them show by the way they act and by what they say under certain
+circumstances the strong and weak qualities in their natures. Nothing is
+more interesting than to watch the development of character in the hero
+of a story, particularly when it is accomplished under conditions which
+are themselves interesting.</p>
+
+<p>In studying the persons in a story, then, the chief things to keep in
+mind are the following:</p>
+
+<p>1. The principal person, or hero&mdash;the one, or perhaps the ones, in whose
+fortunes the reader is most vitally interested.</p>
+
+<p>2. The secondary persons who are introduced merely to add variety or to
+throw light upon the character of the hero, or to assist to bring about
+the events which center about him.</p>
+
+<p>3. The appearance, dress and manners of the persons.</p>
+
+<p>4. The ways in which the author makes his persons lifelike and shows the
+reader what they really are.</p>
+
+<p>5. The characters of the persons as they appear or as they are developed
+in the progress of the story. This is the really important part of the
+study, the one which becomes increasingly interesting as readers grow
+older and the stories they study become more and more complex and
+difficult. The study of the characters of Shakespeare&#8217;s heroes and
+heroines is more than interesting pastime for men and women&mdash;it is good,
+hard work.</p>
+
+<p><a name="The_Hardy_Tin_Soldier" id="The_Hardy_Tin_Soldier"></a><span class='pagenum'><a name="Page_158" id="Page_158">[158]</a></span>For a simple example of what is meant, let us undertake briefly the
+study of <i>The Hardy Tin Soldier</i> (Volume I, page 148).</p>
+
+<ol class="outline">
+  <li>1. The hero is the Hardy Tin Soldier himself.</li>
+  <li>2. Persons of secondary importance are:</li>
+  <li class="level2">a. The twenty-four brothers.</li>
+  <li class="level2">b. The little boy.</li>
+  <li class="level2">c. The Dancing Lady.</li>
+  <li class="level2">d. The Goblin.</li>
+  <li class="level2">e. The servant-maid.</li>
+  <li class="level2">f. The two street boys.</li>
+  <li class="level2">g. The Water Rat.</li>
+  <li class="level2">h. The fish.</li>
+  <li class="level2">i. The cook.</li>
+</ol>
+
+<p>Of these the Dancing Lady is second only to the lame Soldier; the
+Goblin, the two street boys, the little boy and the Water Rat are given
+considerable prominence, while the twenty-four brothers, the
+servant-maid, the fish and the cook are introduced merely to effect a
+certain incident or to give an air of truthfulness to the events. This
+is a fairy tale, and in it we must be faithful to our juvenile friends,
+considering the Goblin, the Water Rat and the fish as real persons, and
+the Tin Soldier as a very human being.</p>
+
+<p>3. In appearance the Tin Soldier was tall and erect, but alas! he had
+only one leg! His uniform was red and blue and very splendid. He carried
+his musket across his shoulder as a marching soldier should, kept his
+eyes straight to the front, and stood very firmly upon his one foot. In
+the fire he lost the tinsel and the color from his uniform, and when the
+Dancer joined him he melted into a little tin heart.</p>
+
+<p><span class='pagenum'><a name="Page_159" id="Page_159">[159]</a></span>4. While Andersen tells outright some of the characteristics of the
+little Soldier, he leaves others to be inferred from acts. The Soldier
+thinks, and sometimes the reader is told just what he thinks, but never
+once does he speak&mdash;to him silence is golden. Yet not once do we miss
+his voice, and it is only when we have finished that we suddenly think
+what a silent little body he is. That is part of the author&#8217;s art. The
+Soldier never once moves his eyes, or changes his attitude; the author
+never forgets that he is a <i>tin</i> soldier, but makes his every act
+consistent with his stiffness and rigidity. That is more of the author&#8217;s
+skill. There were other soldiers, twenty-four of them, and all were
+brothers. A less skilful author would have stopped in the telling of the
+fact, but Andersen adds in his whimsical, charming manner, &#8220;for they
+were all born of one tin spoon.&#8221; All the other brothers were perfect;
+our Soldier had but one leg, yet &#8220;it was just this soldier who became
+remarkable.&#8221; Even the missing leg creates an interest, and Andersen uses
+it to center our attention upon his little hero.</p>
+
+<p>5. Andersen tells us the following things about the Tin Soldier&#8217;s
+character:</p>
+
+<p>a. He stood firmly even with but one leg to balance himself upon.</p>
+
+<p>b. He thought his box was not a place for a lady-wife who lived in a
+castle. This showed his humility.</p>
+
+<p>c. Yet he was very human&mdash;&#8220;I must make her acquaintance.&#8221;</p>
+
+<p>d. When he fell from the window, he put his leg straight up, stuck his
+helmet downward and his bayonet between the paving stones.</p>
+
+<p><span class='pagenum'><a name="Page_160" id="Page_160">[160]</a></span>e. He would not call loudly to the servant-maid because he was in the
+uniform of a soldier.</p>
+
+<p>f. While in the boat rushing down the gutter, he trembled, but he never
+changed countenance, and still looked straight before him.</p>
+
+<p>g. He sighed for the little Lady&#8217;s company, while passing through the
+drain.</p>
+
+<p>h. He would not answer the Water Rat.</p>
+
+<p>i. He stiffened himself and would not move an eyelid when the paper boat
+sank.</p>
+
+<p>j. He lay unmoved even in the darkness of the fish&#8217;s body.</p>
+
+<p>k. He was not at all proud when he was rescued.</p>
+
+<p>l. When he saw the Dancer again he very nearly wept tin tears, but he
+thought how improper that would be, and kept them back.</p>
+
+<p>m. He stood firm and shouldered his musket although the fire, or grief,
+made all the colors leave him.</p>
+
+<p>n. When the Dancer joined him in the flames he melted into a
+heart-shaped lump of tin.</p>
+
+<p>What a fine little Tin Soldier he proves to be! Could any one be more
+loyal to his profession? Body erect, eyes to the front, musket
+shouldered, every muscle at attention all the time, no matter if he had
+but one leg to stand upon. He was brave as a lion, although once in the
+presence of the direst danger he trembled a little, but he drove every
+sign of fear from his face and stood his ground manfully. After he had
+once seen the Dancer and realized how similar her trials must be to his,
+how constant he was in his devotion! At his death what could be more
+fitting than to see him melt into a <span class='pagenum'><a name="Page_161" id="Page_161">[161]</a></span>little heart-shaped mass, the
+symbol of his courage and constancy! Why should we call him the <i>hardy</i>
+Tin Soldier; would it not have been better if the translator had called
+him the <i>constant</i> Tin Soldier?</p>
+
+<p>Now, when we give the hero of this pretty little story so much
+attention, does it not seem worth while? Will not we, grown men and
+women, find so much in the hero that we may gather our young friends
+about us and lead them to see how admirable a character he has and how
+beautifully Andersen has shown it? If we talk not <i>to</i> the boys and
+girls, but <i>with</i> them, if we invite their questions as to the Tin
+Soldier&#8217;s character, and by our informal questions lead them to
+appreciate the strength, courage, and devotion of the little toy, will
+they not get some taste for a good story well written, and perhaps,
+learn some little lessons that will help them to be better men and
+women?</p>
+
+<p><i>Journeys</i> furnishes you with many another fine story, equally
+interesting. There are a number of the tales, too, which may call for
+your own best efforts in the study of character, and from which even you
+may derive some genuine help in the heavy problems life thrusts upon
+you.</p>
+
+<p>In many places, too, the present writer has appended outlines and
+questions which the young people themselves may like to pore over and
+which may assist the inquiring parent even more than the brief study
+above. The following are particularly suggestive:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="story page reference">
+<tr>
+  <td>Volume I,</td>
+  <td>page 224.</td>
+  <td><i>Cinderella.</i></td>
+</tr>
+<tr>
+  <td>Volume IV,</td>
+  <td>page&nbsp; 93.</td>
+  <td><i>A Dog of Flanders.</i></td>
+</tr>
+<tr>
+  <td>Volume VIII,</td>
+  <td>page 335.</td>
+  <td><i>Dream Children.</i></td>
+</tr>
+<tr>
+  <td>Volume VIII,</td>
+  <td>page 364.</td>
+  <td><i>The Tempest.</i></td>
+</tr>
+</table>
+
+<p><span class='pagenum'><a name="Page_162" id="Page_162">[162]</a></span></p>
+
+
+<h3 class="section"><a name="C_The_Scenes" id="C_The_Scenes"></a>C. <span class="smcap">The Scenes</span></h3>
+
+<p class="opening"><span class="dropcapo"><span class="hide">O</span></span><span class="upper">ne</span> of the benefits of good reading is that it fills the mind with
+beautiful pictures of places that we cannot visit or that live only in
+the eyes of the imagination. A powerful descriptive writer takes his
+reader with him, and by graphic words makes visible and almost real the
+scenes among which they wander. One may sit in the light of his study
+lamp during a black northern winter and read himself away from the chill
+and dreariness into some warm, sunny clime where flowers of new and rare
+forms flaunt their gorgeous colors and perfume the air with strange
+delicious odors; great trees with tufts of far-reaching leaves cast
+their welcome shade, and long vines trail gracefully from their living
+supports. Wonderful birds with brilliant plumage flit about, as through
+the openings in the trees glimpses are given of long waves rolling
+gently upon the glistening beach. It is only necessary to give free rein
+to the imagination and to visualize the scenes that the skilful writer
+describes.</p>
+
+<p>There are people of such literal minds that descriptive writing fails to
+appeal to them. It is their misfortune. To others every word brings a
+picture that appears almost as vivid and as full of detail as those upon
+which the material eye gazes. Like any other power of the mind, this may
+be cultivated, even among the mature. Children are highly gifted with
+this power, to begin with, and only a little training is necessary to
+make them use the faculty freely for their own delight. Suggest <span class='pagenum'><a name="Page_163" id="Page_163">[163]</a></span>to them
+the outlines of a picture, and see how rapidly they will fill in the
+details.</p>
+
+<p>No two can see precisely the same imaginary picture; in fact, no two
+people looking at the same landscape will see precisely the same things,
+and if they are asked to describe what they see, it will appear that
+things which are most vivid to one may have made little impression upon
+the other. It is not to be expected, then, that two children reading a
+description of some scene will get the same picture of it. Each will
+color his own from the previous impressions and experiences he has had.
+Yet to each the picture may be very real and very pleasing. Good
+teachers of reading spend much time and effort in teaching the young to
+visualize the scenes of which they read, not only because of the
+pleasure it will afford the young when they are mature, but because the
+power to see vividly is of greatest assistance in every department of
+study.</p>
+
+<p>In some stories little attention is given to the scene; in fact, the
+persons might appear anywhere and not be in the least affected by their
+surroundings, and the events might have happened in China as well as in
+England. Even then, however, there will be found mention of many things
+that seem to give locality to the story. At the other extreme are
+writers who lose themselves in descriptive flights and pause to describe
+a sunset while the heroine is perishing, and the hero must stand
+helpless until the author has painted the last color in the sky. In the
+best literature for children, description is so mingled with narrative
+that while there are fine pictures to see, they do not fall in the way
+of the events which the young reader follows with <span class='pagenum'><a name="Page_164" id="Page_164">[164]</a></span>such breathless
+interest. In fact, the pictures aid the narrative.</p>
+
+<p>There is of course in every story much descriptive writing that does not
+apply to the scenes among which the plot is laid, yet it is well to make
+a study of description from the scenes, for it is here that the author
+has his greatest opportunity for pictorial writing.</p>
+
+<p><a name="The_Dog_and_His_Shadow" id="The_Dog_and_His_Shadow"></a>If the story is brief there may be but one scene. Everything may happen
+in one place, and none of the surroundings may change. For instance, in
+the fable of <i>The Dog and His Shadow</i> (Volume I, page 63) there is but
+one incident, which happens in one place. Such a simple story, however,
+furnishes the material for a good picture, and in bringing it out to a
+child who reads or hears the fable for the first time, the parent is
+giving good service that will lead to keener appreciation and higher
+power of interpretation in his child&#8217;s later years. What can be made out
+of this picture, and how should it be done? Let us see:</p>
+
+<p>The fable is told in simple words, and only plain facts are stated. What
+are the elements of our picture? We can find only six, viz.: a big dog;
+a big piece of meat; day; a river; a narrow bridge; the dog&#8217;s image. Now
+if we were to draw a picture to illustrate this fable we would begin
+with a general sketch. Should we show a level country, or are there
+hills about? Is it barren and desolate, or are there trees? Are there
+houses near? Where did the dog get his meat? Is it a large river, or
+only a small one? The bridge is narrow; has it a railing along the side?
+Would the dog be liable to see his image if it was a wagon bridge? Was
+it then <span class='pagenum'><a name="Page_165" id="Page_165">[165]</a></span>a mere foot bridge? Would a single plank across a small stream
+answer the purpose? The dog is big; is it a dog that knows and likes the
+water? Would you think it could be a Newfoundland dog? What kind of a
+dog is it? It is day time; is the sun shining? Do you imagine it is
+morning or noon, or that it is toward evening? In making your pictures
+would you draw the trees to show the leaves blown by the wind? If the
+dog sees his image, is the water smooth or rough? Is the stream rapid
+and rough, or smooth and placid?</p>
+
+<p>While such questioning is going on both speaker and listener are seeing
+more clearly every minute. Besides, in order to see accurately they are
+drawing on their own previous knowledge and experience, and are
+reasoning just as truly as though they were solving a problem in
+arithmetic.</p>
+
+<p>In every picture we form in our reading there are certain elements that
+we must accept and include because the writer gives them to us. Other
+elements suggest themselves, and we accept them and put them in place or
+reject them entirely. In the fable just discussed we are told that the
+dog is big, the piece of meat is big, and the bridge is narrow. We may
+not see a small dog with a little piece of meat on a big, wide bridge.
+Houses, trees, sedges on the river bank, children playing by the side of
+the path, spring, summer or autumn foliage, or even snowclad shores with
+black water between&mdash;any of these we may put into our picture, for the
+fable is silent on these points. We must be accurate, and the parent can
+do no better service in reading than to make his child see accurately
+whatever he sees at all.</p>
+
+<p><span class='pagenum'><a name="Page_166" id="Page_166">[166]</a></span>The artist studies the selection he means to illustrate in just this
+way, and then draws his picture. When we see his picture we may accept
+it as good and true to the conditions, or call it poor and inapplicable.
+We should not be hasty, but should try to get his point of view before
+we criticise. If he violates any of the fixed conditions of the story
+his work is bad; if he gives us his interpretation and violates no fixed
+conditions, his work may be good or bad according to the standards we
+set up: are we always certain that our standards are correct?</p>
+
+<p><a name="The_Fox_and_the_Stork" id="The_Fox_and_the_Stork"></a>In the fable <i>The Fox and the Stork</i> (Volume I, page 73) the artist has
+given us two beautiful pictures which in themselves tell almost the
+entire story, and his pictures are almost wholly from his own
+imagination, for there was given him to work with very little more than
+a fox, a stork, a wide dish and a vase. Such a pictorial imagination as
+he possessed is what should be cultivated in children. If they can be
+encouraged to draw what they see, they not only fix their own
+impressions, but they learn to see more vividly and more accurately.</p>
+
+<p>In long stories there are many scenes; it may be that no two incidents
+happen in the same place. In the drama, which contains all the elements
+of the story, the scenes are limited in number, are fixed and unchanging
+and after the reader has arranged his scenery he may give his attention
+exclusively to the dialogue because he knows there will be no change in
+the scene. In the story the reader may need to be constantly alert, as
+when his hero takes a long and perilous journey the scenes may change
+with the quickness of a kaleidoscope, and yet all be important to the
+narrative. The more complex the <span class='pagenum'><a name="Page_167" id="Page_167">[167]</a></span>story, the greater the variety in
+scene, and consequently the greater the opportunities for study. It is
+interesting work for children to pick out the scenes, to count them and
+then to compare them. Some of them are more vividly portrayed than
+others. Why? Some are more important as descriptions, and some because
+of the incidents occurring in them.</p>
+
+<p>Sometimes, especially in speaking of the drama, the word <i>scene</i> is
+applied not only in its literal sense, but also to include not merely
+the place but the incidents that happen in the place, as well.</p>
+
+<p>For instance, we may say, &#8220;The quarrel between Brutus and Cassius is a
+wonderful scene in <i>Julius C&aelig;sar</i>.&#8221; Again, the word is used sometimes to
+mark the division of a play, as when we speak of the second scene in the
+first act of <i>Macbeth</i>. For our purposes, however, in our early reading
+with children, let us use it to signify only the place where events
+happen.</p>
+
+<p>An author may tell us at the beginning of a story that the scene is laid
+in London, or in Calcutta, or in the Black Forest; but unless he employs
+some method of giving a vivid impression of the setting of the story, we
+soon lose sight of locality. Sometimes, of course, it is not necessary
+that we should remember the place&mdash;the story moves on independent of
+scene; but other stories depend in part for their interest and even for
+their plot upon their setting. In such cases, the author, by reference
+to the natural features characteristic of a region, or to the peculiar
+traits or mannerisms or turns of speech of his characters, keeps before
+us the place in which the scene is laid. Such pecul<span class='pagenum'><a name="Page_168" id="Page_168">[168]</a></span>iarities of a place
+or its inhabitants, when introduced into a story, are given the name of
+local coloring.</p>
+
+<p><a name="A_Christmas_Carol" id="A_Christmas_Carol"></a>In <i>A Christmas Carol</i> (Volume VI, page 244), Dickens meant that we
+should be conscious throughout not only of a Christmas atmosphere, but
+of an <i>English</i> Christmas atmosphere. The references to the Christmas
+feeling are too obvious to require pointing out, but the methods by
+which the author makes us conscious that we are in London do not show so
+clearly at first sight. By a study of the paragraph which begins in the
+middle of page 253, and of the one immediately following it, we may get
+some idea of these methods.</p>
+
+<p>&#8220;Meanwhile the <i>fog</i> and darkness thickened so, that the people ran
+about with flaring <i>links</i>.&#8221; A London boy would not need a footnote to
+tell him that the fogs of London are famous; that they are at times so
+thick that all traffic is obliged to cease. Nor would he need to be told
+that links are torches of tow and pitch, which enterprising London boys
+provided themselves with at foggy times, that they might earn money by
+piloting people about. The word <i>brazier</i>, too, is in commoner use in
+England than it is in the United States. The <i>poulterers&#8217;</i> trade is
+another English touch.</p>
+
+<p>Every one knows that the <i>Lord Mayor</i> is the chief official of the city
+of London, but perhaps we do not all know that <i>Mansion House</i>, with its
+great banqueting-hall where the state dinners are held, is the residence
+of the Lord Mayor.</p>
+
+<p>Now-a-days we all know what English <i>plum pudding</i> is&mdash;it is served at
+many American tables on Christmas day. But nothing is more
+character<span class='pagenum'><a name="Page_169" id="Page_169">[169]</a></span>istically English, unless, indeed, it is the <i>roast beef</i>, not
+turkey, which the tailor was planning to have for his Christmas dinner.</p>
+
+<p>Probably no one but an English writer, writing of an English subject,
+would refer in Dickens&#8217;s off-hand manner to Dunstan, the English
+statesman and archbishop who accomplished so much for religion that he
+came to be known as Saint Dunstan.</p>
+
+<p>One of the most characteristically English touches in the two paragraphs
+is the reference to the <i>carol</i> sung by the boy at Scrooge&#8217;s keyhole.
+Other countries have Christmas carols, but the custom of singing them
+before people&#8217;s houses is peculiarly common in England. The carol of
+which the first two lines are quoted is perhaps the one most frequently
+sung.</p>
+
+<p>These instances will give some idea of what is meant by local color, and
+of the methods used in securing it. It will be an interesting study to
+find other words and phrases in the remainder of the story which
+strengthen our feeling of the &#8220;Englishness&#8221; of <i>A Christmas Carol</i>.</p>
+
+<p><i>Journeys Through Bookland</i> furnishes an abundance of good stories of
+fine descriptive power. A few of the best are the following:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="story page reference">
+<tr>
+  <td>Volume II,</td>
+  <td>page 405.</td>
+  <td><i>The King of the Golden River.</i></td>
+</tr>
+<tr>
+  <td>Volume IV,</td>
+  <td>page 174.</td>
+  <td><i>Incident of the French Camp.</i></td>
+</tr>
+<tr>
+  <td>Volume IV,</td>
+  <td>page 322.</td>
+  <td><i>The Attack on the Castle.</i></td>
+</tr>
+<tr>
+  <td>Volume VI,</td>
+  <td>page 173.</td>
+  <td><i>Sohrab and Rustum.</i></td>
+</tr>
+</table>
+
+<p><span class='pagenum'><a name="Page_170" id="Page_170">[170]</a></span></p>
+
+
+<h3 class="section"><a name="D_and_E_The_Lesson_and_the_Authors_Purpose" id="D_and_E_The_Lesson_and_the_Authors_Purpose"></a><span class="smcap">D and E. The Lesson and the Author&#8217;s Purpose</span></h3>
+
+<p class="opening"><span class="dropcapt"><span class="hide">T</span></span><span class="upper">he</span> stories of the present day are many of them written with the avowed
+purpose of mere entertainment. The author is satisfied if his work
+sells, and cares nothing for the lesson he may teach, although by means
+of false views of life he may do ineffaceable harm to the minds of his
+readers. Many of the popular magazines and other periodicals, not even
+excepting some of those published especially for children, are full of
+light reading which vitiates the taste and may even undermine character
+by its seductive influence. In the effort to be entertaining the recent
+writers for children have only too frequently sacrificed strength and
+virility to a fascinating brilliancy that seizes the imagination of
+youthful readers and gives no material for subsequent growth. The
+earlier writers, those who produced the great classics which still are
+the most inspiring things in our language, were actuated by nobler
+motives. To them literature was not a trade, but a high calling, to
+which the writer came as a priest approaches his altar. Such a writer
+held a high purpose and kept it in view, often giving hours of thought
+and the best of his genius to work that the modern story writer neglects
+entirely or passes over with hasty evasion.</p>
+
+<p>The purpose of the author is always a subject of interesting inquiry,
+and whenever it appears a serious one it is worthy our careful study.
+The novel is often the medium of conveying the results <span class='pagenum'><a name="Page_171" id="Page_171">[171]</a></span>of deep study
+into human character, and a few of the greatest stories have been
+epoch-making in their effect upon the human race.</p>
+
+<p>As the fiction which children read has a profound influence in the
+formation of character, it should always be examined with greatest care
+to see that the author&#8217;s purpose is a laudable one and that he carries
+it out in such a way that the lesson is wholesome and salutary. Some
+stories may be entertaining merely&mdash;they are for the play-spells of the
+imagination; others should be instructive&mdash;they are for hours of study
+and reflection; a third class should be invigorating and inspiring, full
+of good lessons of high moral import&mdash;they are for times of stress, or
+the still hours when character is made.</p>
+
+<p>If, however, the purpose of the author is too evident, if his lesson is
+too obvious, none are so quick to catch the fact as wide-awake childish
+readers. The author who lugs instruction and information into his
+stories will find the boys and girls skipping all that he values, or
+laying down his books with laughter and derision. The writer who
+moralizes may find his work to be immoral in its effect on his juvenile
+readers, or may see his stories relegated to the overloaded bargain
+counters.</p>
+
+<p>In the same sense, it is often unwise to dwell long upon the moral of a
+story or even to point it out if it be at all evident. There is no phase
+of teaching reading that requires such careful thought or such fine
+discrimination from the parent as that which relates to the lesson of
+the story. It is often better to let the selection do its own work than
+to try to elaborate its purpose. Yet a skilful and <span class='pagenum'><a name="Page_172" id="Page_172">[172]</a></span>sympathetic leader,
+one quick to read the feelings of his young listeners, may often render
+his greatest service in free conversations about what the story teaches.
+It would seem that no one could do this quite as well as the parent who
+has known his boys and girls from infancy and can see in his offspring
+those very traits of character which have been to his own advantage or
+detriment.</p>
+
+<p>More will be accomplished by questioning with occasional comments than
+by preaching, more by showing the help the story gives to the questioner
+than by trying to foist its assistance upon the hearer. &#8220;Now there is a
+fine lesson for you, my boy. I want you to remember it,&#8221; is not half so
+effective as &#8220;That idea seems good to me. I&#8217;ve often thought about it
+but never seemed to realize it so much. I shall try to remember it.&#8221;
+Wouldn&#8217;t you, dear parent, rather learn <i>with</i> your friend than to have
+him always instructing you? &#8220;What do you think of that, John?&#8221; is much
+more apt to help the boy than &#8220;You must see it this way, John.&#8221; Are you
+not, dear parent, rather proud of your own judgment, and do you not
+suppose your son has inherited your feeling to some extent at least?</p>
+
+<p>We heard the old fables in our babyhood and read them in Latin as we
+grew older, and we still are fond of them, though the &#8220;morals&#8221; have long
+since been forgotten. Those wise lessons so graphically presented have
+helped to form our characters, but not through the formal &#8220;moral&#8221; at the
+end. Beware of &#8220;<i>Haec fabula docet</i>.&#8221;<a name="FNanchor_189-1_1" id="FNanchor_189-1_1"></a><a href="#Footnote_189-1_1" class="fnanchor">189-1</a></p>
+
+<p><a name="The_Fir_Tree" id="The_Fir_Tree"></a><span class='pagenum'><a name="Page_173" id="Page_173">[173]</a></span>As a further suggestion of method we may consider for a few moments that
+beautiful but sad little story of Andersen&#8217;s, <i>The Fir Tree</i> (Volume II,
+page 68). Every good story is worth reading more than once, and every
+good method of teaching involves more than one reading. In this instance
+as children read or listen, they are first interested in the story as a
+story; that is, in the plot. They enjoy the adventures of the Fir Tree
+and may feel for it in its misfortunes, but their interest is in the
+tale. When they have read to the end, however, they will be interested
+in the appearance of the tree, their hero, and in the other characters
+which give vitality to the story. Then the scenes may be talked over,
+and varied enough they are to excite real interest as the story is read
+now with the definite purpose of seeing the pictures Andersen has
+sketched. With all this in mind the children are ready to think over it
+again and learn the lesson the great prose-poet meant to give. If the
+character of the Fir Tree is well understood, the lesson almost tells
+itself, for ambition, arrogance and discontent are seen as the traits
+that make for unhappiness. The Fir Tree might have been happy many times
+if it had only been content. At the worst it gave happiness to others,
+and therein, perhaps, filled its place in the world. Human beings must
+often find their pleasure in giving happiness to others and must be
+content to know that they are of service to others. Some of the lessons
+of <i>The Fir Tree</i> are rather hard for little folks to understand, and
+there is something in the charming story for those older readers that
+have hearts young enough to see the meaning.</p>
+
+<p><span class='pagenum'><a name="Page_174" id="Page_174">[174]</a></span>Study the purpose in the following:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="story page reference">
+<tr>
+  <td>Volume I,</td>
+  <td>page 414.</td>
+  <td><i>The Ugly Duckling.</i></td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 124.</td>
+  <td><i>The Snow Queen.</i></td>
+</tr>
+</table>
+
+
+<h3 class="section"><a name="F_The_Method_and_Style_of_the_Author" id="F_The_Method_and_Style_of_the_Author"></a>F. <span class="smcap">The Method and Style of the Author</span></h3>
+
+<p class="opening"><span class="dropcaps"><span class="hide">S</span></span><span class="upper">mall</span> children are not interested in considering the way in which an
+author tells his story, nor the methods he employs to secure attention
+and excite interest. Yet there comes a time when such a study is highly
+pleasing to inquiring youth. It is desirable always that children should
+early begin to appreciate the difference in the way plots are handled,
+to discriminate between a tale that is well told and one that is poorly
+told. At an early age boys delight in stories that are full of the
+excitement of adventure, conflict and mystery. Their craving is natural
+enough and must be satisfied. At such time they will read little or
+nothing else unless they are driven to it, and to compel them to read
+what they do not want is to make them hate reading for the time being
+and perhaps permanently. In time they will outgrow the taste&mdash;it is
+nothing to be feared if properly guided. The danger lies in the fact
+that they may find the excitement they wish in stories that are really
+immoral, or that are so poorly written that they destroy all taste for
+fine literature. The right course is to supply plenty of reading in
+which excitement abounds, where Indians stalk the woods, pirates rove
+the seas, and knights fight for their lady-loves, but always in stories
+that are so well told that the taste for good reading is cultivated
+unconsciously <span class='pagenum'><a name="Page_175" id="Page_175">[175]</a></span>as the boy reads. <i>Treasure Island</i> is bloody enough for
+the most exacting boy, and it bears many a reading, for it is so
+charmingly told that long after the cry, &#8220;Pieces of eight, pieces of
+eight,&#8221; has ceased to make the welcome chills run up and down the boy&#8217;s
+back, he returns to the story for the pleasure he finds in the style of
+Stevenson. In later years the boy will write better and speak better for
+having read the story.</p>
+
+<p>However, the parent may do much to help his child along by calling
+attention to vivid figures of speech, to happy expressions of all kinds,
+and to those graceful touches of humor and pathos that are so
+characteristic of Andersen, Stevenson, Ruskin, Kingsley, and other great
+writers for boys and girls. No child who can read well for himself is
+too young to appreciate a good figure of speech if the comparison is
+based upon something falling within his own experience. Who is so young,
+or so old, for that matter, that he will not thrill a little at
+Longfellow&#8217;s lines:</p>
+
+<p class="poem">&#8220;Silently, one by one, in the infinite meadows of heaven,<br />
+Blossomed the lovely stars, the forget-me-nots of the angels.&#8221;</p>
+
+<p>What does the poet say? &#8220;The stars appeared in the sky.&#8221; In saying it
+what does he make us feel? As we repeat the lines we see the immense
+expanse of the heavens, and as we gaze, the sparkling dots of light
+appear silently, slowly, one after another, just as beautiful flowers
+appear as the early morning light gilds the green meadows. We think,
+too, in the poet&#8217;s fanciful way, that these are no common <span class='pagenum'><a name="Page_176" id="Page_176">[176]</a></span>flowers, but
+exquisite tokens of the loving care the angels have over us, and a
+gentle reminder that always should we trust in them.</p>
+
+<p>Often the highest sentiment is clothed in lines whose figures, most
+beautiful in themselves, exalt the spirit as ordinary expressions could
+never do. At the close of <i>The Chambered Nautilus</i>, Oliver Wendell
+Holmes sings:</p>
+
+<p class="poem">&#8220;Build thee more stately mansions, O my soul,<br />
+<span class="i1">As the swift seasons roll!</span><br />
+<span class="i1">Leave thy low-vaulted past!</span><br />
+Let each new temple, nobler than the last,<br />
+Shut thee from Heaven with a dome more vast,<br />
+<span class="i1">Till thou at length art free,</span><br />
+Leaving thine outgrown shell by life&#8217;s unresting sea!&#8221;</p>
+
+<p>Is it not well for the parent to lead his child to see such things in
+literature, to search for them, and when they are found to treasure them
+and bring them for mutual enjoyment into the family circle?</p>
+
+
+<h3 class="section"><a name="G_Emotional_Power" id="G_Emotional_Power"></a>G. <span class="smcap">Emotional Power</span></h3>
+
+<p class="opening"><span class="dropcapf"><span class="hide">F</span></span><span class="upper">iction</span> appeals strongly to feeling and stimulates the growth of that
+series of great emotions that make so large a part of character. It may
+excite ambition and a thirst for power or wealth or give an impulse to
+labor and self-denial; it may teach us sympathy and love for our
+fellow-men, or arouse anger, hatred and defiance; it may give us a
+keener discrimination of right from wrong and lead us far on <span class='pagenum'><a name="Page_177" id="Page_177">[177]</a></span>our search
+for truth, even into the calm of religious beliefs.</p>
+
+<p>We see the play of emotions in the imaginary persons that pass before
+us, and as we learn to love our new friends, their influence passes out
+to us through the words of the gifted author. Bob Cratchit&#8217;s tender love
+(Volume VI, page 304) makes us more considerate of the sick and
+helpless; Tom Brown&#8217;s manly defense of his praying schoolboy friend
+(Volume V, page 472) leads us to new respect and admiration for the boy
+who lives up to his principles, and drives us, perhaps, to begin again
+upon the duties we have neglected.</p>
+
+<p>By studying with the children the feelings the characters in a story
+exhibit, the parent may give the best of moral lessons without the
+appearance of so doing and more effectively than by countless reprimands
+and formal orders.</p>
+
+<p><a name="Rab_and_His_Friends" id="Rab_and_His_Friends"></a>As a suggestion of method we offer an outline based upon <i>Rab and His
+Friends</i> (Volume VI, page 99), one of the most touching stories ever
+written, a series of incidents that appeal to every holy emotion.</p>
+
+<p>Rab, the great mastiff, claims first place in our minds, dog though he
+is; but James and Ailie are such lovable beings that we never can forget
+them.</p>
+
+<p>The story has been read through; we have followed the simple incidents
+to their pathetic climax; we have learned to know Rab by sight and to
+recognize his sterling character; James the honest, tender-hearted
+carrier, and gentle, suffering Ailie, his wife, have taken their places
+among the dear friends our imagination has created; we have noted the
+power of the author, his humor, his scholarly<span class='pagenum'><a name="Page_178" id="Page_178">[178]</a></span> English and his
+sympathetic touch. We may have read the story more than once&mdash;at any
+rate we have read portions of it several times, so we can trace the
+emotions that are felt by the noble dog.</p>
+
+<p>Page 100: When the little white bull terrier fastens himself upon Rab&#8217;s
+throat and the strong muzzle prevents the big fellow from defending
+himself, &#8220;his whole frame stiffens with <i>indignation</i> and <i>surprise</i>.&#8221;
+&#8220;He looked a statue of <i>anger</i> and <i>astonishment</i>.&#8221;</p>
+
+<p>After Rab had been released from his muzzle and had killed the little
+terrier, &#8220;he looked down at his victim <i>appeased</i>, <i>ashamed</i> and
+<i>amazed</i>.&#8221;</p>
+
+<p>Page 103: When his master aimed a kick at him, he &#8220;drew <i>cringing</i> up&#8221;
+and &#8220;slunk <i>dismayed</i> under the cart.&#8221;</p>
+
+<p>When his master spoke kindly, &#8220;&#8216;Rab, ma man, puir Rabbie,&#8217;&#8221; &#8220;the stump
+of a tail rose up, the ears were cocked, the eyes filled, and were
+comforted&#8221;; Rab showed <i>pride</i> and <i>happiness again</i>.</p>
+
+<p>Page 104: He was <i>pleased</i> when the medical student scratched his huge
+head, and <i>anxious</i>, when no notice was taken of him.</p>
+
+<p>When he first came to the hospital he felt <i>pride</i> and <i>condescension</i>,
+&#8220;like the Duke of Wellington entering a subdued city.&#8221;</p>
+
+<p>Page 106: When James handed Ailie from the cart, &#8220;Rab looked on
+<i>concerned</i> and <i>puzzled</i>.&#8221;</p>
+
+<p>Page 106: In the consulting room Rab was filled with <i>suspicion</i> and
+<i>uneasiness</i>; he was &#8220;grim and comic,&#8221; and eyed all three.</p>
+
+<p>When Ailie was put to bed and Rab was permitted to enter the room he
+&#8220;slunk in,&#8221; <i>half-ashamed</i>, but fully <i>determined</i>.</p>
+
+<p><span class='pagenum'><a name="Page_179" id="Page_179">[179]</a></span>Page 107: Rab valued himself highly, but felt no conceit: he &#8220;had the
+<i>dignity</i> and <i>simplicity</i> of great size,&#8221; and the &#8220;<i>gravity</i> of all
+great fighters.&#8221;</p>
+
+<p>Page 109: Rab felt <i>perplexity</i> and <i>anger</i>, &#8220;forever cocking his ear
+and dropping it as fast,&#8221; when Ailie entered the operating room.</p>
+
+<p>During the operation he felt <i>sympathy</i> for the suffering of his
+mistress, <i>anger</i> and <i>revengefulness</i> at her tormentors; &#8220;his ragged
+ear was up, and importunate; he growled and gave now and then a sharp,
+impatient yelp; he would have liked to have done something to that man.&#8221;</p>
+
+<p>Afterward in Ailie&#8217;s room he felt <i>fear</i>, <i>anxiety</i> and a <i>desire to
+help</i>, and showed &#8220;how meek and gentle he could be, occasionally, in his
+sleep, letting us know he was demolishing some adversary.&#8221;</p>
+
+<p>Page 110: Rab continued to feel a sense of <i>depression</i>, <i>sadness</i> and
+<i>anxiety</i>; during his walks with the medical student he was &#8220;sombre and
+mild; declined doing battle&mdash;submitted to sundry indignities.&#8221;</p>
+
+<p>While Ailie seemed to be recovering Rab felt <i>kindliness</i> and <i>subdued
+joy</i>, though <i>resentment</i> lay close beneath the surface; he was
+&#8220;reconciled, and even cordial,&#8221; had &#8220;made up his mind that as yet nobody
+required worrying,&#8221; but was always prepared for it.</p>
+
+<p>Page 111: As Ailie grew worse, <i>grief</i> and <i>fear</i> began to take
+possession of Rab; he &#8220;subsided under the table into a dark place, and
+was motionless.&#8221;</p>
+
+<p>Page 112: When Ailie called in delirium, her strained voice filled Rab
+with <i>surprise</i>, <i>astonishment</i> and a sense of <i>guilt</i>; he started up
+&#8220;surprised, <span class='pagenum'><a name="Page_180" id="Page_180">[180]</a></span>and slinking off as if he were to blame somehow, or had
+been dreaming he heard.&#8221;</p>
+
+<p>Page 114: At Ailie&#8217;s death Rab was overwhelmed with <i>grief</i>; he licked
+her hand which was hanging down &#8220;all over carefully, looked at her, and
+returned to his place under the table.&#8221;</p>
+
+<p>The dog&#8217;s feeling of <i>duty</i>, <i>obligation</i> and <i>devotion</i> was shown when
+he leaped upon the bottom of the bed &#8220;and settled himself, his head and
+eye to the dead face.&#8221;</p>
+
+<p>Page 115: Rab remained <i>in statu quo</i> till the carrier returned; <i>love</i>
+and <i>devotion</i> filled his heart.</p>
+
+<p>Page 115: His <i>grief</i> wholly absorbed him; he did not notice his medical
+friend when the cart left the hospital.</p>
+
+<p>Page 117: After the carrier&#8217;s death, <i>grief</i> wore down the dog&#8217;s brave
+spirit; he became <i>discouraged</i>, <i>impatient</i>, <i>resentful</i>; &#8220;he was aye
+gur gurrin&#8217;, and grup gruppin&#8217;.&#8221; Yet he was <i>faithful</i> to his trust, for
+he was only impatient and resentful when a stranger came and interfered
+in the business of the dead carrier.</p>
+
+<p>It is evident that the study of emotions is to a great extent a study of
+character, and that in this instance, we have given a tabulation of
+Rab&#8217;s traits of character. It is through the showing of his feelings
+that Rab influences us. A little introspection shows that we are feeling
+just what the dog feels, or that some emotion is aroused in us that
+responds to the feeling of the dog. We are not exactly <i>surprised</i> when
+the bulldog grips Rab, but we are <i>indignant</i> that he should have no
+chance to defend himself&mdash;we would be among the first to slit the
+muzzle. We may not be pleased that Rab killed the <span class='pagenum'><a name="Page_181" id="Page_181">[181]</a></span>bulldog, but we are
+glad that Rab defended himself. We realize the strength of the mastiff&#8217;s
+powerful jaws, and are not <i>amazed</i> at what he did&mdash;we are now rather
+inclined to feel sympathy for the helpless little terrier.</p>
+
+<p>So we might go on incident by incident and compare our feelings with
+those of Rab, but that would require much space and perhaps it would not
+be of great benefit to the reader, for our feelings may not be his
+feelings, and the things which arouse him may have little effect upon
+another. It is sufficient to call attention to the value of analysis,
+and show that self-study is a valuable adjunct to reading.</p>
+
+<p>It is well that most children are not likely to indulge to any great
+extent in introspection, for too much is injurious. However, it can do
+the young no harm for them to study the feelings of others, and now and
+then examine their own emotions. By so doing, they may learn that some
+reading, which is destructive to peace and productive of unpleasant or
+evil feelings, should be avoided.</p>
+
+
+<h3 class="section"><a name="General_Principles_and_Reflections" id="General_Principles_and_Reflections"></a><span class="smcap">General Principles and Reflections</span></h3>
+
+<p class="opening"><span class="dropcapt"><span class="hide">T</span></span><span class="upper">he</span> studies so far given are comprehensive, and are suited to all forms
+of fictitious narrative. Most of the illustrations have been drawn from
+the simpler tales in the earlier volumes, but the studies are equally
+applicable to the more difficult selections of the later volumes, and
+may be easily adapted by the parent to children of any age. The
+restrictions of space have compelled us to offer but one set of <span class='pagenum'><a name="Page_182" id="Page_182">[182]</a></span>studies
+here, but there are many simpler and many more difficult ones scattered
+through the books where the juvenile readers will find them, and it is
+hoped become interested in them. In another place we have shown parents
+how these may be found easily and used consecutively if they wish so to
+use them.</p>
+
+<p>The studies here given serve to systematize the work and enable parents
+to see the logic of the plans. Children are not interested in the
+studies as such, nor in the plan, and, in fact, are liable to be
+repelled if the machinery of instruction is evident.</p>
+
+<p>Fortunately, children like to read many times the things they enjoy, and
+should always be encouraged to do so. But they are likely to read
+stories over and over again, for the plot only, and to become so
+fascinated by it as never to notice the more valuable and intrinsically
+more interesting things the narrative contains.</p>
+
+<p>Yet every person who reads or tells stories to young children has
+without doubt often noticed how insistent they are upon verbal accuracy.
+The story must be told the third time just as it was the first and
+second times. This means that they are sensitive to the thing as a
+perfect whole, and feel that any change mars the beauty of the story as
+a scratch mars the face of a favorite doll, or a broken seat spoils the
+toy buggy.</p>
+
+<p>There comes a time when, if you give a boy a mechanical toy, he is more
+interested in how it is made than in the running of it. He wants to
+&#8220;take to pieces&#8221; everything he has. Then he will enjoy analytical work
+on a story if he is led to it intel<span class='pagenum'><a name="Page_183" id="Page_183">[183]</a></span>ligently. Then the old stories come
+in for new readings, &#8220;to see how they are made,&#8221; to find something in
+them that he never found before.</p>
+
+<p>The style of reading which a child does when he is &#8220;looking for
+something&#8221; is very different from his reading when he is absorbed in the
+story. Suppose he is trying to find out what kind of a man is James, in
+<i>Rab and His Friends</i>. He forgets for a time the story, and reads
+rapidly along, merely running his eye over the pages, watching intently
+for the word <i>James</i>, or the word <i>carrier</i>. When either of the words
+appears he stops to read carefully. He may have to go back a few words,
+perhaps to the beginning of a paragraph, all the time with his attention
+fixed exclusively upon what is said about James. When he has read it on
+the first page, he skims along to the next one and stops again. This is
+reading intelligently for a purpose, and is really one of the most
+valuable kinds of reading, the kind he will use most frequently when he
+is a man, the one that will save time for him when in later years he
+most needs it. It is the style of reading, too, that is much neglected
+in the schools.</p>
+
+<p>To analyze the character of the hero of a story is as practical a lesson
+in life as any child can gain. In trying to discern the springs of
+action, in seeing how words and acts show character, and how dress and
+appearance indicate what a person really is, he is learning to
+understand his acquaintances and to judge whether they merit his trust
+and confidence, or are to be regarded with suspicion and disdain. This
+is the practical wisdom without which many a man has found himself the
+victim of misplaced confidence, or allowed himself to be led into
+tempta<span class='pagenum'><a name="Page_184" id="Page_184">[184]</a></span>tions he could not resist by those who professed friendship for
+him.</p>
+
+<p>Again, when studying the scenes, a child is learning to picture vividly
+and exactly, and is training his mind to close discrimination. He is
+training himself to avoid the mistakes that the careless reader makes.
+Many a man has found himself paying for careless reading, because he did
+not see a thing exactly as it was described to him.</p>
+
+<p>At the risk of repetition we have argued again for the reading of
+stories in the different ways and for the different purposes suggested,
+for we know that the parent who will follow these plans will interest
+his children, will see them improve, and will find them growing nearer
+to him, while he will be more of a companion, less of a ruler. In so
+doing he may forget some of the cares of the day and find himself
+growing younger, more contented and happier as his family reaches the
+age when it can take care of itself. Then, later, when the long years of
+old age have come, it may be that the parents will discover that while
+they read and worked with their children they taught themselves to find
+in reading a solace for their loneliness.</p>
+
+<p>It is scarcely necessary to say that many of these latter comments and
+suggestions are as applicable to reading other kinds of literature as
+they are to the reading of stories, but stories form so large a part of
+a child&#8217;s reading that it has seemed best to place them in this
+connection. Many essays contain something of narration, and not
+infrequently an incident forms the basis of a beautiful lyric. In print
+these studies may appear formal and forbidding, but where they are
+presented in a conversa<span class='pagenum'><a name="Page_185" id="Page_185">[185]</a></span>tional manner, they become attractive and
+inspiring.</p>
+
+
+<h3 class="section"><a name="Completed_Studies" id="Completed_Studies"></a>Completed Studies</h3>
+
+<h3 class="section"><a name="The_Hare_and_the_Tortoise" id="The_Hare_and_the_Tortoise"></a><i>The Hare and the Tortoise</i></h3>
+
+<p class="titlepage">(Volume I, page 71)</p>
+
+<p>A. <i>The Plot.</i> The slow Tortoise and the speedy Hare ran a race. The
+Hare, full of conceit, loitered and slept by the way, while the Tortoise
+won in his plodding fashion.</p>
+
+<p>Incidents:</p>
+
+<ul class="booklist">
+  <li>1. The Hare derides the Tortoise.</li>
+  <li>2. The Tortoise challenges the Hare.</li>
+  <li>3. The Fox becomes judge and holds the stakes.</li>
+  <li>4. The race begins in heat and dust.</li>
+  <li>5. The Hare takes a rest and a nap.</li>
+  <li>6. The Tortoise in comfort passes the Hare.</li>
+  <li>7. The Hare awakes, thinks the Tortoise behind, and stops to eat.</li>
+  <li>8. The Hare discovers that the Tortoise has passed and begins his
+pursuit.</li>
+  <li>9. The Hare finds the Tortoise at the brook.</li>
+  <li>10. The Fox awards the money to the Tortoise.</li>
+</ul>
+
+<p>B. <i>The Persons.</i> There are three characters in the story: the Hare, the
+Tortoise and the Fox.</p>
+
+<p>1. The Hare. He is a small, long-legged animal, who can leap long
+distances and run like the wind. In character he is unkind, impudent,
+proud and lazy.</p>
+
+<p>2. The Tortoise. He is a clumsy, short-legged turtle, who carries a
+heavy box-shell around his body. He cannot jump at all, and he moves
+very <span class='pagenum'><a name="Page_186" id="Page_186">[186]</a></span>slowly, flat on the ground, even his tail dragging in the dust.
+But he is wise, steady, not easily discouraged, and sticks to his task
+till it is done.</p>
+
+<p>3. The Fox. He is a wise old judge, who cannot let the loser go without
+a word of advice.</p>
+
+<p>C. <i>The Scene.</i> The race takes place along a dusty road on a hot day.
+There is a big clover patch, where the Hare rests, and at the end of the
+course is a cool and delightful brook or river.</p>
+
+<p>D. <i>The Author&#8217;s Purpose and the Lesson.</i> The author of this old fable
+intended to teach the lesson that he puts into the last sentence,
+&#8220;Steady-going wins the race.&#8221;</p>
+
+<p>E. <i>The Method and Style of the Author.</i> His method is to teach a truth
+by means of an interesting story. His style is graphic and dramatic. He
+gives three animals the power to talk, and he makes them talk so that
+they seem almost like real human beings. At any rate, he makes us see
+the character of each very clearly.</p>
+
+<p>F. <i>Emotions.</i> We see in the Hare the feelings of conceit, contempt, and
+laziness; of surprise, fear, and excitement; of chagrin and
+disappointment. In the Tortoise we see a little of resentment and some
+self-confidence; then courage, determination, and persistence; at last,
+calm enjoyment and joy at winning. The Fox looks on as we do, and has
+confidence in the Tortoise and a little spice of contempt for the Hare.
+Then he is pleased that the Tortoise should win, and enjoys giving the
+Hare a stinging bit of advice.</p>
+
+<p>G. <i>Conclusion.</i> It is because the little fable has so much in it that
+it has lived for centuries, and you have only to speak to any cultivated
+person about <span class='pagenum'><a name="Page_187" id="Page_187">[187]</a></span>the Hare and the Tortoise to remind him that &#8220;Steady-going
+wins the race.&#8221;</p>
+
+<p>The preceding analysis shows what a parent should expect to bring out
+from a little child, reading the fable for the first time, or from an
+older boy or girl making a careful study of fables. In both cases,
+however, the facts should be brought out by questions, with the
+expectation that the juveniles would not express themselves in anything
+like the words given above.</p>
+
+
+<h3 class="section"><a name="The_Fox_and_the_Crow" id="The_Fox_and_the_Crow"></a><i>The Fox and the Crow</i></h3>
+
+<p class="titlepage">(Volume I, page 64)</p>
+
+<p>The following analysis of <i>The Fox and the Crow</i> shows the method as it
+might appear in actual use with small children. It should be remembered,
+however, that no two persons will ask the same questions and that no two
+children will answer them in the same manner. Bring out the thoughts and
+keep the children interested while it is being done. Rapid, clearcut
+questions which do not suggest the answer are the kind to use. Whenever
+there is hesitation or doubt, refer to the story. The story, plus the
+child&#8217;s imagination and reason, must give the answers. If other facts
+are needed, the questioner should supply them or show where they may be
+learned.</p>
+
+<p>A. <i>The Plot.</i></p>
+
+<p>Question. What was the first thing that happened in this little story?</p>
+
+<p>Answer. The Fox saw a Crow fly off with a piece of cheese in its mouth.</p>
+
+<p>Q. What next?</p>
+
+<p>A. The Crow lit on a branch of a tree.</p>
+
+<p><span class='pagenum'><a name="Page_188" id="Page_188">[188]</a></span>Q. Next?</p>
+
+<p>A. The Fox made up his mind to get the cheese.</p>
+
+<p>Q. What did he do then?</p>
+
+<p>A. He walked to the foot of the tree.</p>
+
+<p>Q. What next did he do?</p>
+
+<p>A. He flattered the Crow and asked her to sing.</p>
+
+<p>Q. What did the Crow do?</p>
+
+<p>A. She cawed and dropped the cheese.</p>
+
+<p>Q. What did the Fox do?</p>
+
+<p>A. He snapped up the cheese and ran off.</p>
+
+<p>Q. Did he do anything more?</p>
+
+<p>A. Yes. He gave the Crow some advice.</p>
+
+<p>Q. Now tell me the story in as few words as possible.</p>
+
+<p>A. A Fox saw a Crow with some cheese in her mouth. He flattered her and
+asked her to sing. When she cawed she dropped the cheese and the Fox ran
+away with it.</p>
+
+<p>B. <i>The Persons.</i></p>
+
+<p>Question. Can a Fox talk, or a Crow sing?</p>
+
+<p>Answer. No.</p>
+
+<p>Q. Do they seem like persons in this story?</p>
+
+<p>A. Yes.</p>
+
+<p>Q. Let us think of them as persons, and see what kind of people they
+are. We will talk about the Fox, first. What do you think he looked
+like?</p>
+
+<p>A. Like a saucy little dog with bright eyes, a long sharp nose, and a
+bushy tail.</p>
+
+<p>Q. When he said, &#8220;That&#8217;s for me,&#8221; what did you learn about him?</p>
+
+<p>A. That he was hungry; that he was greedy; that he meant to get the
+cheese.</p>
+
+<p><span class='pagenum'><a name="Page_189" id="Page_189">[189]</a></span>Q. When he began to flatter the Crow, what did you think of him?</p>
+
+<p>A. That he was sharp; that he was trying to fool the Crow.</p>
+
+<p>Q. What did you think of him when he said that her voice was finer than
+the voices of the other birds, just as her coat was?</p>
+
+<p>A. He was really flattering. Before, he was telling some truth, for her
+feathers were glossy and her eyes were bright.</p>
+
+<p>Q. Did he really think she could sing?</p>
+
+<p>A. No. He knew she could only caw. He was lying, then.</p>
+
+<p>Q. What did he say after she had dropped the cheese?</p>
+
+<p>A. &#8220;That was all I wanted.&#8221;</p>
+
+<p>Q. And then?</p>
+
+<p>A. &#8220;Do not trust flatterers.&#8221;</p>
+
+<p>Q. Did the Fox mean it?</p>
+
+<p>A. Yes. But he was plaguing her, sneering at her. He wasn&#8217;t really
+sincere.</p>
+
+<p>Q. Now tell me what you&#8217;ve learned about the Fox.</p>
+
+<p>A. He was a lively animal that looked like a dog, with a long nose and
+bushy tail. He was smart, wise, knew how to flatter and get what he
+wanted. But he was a liar and a mean fellow all around.</p>
+
+<p>Q. Now, let us study the Crow. What did she look like?</p>
+
+<p>A. She was a big black bird with glossy feathers and a bright eye. She
+had a big black bill and black wings.</p>
+
+<p>Q. Did she have a good voice for singing?</p>
+
+<p><span class='pagenum'><a name="Page_190" id="Page_190">[190]</a></span>A. No. She could only say &#8220;caw, caw, caw,&#8221; in a hoarse, croaking voice.</p>
+
+<p>Q. Where was she?</p>
+
+<p>A. On the limb of a tree.</p>
+
+<p>Q. Could the Fox reach her?</p>
+
+<p>A. No. She was safe.</p>
+
+<p>Q. What did she think of herself?</p>
+
+<p>A. She thought she was pretty and smart and could sing.</p>
+
+<p>Q. What would you say of her manners?</p>
+
+<p>A. She was proud and conceited and foolish, silly.</p>
+
+<p>Q. Now, tell me what you have learned of the Crow.</p>
+
+<p>A. She was a big black bird with glossy feathers and a bright eye. She
+thought she could sing, but she was silly and proud and conceited. She
+was too easily fooled by the lies and flattery of the fox.</p>
+
+<p>C. <i>The Scene.</i></p>
+
+<p>Question. Where were the Fox and the Crow?</p>
+
+<p>Answer. Outdoors, somewhere.</p>
+
+<p>Q. Were they near a house?</p>
+
+<p>A. I think so, because the Crow had cheese in her mouth.</p>
+
+<p>Q. Was it a prairie country?</p>
+
+<p>A. Perhaps, but there was one tree near.</p>
+
+<p>Q. Was it day, or night?</p>
+
+<p>A. Daytime, I think. Crows do not hunt at night, but foxes do.</p>
+
+<p>Q. Tell me all you know or can guess about the place where the bird and
+fox were.</p>
+
+<p>A. I think they were on the edge of the woods, not very far away from a
+farmhouse. One tree <span class='pagenum'><a name="Page_191" id="Page_191">[191]</a></span>stood out by itself, and the Crow flew from the
+farmhouse to the lone tree.</p>
+
+<p>D. and E. <i>The Lesson and the Author&#8217;s Purpose.</i></p>
+
+<p>Question. This is an old, old story, and it has been told in many
+languages. We cannot be sure who first wrote it. But what do you suppose
+the writer meant the story to do?</p>
+
+<p>Answer. He meant it to teach a good lesson, I think.</p>
+
+<p>Q. What is the lesson?</p>
+
+<p>A. That foxes are tricky animals; that crows are silly birds; that
+flattery and lying are bad; that it is foolish to trust anyone who
+flatters you.</p>
+
+<p>Q. Does that mean you do not trust people who praise you?</p>
+
+<p>A. Oh, no. Praise is all right. Everybody likes to be praised.</p>
+
+<p>Q. What is the difference between praise and flattery?</p>
+
+<p>A. When a person praises you he tells the truth, and tells it because he
+likes you, and wants to help you; but when he flatters you, he lies and
+deceives you, and does it to fool you, because he wants you to do
+something for him, or to get something you have.</p>
+
+<p>Q. How can we tell whether we are being praised or flattered?</p>
+
+<p>A. We must be sharp and know ourselves and what we really can do. Then
+we will know whether others are speaking the truth about us.</p>
+
+<p>F. <i>The Method and Style of the Author.</i></p>
+
+<p>Question. What do you call a story like this?</p>
+
+<p>Answer. A fable.</p>
+
+<p>Q. Why is it a fable?</p>
+
+<p><span class='pagenum'><a name="Page_192" id="Page_192">[192]</a></span>A. Because it&#8217;s short; because animals talk and act like human beings;
+because it teaches a good lesson.</p>
+
+<p>Q. Do you call this story &#8220;slow&#8221;?</p>
+
+<p>A. No. It&#8217;s a quick, lively one.</p>
+
+<p>Q. What do you think makes it so?</p>
+
+<p>A. There are not too many words; the Fox and the Crow are interesting;
+there is a lot of talking; we can see the Fox and the Crow; they act
+like human beings.</p>
+
+<p>Q. Are there any good sentences you would like to remember?</p>
+
+<p>A. Yes: &#8220;Do not trust flatterers.&#8221;</p>
+
+<p>G. <i>Emotional Power.</i></p>
+
+<p>Question. How did the Fox feel when he saw the Crow with the cheese in
+her mouth?</p>
+
+<p>Answer. He was hungry; he wanted the cheese; he made up his mind to get
+it.</p>
+
+<p>Q. How did he feel when he was flattering the Crow?</p>
+
+<p>A. He felt jolly; he thought it was fun to fool the Crow.</p>
+
+<p>Q. How did he feel when he got the cheese?</p>
+
+<p>A. He was pleased; he was happy; he did not pity the Crow; he laughed at
+the Crow when he gave her advice.</p>
+
+<p>Q. How did the Crow feel when she flew off with the cheese?</p>
+
+<p>A. She was happy.</p>
+
+<p>Q. How did she feel while the Fox was flattering her?</p>
+
+<p>A. She was proud and vain and felt sure she could sing.</p>
+
+<p>Q. When she dropped the cheese?</p>
+
+<p><span class='pagenum'><a name="Page_193" id="Page_193">[193]</a></span>A. She was disappointed; she was sorry she had tried to sing; she knew
+she had been fooled, and was ashamed.</p>
+
+<p>Q. Did she like the advice the Fox gave her?</p>
+
+<p>A. No, but she thought it was good advice.</p>
+
+<p>Q. Do you think the Fox could fool her again?</p>
+
+<p>H. <i>Conclusion.</i></p>
+
+<p>Now, read the fable all through just as well as you can. (It is read.)
+Now, Harry, you be the Fox, and read just what he says. Clara, be the
+Crow, and read just what she says. Tom may be the story teller, and read
+just the descriptions. Now, watch your parts so there will be no delay,
+and try to speak just as though you are really what you are
+representing. Tom may read the first paragraph, and the fourth, but may
+omit entirely those words that are not spoken in the other paragraphs.
+Begin, Tom.</p>
+
+
+<h3 class="section"><a name="The_Drummer" id="The_Drummer"></a><i>The Drummer</i></h3>
+
+<p class="titlepage">(Volume I, page 303)</p>
+
+<p>The fairy stories of the brothers Grimm are inferior to those of
+Andersen in plot, lesson and style. The plots are more monotonous and
+sometimes unnecessarily coarse and rough; the lessons are more obscure
+and sometimes are of doubtful value; and the style is much less
+forcible, in fact is often labored and inelegant. Yet many of the
+stories are attractive and harmless. They may be used to make the
+transition from fairy tales to more elevated literature. Their very
+imperfections can be utilized to discourage the reading of fairy tales
+and by criticism and gentle ridicule a child can be led away from that
+type of stories which though harm<span class='pagenum'><a name="Page_194" id="Page_194">[194]</a></span>less when read in moderation have been
+made so attractive by modern writers that children fancy them too much
+and cling to them long after they should be reading things of much
+greater value. If children are led to study fairy stories, absurdities
+in them soon become tiresome. Ordinarily they read merely for the
+excitement in the tale, for the effect it has upon their naturally vivid
+imaginations. If they are led to think, to analyze, their intelligence
+will quickly call for something more substantial, more nearly true to
+life.</p>
+
+<p><i>The Drummer</i> is one of the best of the Grimm stories and yet some of
+their weaknesses are evident. It is inadvisable to talk to small
+children of studying a story. They are always delighted to see their
+parents interested and will be very glad to &#8220;talk over&#8221; the story. In
+this particular tale there are many points of interest that may be
+brought up by skilful questioning and many places where comments may be
+made, comments that will show the attitude of the adult mind without
+raising opposition on the part of the juvenile reader. Some of the
+subjects suggested by a reading of <i>The Drummer</i> are the following:</p>
+
+<p>I. <i>Characters.</i> Taken in the order of their appearance in the story the
+characters are:</p>
+
+<ul class="booklist">
+  <li>1. The Drummer</li>
+  <li>2. The King&#8217;s Daughter</li>
+  <li>3. The First Giant</li>
+  <li>4. The Second Giant</li>
+  <li>5. The Third Giant</li>
+  <li>6. The Two Men Quarreling</li>
+  <li>7. The Witch</li>
+  <li>8. The Drummer&#8217;s Parents</li>
+  <li><span class='pagenum'><a name="Page_195" id="Page_195">[195]</a></span>9. The Maiden</li>
+</ul>
+
+<p>II. <i>What the Characters Do.</i></p>
+
+<p>1. The Drummer finds the piece of cloth, goes to the mountain of glass,
+deceives the two quarreling men, flies to the top of the mountain,
+visits the witch, performs the three tasks, throws the witch in the
+fire, goes to his home, kisses his parents on their right cheeks,
+forgets the princess, gives her jewels away, gets ready to marry the
+maiden, remembers the princess, rewards the maiden and marries the
+princess.</p>
+
+<p>2. The King&#8217;s Daughter asks for her dress, tells the Drummer where she
+is confined, helps the Drummer in his three tasks, advises the Drummer
+how to destroy the witch, takes the Drummer to his parents, waits in the
+field for the Drummer, sings her song three times, forgives and marries
+the Drummer.</p>
+
+<p>3. The First Giant talks with the Drummer and carries him through the
+woods on his back.</p>
+
+<p>4. The Second Giant carries the Drummer in his button hole.</p>
+
+<p>5. The Third Giant carries the Drummer on his hat.</p>
+
+<p>6. The Two Men quarrel, talk with the Drummer, race to the white staff
+and lose the saddle.</p>
+
+<p>7. The Witch gives the Drummer food and shelter, assigns three tasks,
+requires the log to be brought from the fire, tries to carry off the
+King&#8217;s Daughter, and dies in the flames.</p>
+
+<p>8. The Drummer&#8217;s Parents welcome their son, accept the jewels of the
+King&#8217;s Daughter, build a palace, choose a maiden for their son&#8217;s wife,
+but receive the princess in her place.</p>
+
+<p><span class='pagenum'><a name="Page_196" id="Page_196">[196]</a></span>9. The Maiden is willing to marry the Drummer but is satisfied with his
+presents instead.</p>
+
+<p>III. <i>The Good and the Bad Characters.</i></p>
+
+<p>1. The Drummer was brave, kind to his parents and loved the princess,
+but he tricked the two quarreling men, and disobeyed and forgot the
+princess.</p>
+
+<p>2. The King&#8217;s Daughter was always helpful, faithful and lovable.</p>
+
+<p>3, 4 and 5. The Three Giants were usually cruel but were afraid of the
+Drummer and so behaved very well.</p>
+
+<p>6. The Two Men were very unwise to quarrel and perhaps deserved to lose
+their saddle.</p>
+
+<p>7. The Witch was cruel, deceitful and always bad, deserving her awful
+fate.</p>
+
+<p>8. The Drummer&#8217;s Parents were good people, for they knew nothing of the
+princess when they tried to marry their son to another.</p>
+
+<p>9. The Maiden was a commonplace person who did not really love the
+Drummer.</p>
+
+<p>IV. <i>The Unreal and Magical Things.</i></p>
+
+<p>1. There are no glass mountains, but an iceberg resembles one.</p>
+
+<p>2. There never were giants as big as fir trees.</p>
+
+<p>3. There never was a saddle that could itself carry anyone anywhere.</p>
+
+<p>4. There never was an old woman who could enchant a maiden.</p>
+
+<p>5. There never was a magic ring that could grant wishes. Fish never
+jumped from water and sorted themselves, wood never cut itself nor piled
+itself.</p>
+
+<p>6. Never was a princess enchanted into a log and no log ever became a
+king&#8217;s beautiful daughter.</p>
+
+<p><span class='pagenum'><a name="Page_197" id="Page_197">[197]</a></span>7. It never made any difference in a young man&#8217;s fortunes if he did kiss
+his parents on the right instead of the left cheek.</p>
+
+<p>8. No castle such as this was ever built in a day.</p>
+
+<p>V. <i>Things that Happen in Threes.</i></p>
+
+<p>How absurd it is that in fairy stories things so often happen in sets of
+three! In this one short story we find:</p>
+
+<p>1. The Drummer saw <i>three</i> pieces of white linen.</p>
+
+<p>2. The Drummer met <i>three</i> giants.</p>
+
+<p>3. The mountain looked as high as if <i>three</i> mountains had been placed
+one upon another.</p>
+
+<p>4. On the plain are <i>three</i> things, an old stone house, a large fish
+pond and a dark, dreary forest.</p>
+
+<p>5. The Witch did not appear till the Drummer had knocked <i>three</i> times.</p>
+
+<p>6. The Drummer wanted <i>three</i> things, admission, food and a night&#8217;s
+lodging.</p>
+
+<p>7. The Witch assigned <i>three</i> tasks.</p>
+
+<p>8. There were <i>three</i> conditions to the first task, to scoop out the
+water, sort the fish, and finish by night.</p>
+
+<p>9. There were <i>three</i> parts to the second task, to cut the trees, to
+split them into logs and to stack them.</p>
+
+<p>10. The Witch gave the Drummer <i>three</i> tools with which to accomplish
+the second task, an ax, a chopper and a wedge.</p>
+
+<p>11. In the third task there were <i>three</i> steps, to place the wood in a
+heap, to set fire to it and to burn it.</p>
+
+<p>12. The Drummer supposed he had been gone <i>three</i> days but it was
+<i>three</i> years.</p>
+
+<p><span class='pagenum'><a name="Page_198" id="Page_198">[198]</a></span>13. The wedding was to take place in <i>three</i> days.</p>
+
+<p>14. The princess sang her song <i>three</i> times.</p>
+
+
+<h3 class="section"><a name="Tom_the_Water_Baby" id="Tom_the_Water_Baby"></a><i>Tom, the Water Baby</i></h3>
+
+<p class="titlepage">(Volume II, page 215)</p>
+
+<p>&#8220;This is all a fairy tale, and only fun and pretense; and therefore, you
+are not to believe a word of it, even if it is true.&#8221;</p>
+
+<p>But what a wonderful tale it is; so interesting a story, such a mixture
+of fact and fancy, so brimming full of fun and laughter, so touching in
+pathos, and so rife with good lessons. Though &#8220;you are not to believe a
+word of it, even if it is true,&#8221; there is so much truth in it that you
+really cannot keep from believing a great deal of it.</p>
+
+<p>A better comprehension of <i>Tom, the Water Baby</i> among parents will mean
+a greater popularity for it among children. The tale is too long for a
+full interpretation, but we can offer an analysis which will help to
+keep the story in mind, and some illustrations of different meritorious
+features.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="image08" id="image08"></a><a href="images/image08-full.jpg"><img src="images/image08.jpg" width="254" height="400" alt="Portraits" title="Donald G. Mitchell
+James Whitcomb Riley
+Edgar Allan Poe
+Thomas Buchanan Read
+Eugene Field
+John Howard Payne
+John G. Saxe" /></a><br />
+<span class="caption smcap">Donald G. Mitchell&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;James Whitcomb Riley<br />
+Edgar Allan Poe<br />
+Thomas Buchanan Read&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Eugene Field<br />
+John Howard Payne&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;John G. Saxe</span>
+</div>
+
+<p>I. <i>Analysis.</i> At first Tom is a real boy, a little grimy, ignorant
+chimney sweep, next a water baby or eft, in which character, under the
+tutelage of the fairies, he gains his education. Briefly at the end he
+is a man, an engineer, but all that is delightfully vague, for he has
+ceased to be the little Tom we like so thoroughly.</p>
+
+<p><i>Chapters I and II.</i></p>
+
+<ol class="outline">
+  <li>Tom, the Chimney Sweep,</li>
+  <li class="level2">Works for Mr. Grimes;</li>
+  <li class="level2">Summoned to sweep the chimney at Hartover Place;</li>
+  <li class="level2"><span class='pagenum'><a name="Page_199" id="Page_199">[199]</a></span>Overtakes the poor Irishwoman, who</li>
+  <li class="level3">Walks with Tom;</li>
+  <li class="level3">Asks about his prayers and makes him sad;</li>
+  <li class="level3">Tells about the sea and makes him wish to be clean;</li>
+  <li class="level3">Helps him pick flowers;</li>
+  <li class="level3">Frightens Grimes for beating Tom,</li>
+  <li class="level3">Warns them both to be clean;</li>
+  <li class="level3">Promises to see them again;</li>
+  <li class="level3">Disappears.</li>
+  <li class="level2">Meets the keeper who warns Grimes against poaching;</li>
+  <li class="level2">Walks up the avenue;</li>
+  <li class="level2">Sees the deer, trees, bees, and makes friends with the keeper;</li>
+  <li class="level2">Enters the house and sweeps chimneys;</li>
+  <li class="level2">Comes out in a beautiful room and sees the little white lady;</li>
+  <li class="level2">Sees himself for the first time and cries;</li>
+  <li class="level2">Escapes from the nurse by window and tree;</li>
+  <li class="level2">Is chased by everybody;</li>
+  <li class="level2">Is lost in the woods;</li>
+  <li class="level2">Scales a wall;</li>
+  <li class="level2">Is followed by the Irishwoman, who throws the pursuers off the scent;</li>
+  <li class="level2">Crosses the river, climbs a mountain;</li>
+  <li class="level2">Descends Lewthwaite Crag;</li>
+  <li class="level2">Drags himself to the cottage;</li>
+  <li class="level2">Begs for water of the dame;</li>
+  <li class="level2">Is given milk, and put in an outhouse;</li>
+  <li class="level2">Is feverish and out of his mind;</li>
+  <li class="level2">Thinks he must be clean;</li>
+  <li class="level2">Drags himself to the stream, looks into the clear water, and undresses;</li>
+  <li class="level2"><span class='pagenum'><a name="Page_200" id="Page_200">[200]</a></span>Does not see the Irishwoman transform herself to the queen of the
+fairies;</li>
+  <li class="level2">Tumbles himself into the stream;</li>
+  <li class="level2">Falls asleep in the water;</li>
+  <li class="level2">Is turned into a water-baby by the fairies;</li>
+  <li class="level2">Is mourned as dead by the people who find his poor dirty body.</li>
+</ol>
+
+<p><i>Chapters III and IV.</i></p>
+
+<ol class="outline">
+  <li>Tom, the Water Baby,</li>
+  <li class="level2">Watches the caddis-flies build their homes (page 262) and go into the
+chrysalis state (page 262);</li>
+  <li class="level2">Sees the metamorphosis of the dragon-fly (pages 263-264);</li>
+  <li class="level2">Meets and makes friends with the otters (pages 270-274);</li>
+  <li class="level2">Travels towards the sea after the storm;</li>
+  <li class="level2">Finds the salmon and witnesses the death of Grimes (pages 278-286);</li>
+  <li class="level2">Passes the sleeping villages and reaches the sea;</li>
+  <li class="level2">Greets the seal and looks for water babies;</li>
+  <li class="level2">Plays with the lobsters (pages 292-294);</li>
+  <li class="level2">Is caught by Professor Ptthmllnsprts and shown to Ellie, the little
+white lady, who flies away (pages 296-299). (Can you make out what
+Kingsley had in mind, by filling in the vowels of the Professor&#8217;s
+name?)</li>
+</ol>
+
+<p><i>Chapter V.</i></p>
+
+<ol class="outline">
+  <li>Tom, the Water Baby,</li>
+  <li class="level2">Has an adventure in the lobster pots (pages 300-303);</li>
+  <li class="level2">Joins the water babies;</li>
+  <li class="level2"><span class='pagenum'><a name="Page_201" id="Page_201">[201]</a></span>Is met by Mrs. Bedonebyasyoudid, who</li>
+  <li class="level3">Examines Tom;</li>
+  <li class="level3">Rewards the good children;</li>
+  <li class="level3">Punishes those who know no better, viz.:</li>
+  <li class="level4">Tom,</li>
+  <li class="level4">The doctors,</li>
+  <li class="level4">The foolish ladies,</li>
+  <li class="level4">The careless nurserymaids,</li>
+  <li class="level4">The cruel school teachers,</li>
+  <li class="level3">Tells Tom about those who knew better.</li>
+  <li class="level2">Sees Mrs. Doasyouwouldbedoneby, who</li>
+  <li class="level3">Mothers Tom;</li>
+  <li class="level3">Tells him the story.</li>
+</ol>
+
+<p><i>Chapter VI.</i></p>
+
+<ol class="outline">
+  <li>Tom, the Water Baby,</li>
+  <li class="level2">Steals the candy from the cabinet;</li>
+  <li class="level2">Becomes prickly and ugly from sin;</li>
+  <li class="level2">Confesses to Mrs. Bedonebyasyoudid;</li>
+  <li class="level2">Goes to school to rid himself of his ugliness;</li>
+  <li class="level2">Is taught by the beautiful little girl;</li>
+  <li class="level2">Gains his own smooth, clean skin;</li>
+  <li class="level2">Recognizes the little white lady, Ellie;</li>
+  <li class="level2">Learns how to join Ellie in the beautiful place;</li>
+  <li class="level2">Loses her by being unkind;</li>
+  <li class="level2">Hears the history of the Doasyoulikes;</li>
+</ol>
+
+<p><i>Chapter VII.</i></p>
+
+<ol class="outline">
+  <li>Tom, the Water Baby,</li>
+  <li class="level2">Starts to go where he does not like, to find Mr. Grimes;</li>
+  <li class="level2">Inquires of the King of the Herrings;</li>
+  <li class="level2">Visits the last of the Gairfowl on the Allalonestone;</li>
+  <li class="level2">Follows Mother Carey&#8217;s chickens;</li>
+  <li class="level2">Struggles with the water dog;</li>
+  <li class="level2">Is carried by the mollymocks from Jan Mayen&#8217;s land to Shiny Wall;</li>
+  <li class="level2"><span class='pagenum'><a name="Page_202" id="Page_202">[202]</a></span>Dives under the great white gate that never was opened yet;</li>
+  <li class="level2">Reaches Peace-pool with the dog;</li>
+  <li class="level2">Finds Mother Carey at work making new creatures from sea water;</li>
+  <li class="level2">Is given passport to the Other-End-of-No-where;</li>
+  <li class="level2">Goes backward in safety.</li>
+</ol>
+
+<p><i>Chapter VIII.</i></p>
+
+<ol class="outline">
+  <li>Tom, the Water Baby,</li>
+  <li class="level2">Comes to the place called Stop;</li>
+  <li class="level2">Is blown through the Sea;</li>
+  <li class="level2">Finds himself in the claws of the bogy;</li>
+  <li class="level2">Sees the metals made;</li>
+  <li class="level2">Slides down the whirlpool;</li>
+  <li class="level2">Swims to the shore of the Other-End-of-No-where;</li>
+  <li class="level2">Finds Gotham;</li>
+  <li class="level2">Comes to the isle of Tomtoddies;</li>
+  <li class="level2">Hears of their great idol, Examination;</li>
+  <li class="level2">Gives information to the nimblecomequick turnip;</li>
+  <li class="level2">Stumbles over the respectable old stick;</li>
+  <li class="level2">Faces Examiner-of-all-Examiners;</li>
+  <li class="level2">Arrives at Oldwivesfabledom;</li>
+  <li class="level2">Comes to the quiet place called Leaveheavenalone;</li>
+  <li class="level2">Sees the prison;</li>
+  <li class="level2">Offers the passport to the truncheon;</li>
+  <li class="level2">Searches for chimney No. 345;</li>
+  <li class="level2">Finds Grimes stuck in the chimney;</li>
+  <li class="level2">Tries to light Grimes&#8217; pipe and to release him;</li>
+  <li class="level2"><span class='pagenum'><a name="Page_203" id="Page_203">[203]</a></span>Learns that the old dame teacher was the mother of Grimes;</li>
+  <li class="level2">Sees Grimes&#8217; tears effect his release;</li>
+  <li class="level2">Recognizes Mrs. Bedonebyasyoudid as the Irishwoman;</li>
+  <li class="level2">Hears Grimes sentenced to sweep out Aetna;</li>
+  <li class="level2">Is blindfolded and taken up the back stairs;</li>
+  <li class="level2">Recognizes St. Brandon&#8217;s Isle and hears the song;</li>
+  <li class="level2">Rejoices with Ellie and goes with her Sundays;</li>
+  <li class="level2">Becomes a man of science and knows everything;</li>
+  <li class="level2">And, it may be, marries Ellie.</li>
+</ol>
+
+<p>II. <i>Fact and Fancy.</i> The story begins with a vivid description of the
+little sweep and his master, and it is not till we have read several
+pages that we have reason to suspect that we are reading a fairy story.
+In fact the &#8220;poor Irishwoman&#8221; might be a veritable Irishwoman till we
+have read page 247. From this point on, the work of the fairies is seen
+occasionally to the end.</p>
+
+<p>The facts of the natural history are mingled with the fancies of the
+author&#8217;s brain in the most natural manner. The description of the
+house-building of the caddis larvae (page 262) is accurate enough for a
+scientist, who might, however, be shocked by the whimsical notion of the
+rivalry told in the last sentence of the paragraph. The otters behave
+like otters, the salmon like salmon, the lobster like the lobster he is.
+The dragon &#8220;splits&#8221; at the call of nature, the ephemerae dance in the
+sunlight, and game-keepers kill poachers in real life as in the story.
+The great auk is extinct and the right whale <span class='pagenum'><a name="Page_204" id="Page_204">[204]</a></span>is still hunted, but
+Peace-pool is as fancifully portrayed as is the creation of world-pap.
+It appears that as Kingsley proceeded with his story he let his
+imagination play more freely and drew farther away from facts as his
+fancies came plentifully. So the story furnishes food for thought by old
+and young, and parts of it can be understood only by those who have had
+considerable study and experience.</p>
+
+<p>III. <i>Fun and Humor.</i> A more entertaining story is hard to find. There
+are many amusing situations and funny doings, besides which, Kingsley&#8217;s
+style of writing abounds in a rich humor that is not always evident to
+the hasty and careless reader. Not a little of the humor is ironical and
+sometimes we are inclined to think that the writer may be having a
+little quiet fun at the expense of his readers.</p>
+
+<p>Children are inclined to read <i>Tom, the Water Baby</i> as they do many
+another tale, for the story only. They want to know what happens to Tom,
+whether or no Grimes is punished, what becomes of Ellie, and how it &#8220;all
+comes out.&#8221; But when attention is called to the fun in the tale children
+will read it more than once, for they like to laugh even better than
+their elders, and curiosity prompts them to watch to &#8220;see the joke.&#8221;</p>
+
+<p>The humorous twist to things begins in the second sentence of the story
+and it does not disappear permanently till the very last sentence of the
+<i>Moral</i>. See how it shows in these few extracts: &#8220;His master was so
+delighted at his new customer that he knocked Tom down out of hand&#8221;
+(page 219).</p>
+
+<p><span class='pagenum'><a name="Page_205" id="Page_205">[205]</a></span>After Tom&#8217;s pathetic discovery of his own dirtiness (page 232), comes
+this: &#8220;With a noise as of ten thousand tin kettles tied to ten thousand
+mad dogs&#8217; tails.&#8221; Humor and pathos are both strengthened by the violent
+contrast.</p>
+
+<p>On page 232 begins the long humorous paragraph descriptive of the chase
+after Tom.</p>
+
+<p>&#8220;The birches birched him as soundly as if he had been a nobleman at
+Eton, and over the face too (which is not fair swishing, as all brave
+boys will agree)&#8221; (page 235).</p>
+
+<p>What could you imagine more amusing in its way than the extremely absurd
+&#8220;argument&#8221; the author makes for the existence of water babies (page
+254): &#8220;You never heard of a water baby? Perhaps not. That is the very
+reason why this story was written. There are a great many things in the
+world which you never heard of; and a great many more which nobody ever
+heard of; and a great many things, too, which nobody ever will hear of.
+No water babies, indeed! Why, wise men of old said that everything on
+earth had its double in the water; and you may see that that is, if not
+quite true, still quite as true as most other theories which you are
+likely to hear for many a day. There are land babies, then why not water
+babies? <i>Are there not water rats, water flies, water crickets, water
+crabs, water tortoises, water scorpions, water tigers and so on without
+end?</i> To be sure, there must be water babies. Am I in earnest? Oh dear
+no!&#8221;</p>
+
+<p>Read the account of the policemen, beginning on page 306, for an example
+of a broader humor.</p>
+
+<p>Page 347: &#8220;And the sun acted policeman, and <span class='pagenum'><a name="Page_206" id="Page_206">[206]</a></span>worked round outside every
+day, peeping just over the top of the icewall, to see that all went
+right; and now and then he played conjuring tricks, or had an exhibition
+of fireworks, to amuse the sea fairies. For he would make himself into
+four or five suns at once, or paint the sky with rings and crosses and
+crescents of white fire and stick himself in the middle of them, and
+wink at the fairies; and I dare say they were very much amused, for
+anything&#8217;s fun in the country.&#8221;</p>
+
+<p>Do not think of &#8220;skipping&#8221; the <i>Moral</i>. No more attractive &#8220;moral&#8221; was
+ever written for fable or fairy tale!</p>
+
+<p>IV. <i>Pathos.</i> Tom, the Chimney Sweep is always pathetic. He enlists our
+sympathies wholly from the time we meet him where there was &#8220;plenty of
+money for Tom to earn and his master to spend,&#8221; until he &#8220;pulled off all
+his clothes in such haste that he tore some of them, which was easy
+enough with such ragged old things,&#8221; &#8220;put his poor, hot, sore feet into
+the water,&#8221; &#8220;tumbled himself as quick as he could into the clear, cool
+stream&#8221; and in two minutes &#8220;fell fast asleep, into the quietest,
+sunniest, coziest sleep that he had ever had in his life and&mdash;dreamt of
+nothing at all.&#8221; It is only as Tom the Water Baby that he does not make
+us sad.</p>
+
+<p>Poor little, dirty, ignorant Tom! Little enough to climb up the sooty
+chimney flues; so dirty that he knew not what cleanliness meant; so
+ignorant that he &#8220;never had heard of God, or of Christ, except in words
+which you never have heard,&#8221; and his idea of happiness was to &#8220;sit in a
+public house with a quart of beer and a long pipe,&#8221; to play cards for
+silver money, to &#8220;keep a white bull <span class='pagenum'><a name="Page_207" id="Page_207">[207]</a></span>dog with one gray ear, and carry
+her puppies in his pocket just like a man,&#8221; to have apprentices and to
+bully them, to knock them about and make them carry soot sacks while he
+&#8220;rode before them on his donkey, with a pipe in his mouth and a flower
+in his button hole, like a king at the head of his army!&#8221; &#8220;Yes, when his
+master let him have a pull at the leavings of his beer, Tom was the
+jolliest boy in the whole town.&#8221;</p>
+
+<p>To him who reads understandingly, there is pathos on nearly every page
+of the first two chapters. Sometimes it is seen in hints and shown by
+indirection but in other instances it is direct, positive, powerful.</p>
+
+<p>Just read (page 231), how Tom learns that he is naught but a &#8220;little
+black ape,&#8221; an &#8220;ugly, black, ragged figure with bleared eyes and
+grinning white teeth.&#8221;</p>
+
+<p>In his terrible race for life he &#8220;thought he heard church bells ringing
+a long way off&#8221; and thought &#8220;where there is a church there will be
+houses and people,&#8221; and perhaps someone will give him a &#8220;bit and a sup.&#8221;
+So he follows the ringing in his ears till he comes to the top of the
+great crag and sees &#8220;a mile off and a thousand feet down&#8221; the old dame
+in her garden. We lose our own breath in following him down that awful
+descent, find ourselves panting, and at last, suddenly, &#8220;b-e-a-t, beat!&#8221;
+After the old dame has given him the old rug and bidden him sleep off
+his weariness, comes the fever with the ringing of the church bells and
+the persistent, agonizing thought, &#8220;I must be clean, I must be clean.&#8221;
+It is this that drives him out to the &#8220;clear, clear limestone water,
+with every <span class='pagenum'><a name="Page_208" id="Page_208">[208]</a></span>pebble at the bottom bright and clean&#8221; the cool, cool, cool
+water for his weary feet.</p>
+
+<p>Then when it is too late, just to add to the pathos of the sad little
+tale, comes the Squire, conscious of the terrible mistake and ready to
+put Tom in the way of cleanliness, knowledge and happiness; Tom, of whom
+there remained only the husk and shell which made the Squire think the
+poor sweep was drowned.</p>
+
+<p>To close the chapter and the sad part of the story, the dame sings the
+old, old song which the children could not understand but which they
+liked nevertheless, &#8220;for it was very sweet and very sad and that was
+enough for them.&#8221; We know what it means.</p>
+
+<p class="poem">&#8220;When all the world is old, lad,<br />
+<span class="i1">And all the trees are brown;</span><br />
+And all the sport is stale, lad,<br />
+<span class="i1">And all the wheels run down;</span><br />
+Creep home, and take your place there,<br />
+<span class="i1">The spent and maimed among;</span><br />
+God grant you find one face there,<br />
+<span class="i1">You loved when all was young.&#8221;</span></p>
+
+<p>V. <i>Beauty. Tom, the Water Baby</i> has in it much more of real beauty both
+in sentiment and expression than most prose and more than many a
+charming poem. There is little of ugliness in the story, and what there
+is, is so softened in the way in which it is presented that the
+impression is neither repulsive nor lasting. Kingsley&#8217;s work is highly
+artistic and this story is real literature.</p>
+
+<p>Some of his descriptions are like beautiful pictures in color. Here is
+one from page 220:</p>
+
+<p><span class='pagenum'><a name="Page_209" id="Page_209">[209]</a></span>&#8220;But soon the road grew white, and the walls likewise; and at the wall&#8217;s
+foot grew long grass and gay flowers, all drenched with dew; and instead
+of the groaning of the pit engines, they heard the skylark saying his
+matins high up in the air, and the pit bird warbling in the sedges as he
+had warbled all night long.&#8221;</p>
+
+<p>Beginning at the bottom of the same page (220): &#8220;For old Mrs. Earth was
+still fast asleep; and, like many pretty people she looked still
+prettier asleep than awake. The great elm trees in the gold-green
+meadows were fast asleep above, and the cows fast asleep beneath them;
+nay, the few clouds which were about were fast asleep likewise, and so
+tired that they had lain down on the earth to rest, in long white flakes
+and bars, among the stems of the elm trees, and along the tops of the
+alders by the stream, waiting for the sun to bid them rise and go about
+their day&#8217;s business in the clear blue overhead.&#8221; Was there ever more
+attractive description of the mist patches that lie across the earth
+waiting for the morning sun to dissipate them?</p>
+
+<p>The poor Irishwoman followed Tom in this manner: &#8220;She went along quite
+smoothly and gracefully, while her feet twinkled past each other so fast
+that you could not see which was foremost.&#8221;</p>
+
+<p>The dragon-fly is described in this way: &#8220;It grew strong and firm; the
+most lovely colors began to show on its body&mdash;blue and yellow and black,
+spots and bars and rings; out of its back rose four great wings of
+bright brown gauze; and its eyes grew so large that they filled all its
+head and shone like ten thousand diamonds.<span class='pagenum'><a name="Page_210" id="Page_210">[210]</a></span>&#8221;</p>
+
+<p>This is Mrs. Doasyouwouldbedoneby: &#8220;She was a very tall woman, as tall
+as her sister; but instead of being gnarly, and horny, and scaly, and
+prickly, like her, she was the most nice, soft, fat, smooth, pussy,
+cuddly, delicious creature who ever nursed a baby&mdash;and all her delight
+was to play with babies&mdash;and therefore when the children saw her, they
+naturally caught hold of her, and pulled her till she sat down on a
+stone, and climbed into her lap, and clung round her neck, and caught
+hold of her hands, and then they all put their thumbs into their mouths
+and began cuddling and purring like so many kittens.&#8221;</p>
+
+<p>And this is a scene in Peace-pool: &#8220;There were moths with pink heads and
+wings and opal bodies, that flapped about slowly; moths with brown wings
+that flapped about quickly; yellow shrimps that hopped and skipped most
+quickly of all; and jellies of all the colors in the world that neither
+hopped nor skipped, but only dawdled and yawned.&#8221;</p>
+
+<p>Here are a few descriptive phrases taken at random: &#8220;Two great, grand
+blue eyes, as blue as the sea itself&#8221;; &#8220;his little whirl-about of a
+head&#8221;; &#8220;long curls floating behind her like a golden cloud, and long
+robes floating all round her like a silver one&#8221;; &#8220;came paddling and
+wriggling back to her like so many tadpoles&#8221;; &#8220;the shadows of the clouds
+ran races over the bright blue sky&#8221;; &#8220;the river widened to the shining
+sea&#8221;; &#8220;such enormous trees that the blue sky rested on their heads.&#8221;</p>
+
+<p>VI. <i>Good Lessons.</i> Through all the fun, the burlesque, the amusing
+exaggerations and the bombastic humor runs a scheme of advice and
+instruction. Sometimes it takes the form of a direct <span class='pagenum'><a name="Page_211" id="Page_211">[211]</a></span>caution to the
+reader, again it may be shown by inference, and lastly the events speak
+for themselves and give their own lesson. The author meant to teach
+adults as well as children. The graphic history of the Doasyoulikes is
+rather a clear-cut study in degeneracy for older people, as well as a
+lively warning for youngsters. But what is the author&#8217;s main theme? Is
+his real text in the advice the poor Irishwoman gives to Grimes and Tom?
+&#8220;<i>Those that wish to be clean, clean they will be; and those that wish
+to be foul, foul they will be. Remember.</i>&#8221; (page 225). Perhaps a second
+text or at least a corollary to this is expressed in the name of the
+cuddly lady, Mrs. Doasyouwouldbedoneby. This may mean the same as the
+advice she gives on page 328: &#8220;<i>Those who go there must go first where
+they do not like, and do what they do not like, and help somebody they
+do not like.</i>&#8221; Besides these leading ideas there are several others that
+run through the story. Meanness and wickedness are made unattractive and
+bring punishment. The punishment grows logically out of the offense and
+has a direct relation to the misdeed. Persons are not rewarded for their
+good deeds but they are happy in being good. It is not a credit to do
+right, but wrongdoing is discreditable. Little meannesses stand in the
+way of happiness though they may not bring any definite punishments.
+Evil is ugliness, goodness is beauty. Friendship is made attractive and
+filial love is strongly inculcated. The strong appeal made to the
+sympathy of the reader by the very real and very human Tom, the chimney
+sweep, is a strong influence for good, and progress toward character <span class='pagenum'><a name="Page_212" id="Page_212">[212]</a></span>in
+the clever little water baby is a continuous refining influence on the
+reader.</p>
+
+<p>The bits of advice, the little asides, are slipped into the text so
+naturally that they are never repulsive or calculated to raise
+antagonism in the minds of those who naturally dislike advice. Taken
+from the text they seem more formal and less helpful, but here are a few
+of them as illustrations:</p>
+
+<p>&#8220;Let well alone, lad, and ill too at times.&#8221;</p>
+
+<p>&#8220;You must expect to be beat a few times in your life, little man, if you
+live such a life as a man ought to live.&#8221;</p>
+
+<p>&#8220;Ah, first thoughts are best, and a body&#8217;s heart&#8217;ll guide them right, if
+they will but hearken to it.&#8221;</p>
+
+<p>&#8220;It was not quite well bred, no doubt; but you know, Tom had not
+finished his education yet.&#8221;</p>
+
+<p>&#8220;For salmon, like other true gentlemen, always choose their lady and
+love her, and are true to her, and take care of her, and work for her,
+and fight for her, as every true gentleman ought.&#8221;</p>
+
+<p>&#8220;What has been once can never come over again.&#8221;</p>
+
+<p>&#8220;No more to be bought for money than a good conscience or the Victoria
+cross.&#8221;</p>
+
+<p>&#8220;You see, experience is of very little good unless a man, or a lobster,
+has wit enough to make use of it.&#8221;</p>
+
+<p>&#8220;It is not good for little boys to be told everything, and never to be
+forced to use their own wits.&#8221;</p>
+
+<p>&#8220;And so if you do not know that things are wrong, that is no reason why
+you should not be punished for them; though not as much, my little man
+(and the lady looked very kindly, after all), as if you did know.<span class='pagenum'><a name="Page_213" id="Page_213">[213]</a></span>&#8221;</p>
+
+<p>&#8220;I am quite sure that she knows best. Perhaps she wishes people to learn
+to keep their fingers out of the fire by having them burned.&#8221;</p>
+
+<p>&#8220;I always forgive people the minute they tell me the truth of their own
+accord.&#8221;</p>
+
+<p>&#8220;But even they were no foolisher than some hundred scores of papas and
+mamas; who fetch the rod when they ought to fetch a new toy, and send to
+the dark cupboard instead of to a doctor.&#8221;</p>
+
+<p>VII. <i>Life-like Characters.</i> The great storyteller makes his characters
+seem like human beings. The reader can almost see them; at any rate, he
+feels that he knows them and that they are real, not merely life-like.
+It is hard to understand how the author accomplishes the wonderful feat
+(for it is the most wonderful thing about story writing), and it is much
+more difficult to tell how it is done. One word here, a clear
+descriptive phrase there, and Tom, or the Squire, or the old
+schoolmistress, or Mrs. Bedonebyasyoudid with her awkward name, has
+become so much of a personality that you cannot forget if you would.
+Certainly one of the fine things about <i>Tom, the Water Baby</i> is the
+living reality of its characters, which appeals universally to young and
+old, even in the first reading of the story.</p>
+
+<p>VIII. <i>The Writer&#8217;s Art.</i> It will add something to a child&#8217;s interest in
+the story if his attention is called to the skilful way in which
+Kingsley handles his plot. It is high <i>art</i> to throw into the early part
+of the story the conversation between the keeper and Grimes. It shows
+that Grimes is a poacher and known to be one. The keeper is inclined to
+wink at the offense, but still he feels that a warning is <span class='pagenum'><a name="Page_214" id="Page_214">[214]</a></span>necessary.
+Nothing more is said about poaching till much later, where Tom, the
+Water Baby, sees Grimes meet a poacher&#8217;s death.</p>
+
+<p>Again, it is early evident that Grimes has done other wicked things and
+that the poor Irishwoman knows of one at least. She even mentions
+Vendale, but the reader attaches no importance to it. Tom flees to
+Vendale and is pitied and kindly treated by the old Schoolmistress, but
+it is not until Tom finds Grimes suffering his punishment in the chimney
+flues that the reader learns what the poor Irishwoman knew about Grimes,
+and that the schoolmistress was Grimes&#8217;s poor ill-treated mother.</p>
+
+<p>Once more, Kingsley&#8217;s art is seen in the selection of incidents and the
+arrangement of influences which bring to Tom the conviction of his
+dirtiness and create in him the overpowering desire to be clean.</p>
+
+<p>But this interpretation of <i>Tom, the Water Baby</i> has already reached the
+limits of space and we must forego the pleasure of pointing out other
+examples of artistic treatment. Probably it is better to leave the story
+to plead its own cause.</p>
+
+
+<h3 class="section"><a name="The_Passing_of_Arthur" id="The_Passing_of_Arthur"></a><i>The Passing of Arthur</i></h3>
+
+<p class="titlepage">(Volume V, page 237)</p>
+
+<p>While the outline differs in form from those we have been using, it is a
+helpful variation, and shows that while a narrative poem must be studied
+first in the same manner as a story, there are still other points that
+need careful examination.</p>
+
+<p>Tennyson&#8217;s <i>The Passing of Arthur</i> is one of the noble things in
+literature, solemn, impressive, <span class='pagenum'><a name="Page_215" id="Page_215">[215]</a></span>inspiring. In order to appreciate a
+careful study of it, one should have read at least those selections
+which appear in the fifth volume, beginning with page 113 and extending
+to page 236. With this preliminary setting there should be no difficulty
+in feeling a sufficient interest in King Arthur to be appreciative of
+Tennyson&#8217;s work from the very beginning.</p>
+
+<p>a. <i>Characters.</i> Three characters appear in this poem, viz: King Arthur;
+Sir Bedivere, the knight first made and last surviving of all those who
+sat about King Arthur&#8217;s table; Modred, Arthur&#8217;s traitorous nephew.
+Besides these three human characters, the ghost of Gawain, the three
+queens who came in the barge, and even Excalibur itself are of so much
+interest that they may be considered as almost human.</p>
+
+<p>King Arthur is shown in his old age, when wife and friend are traitor to
+his peace, and all his realm has sunk back into disorder and is rapidly
+approaching extinction.</p>
+
+<p>Bedivere, oldest of the knights, now in the white winter of his age,
+when he himself was really no more than a voice, is supposed to tell the
+story to those with whom he dwelt, new faces, other minds.</p>
+
+<p>Modred is seen retreating league by league before King Arthur. At
+Lyonnesse, after a fierce battle in which confusion reigned and friends
+and foes were shadows in the mist, he meets his king. The false knight
+strikes Arthur hard upon the helmet, and gives the wound that finally
+proves fatal; while the king, with the last stroke of Excalibur, slays
+his traitorous nephew.</p>
+
+<p>The dead Gawain appears, a ghost blown along <span class='pagenum'><a name="Page_216" id="Page_216">[216]</a></span>a wandering wind, and on
+the eve of the battle warns King Arthur of approaching death, but
+intimates that somewhere is an isle of rest for him.</p>
+
+<p>b. <i>The Incidents.</i></p>
+
+<ol class="outline">
+  <li class="hanging">&nbsp;&nbsp;1. Arthur mourns for his departed kingdom.</li>
+  <li class="hanging">&nbsp;&nbsp;2. Gawain warns Arthur of his approaching death; Arthur is depressed
+by the warning.</li>
+  <li class="hanging">&nbsp;&nbsp;3. Bedivere warns Arthur that he must rise and conquer Modred;
+Arthur hesitates to make war against his people.</li>
+  <li class="hanging">&nbsp;&nbsp;4. He moves his host to Lyonnesse: the last weird battle is fought.</li>
+  <li class="hanging">&nbsp;&nbsp;5. Arthur thinks himself king only among the dead.</li>
+  <li class="hanging">&nbsp;&nbsp;6. Bedivere professes affection, and calls Arthur&#8217;s attention to the
+traitor, Modred.</li>
+  <li class="hanging">&nbsp;&nbsp;7. The king promises one last act of kinghood.</li>
+  <li class="hanging">&nbsp;&nbsp;8. Modred wounds the king; the king kills Modred.</li>
+  <li class="hanging">&nbsp;&nbsp;9. Bedivere carries the wounded Arthur to the ruined chapel.</li>
+  <li class="hanging">10. The dying Arthur directs Bedivere to throw Excalibur into the
+mere; Bedivere twice deceives Arthur and is twice reproved.</li>
+  <li class="hanging">11. Bedivere throws Excalibur into the mere, and tells King Arthur
+what happened.</li>
+  <li class="hanging">12. Bedivere bears Arthur to the margin of the mere.</li>
+  <li class="hanging">13. The three black-hooded queens with crowns of gold come in the
+dusky barge.</li>
+  <li class="hanging">14. Arthur is placed in the barge and speaks his last words to
+Bedivere; the barge moves swan-like from the brink.</li>
+  <li class="hanging"><span class='pagenum'><a name="Page_217" id="Page_217">[217]</a></span>15. Bedivere watches the speck that bears the king move down the long
+water opening on the deep.</li>
+</ol>
+
+<p>c. <i>Scenes.</i></p>
+
+<ol class="outline">
+  <li class="hanging2">1. Arthur in his tent among the slumbering host.</li>
+  <li class="hanging2">2. The march to the sunset bound of Lyonnesse, and the moving
+pageant to the battlefield.</li>
+  <li class="hanging2">3. The dark strait of barren land with the ocean on one side and on
+the other the great water; the ruined chapel with its broken
+chancel and broken cross, and, near at hand, the place of tombs
+with its bones of ancient mighty men; athwart all shines the
+moon, and over all the chill wind with flakes of foam sings
+shrilly. Zigzag paths lead around jutting points of rock down to
+the shining levels of the lake, where the ripple washes softly in
+the reeds, the wild water laps the crags, and many-knotted
+water-flags whistle stiff and dry. Frozen hills, barren chasms
+with icy caves, the bare black cliff and slippery crag wall, and
+the level lake gleaming in the glories of the winter moon.</li>
+</ol>
+
+<p>d. <i>Descriptive Passages.</i> Besides those passages which relate
+especially to the scenes, there are other beautiful and powerful bits of
+description that will well repay examination. For instance:</p>
+
+<ol class="outline">
+  <li class="hanging2">1. Of King Arthur&#8217;s dream the poet says,</li>
+</ol>
+
+<p class="poem">&#8220;And fainter onward, like wild birds that change<br />
+Their season in the night and wail their way<br /><span class='pagenum'><a name="Page_218" id="Page_218">[218]</a></span>
+From cloud to cloud, down the long wind the dream<br />
+Shrill&#8217;d.&#8221;</p>
+
+<p>Note the figure of speech (simile), beginning with the word
+<i>like</i>.</p>
+
+<ol class="outline">
+  <li class="hanging2">2. The description of the last, dim, weird battle in the west,
+beginning at the bottom of page 240 with the line &#8220;A death-white
+mist slept over land and sea,&#8221; is one of the most stirring things
+in the poem, and deserves particularly close reading. The
+pictures are crowded, the figures vivid, the phrases full of
+force.</li>
+  <li class="hanging2">3. Tennyson has used his highest art in the composition, and makes
+the sound of his lines imitate in no feeble way the noise of
+battle. For instance:</li>
+</ol>
+
+<p class="poem">&#8220;Shocks, and the splintering spear, the hard mail hewn,<br />
+Shield-breakings, and the clash of brands, the crash<br />
+Of battle-axes on shatter&#8217;d helms, and shrieks<br />
+After the Christ, of those who falling down<br />
+Look&#8217;d up for heaven, and only saw the mist.&#8221;</p>
+
+<ol class="outline">
+  <li class="hanging2">4. The brilliancy of description corresponds well with the
+glittering marvel of Excalibur:</li></ol>
+
+<p class="poem">&#8220;For all the haft twinkled with diamond sparks,<br />
+Myriads of topaz-lights, and jacinth-work<br />
+Of subtlest jewelry.&#8221;</p>
+
+<p class="poem"><span class="i2">&#8220;.....the wonder of the hilt,</span><br />
+How curiously and strangely chased,&#8221;</p>
+
+<p class="poem"><span class="i12">&#8220;The great brand</span><br />
+Made lightnings in the splendor of the moon,<br /><span class='pagenum'><a name="Page_219" id="Page_219">[219]</a></span>
+And flashing round and round, and whirl&#8217;d in an arch,<br />
+Shot like a streamer of the northern morn,<br />
+Seen where the moving isles of winter shock<br />
+By night, with noises of the Northern Sea.&#8221;</p>
+
+<ol class="outline">
+  <li class="hanging2">5. King Arthur, as he lay in the barge with his weary head upon the
+lap of the fairest and tallest of the three queens, is described
+as follows:</li>
+</ol>
+
+<p class="poem"><span class="i14">&#8220;a brow</span><br />
+Striped with dark blood: for all his face was white<br />
+And colorless, and like the wither&#8217;d moon<br />
+Smote by the fresh beam of the springing east;<br />
+And all his greaves and cuisses dash&#8217;d with drops<br />
+Of onset; and the light and lustrous curls&mdash;<br />
+That made his forehead like a rising sun<br />
+High from the dais-throne&mdash;were parch&#8217;d with dust,<br />
+Or, clotted into points and hanging loose,<br />
+Mix&#8217;d with the knightly growth that fringed his lips.<br />
+So like a shatter&#8217;d column lay the king;<br />
+Not like that Arthur, who, with lance in rest,<br />
+From spur to plume a star of tournament,<br />
+Shot thro&#8217; the lists at Camelot, and charged<br />
+Before the eyes of ladies and of kings.&#8221;</p>
+
+<p><i>e. Character Study</i>&mdash;King Arthur. The best estimate of King Arthur&#8217;s
+character is made from his own words and those of Bedivere, not from
+Tennyson&#8217;s description.</p>
+
+<ol class="outline">
+  <li class="hanging2">1. He has been a devout man. He has fought for Christ and searched
+for Christ and</li>
+</ol>
+
+<p class="poem"><span class="i2">&#8220;found Him in the shining of the stars,</span><br />
+Mark&#8217;d Him in the flowering of His fields.&#8221;</p>
+
+<p><span class='pagenum'><a name="Page_220" id="Page_220">[220]</a></span></p>
+
+<ol class="outline">
+  <li class="hanging2">2. He is now discouraged. He has not found Him in His ways with men,
+and now it seems to him,</li>
+</ol>
+
+<p class="poem">&#8220;As if some lesser god had made the world,<br />
+But had not force to shape it as he would.&#8221;</p>
+
+<p class="poem">&#8220;My God, thou hast forgotten me in my death.&#8221;</p>
+
+<ol class="outline">
+  <li class="hanging2">3. Yet he is hopeful, and he feels that perchance the world is
+wholly fair, and that his doubts come because he has not the
+power to see it as it is, and may not see it to the close.</li>
+
+  <li class="hanging2">4. He desires to be just, and feels that in the coming battle in the
+west he may not have the right on his side:</li>
+</ol>
+
+<p class="poem"><span class="i12">&#8220;Ill doom is mine</span><br />
+To war against my people and my knights.<br />
+The king who fights his people fights himself.&#8221;</p>
+
+<ol class="outline">
+  <li class="hanging2">5. Yet courage and confidence are not all gone:</li>
+</ol>
+
+<p class="poem">&#8220;Yet let us hence, and find or feel a way<br />
+Thro&#8217; this blind haze.&#8221;</p>
+
+<ol class="outline">
+  <li class="hanging2">6. After the battle, he grows more confused:</li>
+</ol>
+
+<p class="poem"><span class="i10">&#8220;I know not what I am,</span><br />
+Nor whence I am, nor whether I be King.<br />
+Behold, I seem but King among the dead.&#8221;</p>
+
+<ol class="outline">
+  <li class="hanging2">7. He must be noble, kingly, to have inspired such devotion as
+Bedivere shows. Hear what the latter says:</li>
+</ol>
+
+<p class="poem"><span class="i14">&#8220;My King,</span><br />
+King everywhere! and so the dead have kings,<br />
+There also will I worship thee as King.&#8221;</p>
+
+<ol class="outline">
+  <li class="hanging2">8. He is a warrior to the last. Listen to his reply to Bedivere:</li>
+</ol>
+
+<p><span class='pagenum'><a name="Page_221" id="Page_221">[221]</a></span></p>
+
+<p class="poem">&#8220;King am I, whatsoever be their cry;<br />
+And one last act of kinghood shalt thou see<br />
+Yet, ere I pass.&#8221;</p>
+
+<ol class="outline">
+  <li class="hanging">&nbsp;&nbsp;9. He is resigned: &#8220;Let what will be, be.&#8221;</li>
+</ol>
+
+<ol class="outline">
+  <li class="hanging">10. He is faithful to the trust imposed upon him when he acquired
+Excalibur. Three times he sends Bedivere to cast the sword into
+the mere. The last time he says:</li>
+</ol>
+
+<p class="poem">&#8220;But, if thou spare to fling Excalibur,<br />
+I will arise and slay thee with my hands.&#8221;</p>
+
+<ol class="outline">
+  <li class="hanging">11. He loves truth and reveres it:</li>
+</ol>
+
+<p class="poem">&#8220;This is a shameful thing for men to lie.&#8221;</p>
+
+<ol class="outline">
+  <li class="hanging">12. Though he appears to fear death, rather is his fear that he shall
+die before he reaches the water where he expects something.</li>
+</ol>
+
+<ol class="outline">
+  <li class="hanging">13. At the last his philosophy bears him up, though still he calls
+for devotion from his faithful knight. The whole speech is
+matchless. Note these fine passages:</li>
+</ol>
+
+<p class="poem">&#8220;The old order changeth, yielding place to new,<br />
+And God fulfils himself in many ways.&#8221;</p>
+
+<p class="poem"><span class="i7">&#8220;And that which I have done</span><br />
+May He within himself make pure!&#8221;</p>
+
+<p class="poem"><span class="i5">&#8220;More things are wrought by prayer</span><br />
+Than this world dreams of. Wherefore, let thy voice<br />
+Rise like a fountain for me night and day.&#8221;</p>
+
+<p class="poem"><span class="i5">&#8220;The whole round earth is everyway</span><br />
+Bound by gold chains about the feet of God.&#8221;</p>
+
+<ol class="outline">
+  <li class="hanging">14. His faith rises triumphant:</li>
+</ol>
+
+<p class="poem"><span class="i7">&#8220;I am going a long way ...</span><br />
+Where falls not hail, or rain, or any snow,<br />
+Nor ever wind blows loudly; but it lies<br />
+Deep-meadow&#8217;d, happy, fair with orchard lawns<br /><span class='pagenum'><a name="Page_222" id="Page_222">[222]</a></span>
+And bowery hollows crown&#8217;d with summer sea,<br />
+Where I will heal me of my grievous wound.&#8221;</p>
+
+<p><i>f. Beauty.</i> All the elements of poetic beauty join to make <i>The Passing
+of Arthur</i> a masterpiece. Sublime sentiment thrills through the stanzas.
+A stately meter gives a solemn, rhythmic swing to the noble lines.
+Sonorous words add to the grandeur. Apt phrases and beautiful figures of
+speech seize the imagination and enchain the fancy. Rare and choice
+diction gives artistic finish to every sentence.</p>
+
+<p>Most beautiful are such phrases as the following:</p>
+
+<p class="poem">&#8220;The phantom circle of a moaning sea.&#8221;</p>
+
+<p class="poem">&#8220;Some whisper of the seething sea.&#8221;</p>
+
+<p class="poem">&#8220;Clothed in white samite, mystic, wonderful.&#8221;</p>
+
+<p class="poem"><span class="i11">&#8220;Let thy voice</span><br />
+Rise like a fountain for me night and day.&#8221;</p>
+
+<p class="poem"><span class="i1">&#8220;And looking wistfully with wide blue eyes</span><br />
+As in a picture.&#8221;</p>
+
+<p class="poem">&#8220;Clothed with his breath.&#8221;</p>
+
+<p class="poem">&#8220;A cry that shiver&#8217;d to the tingling stars.&#8221;</p>
+
+<p>Note how the following phrases give color to the poem:</p>
+
+<p class="poem"><span class="i1">&#8220;that day when the great light of heaven</span><br />
+Burn&#8217;d at his lowest in the rolling year.&#8221;</p>
+
+<p class="poem">&#8220;Among the mountains by the winter sea.&#8221;</p>
+
+<p class="poem"><span class="i10">&#8220;The winter moon,</span><br />
+Brightening the skirts of a long cloud.&#8221;</p>
+
+<p>Observe the pictorial power of these quotations:</p>
+
+<p class="poem">&#8220;Make broad thy shoulders to receive my weight.&#8221;</p>
+
+<p class="poem">&#8220;Straining his eyes beneath an arch of hand.&#8221;</p>
+
+<p class="poem">&#8220;One black dot against the verge of dawn.&#8221;</p>
+
+<p>Most forceful are the following phrases:</p>
+
+<p><span class='pagenum'><a name="Page_223" id="Page_223">[223]</a></span></p>
+
+<p class="poem">&#8220;And the days darken round me, and the years,<br />
+Among new men, strange faces, other minds.&#8221;</p>
+
+<p class="poem">&#8220;From the great deep to the great deep he goes.&#8221;</p>
+
+<p class="poem">&#8220;Authority forgets a dying king.&#8221;</p>
+
+<p class="poem"><span class="i12">&#8220;An agony</span><br />
+Of lamentation, like a wind that shrills<br />
+All night in a waste land, where no one comes,<br />
+Or hath come, since the making of the world.&#8221;</p>
+
+<p>There never was a more beautiful comparison than the following:</p>
+
+<p class="poem"><span class="i3">&#8220;Like some full-breasted swan</span><br />
+That, fluting a wild carol ere her death,<br />
+Ruffles her pure cold plume, and takes the flood<br />
+With swarthy webs.&#8221;</p>
+
+
+<div class="footnotes">
+<p><a name="Footnote_189-1_1" id="Footnote_189-1_1"></a><a href="#FNanchor_189-1_1"><span class="label">189-1</span></a> <i>Haec fabula docet</i> means <i>This fable teaches</i>. It is
+with these words that the &#8220;Morals&#8221; of the old Latin fables begin.</p>
+</div>
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_224" id="Page_224">[224]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX<br />
+<br />
+<span class="smcap">Close Reading or Study</span></h2>
+
+
+<p class="opening"><span class="dropcapi"><span class="hide">I</span></span><span class="upper">t</span> is largely because story reading may so easily become careless
+reading, that prejudice against fiction is found in many minds. In the
+preceding pages there have been suggested many ways by which story
+reading may be made profitable, and yet all these methods may be used
+without calling for that close, intensive reading which we usually call
+study. You may lead a child to read <i>Rab and His Friends</i> for all the
+purposes we have suggested, and yet he may have passed over without
+understanding them many a word, phrase or even sentence. It is possible
+that there are whole paragraphs that convey little meaning to him. This
+is certainly not an unmixed evil, for it is well that a child should not
+exhaust the possibilities of such a masterpiece when he first reads it.
+In fact, it is a good thing for children frequently to read great
+literature even when much of it is quite beyond their comprehension. It
+will pique their curiosity, and some time they will return with wiser
+minds and broader experience to interpret for themselves the things that
+once were obscure. It is no sin for a child sometimes to pass over a
+word he cannot pronounce or does not understand. There could be few more
+certain ways of destroying his taste for reading than to require him to
+stop and find the meaning of <span class='pagenum'><a name="Page_225" id="Page_225">[225]</a></span>every new word he meets. Sometimes the
+meaning will become evident a little later from the context, and in
+other instances he will understand well enough without the troublesome
+word.</p>
+
+<p>What has been said does not signify that the habit of skipping new words
+or of avoiding difficult paragraphs is a good one. It does mean,
+however, that sometimes the practice should be tolerated, and that close
+reading should be required at the proper time and in the proper way. In
+the arithmetic or geography lesson the young must always read very
+closely, and in their perusal of the classics there are many fine
+opportunities for exercises of the same character, that should not be
+neglected. Descriptive passages, arguments, and essays of all kinds
+require to be read with exceeding care, and often there are passages
+even in light fiction that repay this kind of study.</p>
+
+<p>Words and phrases are the subjects of consideration in close reading,
+and the mastery of thought is the object to be attained. The study of
+words may be made very interesting, and gathering the meaning of phrases
+may become a fascinating pastime.</p>
+
+<p><a name="Rab_and_His_Friends_IX" id="Rab_and_His_Friends_IX"></a>An illustration may prove the case. Take the paragraph from <i>Rab and His
+Friends</i> (Volume VI, page 99) in which death approaches Ailie: &#8220;The end
+was drawing on: the golden bowl was breaking; the silver cord was fast
+being loosed&mdash;that <i>animula blandula, vagula, hospes comesque</i> was about
+to flee. The body and the soul&mdash;companions for sixty years&mdash;were being
+sundered and taking leave. She was walking, alone, through the valley of
+the shadow, into which one day we <span class='pagenum'><a name="Page_226" id="Page_226">[226]</a></span>must all enter&mdash;and yet she was not
+alone, for we knew whose rod and staff were comforting her.&#8221;</p>
+
+<p>A cursory reading will suggest to any young person that the paragraph
+says Ailie is going to die, and that she does not fear death; but how
+much more it means to him who can understand it all. <i>The end was
+drawing on</i>&mdash;Ailie was going to her death. <i>The golden bowl was
+breaking; the silver cord was fast being loosed.</i> Turn to your Bible
+(<i>Ecclesiastes</i> xii, 3-7), and read what is said. <i>That &#8220;animula
+blandula, vagula, hospes comesque&#8221; was about to flee.</i> That sweet but
+fleeting life, friend, companion and sojourner with her, was about to
+leave. <i>She was walking alone through the valley of the shadow.</i> &#8220;Yea,
+though I walk through the valley of the shadow of death, I will fear no
+evil.&#8221; <i>Into which one day we must all enter.</i> May we be equally
+fearless of evil! <i>She was not alone.</i> Her God was with her every
+moment, and in her hours of consciousness she knew Him to be present.
+<i>We knew whose rod and staff were comforting her.</i> &#8220;Thy rod and Thy
+staff they comfort me.&#8221;</p>
+
+<p>Like the Psalmist of old she leaned upon the arm of her God and as she
+thus approached the dark valley, the light of her faith shone into our
+souls.</p>
+
+<p>The Latin quotation and the allusions to the Bible are skilfully used to
+give solemnity to the idea of death, to show how inevitable it is, and
+how for long ages it has been met with the same serene faith and deep
+religious feeling that made Ailie beautiful in the face of death. Yes,
+there is more in the paragraph than the statement that Ailie was going
+to die and that she was not afraid.</p>
+
+<p><a name="Braddocks_Defeat" id="Braddocks_Defeat"></a><span class='pagenum'><a name="Page_227" id="Page_227">[227]</a></span>To illustrate a different style of close reading and a method of
+securing it by questioning, we will quote part of a paragraph from
+<i>Braddock&#8217;s Defeat</i> (Volume V, page 379) by Benjamin Franklin: &#8220;Our
+Assembly apprehending, from some information, that he [Braddock] had
+conceived violent prejudices against them, as averse to the service,
+wished me to wait upon him, not as from them, but as postmaster-general,
+under the guise of proposing to settle with him the mode of conducting
+with most celerity and certainty the despatches between him and the
+governors of the several provinces with whom he must necessarily have
+continual correspondence, and of which they proposed to bear the
+expense.&#8221;</p>
+
+<p>The questions designed to bring out the meaning of the above paragraph,
+to which the answers are usually quite obvious, might be as follows:</p>
+
+<p>Is &#8220;our Assembly&#8221; the Albany convention mentioned in the note at the
+head of the selection, or is it the Assembly of Franklin&#8217;s own colony?
+What is the meaning of <i>apprehending</i>? Do you like it better than
+<i>thinking</i>? What do you suppose was the nature of the &#8220;information&#8221; the
+Assembly had received? Do you think that someone had told them that
+Braddock was prejudiced, or did they infer it from actions of Braddock
+which had been described to them? Who was averse to it? What is the
+meaning of &#8220;wait upon him&#8221;? Do we use that phrase frequently now? What
+might we say now? What do you understand by &#8220;not as from them&#8221;? Can you
+put into that phrase one word that will make its meaning clear? Was
+Franklin then postmaster-general of his colony?<span class='pagenum'><a name="Page_228" id="Page_228">[228]</a></span> Was he ever
+postmaster-general of the United States? What is the meaning of <i>guise</i>?
+What is meant by &#8220;under the guise&#8221;? Does <i>celerity</i> mean more than
+<i>quickness</i>? Is there any shade of difference in the meanings of the two
+words? Do you think Franklin used the best word he could find when he
+wrote <i>celerity</i>? What are &#8220;despatches&#8221;? What kind of despatches would
+pass between Braddock and the governors of the different provinces? How
+many different provinces were there for Braddock to help defend? What
+were they? Who proposed to pay the expense? Does <i>propose</i> in this case
+have a different or larger meaning than that in which you are in the
+habit of seeing it used? Of what did they propose to pay the expense?</p>
+
+<p>If a young person can answer all the questions in the preceding
+paragraph, he undoubtedly understands the passage upon which they are
+based. The questioner must watch the answers and be ready to detect
+mistakes. Often the answer shows why the person fails to understand, and
+a different question will then bring out the correct reply. The
+questions always should be so worded that they do not anticipate the
+answer, yet so the person questioned will thoroughly understand what is
+expected. A little help now and then is appreciated by anyone, certainly
+by those who are being led to think.</p>
+
+<p>Carried to excess, close reading is wearisome; and parents, remembering
+this, should be discriminating in their selections for study and not too
+exacting in their requirements. Everything may be lost by dwelling too
+long upon even the most delightful selections. Left to himself, almost
+every child will be fond of <i>The Village Blacksmith</i>, <span class='pagenum'><a name="Page_229" id="Page_229">[229]</a></span>but it may be
+read and &#8220;studied&#8221; till the very thought of it is obnoxious to the young
+reader.</p>
+
+
+<h3 class="section"><a name="Industry_and_Sloth" id="Industry_and_Sloth"></a><i>Industry and Sloth</i></h3>
+
+<p class="titlepage">(Volume I, page 300)</p>
+
+<p>To bring out the thought in this selection, study it as follows:</p>
+
+<p>What is the meaning of <i>jocosely</i>? (Flippantly.) What is a court? (A
+place where disputes between persons are settled by a judge, or by a
+judge and jury.) What is a jury? (A company of men, usually six or
+twelve, who hear the evidence and decide on the facts.) What are cases?
+(The dispute or disagreement is called a <i>case</i>, when it is brought to
+court to be decided or settled.) What are damsels? (Young girls.) What
+were the names of the young damsels the young man said he saw? Why do
+the words &#8220;Industry&#8221; and &#8220;Sloth&#8221; begin with capital letters? (Because
+they are the names of girls.) Were they real girls? What does <i>industry</i>
+mean? (Work.) What does <i>sloth</i> mean? (Laziness.) Were these real girls?
+Then what does this mean? (The young man thinks of fondness for work and
+fondness for idleness as though they were girls.) When we write of
+qualities, or feelings, as though they were human beings, the words
+become proper nouns and we begin them with capital letters. Do you know
+what we call this process of lifting something that is lower to the
+level of human beings? No? We call it <i>personification</i>. Here industry
+and sloth are personified and made the equals of human beings. What does
+<i>entreats</i> mean? What does <i>persuades</i> mean? (That means <i>teases</i> or
+<i>begs</i>.) Which is <span class='pagenum'><a name="Page_230" id="Page_230">[230]</a></span>the stronger word, entreats or persuades? (<i>Entreats</i>
+means <i>begs strongly</i>; <i>persuades</i> means <i>begs and makes me believe what
+is said</i>. I think the latter is really the stronger word.) What does
+<i>alternately</i> mean? (First one and then the other.) What does
+<i>impartial</i> mean? (Fair; without any favoritism.) What does <i>detained</i>
+mean? (Kept.) What does <i>pleadings</i> mean? (Where a case is tried in
+court the lawyers on each side try to persuade the court or jury to
+decide in favor of the man [client] who has hired them. The written
+papers and the speeches the lawyers make are called <i>pleadings</i>.)</p>
+
+<p>Do you think the young man was really serious? Do you think he really
+tried to decide anything as he lay in bed, or was he just trying to make
+up an excuse for his laziness? Was there any reason why the young man
+should lie in bed? Did he think there was? Could you find any better
+reason than he gave? Do you think he was a bright young man? If you had
+listened to him would you have taken his excuse? Why? Was it really
+truthful? Did you ever lie in bed and think, &#8220;Well, I must get up; no,
+I&#8217;ll lie a little longer. But I must get up. What&#8217;s the use? But I ought
+to get up. Yes, I really ought to get up,&#8221; etc., etc., and finally
+discover that you had wasted a great deal of time without really
+intending it? Were Industry and Sloth pleading with you then? Do you
+think that some people waste much time trying to decide useless
+questions? Does it sometimes happen that men and women waste so much
+time in this way that they never accomplish a great deal of anything?</p>
+
+<p><span class='pagenum'><a name="Page_231" id="Page_231">[231]</a></span></p>
+
+
+<h3 class="section"><a name="Why_the_Sea_Is_Salt" id="Why_the_Sea_Is_Salt"></a><i>Why the Sea Is Salt</i></h3>
+
+<p class="titlepage">(Volume II, page 484)</p>
+
+<p>In this pleasing fairy story Mary Howitt has told the tale of the
+curious explanation offered by the peasants of Denmark and Norway for
+the saltness of the sea. It naturally raises in a child&#8217;s mind the
+question, why is the sea salt? The question can be answered in this
+manner:</p>
+
+<p>The rain falls down in little drops, some of which soak into the ground,
+while others make rivulets that run into brooks that in time join the
+rivers that flow into the sea. Much of the water that soaks into the
+ground finds its way again to the surface in springs that feed the
+brooks and keep them alive when no rain is falling. Of course the sun
+when it shines turns some of the water into vapor that rises again to
+the sky. Sometimes on a cool morning you can see the mist or vapor too
+heavy to rise out of sight and too light to fall as rain. Wherever there
+is water, some of it is rising into the air, especially when the sun
+shines and it is warm and the wind blows. The sea is so big that great
+quantities of vapor are rising from it all the time and being blown over
+the land to be cooled, to gather into rain and to fall again where it
+will refresh the earth and make the plants grow.</p>
+
+<p>So you see water is traveling through the air all the time, up from the
+earth, the streams and the seas, through the air, back to the earth and
+through it into the sea again in a great series of everlasting circuits.
+We are hardly ever conscious of the moisture except when it falls as
+rain or snow and spoils our plans.</p>
+
+<p><span class='pagenum'><a name="Page_232" id="Page_232">[232]</a></span>When the water is passing through the land it dissolves and gathers up
+various substances, especially salt, which &#8220;melts&#8221; in water very easily.
+This salt and the other bitter and brackish substances are carried
+little by little, sometimes pausing, but always on and on till they
+reach the sea, beyond which they cannot go, for the sea is in the lowest
+parts of the earth. Now come the sun, the heat and the winds and
+evaporate the water; that is, draw up the vapor to start on its new
+circuit. But, notice this, the vapor that rises is pure water. The salt
+and other substances are left in the sea. At first it was only a little
+that was left, then more, always a little more till the water couldn&#8217;t
+hold it all and it sank to the bottom and made deposits of salt and
+other things. But the streams always bring more sediment and the heat
+and the winds carry off pure water and leave the rest salty and bitter.
+And that is the real reason why the sea is salt.</p>
+
+
+<h3 class="section"><a name="Faithless_Sally_Brown" id="Faithless_Sally_Brown"></a><i>Faithless Sally Brown</i></h3>
+
+<p class="titlepage">(Volume III, page 92)</p>
+
+<p>It is a thankless task to try to explain a joke, but some of the fun in
+these jolly old rhymes depends upon facts that are not generally known
+or that may have been forgotten. A few words here may help to answer
+questions.</p>
+
+<p>Stanza II. &#8220;Fetched a walk.&#8221; This is an application of a nautical term,
+as in &#8220;to fetch headway.&#8221;</p>
+
+<p>&#8220;Press Gang.&#8221; To secure recruits for her navy, England at one time
+permitted her men to be seized and forcibly carried on board ship, where
+they <span class='pagenum'><a name="Page_233" id="Page_233">[233]</a></span>were compelled to perform sailors&#8217; duties on long cruises. The
+bands of cruel men who captured the recruits were known as &#8220;press
+gangs.&#8221;</p>
+
+<p>Stanza III. A boatswain is one of the minor officers of a ship. He
+usually has charge of one of the small boats, such as would carry off a
+recruit to the big ship.</p>
+
+<p>Stanza VIII. John Benbow was a famous English Admiral who died in 1702
+from wounds received in a four days&#8217; fight with the French fleet in the
+West Indies. His captains refused to obey orders and Benbow was unable
+to win the battle. When his right leg was shot off he refused to go
+below but continued to direct the conflict from the deck. &#8220;I had rather
+have lost both legs,&#8221; he said, &#8220;than have seen this dishonor brought on
+the English nation. But, hark ye&mdash;if another shot should take me off,
+behave like men and fight it out.&#8221; Two of his captains were tried,
+convicted and shot. The Admiral himself died after three or four months
+of suffering.</p>
+
+<p>Stanza IX. A tender is a ship that carries supplies or conveys messages
+from one to another of the ships in a squadron.</p>
+
+<p>Stanza XI. &#8220;The Virgin and the Scales.&#8221; The Virgin (Virgo) and the
+Scales (Libra) are two constellations known to the ancients. A person
+born while these constellations were to be seen in the sky (from near
+the end of August to near the end of October) was said to be born under
+them and was believed to have certain characteristics. In the case of
+Sally Brown the stars were cruel. She could not follow her beau, Ben,
+but must walk about raising her voice in wailing.</p>
+
+<p><span class='pagenum'><a name="Page_234" id="Page_234">[234]</a></span>Stanza XV. &#8220;To pipe his eye&#8221; is a slang phrase meaning to look sharply.</p>
+
+<p>Stanza XVI. &#8220;<i>All&#8217;s Well</i>,&#8221; the usual cry of a watchman, not the name of
+a song.</p>
+
+<p>&#8220;Pigtail&#8221; was a kind of chewing tobacco much used by sailors. It was
+twisted in hard rolls.</p>
+
+
+<h3 class="section"><a name="The_Definition_of_a_Gentleman" id="The_Definition_of_a_Gentleman"></a><i>The Definition of a Gentleman</i></h3>
+
+<p class="titlepage">(Volume IV, page 170)</p>
+
+<p>There is nothing in <i>Journeys Through Bookland</i> that will better repay
+thought, especially for the boys, than this extract from the writings of
+the great Cardinal Newman. It affords, however, a host of little tests
+of character that everyone can apply to himself; for &#8220;gentleman,&#8221; here,
+is used in its generic sense and applies with equal force to both sexes.</p>
+
+<p>It is not to be read hastily and then laid aside, for no one can get its
+full meaning from a single perusal. Every word is a chapter, every
+sentence a volume. Read properly, each sentence must carry with it a
+personal application, which can be seen as the reader asks, &#8220;Is this
+what I am?&#8221;</p>
+
+<p>Am I then, one who never gives pain?</p>
+
+<p>Am I mainly occupied in removing the obstacles that hinder the action of
+my friends and acquaintances? Am I the easy chair that gives them bodily
+comfort, the good fire that dispels the cold and makes them comfortable
+and free to act?</p>
+
+<p>Do I try always to make everyone at ease and at home?</p>
+
+<p>Am I</p>
+
+<p>&mdash;tender toward the bashful?</p>
+
+<p>&mdash;gentle toward those who are cold and reserved?</p>
+
+<p><span class='pagenum'><a name="Page_235" id="Page_235">[235]</a></span>&mdash;merciful to those whose actions draw ridicule upon themselves?</p>
+
+<p>In conversation, do I recollect those to whom I am speaking, avoid
+irritating them, keep myself in the background, talk little myself and
+listen attentively to them?</p>
+
+<p>If I can put to myself each of the tests Cardinal Newman offers in these
+few pages and can feel myself ring true under each, then may I hope to
+call myself a gentleman.</p>
+
+
+<h3 class="section"><a name="Adventures_in_Lilliput" id="Adventures_in_Lilliput"></a><i>Adventures in Lilliput</i></h3>
+
+<p class="titlepage">(Volume V, page 8)</p>
+
+<p>In <i>Gulliver&#8217;s Travels</i> Swift has given us a wonderful work in
+constructive imagination. As has been said elsewhere, the imagination
+works with the ideas which are present in the mind. It creates nothing,
+but it may enlarge, diminish or recombine ideas with an infinity of
+form. In <i>Adventures in Lilliput</i> Swift has used largely the reducing
+power of his imagination. If he has been accurate, he has reduced
+everything in the same proportion. An interesting study of this phase of
+the story may be made by means of questions, which may be answered by
+reading the text, or by reasoning from the facts given.</p>
+
+<p>In the following exercise, questions and comments are combined in such a
+way as to assist a boy or girl to verify or disprove the accuracy of
+Swift&#8217;s work. A similar exercise, to illustrate the opposite extreme,
+may be based upon <i>Adventures in Brobdingnag</i> (page 54). It is hoped,
+too, that the questions may suggest a method for interpreting other
+selections.</p>
+
+<p><span class='pagenum'><a name="Page_236" id="Page_236">[236]</a></span>When Gulliver awoke and found himself bound (page 10), he felt something
+alive moving on his body. Bending his eyes downward as much as he could
+he saw it was a human creature not six inches high. We are at liberty to
+suppose that Gulliver was a man of ordinary height, that is to say, not
+six feet high. If the Lilliputian was &#8220;not six inches high,&#8221; what was
+the ratio of height between Gulliver and his miniature captors? If,
+then, Gulliver is twelve times the size of one of his captors, we have a
+standard of comparison.</p>
+
+<p>How long a bow would a man use? How long would be the arrow that fitted
+that bow? How long would the bows and arrows of the Lilliputians be?
+Would an arrow that size, fired with the force a Lilliputian could give,
+&#8220;prick like a needle,&#8221; and if there were many of them would they set a
+man &#8220;a-groaning with grief and pain&#8221;?</p>
+
+<p>If a man were lying flat on his back could he turn his eyes down so as
+to see a pencil, not six inches high, placed upright on his breast? When
+a man&#8217;s face was turned two inches to the left, how much of the ground
+would be concealed from his sight by his shoulder?</p>
+
+<p>How far can a man shoot an arrow? How far could a Lilliputian shoot an
+arrow? Would an arrow the size of a Lilliputian&#8217;s falling from the
+height to which he could shoot it pierce the skin of a man?</p>
+
+<p>How long were the spears of the Lilliputians? Is it reasonable to
+suppose that a leather jerkin would be proof against their spears? How
+tall was the page that held up the train of the &#8220;principal person.&#8221;
+(page 12)?</p>
+
+<p><span class='pagenum'><a name="Page_237" id="Page_237">[237]</a></span>How many times the height of a Lilliputian was the body of Gulliver as
+he lay on the ground? How many rounds would there be in one of the
+ladders on which they climbed? &#8220;Above one hundred inhabitants&#8221; mounted
+the ladders and walked toward Gulliver&#8217;s mouth. They carried baskets
+filled with meat. Would the quantity of meat be too large for Gulliver
+to eat? Would the shoulders, legs and loins of a sheep one-twelfth the
+height of an ordinary one be &#8220;smaller than the wings of a lark&#8221;? Would
+loaves of bread the &#8220;bigness of musket balls&#8221; be one-twelfth the size of
+ordinary loaves?</p>
+
+<p>In the case of two vessels of the same proportions, but of different
+heights, do the capacities vary according to the heights, or according
+to the cubes of the heights? If one of our hogsheads contain from one
+hundred to one hundred and forty gallons, how much should a Lilliputian
+hogshead contain to be in proportion?</p>
+
+<p>Is it a fact that being one-twelfth the height of a man a Lilliputian
+should have one-twelfth of a man&#8217;s strength? If a man is reduced to
+one-twelfth of his height what should his weight be?</p>
+
+<p>When they wished to move Gulliver, five hundred carpenters and engineers
+were set to work to prepare a frame of wood, which was raised three
+inches from the ground, was about seven feet long, four feet wide, and
+moved upon twenty-two wheels. What was the diameter of the wheels that
+would raise the body three inches from the ground? Would it be an easy
+matter to move wheels of that size when they bear a weight such as
+Gulliver&#8217;s must have been?</p>
+
+<p><span class='pagenum'><a name="Page_238" id="Page_238">[238]</a></span>Knowing what we know of the Lilliputians could nine hundred of them
+using pulleys with cords &#8220;the bigness of pack-thread&#8221; lift Gulliver upon
+the engine in less than three hours?</p>
+
+<p>Does Swift keep the correct proportions when he says that Gulliver&#8217;s
+bullets are about the size of the heads of the Lilliputians? Would &#8220;an
+hundred and fifty of their beds sewn together make up the breadth and
+length&#8221; of a bed large enough for Gulliver?</p>
+
+<p>How large would a Lilliputian horse be? Does it seem wonderful that
+Gulliver&#8217;s hat could be brought from the seashore with &#8220;only five
+horses&#8221;?</p>
+
+<p>It is unnecessary to carry the questioning any further. Anyone who reads
+the stories will find an infinity of questions suggesting themselves to
+him, and he will doubtless get no little pleasure and profit from
+attempting to answer them. As will be seen, some of the questions are
+not simple. If Swift has been wise he has not reduced everything
+arbitrarily on a horizontal scale to one-twelfth of its apparent size,
+capacity, weight, or strength, but has properly apportioned all. The
+reader may find that he will be called upon for some nice
+discrimination, before he can judge correctly as to the accuracy with
+which Swift has used his scale of reduction.</p>
+
+
+<h3 class="section"><a name="The_Heart_of_Bruce" id="The_Heart_of_Bruce"></a><i>The Heart of Bruce</i></h3>
+
+<p class="titlepage">(Volume V, page 316)</p>
+
+<p>1. What is meant by &#8220;frost lay hoar&#8221;? &#8220;Hoar&#8221; means &#8220;white&#8221; or &#8220;gray.&#8221;
+(It was early in the morning before the sun had melted the frost.)</p>
+
+<p>2. What kind of armour did they wear? What <span class='pagenum'><a name="Page_239" id="Page_239">[239]</a></span>kind of &#8220;ships&#8221; rode in the
+bay? (Remember this happened about six hundred years ago.)</p>
+
+<p>3. What caused the foam that was swept away? Why did they gaze back in
+silence?</p>
+
+<p>4. Why does the poet call them <i>purple</i> hues, and why does he say they
+decayed? (Recall the lines: &#8220;&#8217;Tis distance lends enchantment to the
+view, and clothes the mountain in its azure hue.&#8221; Did you ever notice
+the purple on distant hills? What causes it?)</p>
+
+<p>5. What is the &#8220;battle-van&#8221;? (The front rank.)</p>
+
+<p>6. What is a &#8220;freit&#8221;? (A superstitious notion or an omen as to right or
+wrong. Lord Douglas felt a superstitious dread, a chill of foreboding.)</p>
+
+<p>7. What did Robert say on his dying day?</p>
+
+<p>8. What did Robert want his followers to do with his heart?</p>
+
+<p>9. Who dreamed this dream? What was a Pilgrim? (A pilgrim is a wanderer.
+We think first of the Puritan fathers when we speak of Pilgrims, but the
+Pilgrim who appeared to Lord Douglas was a palmer who showed by his garb
+and his olive branch that he had been to the Holy Land.) See picture,
+page 319.</p>
+
+<p>10. What kind of a Cross did Saint Andrew bear? Who was Saint Andrew?
+(Saint Andrew was one of the twelve apostles, and is believed to have
+suffered martyrdom on a cross shaped something like the letter X, that
+is, one made of two beams of equal length crossing in the middle at an
+angle.)</p>
+
+<p>11. What is a &#8220;belted brand&#8221;? (A sword fastened to a belt.)</p>
+
+<p><span class='pagenum'><a name="Page_240" id="Page_240">[240]</a></span>12. What was &#8220;Galilee&#8221;? What was the &#8220;Holy Mount&#8221; and why was it so
+called?</p>
+
+<p>13. What is &#8220;Scotland&#8217;s heart&#8221;? (The heart of Robert Bruce, so called
+because of the reverence in which he is held by the Scotch.) Where can
+you read about the great angel that calls the dead to rise?</p>
+
+<p>14. What is meant by &#8220;mark my rede&#8221;? (Listen to my advice or counsel.)</p>
+
+<p>15. What was the prediction the Pilgrim seemed to make to Lord Douglas?
+What did Lord Douglas ask of Sir Simon of the Lee?</p>
+
+<p>16. Why should Scotland&#8217;s earth be called &#8220;kindly&#8221;?</p>
+
+<p>17. What does &#8220;betide&#8221; mean? Tell in your own words what Sir Simon
+replied. (&#8220;Whatever happens to me, I&#8217;ll do as you command.&#8221;)</p>
+
+<p>18. What does Sir Simon promise?</p>
+
+<p>19. What does &#8220;aye&#8221; mean? (In this place it means &#8220;for a long time.&#8221;)
+What is meant by on our &#8220;lee&#8221;? (The wind blew toward Spain, and across
+the course of the ship; hence the coast appeared on the lee side of the
+vessel.) Why should the poet say the coast rose &#8220;grimly&#8221;?</p>
+
+<p>20. What are &#8220;atabals&#8221;? (Tabors or kettledrums used by the Moors.)</p>
+
+<p>21. Who asks the question about the Eastern music and the crowd of armed
+men?</p>
+
+<p>22. What was Castile? (A province of Spain.) Who answers the question
+asked in the twenty-first stanza?</p>
+
+<p>23. What is meant by the &#8220;Cross in jeopardie&#8221;? (The Spaniards were a
+Christian nation fighting under the symbol of the Cross. The Moors were
+<span class='pagenum'><a name="Page_241" id="Page_241">[241]</a></span>the infidels or Moslems whose success would destroy the Christian
+religion in Spain. Their symbol was the crescent.)</p>
+
+<p>24. What does &#8220;Have down&#8221; mean? (It means &#8220;Let us land.&#8221;)</p>
+
+<p>25. Who speaks in the twenty-fifth stanza?</p>
+
+<p>26. Explain what is said in the twenty-sixth stanza. (Do you come
+because you have promised to fight the pagans or do you come to fight
+for money? Are you French or Burgundians?)</p>
+
+<p>27. What is a &#8220;belted peer&#8221;?</p>
+
+<p>28. What is the meaning of &#8220;died upon the tree&#8221;?</p>
+
+<p>29. What is a &#8220;weltering wave&#8221;? (To &#8220;welter&#8221; is to tumble over. The
+&#8220;weltering wave&#8221; is the sea.)</p>
+
+<p>30. Does the word &#8220;pilgrim&#8221; mean the same here as in the ninth stanza?</p>
+
+<p>31. What King is this who speaks in the thirty-first stanza?</p>
+
+<p>32. What do the words &#8220;full well&#8221; express?</p>
+
+<p>33. Is the word &#8220;amain&#8221; in use nowadays? What does it mean?</p>
+
+<p>34. What is a high glance?</p>
+
+<p>35. What does this speech by Douglas show us of his character?</p>
+
+<p>36. What were &#8220;cross-bolts&#8221;? (Short, blunt arrows fired from the
+cross-bows.)</p>
+
+<p>37. What is a Saracen? (Here the word means merely a Mohammedan hostile
+to the Christians.) What does &#8220;rode like corn&#8221; mean? (We rode through
+their ranks as we would ride through corn.)</p>
+
+<p>38. What is the meaning of &#8220;fain&#8221;? (Willing.)</p>
+
+<p><span class='pagenum'><a name="Page_242" id="Page_242">[242]</a></span>39. What does &#8220;fell&#8221; mean? (Deadly.)</p>
+
+<p>40. What is meant by &#8220;Make in&#8221;? (Here it means, &#8220;Gather together.&#8221;)</p>
+
+<p>41. What was the &#8220;rain&#8221;? What was the &#8220;swarm&#8221;?</p>
+
+<p>42. What had happened to Saint Claire?</p>
+
+<p>43. What was James&#8217;s purpose in holding aloft the heart of Bruce?</p>
+
+<p>44. Why did he throw the sacred relic before him? What does &#8220;wert wont
+of yore&#8221; mean? (&#8220;As you used to do.&#8221;)</p>
+
+<p>45. What is the meaning of &#8220;stour&#8221;? (Battle or combat.) Why are the
+spears said to come in &#8220;shivering&#8221;?</p>
+
+<p>46. Who speaks in the forty-sixth stanza?</p>
+
+<p>47. Who replies in the forty-seventh stanza? What does &#8220;dree&#8221; mean?
+(Suffer, endure.)</p>
+
+<p>48. What does &#8220;stark&#8221; mean?</p>
+
+<p>49. What is the meaning of &#8220;lyart&#8221;? (Gray. The word was usually applied
+to a horse.)</p>
+
+<p>50. What is this &#8220;heaviest cloud&#8221; that is bound for the banks of
+Bothwell?</p>
+
+<p>51. What is this &#8220;sorest stroke&#8221; that has fallen upon Scotland?</p>
+
+<p>52. What was to be carried back to the ship and laid in hallowed ground
+in Scotland?</p>
+
+<p>53. Who is the &#8220;Lord King&#8221; referred to in the fifty-third stanza?</p>
+
+<p>54. Does the line &#8220;so stately as he lay&#8221; seem a natural way of
+expressing the fact?</p>
+
+<p>55. What does the speech of the Spanish King show of his character?</p>
+
+<p>56. Why does the poet say that we steered the ship &#8220;heavily&#8221;?</p>
+
+<p><span class='pagenum'><a name="Page_243" id="Page_243">[243]</a></span>57. Does &#8220;no welcome greeted our return&#8221; mean that none of the Scotch
+met the returning soldiers?</p>
+
+<p>58. What were &#8220;Douglas Kirk&#8221; and &#8220;fair Melrose&#8221;? (The church of the
+Douglas clan and the stately abbey of Melrose. The latter may still be
+seen in beautiful ruins in southern Scotland.)</p>
+
+
+<h3 class="section"><a name="Annie_Laurie" id="Annie_Laurie"></a><i>Annie Laurie</i></h3>
+
+<p class="titlepage">(Volume VI, page 119)</p>
+
+<p>The Scotch dialect in this old favorite is one of its charms, but some
+readers may require explanation of a few of the terms.</p>
+
+<p>&#8220;Braes&#8221; are hillsides or slopes. &#8220;Bonnie&#8221; is the Scotch way of spelling
+&#8220;bonny,&#8221; which, here, means &#8220;beautiful.&#8221;</p>
+
+<p>&#8220;Fa&#8217;s&#8221; is the Scotch spelling of &#8220;falls.&#8221;</p>
+
+<p>&#8220;Gie&#8217;d&#8221; is Scotch for &#8220;gave.&#8221;</p>
+
+<p>The last line of the first stanza rendered into English would read, &#8220;I&#8217;d
+lay me down and die.&#8221;</p>
+
+<p>&#8220;Snaw&#8221; is &#8220;snow.&#8221;</p>
+
+<p>&#8220;Ee&#8221; is &#8220;eye.&#8221;</p>
+
+<p>The &#8220;gowan&#8221; is the mountain daisy of Scotland.</p>
+
+<p>&#8220;Fa&#8217;&#8221; is &#8220;fall.&#8221;</p>
+
+<p>Like many another simple lyric of love and devotion this owes much of
+its popularity to the sweet melody of the music to which it is usually
+sung.</p>
+
+
+<h3 class="section"><a name="The_Lost_Child" id="The_Lost_Child"></a><i>The Lost Child</i></h3>
+
+<p class="titlepage">(Volume VII, page 409)</p>
+
+<p>1. Where did the poet wander? Is the picture on page 409 a beautiful
+one? Is it your idea of a sunny glade? On what or on whom was the poet
+musing? Where his thoughts pleasant? To what <span class='pagenum'><a name="Page_244" id="Page_244">[244]</a></span>does he liken his
+thoughts? What are guideless thoughts? Do you think his &#8220;love&#8221; is a
+person, or is it his work, his calling?</p>
+
+<p>2. What chanced to go astray? Did Lowell sometimes fear for the future?
+How does he express the fear? Who brought back the wandering thoughts?
+Where did the thoughts rest? Who had the &#8220;snowy arms&#8221;? If Lowell feared
+the future at any time, what was it that brought calm to him again?</p>
+
+<p>3. What is the &#8220;soft nest&#8221;? Who is the &#8220;happy one&#8221;? Whose hair &#8220;shone
+golden in the sun&#8221;? How could a thought of fear seem like a &#8220;heavenly
+child&#8221;? Was it Hope that thus transformed all his thoughts?</p>
+
+<p>4. Upon what did Hope&#8217;s eyes smile mildly down? What was blessed with so
+deep a love? What clasped the neck of Hope? What was it that fell
+asleep? What was the lost child?</p>
+
+
+<h3 class="section"><a name="David_Crockett_in_the_Creek_War" id="David_Crockett_in_the_Creek_War"></a><i>David Crockett in the Creek War</i></h3>
+
+<p class="titlepage">(Volume VIII, Page 37)</p>
+
+<p>Almost any child who is able to read for himself will know as soon as he
+has read a few sentences from David Crockett&#8217;s Autobiography that the
+man was uneducated, and wrote in what could not be called &#8220;good
+English.&#8221; However, when the reader has gone a little farther he will
+realize that Crockett shows his own character in his writings, and that
+his language is picturesque and entertaining. Moreover, it is language
+that was characteristic of the early settlers in the region where the
+frontiersman lived, and hence is of some historical interest to us.</p>
+
+<p><span class='pagenum'><a name="Page_245" id="Page_245">[245]</a></span>No apology is needed for including the selection in these volumes,
+although it has no fine literary merit; for it is the plain, direct
+story of a strong man with a clear brain, who accomplished whatever he
+undertook, whether it was building a home, fighting the Indians, or
+writing a book.</p>
+
+<p>The story will speak for itself, and as it is a truthful account of
+things that actually happened, it will appeal strongly to the
+imagination of all young readers. However, it is worth while to call
+specific attention to some of the faults in style and actual errors in
+grammar, in order that the reader may not be affected unfortunately by
+the language, or be led to approve it as a style to be followed in these
+modern days. This can be done by means of questions, and as an
+illustration of the method we will consider the first four paragraphs of
+the selection, beginning on page 37.</p>
+
+<p>&#8220;There had been no war among us for so long that but few who were not
+too old to bear arms knew anything about the business.&#8221; Does the phrase
+<i>among us</i> mean that the settlers had not fought among themselves, or
+that they had not been in conflict with the Indians? What was Crockett&#8217;s
+exact meaning? Does he convey it clearly? Does the word <i>business</i> seem
+dignified enough to be applied to war?</p>
+
+<p>&#8220;I couldn&#8217;t fight at all.&#8221; Does the abbreviation of the words <i>could
+not</i> make Crockett&#8217;s style dignified or familiar? Do you often see
+similar abbreviations in what is known as &#8220;good literature,&#8221; except as
+they are found in conversation, where the tendency is always to use
+abbreviated forms and familiar terms? Does not the use of such
+abbreviations in <span class='pagenum'><a name="Page_246" id="Page_246">[246]</a></span>this selection make it seem as though Crockett were
+talking to his readers in a free and easy manner, rather than as though
+he were writing a formal book?</p>
+
+<p>&#8220;When I heard of the mischief.&#8221; In the first sentence of this paragraph,
+Crockett speaks of a &#8220;most bloody butchery&#8221; at Fort Mimms. Now he refers
+to it as <i>the mischief</i>. Is the word <i>mischief</i> strong enough?</p>
+
+<p>&#8220;In a few days a general meeting of the militia was called.&#8221; Who were
+the militia? Why could not the militia be sent out as a body instead of
+calling for volunteers? Does he mean the organized militia, or simply
+the able-bodied men in that vicinity?</p>
+
+<p>&#8220;Began to beg me not to turn out.&#8221; Is <i>turn out</i> a slang phrase here, or
+is it a term commonly used in speaking of the assemblage of the militia?</p>
+
+<p>&#8220;It was mighty hard to go against her arguments.&#8221; Does the word <i>mighty</i>
+show refinement? What word would be better? Does the phrase <i>go against</i>
+look well in a book?</p>
+
+<p>&#8220;Told her that if every man would wait till his wife got willing to let
+him go to war, there would be no fighting done until we would all be
+killed in our houses.&#8221; Is the word <i>would</i> as it appears the first time
+used properly? Is <i>should</i> the right word to use? Is <i>got willing</i>
+correct English? Does the word <i>until</i> express the meaning Crockett
+intends to convey? If &#8220;there would be no fighting done <i>until</i> they were
+all killed in their houses,&#8221; could there be any fighting done
+<i>afterward</i>? What words should be used in place of <i>until</i>? Is the word
+<i>would</i> used properly the second time it appears in the sentence?</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="image09" id="image09"></a><a href="images/image09-full.jpg"><img src="images/image09.jpg" width="253" height="400" alt="Portraits" title="Phoebe Cary
+Alice Cary
+Elizabeth Barrett Browning
+Lucy Larcom
+Felicia Hemans
+George Eliot
+Jean Ingelow" /></a><br />
+<span class="caption smcap">Phoebe Cary&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Alice Cary<br />
+Elizabeth Barrett Browning<br />
+Lucy Larcom&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Felicia Hemans<br />
+George Eliot&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Jean Ingelow</span>
+</div>
+
+<p><span class='pagenum'><a name="Page_247" id="Page_247">[247]</a></span>&#8220;Seeing I was bent on it.&#8221; Can you find authority for using the phrase
+<i>bent on it</i> to mean <i>determined to do it</i>?</p>
+
+<p>&#8220;The truth is my dander was up and nothing but war should bring it right
+again.&#8221; What does the dictionary say about the use of the word <i>dander</i>?
+Do you suppose it was a common word among Crockett&#8217;s friends? Is the
+word <i>should</i> properly used in this sentence? Is the proper word
+<i>would</i>? Is it a common mistake even now to use <i>would</i> for <i>should</i> and
+<i>should</i> for <i>would</i>? How may we know which word to use?</p>
+
+<p>&#8220;When the men were paraded, a lawyer by the name of Jones addressed us,
+informing us he wished to raise a company, and that then the men should
+meet and elect their officers.&#8221; Who were the men that were paraded? Was
+Crockett among them? Whom did Jones address? When Crockett uses the word
+<i>men</i> and the word <i>us</i>, twice in the same sentence is his meaning
+perfectly clear?</p>
+
+<p>&#8220;I believe I was about the second or third man that stepped out, but on
+marching up and down the regiment a few times we found we had a large
+company.&#8221; Who were marching up and down? Does this mean that they
+marched up and down in front of the regiment? What was this regiment
+before which they marched up and down? Does <i>regiment</i> here mean the
+same as <i>militia</i> in the paragraph before?</p>
+
+<p>&#8220;We received orders to start on the next Monday week.&#8221; What is the
+meaning of <i>next Monday week</i>? If they assembled on Wednesday, how many
+days would elapse before they were to start, and on what day would they
+start?</p>
+
+<p><span class='pagenum'><a name="Page_248" id="Page_248">[248]</a></span>&#8220;Mounted my horse and set sail to join my company.&#8221; How can a man <i>set
+sail</i> when he is mounted on a <i>horse</i>? Is such a mixing of figures
+evidence of good writing?</p>
+
+<p>&#8220;All mounted volunteers and all determined to fight, judging from
+myself, for I felt wolfish all over. I verily believe that the whole
+army was of the real grit.&#8221; Is <i>felt wolfish all over</i> a fine phrase? Is
+it an expressive phrase? What was to be judged from himself&mdash;that all
+were determined to fight, or that the whole army was of the real grit?
+Does the fact that Crockett felt wolfish all over show that he was
+determined to fight, or that he had real grit? What is the literal
+meaning of <i>grit</i>? What does it mean as Crockett uses it here? Is it
+proper to use the word as Crockett uses it?</p>
+
+<p>Probably it is not worth while to push this critical study any farther.
+It will be seen by this time that Crockett wrote as he talked, and
+accordingly, his story lacks the polish and literary beauties that men
+trained to write could have given it.</p>
+
+
+<h3 class="section"><a name="The_Impeachment_of_Warren_Hastings" id="The_Impeachment_of_Warren_Hastings"></a><i>The Impeachment of Warren Hastings</i></h3>
+
+<p class="titlepage">(Volume IX, page 32)</p>
+
+<p>Words are interesting things, and people who have never tried the
+experiment will be surprised to learn how much pleasure there is to be
+found in the use of the dictionary. We consult the dictionary only when
+we wish to know the meaning of a word, or its pronunciation, but there
+are numberless other facts in the volume that are more interesting, if
+not more valuable, than the definitions and marks of pronunciation. In
+the history and derivation of words may be found many interesting <span class='pagenum'><a name="Page_249" id="Page_249">[249]</a></span>and
+surprising facts which, if they are known, give increased force and
+meaning to the words.</p>
+
+<p>There is a great difference among writers in the kinds of words they
+use. Some naturally use simple words of Anglo-Saxon origin, while others
+use longer and more sonorous words which come from the Latin and the
+Greek. It is interesting to take paragraphs from different writers, say,
+for instance, from Hawthorne, Lamb, Longfellow, Tennyson, Macaulay and
+Irving, make a list of the leading words in the paragraphs, and then
+look up their derivations and see how many Anglo-Saxon, how many Latin
+and how many Greek words are found in each paragraph.</p>
+
+<p>It will be seen that it is a characteristic of Macaulay to use numerous
+many-syllabled words, most of which come directly from the Latin. His
+essay on the <i>Impeachment of Warren Hastings</i> shows this trait.</p>
+
+<p>Probably that furnishes as good an illustration as anything in the books
+of the kind of literature from which studies in words may best be made.
+Taking two paragraphs at random, let us look them over and see what
+interesting facts may be gleaned from the dictionary concerning the
+words we find:</p>
+
+<p>&#8220;The Opposition was loud and vehement against him. But the Opposition,
+though formidable from the wealth and influence of some of its members,
+and from the admirable talents and eloquence of others, was outnumbered
+in Parliament, and odious throughout the country. Nor, as far as we can
+judge, was the Opposition generally desirous to engage in so serious an
+undertaking as the impeachment of an Indian Governor. Such an
+impeach<span class='pagenum'><a name="Page_250" id="Page_250">[250]</a></span>ment must last for years. It must impose on the chiefs of the
+party an immense load of labor. Yet it could scarcely, in any manner,
+affect the event of the great political game. The followers of the
+coalition were therefore more inclined to revile Hastings than to
+prosecute him. But there were two men whose indignation was not to be so
+appeased, Philip Francis and Edmund Burke.</p>
+
+<p>&#8220;Francis had recently entered the House of Commons, and had already
+established a character there for industry and ability. He labored
+indeed under one most unfortunate defect, want of fluency. But he
+occasionally expressed himself with a dignity and energy worthy of the
+greatest orators. Before he had been many days in Parliament, he
+incurred the bitter dislike of Pitt, who constantly treated him with as
+much asperity as the laws of debate would allow. Neither lapse of years
+nor change of scene had mitigated the enmities which Francis had brought
+back from the East. After his usual fashion, he mistook his malevolence
+for virtue, nursed it, as preachers tell us we ought to nurse our good
+dispositions, and paraded it, on all occasions, with Pharisaical
+ostentation.&#8221;</p>
+
+<p>In the two brief paragraphs given, there are, among others, the
+following words of more than passing interest:</p>
+
+<p>1. <i>Vehement.</i> This word is derived from two Latin words, meaning <i>to
+carry</i> and <i>the mind</i>; hence a vehement speech is one that is supposed
+to carry the mind away by force. We use the word <i>furious</i> when we wish
+to speak of anger or other passions, but the word <i>vehement</i> when we
+speak of zeal, love, expression. In this paragraph the Op<span class='pagenum'><a name="Page_251" id="Page_251">[251]</a></span>position was
+loud and tried <i>to carry the minds of others by force</i>.</p>
+
+<p>2. <i>Formidable.</i> Synonyms of <i>formidable</i> are <i>dreadful</i>, <i>terrible</i> and
+<i>shocking</i>, yet it is rarely the case that two words are exact synonyms.
+In this case, <i>formidable</i> means something that excites fear, but it is
+neither sudden nor violent in its action. A <i>dreadful</i> thing would
+excite fear or dread, and might act violently, but not suddenly. <i>A
+shocking</i> thing would startle us because it was both violent and sudden.
+Does <i>formidable</i> appear to be the right word by which to characterize
+the Opposition?</p>
+
+<p>3. <i>Influence.</i> This word is derived from two Latin words which mean
+<i>flowing over</i>, and consequently an <i>influence</i> brings about change by
+gradual process. There is no idea of right in the word <i>influence</i> as
+there is in the word <i>authority</i>. Does it seem that <i>influence</i> is the
+right word here?</p>
+
+<p>4. <i>Talents.</i> The history of this word is an interesting one. In origin
+it is Greek, and there it was the name of a weight, which in silver had
+a certain money value. The same word appearing in Hebrew had a similar
+meaning. A Hebrew talent in silver would be worth something over
+seventeen or nineteen hundred dollars of our money. In the New Testament
+(see <i>Matthew</i> <span class="smrom">XXV</span>, 14 to 30), Christ utters the parable of the talents.
+We now use the word to mean intellectual ability or capacity, or skill
+in accomplishing things, or some special gift in some art or science. It
+is probable that this figurative meaning of the word has originated from
+the parable, and although many writers have criticised the use of
+<i>talent</i> in our sense, it has become well established in the language.</p>
+
+<p><span class='pagenum'><a name="Page_252" id="Page_252">[252]</a></span>5. <i>Odious.</i> The Latin word from which <i>odious</i> is derived means
+<i>hatred</i>. An <i>odious</i> thing is a thing to be <i>hated</i>. Our word <i>odium</i>
+differs slightly in use from our word <i>hatred</i>. We exercise <i>hatred</i>,
+but we endure <i>odium</i>.</p>
+
+<p>6. <i>Desire.</i> The origin of this word is not certain, but it was probably
+derived from the French words which mean literally <i>from the stars</i> or
+<i>constellations</i>.</p>
+
+<p>7. <i>Immense.</i> This word is derived from two Latin words which mean
+<i>cannot be measured</i>.</p>
+
+<p>8. <i>Coalition.</i> The two Latin words from which <i>coalition</i> is derived
+mean <i>to grow with</i>; consequently, a <i>coalition</i> is a thing composed of
+several elements which have grown together. We should not expect a
+<i>coalition</i> to be suddenly formed; it must come about by process of
+growth.</p>
+
+<p>9. <i>Appease.</i> Literally, <i>appease</i> means <i>to make peace</i>. It also means
+<i>to satisfy</i>, and is derived directly from the Latin. We try to
+<i>appease</i> those who are in passion and try to <i>calm</i> those who are in
+trouble or apprehension. Does Macaulay use the word properly when he
+speaks of <i>appeasing</i> indignation?</p>
+
+<p>10. <i>Fluency.</i> The Latin word from which <i>fluency</i> is derived means <i>to
+flow</i>. Accordingly, a <i>fluent</i> person is one from whom speech flows
+smoothly and readily. To lack <i>fluency</i> Macaulay considers an
+unfortunate defect in Francis.</p>
+
+<p>11. <i>Asperity.</i> The Latin word <i>asper</i> means <i>rough</i> or <i>harsh</i>, and was
+applied to things which had a rough surface. Macaulay uses the word as
+we now know it, in the same figurative sense in which we now sometimes
+use the word <i>roughness</i>.</p>
+
+<p><span class='pagenum'><a name="Page_253" id="Page_253">[253]</a></span>12. <i>Lapse.</i> This word from the Latin means <i>sliding</i> or <i>following</i>. In
+speaking of the <i>lapse</i> of years Macaulay intimates that they gradually
+slid away.</p>
+
+<p>13. <i>Pharisaical.</i> The <i>Pharisees</i> were a sect of the Jews who were
+noted for the strict way in which they followed the rites and ceremonies
+that had been handed down to them by tradition, and who believed
+themselves superior in sanctity to the other Jews. They held themselves
+apart and were charged with being hypocrites. The word <i>Pharisaical</i> has
+now come into common English use, and means <i>hypocritical</i>.</p>
+
+<p>14. <i>Ostentation.</i> This is a Latin word meaning <i>show</i> or <i>parade</i>.
+<i>Ostentation</i> and <i>parade</i> both imply effort, but the former refers to
+the intent rather than to the manner. <i>Ostentation</i> may be shown by
+<i>parade</i>.</p>
+
+
+<h3 class="section"><a name="From_The_Death_of_Caesar" id="From_The_Death_of_Caesar"></a>From <i>The Death of Caesar</i></h3>
+
+<p class="titlepage">(Volume IX, page 143)</p>
+
+<p>As preliminary to the intensive study of the speech alluded to below,
+read to the class or have them read all of the three selections, namely:
+<i>The Death of Caesar</i>, from Plutarch (page 126); The <i>Death of Caesar</i>,
+from Shakespeare (page 143), and <i>Julius Caesar</i>, from Froude (page
+155). As an example of selections worthy of close reading, take the
+speech of C&aelig;sar as given on page 153, beginning, &#8220;I could be well mov&#8217;d,
+if I were as you.&#8221;</p>
+
+<p>Bring out by questions these facts:</p>
+
+<p>A. <i>Words.</i> &#8220;Moved&#8221;; induced to change my mind.</p>
+
+<p>&#8220;Constant&#8221;; fixed, unchangeable, immovable.</p>
+
+<p><span class='pagenum'><a name="Page_254" id="Page_254">[254]</a></span>&#8220;Northern star&#8221;; the pole star; the north star. To us this star always
+appears fixed in the northern heavens. The other stars and the
+constellations revolve around it; Ursa Major, the Big Dipper, is most
+conspicuous, and by a line through its two front stars we may always
+locate the North Star and, hence, the direction, <i>north</i>. Mariners have
+steered by this star for centuries. Many a lost and wandering man has
+found his way to safety by its fixed light.</p>
+
+<p>&#8220;Resting&#8221;; always stationary.</p>
+
+<p>&#8220;Fellow&#8221;; equal.</p>
+
+<p>&#8220;Firmament&#8221;; sky, heavens.</p>
+
+<p>&#8220;Painted&#8221;; decorated.</p>
+
+<p>&#8220;Sparks&#8221;; stars.</p>
+
+<p>&#8220;Doth&#8221;; does.</p>
+
+<p>&#8220;Furnished&#8221;; filled.</p>
+
+<p>&#8220;Apprehensive&#8221;; doubtful, filled with forebodings and easily moved.</p>
+
+<p>&#8220;Unassailable&#8221;; not subject to attack; here the meaning is rather that
+of <i>unconquerable</i>.</p>
+
+<p>&#8220;Constant&#8221;; <i>insistent</i>, the first time the word appears; but
+<i>unchangeable</i>, the second time.</p>
+
+<p>B. <i>Phrases.</i> &#8220;Well moved&#8221;; easily moved.</p>
+
+<p>&#8220;If I were as you&#8221;; if I were as you are, or if I were like you.</p>
+
+<p>&#8220;Could pray to move&#8221;; could try to change the opinion or the
+determination of someone else.</p>
+
+<p>&#8220;True-fixed and resting quality&#8221;; quality of always remaining true or
+fixed to the one spot in the heavens.</p>
+
+<p>&#8220;So in the world&#8221;; as all the unnumbered stars shine in the heavens and
+all move but one, thus in the world.</p>
+
+<p><span class='pagenum'><a name="Page_255" id="Page_255">[255]</a></span>&#8220;Holds on his rank unshak&#8217;d of motion&#8221;; is fixed in his ideas and
+unmoved by prayers and petitions.</p>
+
+<p>&#8220;And that I am he&#8221;; and I am that one immovable man.</p>
+
+<p>&#8220;Let me a little show it&#8221;; let me give a little proof.</p>
+
+<p>C. <i>Sentences.</i> The first sentence means: If I could beg others to
+change their purposes, I could be induced to change mine; but I am as
+fixed in my conclusions as the north star is fixed in the heavens. The
+second sentence says: As there are unnumbered movable stars in the
+heavens and only one that is fixed, so in the world there are unnumbered
+changeable men and only one who is fixed in his determination; that I am
+the one determined man let me prove a little by saying that, as I was
+persistent in banishing Cimber so will I continue to keep him in
+banishment.</p>
+
+<p>D. <i>The paragraph.</i> The whole speech is a refusal on C&aelig;sar&#8217;s part to
+grant the petition of the conspirators who plead that Cimber may be
+brought back from banishment. The words are well calculated to stir up
+resentment and to fix the plotters in their plan to murder C&aelig;sar. Even
+Brutus would be convinced by such sentiments that C&aelig;sar was a dangerous
+man; if the great Roman thought himself the only man with such
+determination, might he not think himself the one man of the world in
+all respects? The conspirators were looking for an excuse for killing
+C&aelig;sar, and they might find it in this speech; Brutus was being led to
+believe that C&aelig;sar was too ambitious and here was the final argument to
+convince him.</p>
+
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_256" id="Page_256">[256]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X<br />
+<br />
+<span class="smcap">Close Reading</span>&mdash;(Concluded)</h2>
+
+
+<h3 class="section"><a name="The_Author_Figures_of_Speech" id="The_Author_Figures_of_Speech"></a><i>The Author&mdash;Figures of Speech</i></h3>
+
+<p class="opening"><span class="dropcapr"><span class="hide">R</span></span><span class="upper">eal</span> appreciation of literature is dependent on effort, and each
+acquired impression aids all others in proportion to its intensity. We
+can interpret only by what our minds already contain, so that the
+earlier years of one&#8217;s reading are largely devoted to the acquirement of
+material for future use. In this way the myths and folk stories with
+which children fill their minds become the touchstones that enable them
+in later years to read with interest and judge accurately the literature
+that falls within their reach. The later one begins his reading, the
+more difficult it is for him to master the art. He has not the simplest
+standards of literary judgment nor even the ideas from which such
+standards are to be formed. Elegance of style and skill in the choice of
+words are entirely lost upon him, as is the delicate meaning involved in
+the play of appropriate figures and in the brilliance of the pictures
+limned in colors to which his eye is blind. Such a person can come to
+enjoy the pleasures of literature, but it is by way of a long and
+careful course of study, and it is probable that his appreciation will
+never be as keen as it would have been if he had gathered his literary
+stock in trade at the same time that his senses were first opening to
+the world. Then the skies and the <span class='pagenum'><a name="Page_257" id="Page_257">[257]</a></span>flowers, the song of birds and the
+hum of insects, the quiet reaches of still lakes and the roaring surge,
+gave to him the sensations to which literature appeals.</p>
+
+<p>There is no need for one to feel discouragement when at first he does
+not admire all that the critics say is beautiful, but prefers some of
+the simple things that he knew in his childhood. The critic is right
+from his point of view, but there is merit, too, in the judgment of the
+humble reader. A person would hesitate to say the critic&#8217;s judgment is
+the higher were it not for the fact that anyone reading carefully will
+find his tastes changing and constantly approximating higher standards.
+Each year brings him nearer to the critic&#8217;s position and he sees
+excellence and is touched by beauty in selections that before have been
+devoid of any interest. It is to aid this growth in power of
+comprehension, this refinement of taste, that one reads.</p>
+
+<p><a name="The_Author" id="The_Author"></a><i>The Author.</i> When the study relates to a specific selection it is wise
+to create an interest by looking for all the contributory aids that can
+be found. Sometimes a knowledge of the life of the author or of the
+circumstances under which the selection was written will stimulate a
+desire to know what has been said and will moreover assist to make the
+meaning clear and to create the same sentiment that inspired the writer.
+To know that <i>Snow-Bound</i> is a description of Whittier&#8217;s own home, that
+the people about the fireside are his own parents, brothers, sisters,
+and that he paints them with a loving touch after all but the one
+brother have passed to the other side, is to make the poem appeal to our
+emotions with an intensity which the beautiful lines <span class='pagenum'><a name="Page_258" id="Page_258">[258]</a></span>alone could not
+effect. <i>Ichabod</i> we read once, but when we know the meaning of its
+spiritual name and remember that it is Whittier&#8217;s indignant rebuke of
+Webster for his vacillating policy in the slavery agitation, we read it
+again with a renewed and more vivid interest. Many things, however, are
+so universal that one cares not whether they were written by a Hindoo or
+an American, whether they are full of personal experience or drawn with
+the fervor of the most ardent imagination. Wordsworth&#8217;s <i>Daffodils</i>
+(Volume VII, page 1) would charm us and our hearts would dance as
+joyfully if we knew nothing of the pensive poet of the English lakes.</p>
+
+<p><a name="Sentences" id="Sentences"></a><i>Sentences.</i> Words alone are not a sufficient possession. They must be
+known in all their relations. A comprehension of the structure of the
+sentence is always necessary. A sentence is a unit of thought, an idea
+reduced to its lowest terms. It may not be necessary that each sentence
+be analyzed strictly by grammatical rules, but it is essential that the
+reader should recognize by study if necessary the subject and the
+predicate and the character and rank of all the modifiers of each. Even
+the practiced reader by unconsciously laying undue prominence upon some
+minor phrase frequently modifies the meaning an author intends to
+convey. This is particularly true in verse, where the poet, hemmed in by
+the rules that govern his meter and his rhyme, varies the natural order
+of the elements of a sentence to bring the accents where they belong or
+to throw the rhyming word to the end of a verse. The grouping of related
+sentences into paragraphs is an aid to the reader and should be noticed
+by him till the habit of expecting a slight change in thought <span class='pagenum'><a name="Page_259" id="Page_259">[259]</a></span>with the
+indentation of a line becomes fixed and automatic.</p>
+
+<p><a name="Figures_of_Speech" id="Figures_of_Speech"></a><a name="Allusions" id="Allusions"></a><i>Allusions.</i> But one may have the most perfect knowledge of all the
+words, his comprehension of the meaning of the sentence may be exact and
+full, and yet the special thought which the expression carries may never
+reach his mind. Ruskin writes: &#8220;Gather a single blade of grass and
+examine for a minute, quietly, its narrow swordshaped strip of fluted
+green. Nothing, as it seems, there, of notable goodness or beauty. A
+very little strength, and a very little tallness, and a few delicate
+long lines meeting in a point&mdash;not a perfect point either, but blunt and
+unfinished, by no means a creditable or apparently much cared for
+example of Nature&#8217;s workmanship; made, as it seems, only to be trodden
+on today, and tomorrow to be cast into the oven; and a little pale and
+hollow stalk, feeble and flaccid, leading down to the dull brown fibres
+of roots. And yet, think of it well, and judge whether of all the
+gorgeous flowers that beam in summer air, and of all strong and goodly
+trees, pleasant to the eyes and good for food&mdash;stately palm and pine,
+strong ash and oak, scented citron burdened vine&mdash;there be any by man so
+deeply loved, by God so highly graced as that narrow point of feeble
+green.&#8221; Words and sentences are all plain and simple and clear. Perhaps
+we pause a moment at &#8220;scented citron,&#8221; for the citron as we know it is a
+vine bearing a melonlike fruit and we are not aware that it is
+especially fragrant. But this is another plant&mdash;a tree that bears a
+sweet-scented fruit not unlike the lemon. &#8220;Burdened vine&#8221; seems a trifle
+obscure&mdash;why <i>burdened vine</i>? A vine carrying a weight?<span class='pagenum'><a name="Page_260" id="Page_260">[260]</a></span> What weight?
+The ripened clusters of purple fruit bending the swaying vines to the
+warm earth while autumn tints the leaves to harmonious colors. &#8220;Burdened
+vine&#8221; is a suggestive expression indeed to the person of a little
+imagination who has walked through the long aisles of a thriving
+vineyard. Is the passage now clear to us and perfectly understood? Does
+it convey to us what Ruskin really thought?&mdash;&#8220;Tomorrow to be cast into
+the oven.&#8221; What a strange expression! Do we put grass into an oven? How
+came Ruskin to mention such a thing? &#8220;To be cast into the oven.&#8221; We have
+seen &#8220;burdened vines&#8221; and we understand the &#8220;scented citron,&#8221; but what
+of this grass &#8220;cast into the oven&#8221;? Back in the mind of the
+artist-critic lie the lessons of his childhood when an ambitious father
+and a strict mother intended him for the church and trained him
+carefully to a close and accurate knowledge of the scriptures. So when
+he writes of the grass of the field he almost unconsciously uses the
+language of the bible: &#8220;Wherefore if God so clothe the grass of the
+field which today is and tomorrow is cast into the oven, shall he not
+much more clothe you, O ye of little faith?&#8221; We his readers interpret
+his feelings and his meaning in this only as we have learned the same
+lessons.</p>
+
+<p>Examples of such allusions abound throughout literature. In <i>The Vision
+of Sir Launfal</i>, Lowell says:</p>
+
+<p class="poem">&#8220;Daily, with souls that cringe and plot,<br />
+We Sinais climb and know it not.&#8221;</p>
+
+<p class="noindent">With a knowledge of geography we might locate the mountain and
+understand the sentence, but the <span class='pagenum'><a name="Page_261" id="Page_261">[261]</a></span>tremendous power of the lines can
+never be felt unless we know the story of Moses and so realize that we
+stand every day like the patriarch of old in the very presence of God
+himself.</p>
+
+<p>The mythology of Greece and Rome furnishes to English literature
+allusions so pointed, so vivid, and so full of beautiful suggestion that
+a knowledge of the myths is necessary to any real culture. Modern
+writers do not make such ready use of them as did the older schools, but
+Lowell and Tennyson, Browning and Arnold, and a host of minor writers
+assume that their readers know as their alphabet the stories of
+mythology. In his hymn <i>On the Morning of Christ&#8217;s Nativity</i>, Milton has
+this stanza following one which tells that the shepherds heard the sweet
+music:</p>
+
+<p class="poem">&#8220;Nature that heard such sound<br />
+Beneath the hollow round<br />
+<span class="i1">Of Cynthia&#8217;s seat the airy region thrilling,</span><br />
+Now was almost won<br />
+To think her part was done,<br />
+<span class="i1">And that her reign had here its last fulfilling;</span><br />
+She knew such harmony alone<br />
+Could hold all Heaven and Earth in happier Union.&#8221;</p>
+
+<p>How little of intelligent interest attaches to the first three lines if
+one has no knowledge beyond the literal meaning of the phrases! &#8220;The
+hollow round of Cynthia&#8217;s seat&#8221; has beauty for that person only who
+knows something of the Ptolemaic system of astronomy and of the
+huntress-queen of Greek mythology.</p>
+
+<p>Allusions lead one to every department of knowl<span class='pagenum'><a name="Page_262" id="Page_262">[262]</a></span>edge and are the result
+of the early training and experience of the author. No one needs to be
+told that Milton studied the classics, that Ruskin and Tennyson read the
+bible devotedly, that Shakespeare passed his early life in the country.
+The unconscious trend of their thought as shown by their allusions gives
+that information most distinctly. If a man loves history in his youth
+his writings will be filled with historical allusions; if he is a
+devotee of science one will find the phenomena of nature the source of
+his illustrations. The reader must be ready to understand and interpret
+feelingly these allusions no matter what the particular bent of the
+author. To the student the allusion is often very difficult of
+comprehension, for if it comes in the way of an ingenious paraphrase he
+may pass over it without the slightest recognition. When it is direct, a
+dictionary or other reference book will frequently make it sufficiently
+clear.</p>
+
+<p><a name="Basis_of_Figures" id="Basis_of_Figures"></a><i>Basis of Figures.</i> The allusion is but one of many ways in which an
+author varies the literal meaning of his sentences and gives more force
+and beauty to his statements. There are a large number of different
+figures of speech, but such fine distinctions as the rhetoricians make
+are unnecessary for the ordinary student of literature. It is the
+meaning the figures convey that concerns us, for an adept in reading
+always notices the skilful use of figures, and his pleasure is
+heightened by their delicacy and beauty.</p>
+
+<p>In the study of figures one must first carefully determine the basis in
+reality or the literal meaning and then the figurative or applied
+meaning. Browning speaks of</p>
+
+<p class="poem"><span class='pagenum'><a name="Page_263" id="Page_263">[263]</a></span>&#8220;&mdash;selfish worthless human slugs whose slime<br />
+Has failed to lubricate their path in life.&#8221;</p>
+
+<p>Here the reader must see disgusting slugs or snails crawling lazily
+across the ripening apples in the orchard and leaving behind them the
+filthy streak of slime with which they made the way easy for their ugly
+bodies, but in so doing defiled the fruit for human use. So much is the
+basis in fact. Knowing this one can feel the poet&#8217;s stinging
+denunciation of the one who cast the beautiful girl in the way of the
+heartless Guido instead of &#8220;putting a prompt foot on him the worthless
+human slug.&#8221;</p>
+
+<p class="poem">&#8220;To unhusk truth a-hiding in its hulls.&#8221;</p>
+
+<p>Here Browning has gone to the fields for his figure and we shall see the
+ripened grain, the corn or the wheat, the merry huskers at work upon it,
+turning out the glowing ear from its covering of dim paper wraps; or
+perchance a group of disciples walking with their Master and rubbing the
+hulls from the wheat gathered on the Sabbath day. Whatever the scene
+that comes in mind, one fact there is&mdash;underneath the dried and
+worthless hulls lies the living and life-giving grain. So we find truth
+bright and genuine when we have torn from it the coverings with which it
+has been concealed.</p>
+
+<p>Such practice as this in working out elaborately the figure often given
+in barest hint strengthens the imagination and gives to thought the
+versatility that makes reading a delight and an inspiration. Till the
+imagination is furnished material and given freedom, literature is as
+worthless as the husks.</p>
+
+<p><a name="Simile" id="Simile"></a><i>Simile.</i> As we learn to know one thing from its likeness to another, it
+is natural that the writer <span class='pagenum'><a name="Page_264" id="Page_264">[264]</a></span>should seek to make impressions vivid by
+comparison with better known things. Sometimes these comparisons are
+expressed in words, and one thing is said to be <i>like</i> another, while at
+other times the comparison is left to be inferred and one thing is said
+<i>to be</i> another. The <i>simile</i> states the likeness. Browning seeks to
+make us see vividly the hideous character of one of his villains and
+says that on his very face you could read his crimes&mdash;</p>
+
+<p class="poem">&#8220;Large-lettered like Hell&#8217;s masterpiece of print.&#8221;</p>
+
+<p>The comparison &#8220;like Hell&#8217;s masterpiece&#8221; is a simile.</p>
+
+<p>Study each simile you find, and state the exact meaning of each
+literally. Compare your statement with the figurative one and see if the
+latter is clearer, more forcible, or more beautiful. If any one of the
+similes seems less vivid than your own literal statement, ask yourself
+if the fault is your own in that you are not thoroughly familiar with
+the basis of the figure. It is not necessary that your judgment should
+be unassailable. The value of the proceeding lies in the exercise of
+your attention and reason. Your judgments will improve, your
+appreciation grow keener and more delicate.</p>
+
+<p><a name="Metaphor" id="Metaphor"></a><i>Metaphor:</i></p>
+
+<p class="poem"><span class="i9">&#8220;Everywhere</span><br />
+I see in the world the intellect of man,<br />
+That sword, the energy, his subtle spear,<br />
+The knowledge, which defends him like a shield.&#8221;</p>
+
+<p>This is another quotation from Browning in which he says intellect is a
+sword and energy a spear, thereby assuming a comparison and using <span class='pagenum'><a name="Page_265" id="Page_265">[265]</a></span>the
+figure <i>metaphor</i>, while in the last line he uses the simile &#8220;like a
+shield.&#8221; Ingersoll calls the grave &#8220;the windowless palace of rest,&#8221; and
+Whittier refers to it in a beautiful metaphor as &#8220;the low green tent
+whose curtain never outward swings.&#8221;</p>
+
+<p><a name="Synecdoche_and_Metonymy" id="Synecdoche_and_Metonymy"></a><i>Synecdoche and Metonymy.</i> Another group of figures consists in naming
+one thing for something else closely associated with it in thought. When
+this relation is that of a part to the whole or of the whole to a part,
+the figure is synecdoche. Thus, when Browning says &#8220;pert tongue and idle
+ear consort &#8216;neath the archway&#8221; he conveys the idea that idle gossips
+gather beneath the archway and with sharp tongues talk over the failings
+of their neighbors, and he uses synecdoche in making the ear and the
+tongue, parts of the body, signify the person. Our everyday language is
+full of these figures in which a part of an object is named to represent
+the whole. We speak of owning &#8220;twenty head of cattle,&#8221; of hiring &#8220;ten
+hands,&#8221; of seeing &#8220;fifteen sails,&#8221; when we mean that we own twenty
+cattle, that we hire ten men, that we see fifteen boats.</p>
+
+<p>When the relation expressed is that of a sign or symbol and that which
+is signified or symbolized, a cause and its effect, a material and that
+which is made from it, or is some other similar association of ideas,
+the figure is metonymy.</p>
+
+<p>We speak of &#8220;the pulpit&#8221; when we mean the ministry, the &#8220;stage&#8221; when we
+mean the theatrical world, and thus use concrete symbols to represent
+abstract ideas. Again, we frequently make use of such an expression as
+&#8220;Have you read Pope or Dryden?&#8221; when we refer to the works rather than
+<span class='pagenum'><a name="Page_266" id="Page_266">[266]</a></span>to the writer, and thus substitute cause for effect. &#8220;Columns of
+glittering steel advanced&#8221; contains another form of metonymy, that in
+which a material (steel) is named for that made from it (spears).</p>
+
+<p>Search for examples of these two figures in the selections in <i>Journeys
+Through Bookland</i>. Both are elusive, and at first you are apt to pass
+over many without noticing them. As you continue your search and grow
+keen in it you will be surprised to see how common they are, both in
+what you read and in your own speech.</p>
+
+<p><a name="Apostrophe_and_Personification" id="Apostrophe_and_Personification"></a><i>Apostrophe and Personification.</i> An address to a person or thing,
+absent or dead, is an <i>apostrophe</i>, and when an inanimate object is
+assumed to be alive or an animate object is assumed to be raised to a
+higher plane of existence it is said to be by <i>personification</i>.
+Examples of the latter figure are &#8220;death&#8217;s menace,&#8221; &#8220;laugh of morn.&#8221; In
+the line &#8220;Lucidity of soul unlocks the lips&#8221; are both metonymy and
+personification. The following is the beginning of a beautiful
+apostrophe:</p>
+
+<p class="poem">&#8220;O lyric Love, half angel and half bird,<br />
+And all a wonder and a wild desire,&mdash;<br />
+Boldest of hearts that ever braved the sun,<br />
+Took sanctuary within the holier blue,<br />
+And sang a kindred soul out to his face,<br />
+Yet human at the red-ripe of the heart<br />
+When the first summons from the darking earth<br />
+Reached thee amid thy chambers, blanched their blue<br />
+And bared them of the glory&mdash;to drop down,<br />
+To toil for man, to suffer or to die,&mdash;<br />
+This is the same voice; can thy soul know change?&#8221;<br /></p><p><span class='pagenum'><a name="Page_267" id="Page_267">[267]</a></span>Another fine example is found in Whittier&#8217;s <i>Snow-Bound</i>:</p>
+
+<p class="poem">&#8220;O Time and Change!&mdash;with hair as gray<br />
+As was my sire&#8217;s that winter day,<br />
+How strange it seems, with so much gone<br />
+Of life and love, to still live on!<br />
+Ah, brother! only I and thou<br />
+Are left all that circle now,&mdash;<br />
+The dear home faces whereupon<br />
+That fitful firelight paled and shone.<br />
+Henceforward, listen as we will,<br />
+The voices of that hearth are still;<br />
+Look where we may, the wide earth o&#8217;er,<br />
+Those lighted faces smile no more.<br />
+We tread the path their feet have worn,<br />
+<span class="i1">We sit beneath their orchard trees,</span><br />
+<span class="i1">We hear, like them, the hum of bees</span><br />
+And rustle of the bladed corn;<br />
+We turn the pages that they read,<br />
+<span class="i1">Their written words we linger o&#8217;er,</span><br />
+But in the sun they cast no shade,<br />
+No voice is heard, no sign is made,<br />
+<span class="i1">No step is on the conscious floor.&#8221;</span></p>
+
+<p>The following lines are from Lord Byron&#8217;s <i>Apostrophe to the Ocean</i>:</p>
+
+<p class="poem">&#8220;Roll on, thou deep and dark blue Ocean&mdash;roll!<br />
+Ten thousand fleets sweep over thee in vain;<br />
+Man marks the earth with ruin&mdash;his control<br />
+Stops with the shore;&mdash;upon the watery plain<br />
+The wrecks are all thy deed, nor doth remain<br />
+A shadow of man&#8217;s ravage, save his own,<br />
+When, for a moment, like a drop of rain,<br />
+He sinks into thy depths with bubbling groan,<br /><span class='pagenum'><a name="Page_268" id="Page_268">[268]</a></span>
+Without a grave, unknelled, uncoffined, and unknown.&#8221;</p>
+
+<hr style='width: 45%;' />
+
+<p><a name="Studies_in_Figures" id="Studies_in_Figures"></a>Children enjoy searching for the different varieties of figures in the
+selections which they read. Not much instruction is needed, and it is
+not necessary that they should know the names of the different figures
+or acquire a great deal of technical knowledge. Yet in helping them to
+recognize figures it is best to proceed in a logical manner, showing,
+one at a time, what the principal figures are, upon what they are based,
+and what they add in vividness and beauty to the language. When one
+figure is understood, help the children to find many good examples in
+other selections, before taking up the second figure.</p>
+
+<p><a name="Ode_to_a_Skylark" id="Ode_to_a_Skylark"></a>As a help to parents and children, we give an outline here for a study
+of the figures of speech in Shelley&#8217;s beautiful <i>Ode to a Skylark</i>
+(Volume VII, page 275).</p>
+
+<p>1. <span class="smcap">Simile:</span></p>
+
+<p class="poem"><span class="i1">&#8220;From the earth thou springest</span><br />
+<i>Like a cloud of fire</i>.&#8221;</p>
+
+<p class="poem">&#8220;<i>Like an unbodied joy</i> whose race is just begun.&#8221;</p>
+
+<p class="poem">&#8220;With music <i>sweet as love</i>.&#8221;</p>
+
+<p class="poem">&#8220;<i>Like a star of heaven</i><br />
+<span class="i1">In the broad daylight.&#8221;</span></p>
+
+<p>2. <span class="smcap">Metaphor:</span></p>
+
+<p class="poem"><span class="i1">&#8220;From rainbow clouds there flow not</span><br />
+<span class="i2">Drops so bright to see,</span><br />
+As from thy presence <i>showers a rain of melody</i>.&#8221;</p>
+
+<p class="poem">&#8220;Or how could thy notes <i>flow in such a crystal stream</i>!&#8221;</p>
+
+<p><span class='pagenum'><a name="Page_269" id="Page_269">[269]</a></span></p>
+
+<p class="poem">&#8220;In <i>the golden lightning</i><br />
+<span class="i1">Of the sunken sun.&#8221;</span></p>
+
+<p>3 and 4. <span class="smcap">Metonymy and Synecdoche</span> are nearly related and in this poem the
+examples are numerous. Here are a few:</p>
+
+<p class="poem"><span class="i1">&#8220;Better than all <i>treasures</i></span><br />
+That in books are found.&#8221;</p>
+
+<p class="poem">&#8220;Teach me half the gladness<br />
+<span class="i1">That thy <i>brain</i> must know.&#8221;</span></p>
+
+<p class="poem">&#8220;Thou art unseen, but yet I hear <i>thy shrill delight</i>.&#8221;</p>
+
+<p class="poem">&#8220;The moon <i>rains out her beams</i>, and heaven is overflowed.&#8221;</p>
+
+<p class="poem">&#8220;The blue deep thou <i>wingest</i>.&#8221;</p>
+
+<p>5. <span class="smcap">Personification.</span> In this poem the poet personifies the lark,
+beginning with &#8220;Blithe spirit, bird thou never wert,&#8221; in the first
+stanza and closing with &#8220;Teach me half the gladness that thy brain must
+know,&#8221; in the last stanza.</p>
+
+<p>6. <span class="smcap">Apostrophe.</span> Most odes have in them something of the nature of an
+apostrophe. The <i>Ode to a Skylark</i> begins</p>
+
+<p class="poem">&#8220;Hail to thee, blithe spirit!&#8221;</p>
+
+<p>Further along in the lyric we find the line,</p>
+
+<p class="poem">&#8220;Teach us, bird or sprite.&#8221;</p>
+
+<hr style='width: 45%;' />
+
+<p><a name="A_Visit_from_Saint_Nicholas" id="A_Visit_from_Saint_Nicholas"></a>Young children will not appreciate the ode as it deserves; accordingly
+it will be better to use simpler poems for the first lessons. The
+obvious figures may well be shown first, leaving the more finished and
+brilliant ones till the minds of the children become more mature. For
+instance, as the simile is the most obvious of figures and may be found
+in nearly every poem of any length, it is the best with <span class='pagenum'><a name="Page_270" id="Page_270">[270]</a></span>which to begin.
+Notice what a number can be found in <i>A Visit from Saint Nicholas</i>
+(Volume II, page 202). Explain those that are used in the description of
+Saint Nicholas:</p>
+
+<p class="poem">&#8220;And he looked <i>like a peddler just opening his pack</i>.&#8221;</p>
+
+<p class="poem">&#8220;His cheeks were <i>like roses</i>, his nose <i>like a cherry</i>;<br />
+His droll little mouth was drawn up <i>like a bow</i>,<br />
+And the beard on his chin was <i>as white as the snow</i>.&#8221;</p>
+
+<p class="poem">&#8220;The smoke, it encircled his head <i>like a wreath</i>.&#8221;</p>
+
+<p class="poem">&#8220;That shook, when he laughed, <i>like a bowl full of jelly</i>.&#8221;</p>
+
+<p>Encourage the children to find other similes themselves&mdash;the
+characteristic <i>like</i> and <i>as</i> will make the task easy.</p>
+
+<p><a name="The_First_Snowfall" id="The_First_Snowfall"></a>In <i>The First Snowfall</i> (Volume II, page 403) are a number of metaphors
+which may be easily explained to children. For instance, the following
+will be readily understood:</p>
+
+<p class="poem">&#8220;Every pine and fir and hemlock<br />
+Wore <i>ermine</i> too dear for an earl,<br />
+And the poorest twig on the elm tree<br />
+Was ridged inch deep with <i>pearl</i>.&#8221;</p>
+
+<p class="poem">&#8220;The stiff rails were softened to <i>swan&#8217;s-down</i>.&#8221;</p>
+
+
+<h3 class="section"><a name="Summary" id="Summary"></a><span class="smcap">Summary</span></h3>
+
+<p>We have considered the most common and expressive figures, and if one
+accustoms himself to the recognition of these and an explanation of
+their meaning as has been indicated here, he will soon recognize others
+of more complex type. Mere <span class='pagenum'><a name="Page_271" id="Page_271">[271]</a></span>classification is valueless; our purpose is
+to learn to see and to feel more clearly and more deeply by means of our
+intelligent grasp upon these figurative expressions.</p>
+
+<p>Thought, then, is mastered by attention to the details we have
+discussed, and until we habitually notice these things our reading is
+apt to be slipshod and profitless. It will help us to retain these facts
+in mind if we put them into a systematic outline.</p>
+
+<p>Mastery of thought, which is at the foundation of an appreciation of
+literature, depends upon mastery of&mdash;</p>
+
+<ol class="outline">
+  <li class="level1">I.&nbsp;  Words in their special meaning.</li>
+  <li class="level1">II.&nbsp; Allusions, or references to</li>
+  <li class="level2">1. Historical events and personages.</li>
+  <li class="level2">2. Literary masterpieces.</li>
+  <li class="level2">3. Scientific truths.</li>
+  <li class="level2">4. Biblical events and truths.</li>
+  <li class="level2">5. Mythological creations.</li>
+  <li class="level1">III. Figures, of which the more important and common are those&mdash;</li>
+  <li class="level2">1. Based on comparisons:</li>
+  <li class="level3">a. simile.</li>
+  <li class="level3">b. metaphor.</li>
+  <li class="level2">2. Based on natural associations:</li>
+  <li class="level3">a. synecdoche.</li>
+  <li class="level3">b. metonymy.</li>
+  <li class="level2">3. Of apostrophe.</li>
+  <li class="level2">4. Of personification.</li>
+  <li class="level1">IV.&nbsp; Sentences, the units of thought.</li>
+  <li class="level1">V.&nbsp;  Paragraphs, the collections of related thought units.</li>
+</ol>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_272" id="Page_272">[272]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI<br />
+<br />
+<span class="smcap">Reading Poetry</span></h2>
+
+
+<p class="opening"><span class="dropcapn"><span class="hide">N</span></span><span class="upper">othing</span> so brings out the music and the structural beauty of poetry as
+reading it aloud, and many who have cared nothing for verse in any of
+its forms learn to love it when they hear it read frequently by a
+sympathetic voice. Children love the nursery rhymes largely because they
+have heard them and have caught the sound and rhythm more than the
+meaning. It is the lively music more than the whimsical meaning that has
+made the rhymes popular. When the time comes that children begin to lose
+their interest and consider poetry beneath them, their flagging
+attention often may be aroused and new interest created by simply
+reading new selections aloud to them and talking with them about the
+meaning and beauties of the poems.</p>
+
+<p><a name="The_Reaper_and_the_Flowers" id="The_Reaper_and_the_Flowers"></a>On page 410 of Volume One is Longfellow&#8217;s exquisite poem, <i>The Reaper
+and the Flowers</i>. We can imagine a little family group reading this some
+quiet evening when the lamp throws shadows into the corners and the
+bed-time hour draws near. No one could call the children in on a fine
+summer day, and, when fresh from their play, the blood is bounding
+through their veins, expect them to be touched by delicate sentiment, or
+to appreciate musical numbers. Literature has something for every hour,
+<span class='pagenum'><a name="Page_273" id="Page_273">[273]</a></span>every mood, every circumstance. It may be that there is one little
+vacant chair in this family circle, or that from some neighbor&#8217;s family
+a child has gone. Fear clutches at the youthful hearts and Grief
+shudders behind each chair. Even the warm bed in the dark room is a
+dread, for we have so surrounded death with mystery and terror that even
+the young are aghast when it is mentioned. But our best-loved poet has a
+cheering message for every one, and into this little group the parent
+brings it. In soft and sympathetic voice he reads aloud, giving the slow
+and gentle music of the lines time to steal into the youthful hearts.</p>
+
+<p>As he reads, he pauses now and then to speak to his little audience,
+watching ever not to be sharp in his questionings or anything but kindly
+in his comments. Something like the following might be the way he brings
+out the meaning:</p>
+
+<p class="poem">&#8220;&#8216;There is a Reaper, whose name is Death,<br />
+<span class="i1">And, with his sickle keen,</span><br />
+He reaps the bearded grain at a breath,<br />
+<span class="i1">And the flowers that grow between.&#8217;</span></p>
+
+<p>&#8220;A <i>Reaper</i>&mdash;a man walking in the grain, cutting it as he goes. Not with
+a machine such as we see on the farm nowadays, but with a short curved
+blade which the poet calls a sickle. It is a <i>keen</i> blade the sickle
+has, and with every stroke ripened grain and all the little flowers that
+have grown up among it fall to the ground. But the poet means more. He
+thinks that the Reaper is Death, that the <i>bearded grain</i> is the men and
+women who have lived to a ripe old age and who are ready to die, ready
+for the rewards of a long and well-spent life.<span class='pagenum'><a name="Page_274" id="Page_274">[274]</a></span> But alas, the <i>flowers</i>
+fall with the ripened grain: sometimes little children must die,
+although dearly would we like to keep them with us.</p>
+
+<p>&#8220;Then the Reaper speaks: &#8216;Shall I have nothing fair and beautiful, must
+I have nothing but dry and bearded grain? I love these beautiful
+flowers; their fragrance is dear to me. Yet I will give them back again;
+some time you may see them again.&#8217;</p>
+
+<p>&#8220;So Death looked at the little children with tears filling his kindly
+eyes. As they faded and drooped he kissed them gently and took them
+softly and sorrowfully into his arms. He was gathering these lovely
+innocents to take them to his Lord, where in Paradise they might be
+happy evermore, without any of the privations and sufferings that come
+to every one who grows up.</p>
+
+<p>&#8220;As he wept, not for the little children, but for all who stay behind,
+he continued to speak smilingly through his tears to the sorrowing ones
+on earth:</p>
+
+<p>&#8220;&#8216;Christ needs these dear ones, these flowerets gay: to him they are
+tokens dear of the earth where once he played and sang on the hills of
+Judea. Can you not trust them to him who said, &#8220;Suffer little children
+to come unto me, and forbid them not: for of such is the Kingdom of
+God?&#8221; Have no fear; I am but moving them into the bright heavenly
+mansions, where they shall rest safely in the bosoms of the saints and
+angels.&#8217;</p>
+
+<p>&#8220;And the mother, who loved them so, gave up her darling ones, for she
+saw, even through her tears, how happy they must be in their new home.</p>
+
+<p class="poem">&#8220;&#8216;O not in cruelty, not in wrath,<br />
+<span class="i2">The Reaper came that day;&#8217;</span></p>
+
+<p class="noindent"><span class='pagenum'><a name="Page_275" id="Page_275">[275]</a></span>it was a young and beautiful Angel, not the hideous Death in black robes
+and hood scarce hiding his bony head, that</p>
+
+<p class="poem">&#8220;&#8216;visited the green earth,<br />
+And took the flowers away.&#8217;</p>
+
+<p>&#8220;Does Death seem so terrible now? Although we must always see the vacant
+chair and know that a loved one has gone forever, can we not realize
+that it is we who suffer, and not the one who has been taken from among
+us? Is it not selfish to grieve?&#8221;</p>
+
+<p>Shall we fear Death any more? When the parent has read the poem once
+more from beginning to end in silence, except as the soft words fall
+from his lips, will not the hearers feel inspired to be better and
+nobler boys and girls, men and women? Will darkness have more fear for
+them? Will they not then go to their rooms and lie down peacefully to
+sleep?</p>
+
+<p>There are other poems for other hours. Some day when you wish a bit of
+fun with your children you will find humorous poems in many of the
+books. One is in Volume IV, on page 57. Nearly every stanza contains a
+&#8220;joke&#8221;: a pun, if you please, usually. Perhaps you and your children
+will find them all easily, and perhaps you will not. In the last stanza
+is the &#8220;joke&#8221; proper, the thing for which the rhymes were written. It is
+an old joke, surely enough, and you have seen others like it; but it is
+funny still and perhaps a little caustic. Not all men whom the world
+calls good are good beneath the surface. Perhaps you know of cases in
+which &#8220;the Dog it was that died.&#8221;</p>
+
+<p><span class='pagenum'><a name="Page_276" id="Page_276">[276]</a></span>Another humorous poem to use in this connection is <i>Echo</i> (Volume III,
+page 286).</p>
+
+<p>Between the two extremes mentioned above are selections for all moods
+and all kinds of people. The things to be remembered in reading with
+children are, that poetry must be understood to be appreciated; that it
+must be heard until the mind is trained to receive it through the eye
+instead of the ear; that it appeals to the feelings more than to the
+will; that it must be interpreted by the light of experience, and hence
+must be adapted to the age of the reader. A person would not read <i>The
+Reaper and the Flowers</i> at a dancing party, nor <i>The Elegy on the Death
+of a Mad Dog</i> before a funeral.</p>
+
+<p>Below are a few studies more complete and of different types.</p>
+
+<h3 class="section"><a name="The_Brown_Thrush" id="The_Brown_Thrush"></a><i>The Brown Thrush</i></h3>
+
+<p class="titlepage">(Volume I, page 147)</p>
+
+<p>We find great charm in this short lyric, for its form is unusual, its
+music joyous and its sentiment fine. Three lines of four feet each, a
+line of three feet, two lines of two feet each, and one line of three
+feet make up each stanza. The accent in each foot is on the last
+syllable, but some of the feet are only two syllables long. It&#8217;s a merry
+meter. It scarcely can be read without stirring a rollicking melody in
+the ears of the listener. That&#8217;s the art in the poem. The sentiment is
+as fine as the music. &#8220;The world&#8217;s running over with joy! I&#8217;m as happy
+as happy can be.&#8221; If the little brown thrush keeps singing that song the
+heart of everyone who hears it will overflow with joy. But it would be
+easy, <span class='pagenum'><a name="Page_277" id="Page_277">[277]</a></span>very easy indeed, to stop the joyous song of the thrush by
+meddling with the five pretty eggs, and when the thrush changed his
+happy song to harsh notes of fear and reproach, the light of joy would
+fade from our day as quickly as from his.</p>
+
+<h3 class="section"><a name="The_Childs_World" id="The_Childs_World"></a><i>The Child&#8217;s World</i></h3>
+
+<p class="titlepage">(Volume II, page 66)</p>
+
+<p>The unique measures of this brief poem make a melodious whole that every
+child will appreciate. Unless some care is taken in reading it aloud,
+however, much of its beauty will be lost. This is particularly true of
+the first stanza, from the first and last lines of which a syllable has
+been omitted. The absence of these syllables must be indicated by pauses
+or by giving more time to the word &#8220;great&#8221; in the first line, and to the
+word &#8220;world&#8221; in the last line. The idea may be indicated by supposing
+that the word &#8220;O&#8221; has been omitted from the beginning of the first and
+last line. The first line of the last couplet is peculiar in that every
+one of the four feet contains three syllables with the accent on the
+last. All the other lines consist each of four feet of either two or
+three syllables. Technically the poem is anapestic tetrameter much
+varied by the introduction of iambic feet. (See the studies in meter,
+Volume VII, pages 2 and 13.)</p>
+
+<p>The rhymes are all in couplets and are perfect. The stanzas, like
+paragraphs, indicate changes in thought. Its pleasing unity rests in the
+fact that it is all a child&#8217;s thoughts about the world. It is logical, a
+real leading up of thought to natural climax. The child begins with
+wonder and a sense of beauty around her. The world is great and wide
+<span class='pagenum'><a name="Page_278" id="Page_278">[278]</a></span>and wonderful and beautiful. She thinks of the sea she has read about
+or seen and thinks of the wonderful water curling up in waves above the
+shore. To her the world is the land with the wonderful growing grass
+upon its broad breast, and this marks the end of her first thought&mdash;the
+great world is beautifully dressed.</p>
+
+<p>Next as she sits on the brow of the hill and gazes over the lowland the
+breezes blow her hair about her face and her mind passes to the
+wonderful air that as wind shakes the trees, ripples the water, whirls
+the mills and sings through the trees on the tops of the hills.</p>
+
+<p>Thought wanders on to the nodding wheat, the rivers, cliffs, and
+islands, to the cities and the people everywhere for thousands of miles.
+What is the effect of this vastness on the thought of a child? Can you
+not realize for yourself any clear night that you may gaze at the
+numberless stars in the arching skies? How small, how infinitely little
+are we in all the great universe! Have we the imagination to grasp the
+saving thought that comes so naturally into the clear mind of the child?
+Though I am so small, so insignificant, I can think and love, but the
+wonderful earth can not. A philosophy well worth keeping, is it not?</p>
+
+
+<h3 class="section"><a name="Seven_Times_One" id="Seven_Times_One"></a><i>Seven Times One</i></h3>
+
+<p class="titlepage">(Volume II, page 119)</p>
+
+<p>Jean Ingelow&#8217;s poem has in it many things to interest a child, but there
+may be some things that will be clearer for explanation.</p>
+
+<p>Stanza 1. In England the daisy grows wild almost everywhere, a little,
+low plant which pro<span class='pagenum'><a name="Page_279" id="Page_279">[279]</a></span>duces its heads of white, pink-tipped flowers from a
+rosette of leaves. In the United States we often see daisies in
+cultivation but they are nowhere native. The child is at her seventh
+birthday and has learned her multiplication table, the &#8220;sevens&#8221;.
+Nowadays in our schools the children do not have the drudgery of
+committing the long tables to memory as their grand-parents did. Our
+little friend thinks that as she has lived seven years that makes her
+&#8220;seven times one are seven.&#8221;</p>
+
+<p>Stanza 2. One is so old at seven, so very old&mdash;why one can even write a
+letter. But now with the birthday lessons learned she can think of other
+things; for instance there are the lambs who play always, for they have
+no lessons to learn. They are not old and they are &#8220;only one times one,&#8221;
+not &#8220;seven times one,&#8221; which are seven.</p>
+
+<p>Stanza 3. She has seen the moon when it was full and bright and gave a
+wondrous light, but now it is only a pale crescent in the sky and its
+light is failing. Certainly the moon is failing and not like the child
+improving each day.</p>
+
+<p>Stanza 4. Occasionally the child has done wrong and been punished, and
+perhaps the moon has done something wrong way up there in heaven so that
+God has hidden its face. If that is true she hopes soon God will forgive
+the poor moon and allow it to shine once more with its silver light.</p>
+
+<p>Stanza 5. Isn&#8217;t &#8220;velvet bee&#8221; a happy expression? Then the bee gathers
+the yellow pollen from the flowers, mixes and shapes it into little
+pellets and fastens them in golden balls on its thighs to carry into the
+hive where it will serve as &#8220;bee bread&#8221; to feed the young bees. In the
+wet places grow <span class='pagenum'><a name="Page_280" id="Page_280">[280]</a></span>the marsh marigolds, or cowslips as they are sometimes
+called, bright golden flowers like the buttercups. To the bee and the
+cowslips the little child joyfully cries: &#8220;Give me your golden honey to
+hold, for I am seven years old and know what to do with it.&#8221;</p>
+
+<p>Stanza 6. The columbine is the graceful little flower we so often hear
+called honeysuckle. Five deep curved nectar-bearing tubes project
+backward from the flower itself. By opening the blossom in the right way
+the child of fanciful ideas may see shapes that remind her of turtle
+doves.</p>
+
+<p>The cuckoo-pint (by the way, the <i>i</i> is short as in <i>pit</i>) does not grow
+in the United States. It has spotted leaves, large and triangular, and
+the &#8220;bell&#8221; is an upright green cup in which stands a tall column, the
+&#8220;clapper.&#8221; It is called cuckoo-pint because it blossoms about the time
+the cuckoo returns to England. Our nearest approach to the flower is the
+&#8220;Jack-in-the-Pulpit&#8221; or Indian Turnip.</p>
+
+<p>It is perfectly safe for the columbine to unfold its wrapper and the
+cuckoo-pint to toll its bell in the presence of a maiden so old. She
+will not destroy them.</p>
+
+<p>Stanza 7. In the United States we have no wild linnet, though we
+sometimes hear song-birds called by that name. The English linnet is a
+little sparrow with striped back and a purple crown and breast. He
+resembles our purple finch and our redpoll. He is one of the famous
+songsters of the English lanes and fields.</p>
+
+<p>No young lady of seven would be so thoughtless as to steal away the
+young linnets, so the old bird may freely point out the nest.</p>
+
+<p><span class='pagenum'><a name="Page_281" id="Page_281">[281]</a></span>At what time of the year does the little girl&#8217;s birthday come?</p>
+
+
+<h3 class="section"><a name="The_First_Snowfall_XI" id="The_First_Snowfall_XI"></a><i>The First Snowfall</i></h3>
+
+<p class="titlepage">(Volume II, page 403)</p>
+
+<p>A. <i>The Author.</i> For a sketch of the life of James Russell Lowell, see
+Volume VII, page 411.</p>
+
+<p>B. <i>The Meaning.</i> Words and Phrases:</p>
+
+<p>&#8220;Gloaming&#8221;; early evening.</p>
+
+<p>&#8220;Silence.&#8221; The snow is called a silence, because it hushes noise, or
+prevents it.</p>
+
+<p>&#8220;Pine and fir and hemlock&#8221;; three evergreen trees.</p>
+
+<p>&#8220;Ermine&#8221;; the fur from a northern animal of the same name. It is very
+soft and white. Earls, nobles of rank, wore ermine on their robes to
+show their high birth.</p>
+
+<p>&#8220;Pearl&#8221;; a white, lustrous jewel, or the beautiful lining of some sea
+shells.</p>
+
+<p>&#8220;Carrara&#8221;; a town in Italy, whence comes the finest white marble. Here
+Carrara means <i>costly marble</i>.</p>
+
+<p>&#8220;Swan&#8217;s down.&#8221; Swans have fine soft down between their feathers. It
+protects them from cold in winter, and in summer they line their nests
+with it.</p>
+
+<p>&#8220;Noiseless work&#8221;; covering everything with snow.</p>
+
+<p>&#8220;Mound&#8221;; grave.</p>
+
+<p>&#8220;Auburn&#8221;; a beautiful cemetery near Boston.</p>
+
+<p>&#8220;Babes in the Wood&#8221;; an allusion to the old story of the children who
+were lost in the woods, and whom the robins covered with leaves to
+protect them.</p>
+
+<p><span class='pagenum'><a name="Page_282" id="Page_282">[282]</a></span>&#8220;All-father&#8221;; God, the Father of all.</p>
+
+<p>&#8220;Leaden&#8221;; gray and heavy, lead-colored.</p>
+
+<p>&#8220;Arched&#8221;; curved.</p>
+
+<p>&#8220;Deep-plunged woe&#8221;; a sorrow that plunged us deep in misery.</p>
+
+<p>&#8220;Eyes that saw not.&#8221; His eyes were so filled with tears that he could
+not see &#8220;Mabel,&#8221; who is really his daughter Rose.</p>
+
+<p>&#8220;<i>My</i> kiss was given to her sister.&#8221; He was thinking so deeply of his
+lost daughter, that it seemed almost as though he kissed the dead lips.</p>
+
+<p>&#8220;Folded close.&#8221; The soft, downy snow made him think of a soft, warm
+covering for the form of his little one.</p>
+
+<p>C. <i>Form and Structure.</i></p>
+
+<p>There are ten stanzas of four verses (lines) each, with the rhymes at
+the ends of the second and fourth verses only. The word <i>snow</i> is used
+four times in rhymes; the words rhyming with it are <i>crow</i>, <i>below</i>,
+<i>woe</i> and <i>know</i>. All the rhymes in the poem are perfect.</p>
+
+<p>The meter is varied iambic trimeter. The first and third lines of each
+stanza have an added unaccented syllable, while the second and fourth
+have just three full feet. Anapestic feet are used freely to improve the
+music; in fact, they are nearly as numerous as the iambic feet.</p>
+
+<p>The scansion of the first stanza may be indicated thus:</p>
+
+<p class="poem">The-snow&acute;|had-be-gun&acute;|in-the-gloam&acute;|ing<br />
+And-bus&acute;|i-ly-all&acute;|the-night&acute;<br />
+Had-been-heap&acute;|ing-field&acute;|and-high&acute;|way<br />
+With-a-si&acute;|lence-deep&acute;|and-white&acute;</p>
+
+<p><span class='pagenum'><a name="Page_283" id="Page_283">[283]</a></span>The scansion of the sixth stanza may be shown as follows:</p>
+
+<p class="poem">Up-spoke&acute;|our-own&acute;|lit-tle-Ma&acute;|bel<br />
+<span class="i1">Say-ing-Fa&acute;|ther-who-makes&acute;|it-snow&acute;</span><br />
+And-I-told&acute;of-the-good&acute;|All-Fa&acute;|ther<br />
+<span class="i1">Who cares&acute;|for-us-here&acute;|be-low&acute;</span></p>
+
+<p>They are musical stanzas, and the finely chosen words add much to the
+melody.</p>
+
+<p>D. <i>Sentiment.</i> Lowell had a little daughter, Blanche, who died shortly
+before this poem was composed, so we may be sure that it was written
+from a full heart. He begins by giving us one of the most beautiful
+pictures of a snow-storm and of a snow-covered world that was ever
+written.</p>
+
+<p>(Compare Lowell&#8217;s other description of winter to be found in the second
+part of <i>The Vision of Sir Launfal</i> and Whittier&#8217;s description in
+<i>Snow-Bound</i>.)</p>
+
+<p>When he has made us feel the softness, gentleness and beauty of the snow
+and caused us to forget that it is cold and damp, he speaks of himself.
+We can see him sitting by the window looking out upon the beautiful
+pearl-clad world. He brings us right into his own presence and we can
+almost see the flocks of startled brown snowbirds whirling by. Not till
+now, when we are fully in sympathy with him, does he let us know that he
+has met with a deep, heart-breaking loss. Now we know what the soft
+flakes are hiding from sight, and our hearts go out with his.</p>
+
+<p>Then his innocent little daughter comes in with the simple, commonplace
+question which he answers so touchingly. Can you not see him with <span class='pagenum'><a name="Page_284" id="Page_284">[284]</a></span>his
+arm around the child, telling her of the care of the Father who loves
+little children so dearly? Yet his mind cannot free itself wholly from
+his first great sorrow, though he remembers that calmness, resignation,
+and gentle patience fell over his heart as the soft snow falls flake by
+flake from the leaden sky.</p>
+
+<p>To the child, however, he speaks words that she will not fully
+understand until she, too, is grown and has met with sorrow: &#8220;It is only
+the merciful Father, darling, who can make fall that gentle comfort that
+heals and hides all suffering.&#8221;</p>
+
+<p>Once more our hearts are wrung with sympathy when with tear-filled eyes
+he gives the little maiden by his side the kiss that was for the silent
+lips in sweet Auburn. The little one, kissing back, could not know the
+grief of her father&#8217;s heart or realize that another form than hers was
+clasped in his embrace.</p>
+
+<p>How much better we know the great poet when he tells us his personal
+griefs in so touching a manner! How sweet is the lesson of patience and
+resignation when communicated in such a beautiful poem!</p>
+
+<p>E. <i>Beauty and Effectiveness in Phrasing.</i> Where in literature will you
+find more beautiful phrases, more effective figures, than abound in this
+poem? Notice particularly the following, and try to determine why each
+is remarkable:</p>
+
+<p class="poem">&#8220;With a silence deep and white.&#8221;</p>
+
+<p class="poem">&#8220;Ermine too dear for an earl.&#8221;</p>
+
+<p class="poem">&#8220;Stiff rails softened to swan&#8217;s down.&#8221;</p>
+
+<p class="poem">&#8220;The noiseless work of the sky.&#8221;</p>
+
+<p><span class='pagenum'><a name="Page_285" id="Page_285">[285]</a></span></p>
+
+<p class="poem"><span class="i10">&#8220;the leaden sky</span><br />
+That arched o&#8217;er our first great sorrow.&#8221;</p>
+
+<p class="poem">&#8220;The scar of our deep-plunged woe.&#8221;</p>
+
+<p class="poem">&#8220;Folded close in deepening snow.&#8221;</p>
+
+<p>F. <i>Conclusion.</i> <i>The First Snowfall</i> is one of the most perfect poems
+in our language. In beauty of composition, of music, of sentiment, and
+in deep religious feeling it can scarcely be excelled. Be guarded how
+you teach it; treat it reverently. Try to cause the children to love it,
+to wish to memorize it. If you see that you are not securing these
+results, leave the poem and take up something else. It is almost a sin
+to spoil it for any person.</p>
+
+
+<h3 class="section"><a name="The_Potato" id="The_Potato"></a><i>The Potato</i></h3>
+
+<p class="titlepage">(Volume II, page 467)</p>
+
+<p>Thomas Moore&#8217;s amusing stanza may seem silly to some people, but those
+who have a sense of humor will be delighted with the whimsical
+conception of a potato with so independent a spirit. It usually spoils
+humor to comment upon it. To explain a joke is to kill it. The sense of
+humor is contagious. Children will laugh when older people smile just
+from sympathy. When they ask &#8220;what&#8217;s the joke?&#8221; it is time to explain.
+Even then it is best to give merely facts and let the joke make its own
+way. Laughter lightens many a heavy burden, and a sense of humor is a
+saving grace. Cultivate it by indirection.</p>
+
+
+<h3 class="section"><a name="Origin_of_the_Opal" id="Origin_of_the_Opal"></a><i>Origin of the Opal</i></h3>
+
+<p class="titlepage">(Volume II, page 480)</p>
+
+<p>The opal is a beautiful stone which seen at different angles and in
+different lights seems to glow <span class='pagenum'><a name="Page_286" id="Page_286">[286]</a></span>with various colors. The polished
+surface may seem, as you first look at it, to be only a milky white.
+Turn it a little and it glows a bright flame color with green lights
+round the margin. Turned a little more it shows violet and silver. Other
+shades mingle with these, all coming and going as light and position
+vary. A fine opal is a wonderfully brilliant precious stone.</p>
+
+<p>The idea of the poem, too, is beautiful. Here is a transparent dewdrop;
+in it is the flame of the last ray of sun. As the drop lies in the
+violet it takes that color, and steals from the rose her delicate
+shades. From the sky it draws the blue, from a leaf its green and
+silver. When all these colors have been taken in, the drop is congealed,
+and imprisoned in its heart are the fiery flame, the rich violet, the
+rose tints, the skyey blue, the delicate green and the gleaming silver.
+This is the opal.</p>
+
+
+<h3 class="section"><a name="The_Barefoot_Boy" id="The_Barefoot_Boy"></a><i>The Barefoot Boy</i></h3>
+
+<p class="titlepage">(Volume IV, page 3)</p>
+
+<p>On page 5 occur the lines,</p>
+
+<p class="poem">&#8220;Mine, on bended orchard trees,<br />
+Apples of Hesperides!&#8221;</p>
+
+<p>According to the old Greeks, there lay far to the west, in the ocean, a
+wonderful island where were kept, under the guard of a gruesome dragon,
+the beautiful golden apples which Gaea gave as a wedding present to
+Zeus. The Hesperides were the three daughters of Night, who ruled the
+guardian dragon. These golden apples, then, came to be known as the
+apples of Hesperides. When Hercules in his madness had slain his three
+children <span class='pagenum'><a name="Page_287" id="Page_287">[287]</a></span>he was condemned to do whatever his cousin Eurystheus demanded
+for his purification. His tasks came to be known as the Twelve Labors of
+Hercules, and the eleventh was to obtain the golden apples from the
+Hesperides. He accomplished this task among the others, but the apples
+were subsequently restored. To the barefoot boy the apples of his New
+England tree were as choice as the golden ones of the Greek myth.</p>
+
+<p>Do not fail to see the exquisite picture painted by these beautiful
+descriptive lines on pages 5 and 6.</p>
+
+<p class="poem">&#8220;O&#8217;er me, like a regal tent,<br />
+Cloudy-ribbed, the sunset bent,<br />
+Purple-curtained, fringed with gold,<br />
+Looped in many a wind-swing fold.&#8221;</p>
+
+<h3 class="section"><a name="The_Bugle_Song" id="The_Bugle_Song"></a><i>The Bugle Song</i></h3>
+
+<p class="titlepage">(Volume VI, page 133)</p>
+
+<p>Among the many charming lyrics which Tennyson has written, there are few
+more musical or more delicately beautiful than <i>The Bugle Song</i>. It may
+be appreciated better perhaps if we have knowledge of its setting. It
+occurs in <i>The Princess</i>, and has no immediate connection with anything
+that precedes or follows.</p>
+
+<p>Three pairs of youthful lovers have been climbing above a lovely glade
+wherein is pitched the tent of the Princess. As they climbed, &#8220;Many a
+little hand glanced like a touch of sunshine on the rocks, and many a
+light foot shone like a jewel set in the dark crag.&#8221; They wound about
+the cliffs, and out and in among the copses, striking off pieces of
+various rocks and chattering over their stony <span class='pagenum'><a name="Page_288" id="Page_288">[288]</a></span>names, until they reached
+the summit and the sun grew broader as he set and threw his rosy light
+upon the heights above the glade. When in this poetic vein Tennyson has
+described the scene, he throws in <i>The Bugle Song</i> without any comment.</p>
+
+<p>We will understand it better if we paraphrase it briefly. Let us imagine
+ourselves standing on some peak and looking over a scene lighted by the
+setting sun.</p>
+
+<p class="poem">&#8220;The splendor falls on castle walls<br />
+And snowy summits old in story.&#8221;</p>
+
+<p>The light in long quivering beams is thrown across the lakes, and a wild
+cataract, made glorious by the golden light, leaps down a neighboring
+precipice. At this moment, somewhere in the distance we hear a bugle
+which sets wild echoes flying in every direction about us. As these
+echoes die away,</p>
+
+<p class="poem">&#8220;O hark, O hear! how thin and clear,<br />
+And thinner, clearer, farther going,&#8221;</p>
+
+<p class="noindent">there comes reflected to us from cliff and abrupt promontory the faint
+sound of the little horns of Fairyland. To them the purple glens reply
+in echoes gently dying into silence. O love, those echoes die away in
+the rich sky, and faint into nothingness on hill and field and river;
+but echoes of our thoughts, our feelings, of ourselves, roll on from one
+soul to another and grow in power forever and forever.</p>
+
+<p>The music in the lyric is dependent upon the choice of words and the
+arrangement of words. The words are chosen because of their meaning and
+because of the sounds which compose them.<span class='pagenum'><a name="Page_289" id="Page_289">[289]</a></span> They are so arranged that the
+sequence is melodious and that the accents fall where needed to perfect
+the meter. The first three lines are perfectly smooth and regular, but
+the fourth is an abrupt change; &#8220;And the wild cataract leaps in glory&#8221;
+suggests power and strong interrupted motion. The last two lines of the
+stanza are somewhat irregular in meter, and the double repetition of the
+last word suggests the time elapsing while the echoes are flying back
+and forth between the surrounding cliffs, growing fainter and fainter
+with each repetition. In reading we show this: &#8220;Blow, bugle,&#8221; is the
+original sound; we pause for the echoes to answer, &#8220;dying, dying,
+dying.&#8221;</p>
+
+<p>In the second stanza the poet has selected words in which the vowels
+have thin and delicate sounds:</p>
+
+<p class="poem"><span class="i3">&#8220;how thin and clear,</span><br />
+And thinner, clearer, farther going!&#8221;</p>
+
+<p>So soft are the echoes that they suggest to the poet the delicate
+refrain from the musical instruments of fairies, and he describes it in
+the poetic phrase,</p>
+
+<p class="poem">&#8220;The horns of Elfland faintly blowing!&#8221;</p>
+
+<p class="noindent">The meter of the last stanza, which is more irregular than the others,
+we can indicate as follows:</p>
+
+<p class="poem"><span class="i1">O love&acute;|they die&acute;|in yon&acute;|rich sky&acute;</span><br />
+<span class="i2">They faint&acute;|on hill&acute;|or field&acute;|or riv&acute;|er:</span><br />
+<span class="i1">Our ech&acute;|oes roll&acute;|from soul&acute;|to soul&acute;,</span><br />
+<span class="i2">And grow&acute;|for ev&acute;|er and&acute;|for ev&acute;|er</span><br />
+Blow, bu&acute;|gle, blow&acute;|&mdash;set&acute;|the wild ech&acute;|oes fly&acute;|ing,<br />
+And an&acute;|swer, ech&acute;|oes, an&acute;|swer, dy&acute;|ing, dy&acute;|ing, dy&acute;|ing.</p>
+
+<p class="noindent"><span class='pagenum'><a name="Page_290" id="Page_290">[290]</a></span>In the next to the last line there are five feet and one added syllable,
+if we consider that the pause which we naturally make before the word
+<i>set</i> is equivalent to a syllable. In the last line there are six feet
+with an added syllable. This additional foot which appears in the last
+line of every stanza is introduced to imitate the lingering death of the
+echoes.</p>
+
+<p>After this study of the poem it should be read several times aloud in an
+effort to bring out the music; the first stanza in the pitch of ordinary
+conversation, with force in the fourth line and lingering intonations in
+the last line. The pitch of the second stanza should be higher, and it
+will be easily attained because of the predominance of the thin vowels.
+The third stanza calls for a pitch lower than the first and a slowness
+and solemnity of movement quite in contrast to the moderate rate of the
+first and the liveliness and gaiety of the second. It will be seen in
+these readings that there is an overlying melody in the stanzas, quite
+distinct from the rhythm that depends upon the meter, and that in the
+reading the meter naturally falls subservient to the melody of the
+phrases. In fact, in a poem of this kind the meter should be forgotten
+in the reading, which should give itself wholly to bringing out the
+meaning expressively, and to making the voice harmonize with the rich
+music of the lines.</p>
+
+<p>An analysis of <i>The Bugle Song</i> will seem superfluous to the cultivated
+reader, but if these suggestions help the learner to see something new,
+to feel more acutely, to realize beauty more abundantly, their purpose
+is accomplished.</p>
+
+<p><span class='pagenum'><a name="Page_291" id="Page_291">[291]</a></span></p>
+
+
+<h3 class="section"><a name="The_Petrified_Fern" id="The_Petrified_Fern"></a><i>The Petrified Fern</i></h3>
+
+<p class="titlepage">(Volume VII, page 77)</p>
+
+<p>Some day when you want an interesting and delightful nature lesson that
+is a little out of the ordinary, get, if you can, a fossil fern. If you
+are in the city, doubtless you can get one from the museum, or, better
+yet, you may find that among your pupils there is someone who has such a
+specimen carefully treasured away. In some localities where the
+limestone rock comes to the surface, especially in the coal measures,
+these petrified ferns are very numerous. Show this to the class and get
+them all interested in it.</p>
+
+<p>If you cannot get a specimen to use, you can find a picture in the
+encyclopedia or geology, or you can tell the pupils how in some places
+it is possible to pick up from among the rocks on the surface of the
+ground oblong pieces perhaps a half inch thick, in which, when they are
+split open, you can see the impression of a fern, every vein showing
+plainly and looking as clear in the dull gray as it showed when alive in
+its green dress.</p>
+
+<p>Tell the story of the fern something after this fashion:</p>
+
+<p>&#8220;Hundreds and hundreds of years ago, so many years, in fact, that none
+of us can tell how many, somewhere in a valley, there grew a beautiful
+little fern, green and slender. It was as tender and delicate as the
+ones you can find in the woods now, and grew in just such a shady place.
+When the breezes crept down under the trees they waved the fern
+gracefully about so that it gently touched the tall rushes that grew
+above it and cast little <span class='pagenum'><a name="Page_292" id="Page_292">[292]</a></span>shadows on the moss at its feet. Now and then
+a playful sunbeam darted through the crevices in the leaves and found
+the fern, and at night drops of dew stole silently in and made a
+glistening crown upon its head. But there were no children then to find
+it. It was long, long ago, when the earth was young, and nowhere on its
+broad surface was a single human child.</p>
+
+<p>&#8220;Out in the silent sea fishes larger than any that can be found now were
+swimming about. Across the plains of the earth animals of wonderful
+shapes and enormous size stalked clumsily and found their way into
+stately forests. No man ever saw growing such trees as waved their giant
+branches over the earth, for then Nature made things on a grander scale
+than she does now. The little fern, however, was wild and simple, and
+lived in its home unnoticed and uncared for by any of the great
+creatures or the mighty trees. Still it grew on modestly in its own
+sweet way, spreading its fronds and becoming more beautiful every day.</p>
+
+<p>&#8220;Then suddenly one day the earth heaved up its mighty rocks and threw
+them about in every direction. The strong currents of the ocean broke
+loose and flooded over the land. They drowned the animals, moved the
+plain, tore down the haughty woods and cast the great trunks about like
+straw. They broke the little fern from its slender stalk, and burying it
+deep in soft moist clay, hid it safely away.</p>
+
+<p>&#8220;Many, many long centuries have passed since the day the useless little
+fern was lost. Millions of human beings have come upon the earth, have
+lived and been happy, have suffered, passed away, <span class='pagenum'><a name="Page_293" id="Page_293">[293]</a></span>and have been
+forgotten. The soft, moist clay that clasped the fern hardened into rock
+and kept safely in its strong prison the delicate little frond.</p>
+
+<p>&#8220;Then one day, not long ago, a thoughtful man studying Nature&#8217;s secrets
+far and wide found up in a valley where a stream had worn a deep
+fissure, a queer little rock. When he looked at it, he saw running over
+it a strange design, as though some fairy with its magic pencil had
+drawn the outline of a fern with every vein distinct, showing in every
+line the life of the long-lost plant. It was the fern I told you about.</p>
+
+<p>&#8220;Isn&#8217;t it strange that so delicate a thing as a fern could be kept clear
+and fine through all those thousands of years when the earth was
+changing and growing, and then finally be thrown up where a man could
+find it and read its whole history? The poet, Mary Bolles Branch, saw
+the little fern and wrote the beautiful lines which I now want to read
+to you.&#8221;</p>
+
+<p>(Here read the poem, <i>The Petrified Fern</i>, found in <i>Journeys</i>, Volume
+VII, page 77.)</p>
+
+<p>There are very few words or expressions in the poem that will require
+any explanation. At the end of the first stanza the phrase &#8220;keeping
+holiday&#8221; means that as there were no human beings on the earth, there
+was no real work being done.</p>
+
+<p>At the end of the first line in the second stanza the word <i>main</i> is an
+old term that means <i>ocean</i>.</p>
+
+<p>The last two lines of the third stanza are meant to show how different
+life has been on the planet since man came. Until he appeared there was
+no real agony; there was pain, for animals can suffer, but it takes a
+mind and soul to know agony. Man <span class='pagenum'><a name="Page_294" id="Page_294">[294]</a></span>cannot live except with suffering and
+at a bitter cost.</p>
+
+<p>Until the last two lines of the fourth stanza are reached the poem is
+merely a beautiful and musical narrative. The last two lines are the
+thought that comes to the poet when she considers the history of the
+little fern. It is thinking such thoughts as this that make the poet
+different from ordinary men. You and I might see the impression of the
+fern and think it beautiful, but its beauty would not suggest to us the
+comforting idea that</p>
+
+<p class="poem">*  *  * &#8220;God hides some souls away<br />
+Sweetly to surprise us, the last day.&#8221;</p>
+
+<p>Our own poet Longfellow, in <i>The Builders</i>, voices a similar thought
+when he says:</p>
+
+<p class="poem">&#8220;Nothing useless is, or low;<br />
+<span class="i1">Each thing in its place is best;</span><br />
+And what seems but idle show<br />
+<span class="i1">Strengthens and supports the rest.&#8221;</span></p>
+
+<p>After you have presented these thoughts, read the poem again to the
+children. Call attention to its musical structure, its simplicity, the
+beauty of its expressions, and then read it a third time. It is one of
+those beautiful things which may well be committed to memory.</p>
+
+<p>It will be found very helpful, too, for the children to write the story
+in prose and try to bring out the meaning. Let them use freely the words
+of the poem, but a different arrangement of words, so that there shall
+be left no trace of rhyme or meter in their prose.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="image10" id="image10"></a><a href="images/image10-full.jpg"><img src="images/image10.jpg" width="252" height="400" alt="Portraits" title="Robert Southey
+William Cowper
+Robert Burns
+Lord Byron
+>John Keats
+Percy Bysshe Shelley
+Samuel Taylor Coleridge" /></a><br />
+<span class="caption smcap">Robert Southey&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;William Cowper<br />
+Robert Burns<br />
+Lord Byron&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;John Keats<br />
+Percy Bysshe Shelley&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samuel Taylor Coleridge</span>
+</div>
+
+<p><span class='pagenum'><a name="Page_295" id="Page_295">[295]</a></span></p>
+
+
+<h3 class="section"><a name="The_Forsaken_Merman" id="The_Forsaken_Merman"></a><i>The Forsaken Merman</i></h3>
+
+<p class="titlepage">(Volume VII, page 180)</p>
+
+<p>One of the satisfactory poems for study in the middle years of school
+life is the one whose name heads this paragraph. It is a great favorite
+with most children who know it, but it has not found its way largely
+into school use. For both of these reasons it is worthy of study.</p>
+
+<p>I. <i>Preparation and General Plan.</i> Let the children read in turn, each
+taking one stanza, and if a second reading seems desirable let them
+exchange stanzas so that each will have a part new to himself. Be sure
+to have a final reading, by yourself or by the best reader among the
+children, which shall be continuous and without interruption; otherwise
+the beautiful unity of idea and the relation of the different parts will
+be overlooked.</p>
+
+<p>II. <i>Words and Phrases and Sentences.</i> It is well to begin with the
+study sentence by sentence. See that the meaning is clear. The following
+suggestions may be of assistance:</p>
+
+<p><i>Page 180, line 6.</i> &#8220;Wild white horses&#8221;; the breakers, where the waves
+are beaten into foam and flying spray.</p>
+
+<p><i>Line 7.</i> &#8220;Champ&#8221;; gnash their bits.</p>
+
+<p><i>Page 182, line 4.</i> &#8220;Stream.&#8221; The ocean currents resemble streams of
+water on land.</p>
+
+<p><i>Line 8.</i> &#8220;Mail&#8221;; scales. How could the snakes <i>dry</i> their mail?</p>
+
+<p><i>Line 10.</i> &#8220;Unshut.&#8221; Do fish have eyelids? Is a whale a fish? Does a
+whale have eyelids? Do most people think of a whale as a fish?</p>
+
+<p><i>Line 18.</i> &#8220;Sate&#8221; is an old form for &#8220;sat.&#8221; Can <span class='pagenum'><a name="Page_296" id="Page_296">[296]</a></span>you find other old or
+unusual words or expressions? Why does the poet use them?</p>
+
+<p><i>Line 25.</i> &#8220;Merman.&#8221; The literature of the ancients contained frequent
+allusions to mermaids, who were strange creatures with heads of
+beautiful, long-haired maidens, but with scaly bodies and the tails of
+fish. In pictures they are usually represented as sitting upon reefs
+holding a mirror in one hand and combing their long locks with the
+other. Holmes, in <i>The Chambered Nautilus</i>, speaks of the &#8220;cold
+sea-maids&#8221; who &#8220;rise to sun their streaming hair.&#8221; Mermen were not so
+often spoken of, but there are some allusions to them. In later times
+the mermaids were considered more as fairies, and there were many
+stories of human children being taken to live with the mermaids, and of
+the latter coming upon land to live like men and women. There was, too,
+a belief that sea-folk had no souls, and that a person who went to live
+with them would lose his soul. The beautiful picture on page 181 shows
+the forsaken family.</p>
+
+<p><i>Line 10</i>, from the bottom. &#8220;Leaded panes.&#8221; The small panes of stained
+glass in the church windows are set in narrow leaden frames.</p>
+
+<p><i>Page 185, line 4.</i> &#8220;Heaths&#8221; and &#8220;broom&#8221;. The English and Scotch
+heathers are little bushy shrubs that cover the hills and fields. They
+bear beautiful little bell-like pink or white flowers. The trailing
+arbutus, the blueberry and the wintergreen are some of our native plants
+belonging to the same family. The broom plant is another low shrub that
+bears rather large yellow blossoms, shaped like the flowers of peas and
+beans. The old-time country-folk used bundles of these shrubs for
+brooms.</p>
+
+<p><span class='pagenum'><a name="Page_297" id="Page_297">[297]</a></span><i>Line 10.</i> There have been several allusions to tides. If the children
+do not understand the subject, be sure to explain how different a shore
+looks at high and at low tide. The change is most noticeable where the
+water is shallow, for then long stretches of sea-bottom may be uncovered
+at low tide.</p>
+
+<p>III. <i>The Story.</i> Bring out by questions these facts which constitute
+the &#8220;plot,&#8221; or incidents:</p>
+
+<p>1. A merman, who has a family of children (five, the artist says, page
+181), has been deserted by his human wife.</p>
+
+<p>2. The father and children are on shore trying to persuade the mother to
+return. The father feels that all must go back.</p>
+
+<p>3. He begs the children to call their mother once more, for he thinks
+that childish voices, wild with pain, may induce her to come.</p>
+
+<p>4. He feels discouraged.</p>
+
+<p>5. He tells how she became alarmed and left them at Easter time to
+return to her church and pray, that she might save the soul she feared
+she was losing.</p>
+
+<p>6. The father and children had come on shore to find their mother. She
+was seen praying in the church, working at her spinning wheel at home,
+happy but apparently not wholly forgetful of her family in the sea, for
+she sighed and dropped a tear as she looked over the sand to the sea.</p>
+
+<p>7. The father feels that his wife is cruel and faithless and that she
+has deserted, forever, himself and his family, the kings of the sea.</p>
+
+<p>IV. <i>The Characters.</i> Question the children till they see clearly the
+persons.</p>
+
+<p><span class='pagenum'><a name="Page_298" id="Page_298">[298]</a></span>1. The principal character is the deserted merman, a king of the sea.
+Ought he to expect his wife to stay with him?</p>
+
+<p>2. The wife, a human being who has loved a merman, and who has a family
+of sea children, but who has suddenly become awakened to the danger to
+her soul. Is she selfish? Ought she to have forsaken her family? Can she
+really be happy away from her husband and family?</p>
+
+<p>3. The children. How many were there? How old were they? Were there both
+boys and girls? Do you think Mr. Reese had a clear idea of the family
+when he drew the picture (page 181)? There must have been at least
+three, for it is said that the mother tended the youngest well; at least
+one girl, for the mother sighed for the strange eyes of a little
+mermaiden.</p>
+
+<p>4. The priest.</p>
+
+<p>V. <i>Pictures.</i> Two series of pictures are kept side by side all the
+time; one of the land, and the other of the sea. Try to create a vivid
+scene from each.</p>
+
+<p><i>First</i>, on land: We can see a little town, nestling on the side of a
+bleak, wind-swept hill, an old English town with a white stone wall all
+around it. On the hill, which is too rough to be cultivated, grow great
+fields of heather, studded with the golden blossoms of broom-plant. A
+little gray stone church stands surrounded by its yard, where the
+village dead are buried, for such was the old custom in England. The
+stones are at the head of the graves, and the walls of the church are
+rain- and storm-worn, but bright stained-glass windows in the building
+and flowers and trees among the <span class='pagenum'><a name="Page_299" id="Page_299">[299]</a></span>graves make the place very beautiful.
+Some of the windows are clear, so that you can look through and gaze
+along the aisle bordered by high wooden pews and see the priest reading
+service, and, by one of the stone pillars, the merman&#8217;s wife, her eyes
+steadily gazing at the bible in her lap. You are privileged, too, to
+peep into one of the thatched cottages, and see the mother turning the
+old-fashioned spinning wheel. From her house there is a wide view down
+the hill, across the bay and out to sea. At high tide the breakers dash
+madly against the shore, but at low tide there is a broad strip of
+silver sand, rocks covered with sea-weed, and in the low places, creeks
+and pools of salt water. Does the artist&#8217;s picture represent high or low
+tide?</p>
+
+<p><i>Second</i>, at sea: Deep beneath the surface of the water where the waves
+toss and roar, where the surf and spray dash madly about, are great
+caverns strewn with white sand. It is cool down there in the depths, and
+the light filtering through the clear green sea is weak and pale. The
+water streams through caverns, swaying the exquisite sea-weeds that line
+the walls; and outside, round about, whales, sea-snakes and all manner
+of water beasts swim in play or struggle for mastery. In one of the
+caverns stands a great throne of red gold, ornamented with graceful sea
+fringe, pearls and amber. From without one may gaze up to the
+amber-colored ceiling, or down to the pavement of lustrous pearl. It was
+this wondrous palace that the mermaid abandoned for the sake of her
+soul.</p>
+
+<p>VI. <i>Sentiment.</i> It is, on the whole, a sad poem, though a few cheering
+thoughts are suggested by it. Without an attempt at classification <span class='pagenum'><a name="Page_300" id="Page_300">[300]</a></span>and
+analysis, here are a few choice ideas taken in order as they occur:</p>
+
+<p><i>Page 180.</i> &#8220;Children&#8217;s voices should be dear to a mother&#8217;s ear.&#8221;</p>
+
+<p><i>Page 183.</i> &#8220;Long prayers in the world they say.&#8221;</p>
+
+<p><i>Page 183.</i> &#8220;Oh joy, for the blessed light of the sun!&#8221;</p>
+
+<p><i>Page 185.</i> The last stanza shows very pleasingly the faithfulness of
+father and children, in contrast to the inconstancy of the mother.</p>
+
+<p>VII. <i>Beauty.</i> Besides its sentiment, the poem gives us other beauties
+in great number. Here are some of them:</p>
+
+<p><i>a. Unity.</i> The poem has one idea running through it from beginning to
+end, an idea that is nowhere lacking, though at first it is not seen.
+What is the one idea? Grief, but not bitterness nor anger. Each
+succeeding stanza is seen to add something to this idea, till all our
+sympathies are enlisted for the forsaken children, more than for the
+father who does all the talking.</p>
+
+<p><i>b. Meter and Rhyme.</i> Both meter and rhyme are irregular, but that fact
+gives a pleasing variety to the poem and corresponds to the somewhat
+abrupt changes in the line of thought that at first make the poem rather
+hard to read. The children will be interested in comparing the lengths
+of lines in different stanzas and sometimes in different parts of the
+same stanza. It is easy to pick out the rhymes, to see how often rhymes
+are repeated in a stanza, and whether the lines are in couples or
+alternate.</p>
+
+<p><i>c. Phrases.</i> The following lines are quoted as <span class='pagenum'><a name="Page_301" id="Page_301">[301]</a></span>those perhaps best
+worth study and remembrance. Let the children determine why they were
+selected as beautiful lines; that is, determine in what respect the
+lines are beautiful:</p>
+
+<p class="poem">&#8220;Now the wild white horses play,<br />
+Champ and chafe and toss in the spray.&#8221;</p>
+
+<p class="poem">&#8220;The far-off sound of a silver bell.&#8221;</p>
+
+<p class="poem">&#8220;Where the sea snakes toil and twine,<br />
+Dry their mail and bask in the brine.&#8221;</p>
+
+<p class="poem">&#8220;A long, long sigh<br />
+For the cold, strange eyes of a little Mermaiden.&#8221;</p>
+
+<p class="poem">&#8220;A ceiling of amber,<br />
+A pavement of pearl.&#8221;</p>
+
+<p class="poem">&#8220;Heaths starr&#8217;d with broom.&#8221;</p>
+
+
+<h3 class="section"><a name="The_Cloud" id="The_Cloud"></a><i>The Cloud</i></h3>
+
+<p class="titlepage">(Volume VII, page 257)</p>
+
+<p>This lyric has wonderful beauty. It is one of the most musical of poems,
+the ideas are fine and the pictures of surpassing charm. If it lacks the
+high message it is still an inspiration, for beauty is always ennobling
+to the appreciative.</p>
+
+<p>The charm of <i>The Cloud</i> will appeal to children but it may be
+intensified by judicious questioning and comment. As always in trying to
+give appreciation of real literature, the teacher in the home or at the
+school must be certain of his purpose and must never carry the
+instruction too far. He must understand the nature of the reader and
+shape his questions accordingly. It is impossible to print anything that
+will be helpful equally to all or that can be used in its entirety in
+any instance. Do not talk too much about what is evident, and stop at
+the first signs of a dawning distaste.</p>
+
+<p><span class='pagenum'><a name="Page_302" id="Page_302">[302]</a></span><i>First Stanza.</i> It is the cloud that is speaking, and as every cloud is
+ever changing, the song of the cloud varies with its condition. It is
+now the cloud of the warm summer shower that piles up in snowy billows
+on the horizon and rolls over the laughing face of flowering nature.</p>
+
+<p>How do the flowers show that they are thirsting? Will they look
+different when their thirst is satisfied? Do leaves dream? Leaves, you
+know, are the lungs of plants. May they do more work in the morning, the
+evening and the night, than at midday? May they be said to be sleeping
+at times? Is the shade of the cloud a help to the leaves? Did you ever
+see the leaves of trees turn their glazed upper surfaces toward the
+ground and twist up their under sides toward the sky, begging for
+moisture? Did you ever notice that the buds of most flowers open in the
+night or toward morning? Do the &#8220;dews awaken&#8221; these? Do clouds cause
+dews?</p>
+
+<p>Strictly speaking, no &#8220;dews&#8221; fall from clouds; but light mist may do so.
+Who is the mother of the buds? In what way are they &#8220;rocked to rest&#8221;?
+How does the mother &#8220;dance about the sun&#8221;? Do you like the sound of the
+line, &#8220;I wield the flail of the lashing hail&#8221;? There are five &#8220;l&#8217;s&#8221; in
+the line and they give it that liquid sound which you like. Did you ever
+see a farmer standing in the midst of a floor covered with stalks of
+grain, beating out the kernels with a flail? What does the word &#8220;under&#8221;
+mean here? (An adverb, and means <i>down</i> or <i>into subjection</i>.) What does
+&#8220;it&#8221; refer to, in the next to the last line?</p>
+
+<p><i>Second stanza.</i> Who is the pilot of the cloud? Where does he sit? What
+lures the pilot? Who <span class='pagenum'><a name="Page_303" id="Page_303">[303]</a></span>are the &#8220;genii&#8221;? (A <i>genius</i>&mdash;plural, <i>genii</i>&mdash;is a
+good or evil spirit which was supposed by the ancients to guard a man
+and control his destinies. In a sense the spirit of the waters may be
+said to control the lightning.) Who move &#8220;in the depths of the purple
+sea&#8221;? (The word &#8220;dream&#8221; would be written &#8220;dreams&#8221; in prose. The two
+lines mean: &#8220;Wherever the lightning thinks the spirit he loves is to be
+found.&#8221;) Who is dissolving in rains? Is there much lightning while the
+rain is falling or does it usually precede or follow the heaviest part
+of the shower?</p>
+
+<p><i>Third Stanza.</i> &#8220;Sanguine&#8221; means &#8220;blood red&#8221;; &#8220;rack&#8221; or &#8220;wrack&#8221; is
+broken or floating cloud. What is the &#8220;morning star&#8221;? What is meant by
+its &#8220;shining dead&#8221;? What are the &#8220;burning plumes&#8221; and what the &#8220;meteor
+eyes&#8221; of the sunrise? What becomes of broken clouds when the sun strikes
+them? What is likened to an eagle that is &#8220;alit&#8221; on a crag? What is the
+&#8220;airy nest&#8221; of the cloud? What is a &#8220;brooding&#8221; dove? Is a dove more
+quiet than other birds? Did you ever see a cloud high in the sky at
+early dawn, at sunset, in the night? Does this stanza make you think of
+what you have seen, make you see it again more vividly?</p>
+
+<p><i>Fourth Stanza.</i> &#8220;Orbed&#8221; means &#8220;round&#8221; like the moon. The woof is the
+thread that in weaving is carried by the shuttle through the threads of
+the &#8220;warp&#8221;&mdash;here it means the &#8220;filling.&#8221; The ancients considered Diana,
+goddess of the moon and of hunting, to be a beautiful girl, haughty and
+modest. In pictures she was clothed as a huntress, carried a bow and
+arrows and wore a crescent in her hair. Is the moon&#8217;s light white? Is
+that phrase a beau<span class='pagenum'><a name="Page_304" id="Page_304">[304]</a></span>tiful one which speaks of the moon as &#8220;with white
+fire laden&#8221;? What is the position of the cloud in this stanza? Is it
+between the moon and the earth? Is the cloud the &#8220;fleece-like floor&#8221; of
+the sky? If so, when the cloud speaks of its &#8220;tent&#8217;s thin roof,&#8221; what is
+meant? (Perhaps when the moon looks down the cloud looks like a floor
+and when the earth looks up it sees the cloud like a tent.) Whose are
+the &#8220;unseen feet&#8221;? At what do the stars &#8220;peer&#8221;? What do they see first?
+Why do they &#8220;turn and flee like a swarm of golden bees&#8221;? What do the
+stars see when the rent is widened? With what are the rivers, lakes and
+seas paved? How can they be paved with moon and stars? Did you ever see
+the moon and stars reflected in a lake, the former perhaps making a
+broad glittering pavement across the waters? To what does &#8220;these&#8221; in the
+last line refer? Why did not Shelley write &#8220;stars&#8221; instead of &#8220;these&#8221;?
+Can you see the exquisite night pictures described in these lines?</p>
+
+<p><i>Fifth Stanza.</i> This stanza is characterized by force and intensity of
+action; the words and phrases are as apt and beautiful as can be
+written.</p>
+
+<p>Have you not seen the west when the clouds appeared a fiery red around
+the setting sun? Have you not seen the moon surrounded by bright pearly
+clouds? When the winds blow strong and whirl the fleecy clouds through
+the sky do not the latter make the mountain tops dim and do not the
+stars seem to dash across the heavens in a maddening race? Ever
+changing, the clouds constantly rearrange themselves, sometimes bridging
+the entire heavens, resting at the horizon upon the mountains as upon
+columns.</p>
+
+<p><span class='pagenum'><a name="Page_305" id="Page_305">[305]</a></span>What is the &#8220;triumphal arch&#8221;? What are the powers of the air? What is
+meant by saying they are &#8220;chained to the chair&#8221; of the cloud? Is the
+&#8220;triumphal arch&#8221; the &#8220;million-colored bow&#8221;? What is the &#8220;bow&#8221; that is
+said to be &#8220;million-colored&#8221;? What wove the soft colors of the
+million-colored bow? What is the &#8220;sphere fire&#8221;? What did it do? Whose
+soft colors did it weave? What was the earth doing while the colors were
+being woven? Why should the earth be laughing? Why is it spoken of as
+the moist earth?</p>
+
+<p><i>Sixth Stanza.</i> A cenotaph in an empty ornamental tomb. The body of the
+person to whom the monument has been erected is buried elsewhere.</p>
+
+<p>In what way is a cloud the daughter of the earth and water? In what way
+is it the nurseling of the sky? How can a cloud pass through the pores
+of the ocean and shores? What are the pores of the ocean and shores? Is
+it true that a cloud cannot die? Is the poet true to nature and science
+when he says:</p>
+
+<p class="poem">&#8220;For after the rain, when, with never a stain,<br />
+The pavilion of heaven is bare,<br />
+And the winds and sunbeams, with their convex gleams,<br />
+Build up the dome of the air&#8221;?</p>
+
+<p>What is the &#8220;cenotaph&#8221; of the cloud? Out of what does the cloud rise
+again? What is there appropriate in saying that the cloud rises like a
+ghost? What is it the cloud builds up again?</p>
+
+<p>Note the following particularly beautiful phrases:</p>
+
+<p class="poem"><span class="i9">&#8220;Leaves when laid</span><br />
+In their noonday dreams.&#8221;</p>
+
+<p><span class='pagenum'><a name="Page_306" id="Page_306">[306]</a></span></p>
+
+<p class="poem">&#8220;Great pines groan aghast.&#8221;</p>
+
+<p class="poem">&#8220;The sanguine sunrise, with his meteor eyes.&#8221;</p>
+
+<p class="poem">&#8220;The crimson pall of eve.&#8221;</p>
+
+<p class="poem">&#8220;The woof of my tent&#8217;s thin roof.&#8221;</p>
+
+<p class="poem">&#8220;My wind-built tent.&#8221;</p>
+
+<p class="poem">&#8220;The million-colored bow.&#8221;</p>
+
+<p class="poem">&#8220;Nurseling of the sky.&#8221;</p>
+
+<p class="poem"><span class="i2">&#8220;With never a stain</span><br />
+The pavilion of heaven is bare.&#8221;</p>
+
+<p>Read aloud the entire lyric till its sweet music is yours. Note the
+smooth rhythm, the peculiar adaptation of sound to sense, the flowing
+cadences in the lines.</p>
+
+
+<h3 class="section"><a name="Ode_to_a_Skylark_XI" id="Ode_to_a_Skylark_XI"></a><i>Ode to a Skylark</i></h3>
+
+<p class="titlepage">(Volume VII, page 275)</p>
+
+<p>There are three classes of lyrics that are to a greater or less degree
+in the nature of an address to some person, place or thing. The elegy is
+a lyric address praising the dead, the ode and the sonnet may praise
+living or dead. The elegy in its measures partakes of the solemnity of
+the grave, the ode is hampered by no such restrictions. Neither is the
+sonnet, although by its strict requirements of form it is set off in a
+class by itself. In the ode the poet enjoys his greatest freedom, for he
+may use any meter, may write at any length and in any manner, grave, gay
+or grotesque. Accordingly the odes of our language are most spontaneous,
+musical, inspiring and beautiful.</p>
+
+<p><i>The Skylark</i> is a perfect example of an ode at its best. It is full of
+life and joy. It sparkles in every line and vies in music with the song
+of the lark himself.</p>
+
+<p><span class='pagenum'><a name="Page_307" id="Page_307">[307]</a></span></p>
+
+<p class="poem">&#8220;Hail to thee, <i>blithe spirit</i>!&mdash;<br />
+<span class="i1">Bird thou never wert.&#8221;&mdash;</span></p>
+
+<p class="noindent">Those two lines are to be taken as the key note of the whole lyric. It
+is the spirit of free and perfect melody that Shelley is addressing,
+melody that comes from heaven or near it, that bubbles from the full
+heart, that is free from rules and conventions, unpremeditated, yet all
+art. It is &#8220;Like an unbodied joy whose race is just begun.&#8221; &#8220;What thou
+art we know not,&#8221; yet thou art like a poet hidden singing hymns
+unbidden; like a high-born maiden soothing her love-laden soul in
+secret; like a hidden glowworm scattering its hues unbeholden; like a
+rose embowered in its leaves making faint the thieving winds with its
+heavy scent. Its music surpasses the delicate sounds of vernal showers
+on the twinkling grass, the beauty of the rain-awakened flowers, and all
+that ever was clear and fresh and joyous. Such is the song.</p>
+
+<p>&#8220;What are the thoughts that inspire such heavenly melody?&#8221; the poet
+cries. &#8220;Teach us, teach us thy sweet thoughts. I have never heard such a
+flood of rapture so divine. Matched with thy music the noblest marriage
+hymn, the grandest Te Deum would be but an empty boast. From what
+fountains springs thy happy strain? Is it from fields, or waves or
+mountains, from strange shapes of the sky and plain? Is it from
+ignorance of pain, from love of thine own kind that the joyous music
+comes? Certainly thou lovest, but there can be no weariness in thy keen
+joy, no shadow of annoyance. How different we!</p>
+
+<p class="poem"><span class="i4">&#8220;We look before and after,</span><br />
+<span class="i5">And pine for what is not:</span><br />
+<span class="i4"><span class='pagenum'><a name="Page_308" id="Page_308">[308]</a></span>Our sincerest laughter</span><br />
+<span class="i5">With some pain is fraught;</span><br />
+Our sweetest songs are those that tell of saddest thought.</p>
+
+<p class="poem"><span class="i4">&#8220;Yet if we could scorn</span><br />
+<span class="i5">Hate, and pride, and fear;</span><br />
+<span class="i4">If we were things born</span><br />
+<span class="i5">Not to shed a tear,</span><br />
+I know not how thy joy we ever should come near.&#8221;</p>
+
+<p>&#8220;To me, the poet, thy skill would be better than all the measures of
+delightful sound, than all the treasures found in books and if I could
+sing one half as well as thou, the world would listen to me entranced as
+I am listening to thee.&#8221;</p>
+
+<p>If the song of the lark is beautiful, the song of the poet is not
+surpassed. The riotous spirit of music sings in every line, beauty is
+seen in every stanza, is lavished upon every phrase, upon every
+melodious verse. The prodigality of beautiful phrases is marvelous. The
+phrases descriptive of the bird alone are strikingly apt and numerous:</p>
+
+<p>&#8220;Blithe spirit&#8221;; &#8220;bird thou never wert&#8221;; &#8220;like a cloud of fire&#8221;; &#8220;like
+an unbodied joy&#8221;; &#8220;like a star of heaven&#8221;; &#8220;like a poet hidden in the
+light of thought&#8221;; &#8220;like a highborn maiden in a palace tower&#8221;; &#8220;like a
+glowworm golden&#8221;; &#8220;like a rose embowered&#8221;; &#8220;sprite and bird&#8221;; &#8220;thou
+scorner of the ground.&#8221;</p>
+
+<p>To characterize the song properly, the poet finds it necessary to use
+these phrases: &#8220;Profuse strains of unpremeditated art&#8221;; &#8220;shrill
+delight&#8221;; &#8220;keen as are the arrows of that silver sphere&#8221;; &#8220;all the earth
+and air with thy voice is loud&#8221;; &#8220;a rain of melody&#8221;; <span class='pagenum'><a name="Page_309" id="Page_309">[309]</a></span>surpassing the
+&#8220;sound of vernal showers&#8221; and of &#8220;rain-awakened flowers&#8221; and &#8220;all that
+ever was joyous, clear and fresh&#8221;; &#8220;a flood of rapture so divine&#8221;;
+beside it a &#8220;hymen&aelig;al chorus&#8221; or a &#8220;triumphal chaunt&#8221; is &#8220;but an empty
+vaunt&#8221;; &#8220;clear, keen joyance,&#8221; &#8220;notes flow in such a crystal stream.&#8221;</p>
+
+<p>Besides the ardent appreciation for the beautiful song, the lyric
+contains one sad truth exquisitely expressed:</p>
+
+<p class="poem"><span class="i4">&#8220;We look before and after,</span><br />
+<span class="i5">And pine for what is not:</span><br />
+<span class="i4">Our sincerest laughter</span><br />
+<span class="i5">With some pain is fraught;</span><br />
+Our sweetest songs are those that tell of saddest thought.&#8221;</p>
+
+<p>And finally, there is the consummate personal appeal of the poet, which,
+if we may judge by the matchless lyric, was answered by the same spirit
+that inspired the graceful scorner of the ground:</p>
+
+<p class="poem"><span class="i4">&#8220;Teach me half the gladness</span><br />
+<span class="i5">That thy brain must know,</span><br />
+<span class="i4">Such harmonious madness</span><br />
+<span class="i5">From my lips would flow,</span><br />
+The world should listen then, as I am listening now!&#8221;</p>
+
+<p>Compare the following lyric on the same subject by James Hogg:</p>
+
+<p class="poem"><span class="i3">Bird of the wilderness,</span><br />
+<span class="i3">Blithesome and cumberless,</span><br />
+Sweet be thy matin o&#8217;er moorland and lea!<br />
+<span class="i3">Emblem of happiness,</span><br />
+<span class="i3">Blest is thy dwelling-place&mdash;</span><br />
+O, to abide in the desert with thee!<br />
+<span class="i3"><span class='pagenum'><a name="Page_310" id="Page_310">[310]</a></span>Wild is thy lay and loud,</span><br />
+<span class="i3">Far in the downy cloud</span><br />
+Love gives it energy, love gave it birth.<br />
+<span class="i3">Where, on thy dewy wing,</span><br />
+<span class="i3">Where art thou journeying?</span><br />
+Thy lay is in heaven, thy love is on earth.<br />
+<span class="i3">O&#8217;er fell and mountain sheen,</span><br />
+<span class="i3">O&#8217;er moor and mountain green,</span><br />
+O&#8217;er the red streamer that heralds the day,<br />
+<span class="i3">Over the cloudlet dim</span><br />
+<span class="i3">Over the rainbow&#8217;s rim,</span><br />
+Musical cherub, soar, singing away!<br />
+<span class="i3">Then when the gloaming comes,</span><br />
+<span class="i3">Low in the heather blooms</span><br />
+Sweet will thy welcome and bed of love be!<br />
+<span class="i3">Emblem of happiness,</span><br />
+<span class="i3">Blest is thy dwelling-place</span><br />
+O, to abide in the desert with thee.</p>
+
+<p>Various interpretations and helpful comments of other kinds may be found
+on the following pages:</p>
+
+<table border="0" cellpadding="0" cellspacing="0" summary="story reference list">
+<tr>
+  <td>Volume I,</td>
+  <td>page 95.</td>
+  <td><i>The Rock-a-By Lady.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 204.</td>
+  <td><i>Old Gaelic Lullaby.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 350.</td>
+  <td><i>Keepsake Mill.</i></td>
+</tr>
+<tr>
+  <td>Volume I,</td>
+  <td>page 406.</td>
+  <td><i>The Fairies.</i></td>
+</tr>
+<tr>
+  <td>Volume II,</td>
+  <td>page 482.</td>
+  <td><i>In Time&#8217;s Swing.</i></td>
+</tr>
+<tr>
+  <td>Volume IV,</td>
+  <td>page 86.</td>
+  <td><i>The Village Blacksmith.</i></td>
+</tr>
+<tr>
+  <td>Volume V,</td>
+  <td>page 335.</td>
+  <td><i>How They Brought the Good News from Ghent to Aix.</i></td>
+</tr>
+<tr>
+  <td>Volume V,</td>
+  <td>page 396.</td>
+  <td><i>The American Flag.</i></td>
+</tr>
+<tr>
+  <td>Volume VII,</td>
+  <td>page 345.</td>
+  <td><i>The Reaper&#8217;s Dream.</i></td>
+</tr>
+<tr>
+  <td>Volume VIII,</td>
+  <td>page 60.</td>
+  <td><i>America.</i></td>
+</tr>
+</table>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_311" id="Page_311">[311]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII<br />
+<br />
+<span class="smcap">Reading Aloud</span></h2>
+
+
+<p class="opening"><span class="dropcaps"><span class="hide">S</span></span><span class="upper">ilent</span> reading is selfish, while oral reading is for the benefit and
+pleasure of others. The ordinary individual in daily life reads but
+little aloud, and probably makes no attempt whatever to improve his
+style after he leaves the schoolroom. But parents and teacher are
+incessantly called upon to read&mdash;to read intelligently and effectively.
+To some this power appears to come naturally, but most people acquire it
+only by serious study and continuous practice, and will find their
+greatest assistance in a thorough knowledge of those things which are
+essential to pleasing oral expression.</p>
+
+<p><a name="Articulation_and_Enunciation" id="Articulation_and_Enunciation"></a>1. <span class="smcap">Articulation and Enunciation.</span> Articulation is one thing; enunciation
+is another. A person articulates the sounds of a language; he enunciates
+the syllables and words. A clear and distinct enunciation is as
+necessary as the perfect articulation on which it is based. Indistinct
+enunciation comes from a natural slovenliness of mind, from nervousness,
+haste or over-excitement.</p>
+
+<p>Any one who can articulate correctly can acquire a perfect enunciation.
+Knowing this fact, and knowing the causes which lead to poor
+enunciation, it is comparatively easy to correct the faults and give
+drill which will overcome the carelessness or remove the difficulty.</p>
+
+<p><span class='pagenum'><a name="Page_312" id="Page_312">[312]</a></span><a name="Emphasis_and_Inflection" id="Emphasis_and_Inflection"></a>2. <span class="smcap">Emphasis and Inflection.</span> The primary facts upon which rests
+intelligibility in reading are emphasis and inflection. Let it be said
+at the start that no one can read well who has not thoroughly mastered
+the thought in the selection he is rendering. If he is compelled to
+search his mind for the meanings of words or to grasp the complete idea
+of a sentence, he unwittingly pauses and hesitates and confuses the
+ideas of his hearers. But if the thought of a selection is thoroughly
+mastered, he places the emphasis almost unerringly and by so doing
+raises no conflicting ideas in the mind of the listener. Moreover, if
+the meaning of a sentence is clear to a reader his inflections are
+ordinarily correct.</p>
+
+<p><a name="Emotional_States" id="Emotional_States"></a>3. <span class="smcap">Emotional States.</span> A person may read with perfect inflection and the
+most correct emphasis, yet fail altogether to convey the real feeling of
+the author. Not only must a reader master the thought, but it is
+essential that he be able to feel the emotions that possessed the author
+or manifested themselves in the characters he describes. If anyone is
+thoroughly possessed by the sentiment of any given poem, the quality of
+his voice will modify itself and respond to the behests laid upon it. He
+will unconsciously pitch his voice at the proper key, will use the right
+amount of force, and speak at the rate which most suitably expresses his
+feelings. When this is done, we have perfectly natural reading, the
+highest art.</p>
+
+<p>Pitch, rate, quality and force are the particular characteristics of
+good reading which depend almost entirely upon the mental state of the
+reader.</p>
+
+<p><a name="a_Pitch" id="a_Pitch"></a>a. Pitch. Much depends upon the proper pitch <span class='pagenum'><a name="Page_313" id="Page_313">[313]</a></span>of the voice. The key upon
+which one reads may be medium, or low, or high, and what it is depends
+upon certain physiological conditions. If the vocal chords are tense,
+the pitch is high. Accordingly, any state of mind that produces tense
+vocal chords produces high pitch in the voice. A person can forcibly
+tighten his vocal chords and utter sounds at high pitch, but they are
+strained, artificial and unnatural. If a certain amount of feeling goes
+with the effort, the tones become more agreeable.</p>
+
+<p>If a person&#8217;s voice is pitched too high, is harsh and unmelodious, the
+remedy is by way of a process of forgetting. He must forget that he is
+reading and feel that he is talking. If his conversation is marked by
+the same faults as his reading, he may gain something by imitation in
+the way of raising his standards of expression. In general, he reads
+harshly because he thinks he <i>must</i> read. The nervous tension which this
+feeling produces has affected his vocal chords without any intention on
+his part. He cannot read more expressively while he feels as he does.
+Harshness and unnatural pitch will disappear from his voice when he can
+forget that he is reading from compulsion.</p>
+
+<p>For practice the following selections are excellent:</p>
+
+<ul class="booklist">
+  <li><i>Gettysburg Address</i>, IX, 321.</li>
+  <li><i>Boat Song</i>, VII, 17.</li>
+  <li><i>Battle of Waterloo</i>, VIII, 176.</li>
+</ul>
+
+<p><a name="b_Rate_or_Time" id="b_Rate_or_Time"></a>b. Rate or Time. The rate at which a person reads, or the time consumed
+in any one selection, is regulated by the extent or breadth of thought
+and by the rapidity of action. There is a certain medium or ordinary
+time in which those selections <span class='pagenum'><a name="Page_314" id="Page_314">[314]</a></span>that are in no way emotional are read.
+Commonplace selections, not calculated to stir the feelings, are of this
+character, as are simple narratives where the incidents are unexciting.
+This medium or standard time may be varied in two ways: first, by the
+quantity of time taken in the utterance of certain words or syllables,
+and second, by pauses between sentences or groups of words. Rate,
+however, usually depends more upon the grouping of words and the length
+of the pauses between groups than upon the utterance of syllables. The
+rate of syllabic utterance is usually a personal characteristic. Some of
+us articulate rapidly, while others of more phlegmatic temperament speak
+slowly.</p>
+
+<p>In conversation or in perfectly natural reading, we usually utter with
+one impulse of the voice those words which are closely related in
+meaning. These words so uttered form groups that are usually quite
+independent of punctuation. Punctuation marks are for the eye and are
+intended to make clear the meaning. They do not separate the sentence
+into units of expression. Only the terminal marks are of any great
+importance either in suggesting the inflection or indicating the length
+of the pause. A good reader notices the marks insomuch as they make
+clear the thought, but largely disregards them in his reading.</p>
+
+<p>The person who reads too rapidly has a mind that is very quick in its
+action or one that is not fully occupied with the thought of his
+selection; he may have a vague understanding, but does not realize the
+full extent and import of the idea. If he reads too slowly, he is
+naturally slow in thought, or the words come to him slowly through his
+eyes, <span class='pagenum'><a name="Page_315" id="Page_315">[315]</a></span>his organs of speech are not sufficiently under control, or he
+does not appreciate the difference between the principal ideas and those
+of minor importance. Find the central idea, group others about it in
+proper degrees of subordination, feel the sentiment in what is being
+read, and the time usually will be correct. There are worse faults in
+reading than undue rapidity or slowness, for we can make our minds keep
+pace with the reader, if in other respects his expression is good.</p>
+
+<p>The following selections afford considerable variety in rate:</p>
+
+<ul class="booklist">
+  <li><i>Exciting Canoe Race</i>, VII, 79.</li>
+  <li><i>Those Evening Bells</i>, VII, 340.</li>
+  <li><i>Charge of the Light Brigade</i>, VII, 147.</li>
+  <li><i>Marco Bozzaris</i>, VIII, 90.</li>
+</ul>
+
+<p><a name="c_Quality" id="c_Quality"></a>c. Quality. The quality of the voice is almost entirely dependent upon
+the emotions. Tenderness, love, joy, awe, fear, all produce their effect
+upon the voice. In an unemotional state the person speaks in normal
+quality and in the tone that is natural to himself. If the same person
+is frightened or if his animosity is aroused, he speaks in an aspirated
+tone; if he feels harshly toward anyone or is angry, his voice possesses
+that guttural quality which indicates the severer and harsher emotion;
+when he is moved by grandeur and sublimity, his voice naturally takes a
+full, round quality.</p>
+
+<p><a name="d_Force" id="d_Force"></a>d. Force. The quantity of mental energy the person possesses usually
+regulates the force of his utterance, and that mental energy is
+stimulated by his emotions. If he feels thoroughly in earnest in what he
+is trying to accomplish, his voice becomes loud and full of force. It is
+then a natural <span class='pagenum'><a name="Page_316" id="Page_316">[316]</a></span>force and is usually agreeable, unless the emotion which
+causes it is of an unpleasant type.</p>
+
+<p>But it is often true, particularly of teachers who have been long in
+service and those persons who have talked under unfavorable conditions
+to large numbers of people, that their voices have become too loud and
+too much strained to be pleasant to the ear. A soft, pleasing voice,
+loud enough to be distinctly audible, is always better than a strident,
+forcible utterance that compels attention whether one will or not.</p>
+
+<p>Extremes of force may be found in the following selections:</p>
+
+<ul class="booklist">
+  <li><i>Sweet and Low</i>, VI, 122.</li>
+  <li><i>To a Waterfowl</i>, VII, 395.</li>
+  <li><i>The Destruction of Sennacherib</i>, VI, 141.</li>
+  <li><i>Little Red Riding Hood</i>, I, 79.</li>
+</ul>
+
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_317" id="Page_317">[317]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_XIII" id="CHAPTER_XIII"></a>CHAPTER XIII<br />
+<br />
+<span class="smcap">Literature and Its Forms</span></h2>
+
+
+<p class="opening"><span class="dropcapi"><span class="hide">I</span></span><span class="upper">t</span> is not everyone who can tell readily what is meant by literature, nor
+can anyone in a few words define it. What the study of &#8220;literature&#8221;
+(only the adult&#8217;s manner of saying &#8220;reading&#8221;) is expected to accomplish
+was aptly described by Cardinal Newman when he wrote: &#8220;The object of
+literature in education is to open the mind, to correct it, to refine
+it, to enable it to comprehend and adjust its knowledge, to give it
+power over its faculties&mdash;application, flexibility, method, critical
+exactness, sagacity, address and expression.&#8221; Reading at home and in the
+public schools as well as in the high school and colleges helps to
+accomplish these ends to a great extent.</p>
+
+<p>Many persons fail to understand what literature is, and if they do
+realize its importance they do not comprehend the great variety of its
+forms nor the significance of each. To help such persons to a more
+comprehensive knowledge and a deeper insight into the functions of
+literature this chapter is written.</p>
+
+<p>In its widest sense the word literature covers nearly every kind of
+printed matter, but it is in its more restricted meaning that the term
+is used here. Only that which is beautiful in form and expression,
+inspiring and helpful in spirit, noble and <span class='pagenum'><a name="Page_318" id="Page_318">[318]</a></span>righteous in sentiment can
+be called literature as we are considering it. There may be weak and
+frivolous books, well-meaning but inept books, and really bad books, but
+none of them can be classed as literature.</p>
+
+<p>Literary masterpieces are either prose or poetry, and in print the two
+are easily recognizable by their difference in form. Coleridge once said
+that prose consisted of words in their best order, while poetry was the
+best words in their best order, a poetic definition that does not convey
+a very accurate knowledge of the distinction. Poetry differs from prose
+not only in the choice and arrangement of words, but also to a lesser
+degree in sentiment and feeling. However, much verse, though faultless
+in form, can never be considered real poetry, while much prose has real
+poetic beauty.</p>
+
+
+<h3 class="section"><a name="Prose" id="Prose"></a><i>Prose</i></h3>
+
+<p>The great bulk of the writings of the world is in prose. It is the
+medium of hard sense, of practical knowledge, of argument and of
+dialogue. Yet often it appeals to the imagination, charms with its
+beauty and inspires to heroic deeds.</p>
+
+<p><a name="Methods_of_expression" id="Methods_of_expression"></a><a name="Narration" id="Narration"></a>It seems to be generally accepted that four methods of expression are to
+be found in prose: <i>narration</i>, <i>description</i>, <i>exposition</i> and
+<i>argumentation</i>. Narration deals with things in action, description with
+the appearance of things, exposition explains the relations ideas bear
+to one another, and argumentation not only does this, but tries at the
+same time to convince. Theoretically, this distinction is very easy to
+make, for action is the life of narration, appearance the theme of
+description, <span class='pagenum'><a name="Page_319" id="Page_319">[319]</a></span>explanation and exposition are synonymous, and no one
+argues but with the hope of convincing. What can man do more than to
+tell what has been done, tell how a thing looks, show how one thing
+follows from another or is related to it, and endeavor to bring another
+person to the same state of mind?</p>
+
+<p>The accuracy and completeness of the classification is most evident
+until one attempts to apply it practically to existing literature, and
+then he finds that no literary masterpiece belongs entirely to any one
+of the classes, but that these mingle and unite, one or the other
+usually predominating. This ruling element, the one which is
+proportionately greater, will govern the classification of a selection.
+In any story, narration and description meet at every turn, and not
+infrequently exposition is found freely intermingled; while novels have
+been written with the avowed sole purpose of changing the beliefs of a
+people. <i>Uncle Tom&#8217;s Cabin</i> is a story of intense dramatic activity, and
+abounds in vivid descriptions of places and persons. It is generally
+dealing with incidents relating to the characters of the story, yet it
+really makes an exposition of the evils of slavery, and certainly was no
+small factor in stirring the American people into vigorous action
+against the slave dealers. Yet no one would classify the book otherwise
+than among the narratives. Although into Burke&#8217;s <i>Conciliation</i> other
+elements enter, yet everyone will admit it to be argumentative in the
+highest degree. So while it is well to classify the selections read, yet
+fine theoretical distinctions should be abandoned. It is not so
+necessary to classify and name as it is to compare and distinguish.</p>
+
+<p><span class='pagenum'><a name="Page_320" id="Page_320">[320]</a></span>Narratives have been classified variously, but not more satisfactorily
+than have other forms of literature. A narrative is true or fictitious,
+and there appears the first principle of classification. Truthful
+narratives are personal when they are the simple account of the deeds of
+some person or thing, biographical when they show a clear and evident
+purpose to detail the events in the life of the person, historical when
+they deal with larger and more complicated questions and when the actors
+are as numerous as the actions are various. Fictitious narratives
+comprise short stories and novels. One prominent writer notes the
+following types: (1) The realistic novel that is true to actual life and
+often enters into the discussion of important questions of record. (2)
+The novel of life and manners which is largely descriptive and in which
+the exigencies of the plot give way to the study of customs. (3) The
+novel of incident in which the plot is everything and description and
+character study are avoided or subordinated to action. (4) The romance
+which usually deals with things as they were in days long past and with
+actions that little concern the present. Marvelous and even supernatural
+incidents crowd its pages. (5) The idealistic novel which paints the
+world as it should be and makes its actors more nearly perfect than the
+world accepts as typical. (6) The novel with a purpose which seeks to
+convert its readers by the vividness of its portraits rather than by
+argument, though by means of many detailed conversations its theories
+are often freely discussed and fully substantiated. Many great reforms
+have been brought about by novels of this character.</p>
+
+<p><a name="Description" id="Description"></a><span class='pagenum'><a name="Page_321" id="Page_321">[321]</a></span>Description deals with the individual and not with the class. A fine
+description is a work of art in its highest sense and is closely allied
+to painting, than which it is even more delicate and refined; for while
+the painter lays his color on the canvas and our eyes see the entire
+picture in all its minutest detail, the writer can only suggest the idea
+and stimulate the imagination to create for itself the picture in the
+mind of the artist. Yet such is the marvelous power of words when
+handled by a master that one can see by them almost as vividly as by the
+sense of sight. The reader is transported to far-away lands, strange men
+and animals surround him, the skies glare above him, silver lakes
+sparkle in the sun, brooks murmur against their fern-covered sides, and
+birds move the soul with their sweet music. Evening draws on, and the
+landscape glimmering fades away; the stars come out one by one and by
+and by the moon steals slowly up the sky. Peace and quiet reign over the
+darkened world. Neither sculpture nor painting can depict these changes;
+it rests with the magic of words. But the reader must do his share. He
+must give time to his reading, must yield himself gently to its
+influence, must not force himself into the writer&#8217;s mood but must
+receive and accept. Then descriptive literature will yield its keenest
+pleasures.</p>
+
+<p><a name="Exposition" id="Exposition"></a>Exposition deals with the class, and is abstract. So the demands made
+upon the reader are infinitely greater. It assumes that the concrete
+examples and specific instances necessary to interpret the abstract are
+already in mind and that the barest allusion to them will be sufficient.
+So exposition naturally follows narrative and description.</p>
+
+<p><a name="Argumentation" id="Argumentation"></a><span class='pagenum'><a name="Page_322" id="Page_322">[322]</a></span>Successful argumentation depends upon proof and persuasion. It is
+addressed to the reason or to the emotions. Burke and Webster endeavor
+to establish their respective positions by irrefutable arguments. When
+Beecher addressed the people on the slavery question he appealed
+strongly to their emotions and sought to make them act because of their
+intense feeling. One characteristic of all literary masterpieces is
+unity, but in none is this of more importance than in the expository and
+argumentative types.</p>
+
+<p><a name="Forms_of_prose" id="Forms_of_prose"></a><a name="Fiction" id="Fiction"></a>As we study it, literary material may be grouped as fiction, essays,
+speeches (orations), and dialogue (drama). No classification can be
+rigid or exact, for one may blend into the other. At the same time in
+any one may be found the four forms, description, narration, exposition
+and argument. For our purposes, however, the following definitions will
+answer: <i>Fiction</i> is a term covering those narratives which are either
+wholly or in part events that never happened and acts of individuals
+that never lived. Fiction is the work of the imagination, based upon the
+facts of life and observation. It appears as stories, in narrative poems
+or epics, and in novels.</p>
+
+<p><a name="Essays" id="Essays"></a><i>Essays</i> deal with all subjects and in such a variety of ways that any
+attempt to classify them meets with difficulty. Originally an essay was
+an attempt, a mere outline or plan intended to be filled out at greater
+length or to be used in different form. It is in this sense that Bacon
+uses the word and his essays are condensed to the highest degree. In
+later years essays have come to be of the most highly finished type of
+literature and some of the most beautiful passages, the noblest
+thoughts, the most <span class='pagenum'><a name="Page_323" id="Page_323">[323]</a></span>inspiring utterances, are to be found in them.
+Almost every conceivable topic is treated: there are biographical essays
+which do little more than narrate the facts of a man&#8217;s life; there are
+descriptive essays whose only function is to make their readers see
+something as the author saw it; there are argumentative and didactic
+essays and essays on science, art, religion, and literary criticism.
+Some writers have given their whole time and attention to this form of
+composition, and the modern magazine has become their distributing
+agency. Much of the deepest, of the brightest, of the best of recent
+work has come to its readers through this medium.</p>
+
+<p>The essay shows more of the author&#8217;s self than any other form of
+literature. It is apt to be sincere, to be the deliberate expression of
+the writer&#8217;s own views formulated with the desire to convince another.
+In the purely literary type this last characteristic is not so
+strikingly prominent, though it appears rather under the surface. In no
+form of literature is the artistic element more manifest. The prose
+writer makes of his essay what the poet does of his lyric&mdash;the most
+finished and beautiful expression of his thought. The thought is the
+writer&#8217;s chief concern, but upon his manner of expressing it depend the
+force and value of his work. Accordingly he gives to his style his most
+careful attention and fits and polishes it with all his skill. The
+result is that in the essay are to be found the best examples of prose
+style. While the essay frequently appeals to our humorous sense and
+sometimes arouses our sympathy by its pathetic touches, yet no such
+opportunity is offered for emotional effect as that given by the novel
+or the drama.</p>
+
+<p><a name="Orations" id="Orations"></a><span class='pagenum'><a name="Page_324" id="Page_324">[324]</a></span>The essay is written to be read, the <i>oration</i> to be heard; the essay is
+to please, to entertain, perhaps to instruct, sometimes to convince; the
+oration is to arouse the feelings, to carry conviction, to stir the
+public to action. It is a formal production, addressed directly to its
+hearers; it is in form or meaning in the second person. Even when
+descriptive or eulogistic, it is a direct address. The orator says,
+&#8220;These are my opinions and my reasons for so thinking. Will you not
+accept my view and act accordingly?&#8221;</p>
+
+<p>The oration naturally divides itself into three sections. There is an
+<i>introduction</i>, in which the speaker clears the way, opens the question
+and lays down the principles he proposes to advocate, or indicates the
+course of his argument. The <i>body</i> follows. Here the principles are
+elucidated, the arguments advanced and properly established or the
+descriptions elaborated and finished. The last section is the
+<i>conclusion</i>, which may consist of a brief review or summary of the
+inferences drawn, or of a plea for belief and for action in accordance
+with the principles of the speaker.</p>
+
+<p>Before the art of printing was invented, public opinion was molded
+almost entirely by public speaking, and for a great many years afterward
+the orator was the greatest of leaders. By the magic of his eloquence he
+changed the views of men and inspired them to deeds of valor. The fiery
+orations of a Demosthenes, of a Cicero; the thrilling words of a Peter
+the Hermit or a Savonarola; the unanswerable arguments of a Burke or a
+Webster, have more than once turned the course of history.</p>
+
+<p>But when the newspaper first found its way <span class='pagenum'><a name="Page_325" id="Page_325">[325]</a></span>into the hands of thinking
+men the power of the orator felt the influence of its silent opponent
+and began to wane. Today, it is not often that multitudes are swayed by
+a single voice. The debates and stump-speeches of a political campaign
+change but few votes. The preacher no longer depends wholly upon the
+convincing power of his rhetoric to make his converts. The
+representatives of a people in a parliament or a congress speak that
+their words may be heard through the newspapers by their constituents
+more than with the expectation that their speech will carry a measure
+through the House they are addressing.</p>
+
+<p>Yet we will listen with pleasure to a fervid speaker whose earnestness
+of manner carries the conviction of his sincerity, and even against our
+will we are moved by elegant sentences and pleasing tones. The orator
+will continue to be a power, though in a different way. Conditions have
+changed, and the ponderous periods and elaborate figures that
+characterized the orators of classic epochs are giving place to the
+plain, lucid diction and the simple, true-hearted tones of the modern
+speaker.</p>
+
+<p><a name="Drama" id="Drama"></a>The drama is objective, the author keeping himself out of sight as much
+as possible. His characters appear, speak their parts and vanish with no
+explanatory words from him except the occasional stage direction limited
+to the fewest possible words. There is no description, except when the
+actors give an account of something that does not occur upon the stage.
+There is little of narration, except to explain what does not appear
+upon the scene or to give clearness to the action. Argument is not
+<span class='pagenum'><a name="Page_326" id="Page_326">[326]</a></span>infrequent, though it is usually in the form of a moving appeal to the
+emotions rather than to the reason. The play often leads to exposition,
+and many dramas are written with the evident intent of teaching a deep
+and forceful lesson.</p>
+
+<p>The drama shows man in action and develops his character before the
+reader, but it is by acts and speech and not by direct description from
+the author. It deals with all human interests and frequently
+supernatural manifestations are introduced and become important factors
+in the plot, particularly when they are believed in by the people who
+appear in the drama. But in general it is a study of life and character.</p>
+
+<p>Primarily the drama is to be heard, not read, and consequently its style
+is usually clear and its meaning easily apprehended, but the complexity
+of its incidents and the intricacies of its plot make it difficult to
+follow. The rapidity of its action, the necessity of gathering the
+meaning from a single hearing, and the intensity of feeling aroused
+would all unite to confuse the hearer were it not for the skill of the
+actor and the appropriateness of the stage settings. By the aid of
+these, understanding is in most cases not difficult. The changing
+scenery, the dress of the actors, their movements, the tones of their
+voices, and the expression of their faces all aid the hearer. But the
+interpretation then becomes that of the actor, so that the listener is
+once removed from the author. Moreover, to the actor everything is
+subservient to dramatic effect, and the study of an Othello descends
+into an effort to excite an audience rather than to portray correctly
+the shifting passions of the jealous Moor. The poet&#8217;s <span class='pagenum'><a name="Page_327" id="Page_327">[327]</a></span>creation is
+adapted to the actor&#8217;s use by the omission of scenes, changes of scenes,
+and additions of scenes, by such verbal alterations and phrasal
+transpositions that one does not see Shakespeare&#8217;s Shylock demanding his
+pound of flesh but watches Irving&#8217;s Shylock whetting his savage knife;
+Hamlet is lost in Booth, and Juliet weeps in the tears of Mary Anderson.</p>
+
+<p>But the pleasure a person derives from listening to their thrilling
+utterances is as distinct from that which comes to the appreciative
+reader as the pleasures of the palate differ from those of the eye. To
+the reader everything is his own. He carries his own theater with him.
+The scenery he must himself construct and he may alter it at will; the
+costumes and personal appearance of the characters are the creations of
+his own mind; his thunder has no metallic sound and his lightning always
+flashes. He may bring his favorites back with many an encore and may
+show his disapproval with hisses that would drown the gallery. He may
+linger over the passages he loves and find new encouragement in his
+defeats and ever fresh joys for his hours of gloom. He is never hurried:
+the lights never go out, the curtain is never rung down.</p>
+
+
+<h3 class="section"><a name="Poetry" id="Poetry"></a><i>Poetry</i></h3>
+
+<p>The reality of poetry is its beauty, its power of inspiration, its
+truth. Its beauty lies in its choice of words, in its figures of speech,
+in its music and in its sentiment. Any definition that is not purely
+formal is hard to give. Professor Shairp defined the soul of poetry when
+he wrote: &#8220;Whenever the soul comes vividly in contact with any fact,
+truth, <span class='pagenum'><a name="Page_328" id="Page_328">[328]</a></span>or existence, which it realizes and takes home to itself with
+more than common intensity, out of that meeting of the soul and its
+object there arises a thrill of joy, a glow of emotion; and the
+expression of that <i>glow</i>, that <i>thrill</i>, is poetry.&#8221;</p>
+
+
+<h3 class="section"><a name="The_Structure_of_Poetry" id="The_Structure_of_Poetry"></a><i>The Structure of Poetry</i></h3>
+
+<p>The form and structure of poetry should be studied, but not to so great
+an extent as to blind the eye or deaden the appreciation of its beauty
+and sentiment. Brown, who wrote the beautiful story <i>Rab and His
+Friends</i>, has said, &#8220;It is with poetry as with flowers and fruits. We
+would all rather have them and taste them than talk about them. It is a
+good thing to know about a lily, its scientific ins and outs, its
+botany, its arch&aelig;ology, even its anatomy and organic radicals; but it is
+a better thing to look at the flowers themselves and to consider how
+they grow.&#8221;</p>
+
+<p><a name="Rhythm" id="Rhythm"></a>If one reads poetry aloud he soon becomes sensible of a certain rhythm
+or regular recurrence of accented syllables that gives a measured
+movement to the lines. It is a recognition of this rhythm that makes a
+child read in a &#8220;sing-song&#8221; tone, as natural a thing as it is to sing.
+If we hear constantly repeated at frequent and regular intervals any
+noise, there is a tendency to group these separate sounds and measure
+them off regularly. The clock ticks with always the same force and with
+the same space of time between the ticks, yet we hear <i>tick</i>-tack,
+<i>tick</i>-tack; we can prove the difference to be in our ear, for it
+requires but little effort to hear tick-<i>tack</i> or <i>tack</i>-tick,
+<i>tack</i>-tick. The ticking has not varied in the least.</p>
+
+<p><span class='pagenum'><a name="Page_329" id="Page_329">[329]</a></span>The poet takes advantage of this rhythmical tendency of nature and by
+using accented syllables at regular intervals compels us to recognize
+the swing of his lines. When he reduces this to a system he has
+established the <i>meter</i> of his production. The poetical accents
+sometimes fall on unaccented syllables and sometimes on monosyllabic
+words that are not emphatic, but usually the metrical accent of any
+given word corresponds to its logical accent. The accentuation of a
+syllable tends to lengthen the time used in the pronunciation of that
+syllable, and so we call it long, although the sound of its vowel may be
+short. Short syllables are those which are unaccented, even though the
+vowel has the long sound.</p>
+
+<p><a name="Rhyme" id="Rhyme"></a>Verse appeals to the ear by its melodious combinations of sounds and
+also by the regular recurrence of similar sounds in <i>rhymes</i>. These
+usually occur at the ends of verses. In order that a rhyme may be
+perfect the two rhyming syllables must both be accented, the vowel sound
+and the consonants following must be identical, and the sounds preceding
+the vowel must be different. For example, <i>fate</i> and <i>late</i> rhyme; <i>fat</i>
+and <i>late</i> do not; <i>fate</i> and <i>lame</i> do not; <i>debate</i> rhymes with
+<i>relate</i>, but not with <i>prelate</i>. Double rhymes occur frequently, as in
+the words <i>bowlders, shoulders</i>.</p>
+
+<p>Take this stanza from Hood&#8217;s <i>Song of the Shirt</i>:</p>
+
+<p class="poem">With fingers weary and worn,<br />
+<span class="i1">With eyelids heavy and red,</span><br />
+A woman sat in unwomanly rags<br />
+<span class="i1">Plying her needle and thread&mdash;</span><br />
+<span class="i2">Stitch! Stitch! Stitch!</span><br />
+<span class='pagenum'><a name="Page_330" id="Page_330">[330]</a></span>In poverty, hunger and dirt;<br />
+<span class="i1">And still with a voice of dolorous pitch</span><br />
+She sang the &#8220;song of the shirt.&#8221;</p>
+
+<p>Here the first and third lines are unrhymed, the second and fourth, the
+fifth and seventh, and the sixth and eighth lines rhyme alternately in
+couplets. If the beginnings of the verses are noticed it will be seen
+that the indentations of the lines correspond with the rhymes.</p>
+
+<p>Rhymes are not always used in poetry. Most of Shakespeare&#8217;s plays are
+written in <i>blank verse</i>, which is unrhymed iambic pentameter, called
+<i>heroic verse</i>. <i>Hiawatha</i> and <i>Evangeline</i> are not rhymed, the former
+being trochaic tetrameter and the latter largely dactylic hexameter.</p>
+
+<p><a name="Alliteration" id="Alliteration"></a>Frequently appeal is made to the ear by a similarity of sound at the
+beginning of words. This is known as <i>alliteration</i>. In early English
+poems this was of prime importance and subject to rigid rules, but more
+recently it has been used without rule, subject merely to the author&#8217;s
+will. This is seen to a marked degree in many writers. Here are several
+lines taken from Poe&#8217;s <i>The Bells</i>:</p>
+
+<p class="poem">What a world of <i>m</i>erriment their <i>m</i>elody foretells,<br />
+What a <i>t</i>ale of <i>t</i>error now their <i>t</i>urbulency <i>t</i>ells.<br />
+In a mad expostulation with the dea<i>f</i> and <i>f</i>rantic <i>f</i>ire.</p>
+
+<p>In many cases alliteration is very skilfully handled, as where Whittier
+uses the liquid consonants to make more smooth and harmonious to the ear
+the line that tells the friendliness of the brooklet whose murmurings
+could not be heard in winter, but&mdash;</p>
+
+<p><span class='pagenum'><a name="Page_331" id="Page_331">[331]</a></span></p>
+
+<p class="poem">&#8220;The music of whose <i>li</i>quid <i>li</i>p<br />
+Had been to us companionship&#8221;</p>
+
+<p>during the long summer days.</p>
+
+<p>The number of verses in a stanza varies from two to an indefinite
+number. When there are two verses the stanza is called a couplet; a
+three line stanza is called a tercet; a four line stanza, a quatrain.
+The five line stanza is not common, but six is a frequent number.</p>
+
+
+<h3 class="section"><a name="Kinds_of_Poetry" id="Kinds_of_Poetry"></a><i>Kinds of Poetry</i></h3>
+
+<p>Poems may be classified as epic, lyric and dramatic.</p>
+
+<p><a name="Epic" id="Epic"></a>The word <i>epic</i> is by some writers restricted in its application, but it
+is preferred here to use it in a broad sense to include various forms of
+narrative poetry, and to use the term greater, or heroic, epic to
+designate the smaller class of narratives which the older writers knew
+as epics. Thomas Arnold&#8217;s definition of the greater epic is: &#8220;The
+subject of the Epic Poem must be some one, great, complex action. The
+principal personages must belong to the high places of the world, and
+must be grand and elevated in their ideas and in their bearing. The
+measure must be of sonorous dignity, befitting the subject. The action
+is carried on by a mixture of narrative, dialogue, and soliloquy.
+Briefly to express its main characteristics, the epic treats of one
+great complex action, in grand style, and with fullness of detail.&#8221;</p>
+
+<p>Under such a definition there can be but few really great epics in any
+language. Comparatively few poets have cared to undertake so great a
+task and many of those who have been willing to make <span class='pagenum'><a name="Page_332" id="Page_332">[332]</a></span>the attempt have
+failed conspicuously in the execution. But most of the great languages
+of the world have each one surpassing epic which has held the interest
+of its readers and established an immortality for itself. Homer gave the
+Greeks the grandeur of his <i>Iliad</i>; Virgil charms the Latin race and
+every cultivated people since with the elegance of his <i>Aeneid</i>; Dante
+with Virgil for his model and Beatrice as an inspiration wrote in
+Italian the <i>Divina Commedia</i>, in which he described with all-powerful
+pen the condition of the dead in the Inferno, Purgatory, and Paradise;
+and our Milton after years of preparation, from the dark realm of his
+own blindness, produced the sublime measures of <i>Paradise Lost</i>. These
+are the Greater Epics, greater by far than anything else written by man.
+With them this course does not concern itself to any great extent.</p>
+
+<p>The term lesser epic includes the numerous forms of narrative poems from
+the old-time ballad to the modern story-telling poem. The epic is
+essentially different from the lyric. While in the latter the
+personality of the author is always apparent, and properly so, in the
+epic the intrusion of the poet&#8217;s self is usually a defect. The lyric is
+subjective, the epic objective. To tell a story effectively and well is
+the prime motive, to tell it beautifully and in a way to excite the
+imagination and move the feelings of the reader is the contributory
+poetic impulse. Of the lesser epics groups might be set apart. The
+ballad is the oldest form. It was originally the production of wandering
+minstrels or glee-men and was not reduced to writing and kept in
+permanent form. Being passed from mouth to mouth <span class='pagenum'><a name="Page_333" id="Page_333">[333]</a></span>there naturally came
+to be great variations in its form, and even the incidents were modified
+to suit the taste of the singer. After poetry came to be a study of the
+cultured and refined, the minstrel&#8217;s power declined, though he was a
+welcome guest at the feasts of the wealthy, where his song added to the
+gayety of the occasion or gave dignity to the host as his deeds were
+sung by the hireling bard. In the sixteenth century these singers
+disappeared from view in the blaze of the Elizabethan Age.</p>
+
+<p><a name="Lyric" id="Lyric"></a>The highest type of literary expression is poetry, and the most perfect
+creation of poetic imagination is the lyric. Technically a lyric is a
+song, a short poem that can be set to music. But this must be
+interpreted in a wide sense, for though all the songs that are sung are
+lyrics, the greater number of lyrics were never intended to be fitted to
+the closer requirements of vocal harmony. They deal with all subjects
+and have few requirements of form, though form is an essential element
+and a matter of great importance, for to the perfection of form much of
+the intense effect of the lyric is due. Like the essay the lyric is a
+subjective composition; it is confessedly the expression of the poet&#8217;s
+personal emotion and his own experiences. His mind, his soul, speak to
+us; he does not interpret the thoughts and feelings of another. The
+lyric is usually contemplative and full of the choicest results of the
+poet&#8217;s meditations. It influences action indirectly through direct
+appeals to the emotions.</p>
+
+<p><a name="Songs" id="Songs"></a>Songs form a class of lyrics as varied in content as the possible
+subjects in life. One might consider them as sacred and secular and
+under the former recognize the psalms, which our poets have many <span class='pagenum'><a name="Page_334" id="Page_334">[334]</a></span>times
+rendered into metrical form, not infrequently detracting from the
+sublimity of the originals. &#8220;The Lord is my Shepherd&#8221; needs no change,
+no remodeling from the biblical version to make it a true lyric, but
+that it may be sung to the tunes of our churches it has more than once
+been paraphrased.</p>
+
+<p>Hymns are religious songs expressing devout reverence for the deity,
+displaying confidence and faith in the goodness of God, breathing a
+prayer for help in hours of difficulty and distress, or for consolation
+in the hour of affliction. Our literature is full of these noble poems,
+and their lofty sentiments, clothed in beautiful words sung to the
+thrilling music of other inspired composers, have been potent factors in
+culture and refinement.</p>
+
+<p>Secular songs are written upon nearly every conceivable topic of human
+interest and are more numerous than any other form of literature, but so
+many of them are inferior in composition and so dependent upon the
+jingle of the tunes to which they are sung that their life is little
+longer than the time consumed in their production. But a large number
+are conceived in the true spirit of art and are as worthy of immortality
+as anything we read.</p>
+
+<p>There are comic songs that sparkle with wit and whose music laughs with
+the hearer; sentimental and love songs whose sensuous cadences intensify
+the passion of their words; convivial songs where toasts are drunk to
+the accompaniment of the clinking glasses; and patriotic songs that roll
+with the ringing cheers of thousands and the tramp of armed men.</p>
+
+<p>There are still three large classes of lyrics each distinct in itself,
+though, as we see if we try to draw <span class='pagenum'><a name="Page_335" id="Page_335">[335]</a></span>the lines closely, shading off into
+one another. Usually these are in the nature of a direct address to some
+person, place, or thing, and are distinguished one from another by the
+nature of the subject or the rules of form. All are in a greater or less
+degree complimentary to the thing addressed and show interest, respect,
+admiration or love. The ode and elegy have most in common, although the
+latter is a tribute to the dead. The sonnet partakes deeply of the
+nature of the others, but is set off by very arbitrary limitations of
+form.</p>
+
+<p><a name="Odes" id="Odes"></a>There are no rules governing the form of the ode; the poet is at liberty
+to select whatever form seems best adapted to his purpose. The length of
+the stanza, the meter, the rhyme, may be as varied as his fancy
+dictates, but the ode is an address direct and personal, an address with
+praise for its object. The subject may be a flower, a piece of pottery,
+a person, a bird or a nation, but some definite inciting object is
+necessary. The ode is subjective in that the poet expresses his own
+feeling of admiration or reverence. Often there is an acknowledgment of
+a benefit conferred, a lesson learned, or affection returned. From these
+conditions, namely, the liberty of form, the direct and powerful
+inspiration, the sincere desire to return a favor, a poet might
+naturally be expected to produce his choicest work, and so he has done.</p>
+
+<p><a name="Elegy" id="Elegy"></a>A mournful song, in stately measure, praising the dead for his virtues,
+full of the grief that remains with the living, believing in the
+happiness of the departed and hoping for a blessed reunion in the
+hereafter: this is the typical <i>elegy</i>. On the one side it shades off
+into the ode, some poems being <span class='pagenum'><a name="Page_336" id="Page_336">[336]</a></span>susceptible of classification in both
+groups; on the other it may take the form of sonnets, many of which
+answer every requirement of the dirge. Many poems are therefore
+elegiacal that are not strictly elegies. A rigid classification is never
+necessary, but an association of these beautiful pieces, all thoroughly
+impregnated with the personal grief of the author, gives to each a
+greater power, a more thrilling significance. They arise from the
+deepest emotion and so are the offspring of divinest inspiration; love
+is in the heart of the writer and so the flight of song is best
+sustained; they are intended to show to the world respect and admiration
+for the one whose virtues they celebrate and so they are refined and
+polished to the last degree. Where grief, love and a hope to give
+earthly immortality to the object of his affection move the poet, we
+expect the finest efforts of his genius. These elegies include some of
+the grandest, the most perfect productions of poetic skill.</p>
+
+<p>When man sees his loved one laid away forever, he naturally longs to
+preserve the memory of the departed to succeeding generations, to erect
+some permanent memorial. Funereal monuments are characteristic of every
+race and have proved the most enduring records of the past. The
+inscriptions upon these tombs are early records of the elegiac spirit.</p>
+
+<p>The epitaph is elegy in miniature. &#8220;To define an epitaph is useless;
+everyone knows it is an inscription on a tomb. An <i>epitaph</i> is indeed
+commonly panegyrical, because we are seldom distinguished by a stone but
+by our friends,&#8221; says Dr. Johnson.</p>
+
+<p><span class='pagenum'><a name="Page_337" id="Page_337">[337]</a></span>This epitaph was written by Robert Wilde in the seventeenth century:</p>
+
+<p class="poem">Here lies a piece of Christ; a star in dust;<br />
+A vein of gold; a china dish that must<br />
+Be used in heaven, when God shall feast the just.</p>
+
+<p><a name="Sonnet" id="Sonnet"></a>The <i>sonnet</i> may be addressed to any person or thing and is the direct
+personal expression of the author&#8217;s feeling. It is like the ode, and
+also partakes of the general nature of the elegy, but it differs from
+both in the rigidity of the rules of form that govern it. Sonnets
+originated in Italy, and the genuine Italian sonnet is very exacting in
+form. It must consist of exactly fourteen lines of iambic pentameter.
+These lines are divided into two groups, one of which consists of eight
+lines or two <i>quatrains</i>, the whole known as the <i>octave</i>. The remaining
+six lines constitute the <i>sestet</i>. The first and last line of each
+quatrain rhyme together, while the middle lines of each form the second
+rhyme. In the sestet usually the first line rhymes with the fourth, the
+second with the fifth and the third with the sixth. As a whole the
+sonnet contains one idea, which in the octave is general, in the sestet
+specific, for the sestet expresses the conclusion of the octave.</p>
+
+<p>The difficulties of composition under such arbitrary limitations are
+evident, and it is not to be wondered at that even famous poets have
+utterly failed when they have essayed to write in this form. The sonnet
+has met with severest criticism, some writers failing to see any beauty
+in it. Coleridge says: &#8220;And when at last the poor thing is toiled and
+hammered into fit shape, it is in general racked <span class='pagenum'><a name="Page_338" id="Page_338">[338]</a></span>and tortured prose
+rather than anything resembling poetry.&#8221; Though Lord Byron wrote a few
+himself he defined the sonnet as &#8220;The most puling, petrifying, stupidly
+Platonic composition.&#8221;</p>
+
+<p>But this is hardly fair to the many exquisitely beautiful lyrics that in
+this form grace the English language. Those &#8220;little pictures painted
+well,&#8221; those &#8220;monuments of a moment&#8221; are among our most graceful poems,
+and the reader who has not learned to delight in a beautiful sonnet has
+missed the most refined pleasure English literature has to give.</p>
+
+<p><a name="Victor_and_Vanquished" id="Victor_and_Vanquished"></a>The following exquisite sonnet, <i>Victor and Vanquished</i>, by Longfellow,
+is formed on the Italian model:</p>
+
+<p class="poem">As one who long hath fled with panting breath<br />
+<span class="i1">Before his foe, bleeding and near to fall,</span><br />
+<span class="i1">I turn and set my back against the wall,</span><br />
+And look thee in the face, triumphant Death.<br />
+I call for aid, and no one answereth;<br />
+<span class="i1">I am alone with thee, who conquerest all;</span><br />
+<span class="i1">Yet me thy threatening form doth not appall,</span><br />
+For thou art but a phantom and a wraith;<br />
+<span class="i1">Wounded and weak, sword broken at the hilt,</span><br />
+With armor shattered, and without a shield,<br />
+<span class="i1">I stand unmoved; do with me what thou wilt;</span><br />
+I can resist no more, but will not yield.<br />
+<span class="i1">This is no tournament where cowards tilt;</span><br />
+The vanquished here is victor of the field.</p>
+
+<p>How many verses in this sonnet? What is the meter? What is the rhyme
+scheme? Through how many lines is the rhyme scheme the same as that
+followed in the Italian sonnet?</p>
+
+<p>Is there a unity of thought in this sonnet? Does <span class='pagenum'><a name="Page_339" id="Page_339">[339]</a></span>the poet consistently
+allude to some one thing? Was Longfellow old or young when he wrote
+this? What does Longfellow represent himself to be? Why does he &#8220;set his
+back against the wall&#8221;? In these days of Mauser rifles would it do any
+good to set one&#8217;s back against the wall for protection against an
+approaching enemy? Was it ever an advantage? Who is the foe that follows
+him? How can Death be &#8220;but a phantom and a wraith&#8221; and at the same time
+follow the poet triumphantly? What do his weapons and his armor indicate
+as to what he represents himself? What is the &#8220;broken sword&#8221;? Who fight
+in tournaments? What is there appropriate in the word &#8220;tilt&#8221;? How can
+the one who is vanquished be victor still? Is the figure of medieval
+knighthood well sustained?</p>
+
+<p><a name="Dramatic" id="Dramatic"></a>The earliest European <i>dramas</i> of which we have any record were the
+plays performed in ancient Greece five hundred years before Christ.
+There were very few characters introduced, sometimes only one or two,
+and a chorus was the most important part of the representation. This
+chorus served to fill the gaps in the action, to state what had preceded
+and at times even to comment upon the actors, to exhort or to praise or
+condemn their behavior. The Greek dramatists carefully followed the
+so-called rule of <i>three unities</i>: unity of time, whereby the action
+must be compressed into one day; unity of place, by which only one place
+must be represented; and unity of action, whereby the movement of the
+piece must be continuous, all the incidents be connected so as to form
+one main line of thought. The rule of three unities was followed very
+closely by the French dramatists up to com<span class='pagenum'><a name="Page_340" id="Page_340">[340]</a></span>paratively recent times; but
+in England, beginning with the Elizabethan era, no restraint was placed
+upon dramatic technique except unity of action, which still remains
+essential.</p>
+
+<p><a name="Miracle_plays" id="Miracle_plays"></a>During the Middle Ages the drama was represented by <i>miracle</i> and
+<i>mystery plays</i> dealing with sacred history. They differed in subject
+only. The miracle plays represented the lives of saints and their
+miraculous deeds; the mysteries, the mysterious doctrines of
+Christianity and various biblical events. During an age when preaching
+was unusual, the clergy reached the souls of their people by means of
+these rude plays which were at first given in churches; but later, when
+the town guilds and trade organizations began to present them, the stage
+was a traveling cart, roughly fitted up with rude scenery. Still later,
+before theaters were built, the wandering players acted in inn yards or
+courtyards. Female parts were always taken by boys, and it was not until
+after Shakespeare&#8217;s time that women appeared on the stage.</p>
+
+<p><a name="Morality_plays" id="Morality_plays"></a>In the reign of Henry VI the mysteries were in part superseded by the
+<i>morality plays</i>, although the former did not wholly go out of style
+until the time of Elizabeth. The passion play given every ten years at
+Oberammergau, Bavaria, is a survival of the old mystery play. The
+moralities personified the virtues and vices common to man, and
+attempted to teach moral lessons by allegorical representations. When
+popular interest in these dramas began to lag, current topics were
+introduced into the dialogue, and characters from real life appeared on
+the stage for the first time. Early in the sixteenth century John
+Heywood invented a farcical com<span class='pagenum'><a name="Page_341" id="Page_341">[341]</a></span>position called <i>The Interlude</i> to
+relieve the tiresome monotony of existing plays. But it was in 1540 that
+the first comedy appeared, and it is not too much to say that this play
+marks the beginning of modern English drama. Nicholas Udall, head master
+of Eton College, being accustomed to write Latin plays for his boys,
+concluded to try his hand at an English drama. The result was <i>Ralph
+Royster Doyster</i>, the first comedy. In 1562 Queen Elizabeth was
+entertained by the presentation of the first English tragedy, a play
+entitled <i>Gorboduc</i>, by Thomas Sackville.</p>
+
+<p><a name="Masques" id="Masques"></a>During the sixteenth and seventeenth centuries amateur dramatic
+productions called <i>masques</i> were presented. Sometimes even nobles and
+members of the royal family took part. These plays were accompanied by
+music, dancing, and spectacular effects. The literary character of the
+masque developed into the compositions of Ben Jonson, and culminated in
+Milton&#8217;s <i>Comus</i>. During the reign of Elizabeth the productions of Kyd,
+Peele, Greene, Marlowe, and Beaumont and Fletcher raised the drama to
+such a lofty plane that only the genius of a Shakespeare could surmount
+it.</p>
+
+<p><a name="Tragedies_comedies" id="Tragedies_comedies"></a>There are two distinct classes of modern dramas&mdash;tragedies and comedies.
+In the former, events crowd irresistibly on to some terrible conclusion,
+usually resulting in the death of the principal characters. An
+atmosphere of gloom surrounds it, and the flashes of light serve but to
+intensify the general darkness. Even when the soul of the reader
+recognizes the justice of the end it rebels against the horrors of the
+situation. The deeper and darker passions predominate; love is swallowed
+up in <span class='pagenum'><a name="Page_342" id="Page_342">[342]</a></span>hate and happiness drowned in grief. The comedy is in a lighter
+and happier vein; its situations may be trying but they end happily; the
+sun shines and the air is clear; if storms appear they are the showers
+of a summer day, not awful tempests. The comedy descends through various
+forms to the travesty and farce whose purpose is solely to excite
+laughter by ludicrous scenes and absurd incidents. The melodrama abounds
+in thrilling situations and extravagant efforts to excite emotions, but
+its final outcome is a happy one, and the villain is punished and virtue
+is comfortably rewarded.</p>
+
+<p>Dramas may be written in prose or in poetic form. The tendency is toward
+prose in comedy and poetry in tragedy, though in the same play both
+prose and poetry are sometimes used. The most common form for the poetic
+composition is the unrhymed iambic pentameter or blank verse (heroic
+measure). Rhymes are in use but usually their purpose is definite and
+specific and they may occur occasionally in plays which are otherwise in
+blank verse. Lyrics are often introduced, and in them both rhyme and
+meter are varied at the pleasure of the author.</p>
+
+<p><i>Journeys Through Bookland</i> contains numerous illustrations of the facts
+of this chapter and plentiful examples of every form of literature
+except the sonnet, of which a type has just been given. The outline
+which follows will summarize this chapter and show a few of the examples
+that may be formed.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="image11" id="image11"></a><a href="images/image11-full.jpg"><img src="images/image11.jpg" width="250" height="400" alt="Portraits" title="Robert Louis Stevenson
+Paul Du Chaillu
+Rudyard Kipling
+Thomas Hughes
+Hans Christian Andersen
+Jakob Grimm
+Wilhelm Grimm" /></a><br />
+<span class="caption smcap">Robert Louis Stevenson&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Paul Du Chaillu<br />
+Rudyard Kipling<br />
+Thomas Hughes&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Hans Christian Andersen<br />
+Jakob Grimm&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Wilhelm Grimm</span>
+</div>
+
+
+<h3 class="section"><a name="Literature" id="Literature"></a><span class="smcap">Literature</span></h3>
+
+<ol class="outline">
+  <li>I. <span class="smcap">Prose.</span></li>
+  <li class="level2">1. Forms of Prose Composition.</li>
+  <li class="level3"><span class='pagenum'><a name="Page_343" id="Page_343">[343]</a></span>A. Narration.</li>
+  <li class="level4"><i>The Pine Tree Shillings</i>: IV, 192.</li>
+  <li class="level4"><i>A Christmas Carol</i>: VI, 244.</li>
+  <li class="level3">B. Description.</li>
+  <li class="level4"><i>Brute Neighbors</i>: VII, 260.</li>
+  <li class="level4"><i>The Alhambra</i>: VIII, 153.</li>
+  <li class="level4"><i>Children&#8217;s Books of the Past</i>: V, 101.</li>
+  <li class="level3">C. Exposition.</li>
+  <li class="level4"><i>Imitation of Christ</i>: VI, 134.</li>
+  <li class="level4"><i>The Cubes of Truth</i>: VII, 406.</li>
+  <li class="level4"><i>Reading History</i>: V, 394.</li>
+  <li class="level3">D. Argument.</li>
+  <li class="level4"><i>Poor Richard&#8217;s Almanac</i>: VI, 407.</li>
+  <li class="level2">2. Kinds of Prose.</li>
+  <li class="level3">A. Fiction.</li>
+  <li class="level4"><i>Aladdin</i>: III, 288.</li>
+  <li class="level4"><i>Tom Brown at Rugby</i>: V, 469.</li>
+  <li class="level4"><i>The Adventure of the Windmills</i>: VII, 438.</li>
+  <li class="level3">B. Essays.</li>
+  <li class="level4"><i>Childhood</i>: VI, 124.</li>
+  <li class="level4"><i>Dream Children</i>: VIII, 335.</li>
+  <li class="level4"><i>The Vision of Mirza</i>: IX, 285.</li>
+  <li class="level3">C. Orations.</li>
+  <li class="level4"><i>The Gettysburg Address</i>: IX, 321.</li>
+  <li class="level4"><i>Abraham Lincoln</i>: IX, 324.</li>
+  <li class="level1">II. <span class="smcap">Poetry.</span></li>
+  <li class="level2">1. Structure of Poetry.</li>
+  <li class="level3">A. Rhyme.</li>
+  <li class="level4"><i>The Country Squire</i>: VI, 474.</li>
+  <li class="level4"><i>To My Infant Son</i>: VI, 478.</li>
+  <li class="level3">B. Meter.</li>
+  <li class="level4"><i>The Daffodils</i>: VII, 1.</li>
+  <li class="level4"><i>The Old Oaken Bucket</i>: VII, 11.</li>
+  <li class="level4"><i>Bannockburn</i>: VII, 15.</li>
+  <li class="level4"><span class='pagenum'><a name="Page_344" id="Page_344">[344]</a></span><i>Boat Song</i>: VII, 17.</li>
+  <li class="level2">2. Kinds of Poetry.</li>
+  <li class="level3">A. Epics.</li>
+  <li class="level4">a. Heroic Epics.</li>
+  <li class="level5"><i>Death of Hector</i>: IV, 364.</li>
+  <li class="level5"><i>Wooden Horse</i>: IV, 383.</li>
+  <li class="level4">b. Lesser Epics.</li>
+  <li class="level5"><i>Saint Nicholas</i>: II, 202.</li>
+  <li class="level5"><i>Pied Piper of Hamelin</i>: III, 384.</li>
+  <li class="level5"><i>Incident of the French Camp</i>: IV, 174.</li>
+  <li class="level5"><i>Sohrab and Rustum</i>: VI, 173.</li>
+  <li class="level3">B. Lyrics.</li>
+  <li class="level4">a. Songs.</li>
+  <li class="level5">(1) Sacred.</li>
+  <li class="level6"><i>Nearer Home</i>: IV, 126.</li>
+  <li class="level6"><i>Lead, Kindly Light</i>: V, 110.</li>
+  <li class="level5">(2) Secular.</li>
+  <li class="level6"><i>Annie Laurie</i>: VI, 119.</li>
+  <li class="level6"><i>Auld Lang Syne</i>: VI, 228.</li>
+  <li class="level6"><i>Those Evening Bells</i>: VII, 340.</li>
+  <li class="level5">(3) Patriotic.</li>
+  <li class="level6"><i>Battle Hymn of the Republic</i>: V, 399.</li>
+  <li class="level6"><i>America</i>: VIII, 60.</li>
+  <li class="level4">b. Odes.</li>
+  <li class="level5"><i>To the Fringed Gentian</i>: VII, 4.</li>
+  <li class="level5"><i>Ode to a Skylark</i>: VII, 275.</li>
+  <li class="level5"><i>To H. W. L.</i>: IV, 84.</li>
+  <li class="level4">c. Elegies.</li>
+  <li class="level5"><i>Elegy Written in a Country Churchyard</i>: VI, 360.</li>
+  <li class="level4">d. Sonnet.</li>
+  <li class="level4">e. Drama.</li>
+  <li class="level5"><i>The Tempest</i>: VIII, 364.</li>
+</ol>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_345" id="Page_345">[345]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_XIV" id="CHAPTER_XIV"></a>CHAPTER XIV<br />
+<br />
+<span class="smcap">Journeys Through Bookland in Its Relation to the School</span></h2>
+
+
+<h3 class="section"><a name="Reading_and_Language" id="Reading_and_Language"></a><i>Reading and Language</i></h3>
+
+<p class="opening"><span class="dropcapt"><span class="hide">T</span></span><span class="upper">hese</span> books were prepared expressly for home readings, but as has been
+said elsewhere, they were prepared with a definite purpose to make them
+a living adjunct to school work and a strong helper in bringing the home
+and the school together. To accomplish this result it was necessary that
+all the studies offered in <i>Journeys</i> should be after the most approved
+methods and that there should be no selections that could not with
+propriety be used in any school in the land. This principle of selection
+made it necessary to exclude some selections that might have been
+pleasing but at the same time were not universal in their acceptance.
+Again, it was necessary to include literature that was in a sense
+technical, that would apply to every class that young readers have in
+school. This does not mean that there are a great many things that are
+purely geographical or purely historical or that deal directly with the
+study of language and literature. It means that the reader of <i>Journeys</i>
+will find selections that he can use in nearly every class in school and
+that those selections are in the highest degree literary. In no way does
+a child learn more thoroughly that geography and history are worth
+<span class='pagenum'><a name="Page_346" id="Page_346">[346]</a></span>study in themselves than by meeting them clothed in the beauty of fine
+writing. In no way will he be led more quickly into a love for nature in
+all her manifestations and into a keen desire to study nature than by
+the hand of literature. Language takes on a new interest when it becomes
+evident that it is a real and necessary help to writing as the great
+writers do.</p>
+
+<p>Accordingly when the selections were chosen for <i>Journeys</i>, a tabulation
+of school subjects was made and under each head were placed the things
+that would be most helpful in school work. It was not decided finally to
+keep that arrangement in the books, for a different and a better system
+of grading and classification was selected. Nevertheless the selections
+are there, and the object of this and the few following chapters is to
+show what those selections are, how they may be used in school and how
+their use at home helps in the school work of every reader.</p>
+
+<p>In the grades below the high school the following subjects are
+considered most important, viz.: reading, language, arithmetic,
+geography, history and nature study. At the first thought one would say
+that a set of books such as <i>Journeys</i> can be of no use in the
+arithmetic class, and of course their usefulness in that direction would
+not justify their existence. However, there are selections in <i>Journeys</i>
+that have a decided arithmetical flavor, such as, for instance, <i>Three
+Sundays in a Week</i> (Volume VI, page 453) and <i>The Gold Bug</i> (Volume IX,
+page 232). Even among the nursery rhymes is one that is purely
+arithmetical (Volume I, page 41). We may, however, disregard the
+arithmetic in <i>Journeys</i>, <span class='pagenum'><a name="Page_347" id="Page_347">[347]</a></span>but we must not lose sight of the fact that
+the method of reading discussed under the title <i>Close Reading</i> is
+exactly the method of study that every person must pursue if he is to
+make any success in mathematics. In no other branch is there a call for
+such close reading, and only he who can get all the meaning out of the
+statement of a problem can be certain of his solution. One of the
+reasons that so many children have trouble with the problems in their
+arithmetic classes is that they do not read intelligently. Many a good
+teacher of mathematics will tell you that a large part of her success is
+due to the fact that she has spent much of the time in the class in
+teaching her pupils to read understandingly. Many another could make a
+vast improvement in her methods of teaching if she would spend a part of
+the time of each recitation in teaching her pupils to read problems till
+they thoroughly understand them before beginning to work out the
+formulas. It follows then that every child who masters the art of close
+reading will be helped in a great measure in all his work in
+mathematics. The value of <i>Journeys</i> in this connection is that it makes
+that method of study clear and leads a child to its mastery almost
+without the recognition of what he is doing. It will teach him to think
+before he acts and to acquire the habit of looking for the full meaning
+of everything he reads.</p>
+
+<p>In this and the two following chapters will be given studies of the most
+important subjects studied in the grades, showing the correlation of the
+<i>Journeys</i> material. These subjects will be treated in the following
+order: Reading, Language, Nature Study, Geography and History.</p>
+
+<p><span class='pagenum'><a name="Page_348" id="Page_348">[348]</a></span></p>
+
+
+<h3 class="section"><a name="A_Reading" id="A_Reading"></a>A. Reading</h3>
+
+<p class="opening"><span class="dropcapa"><span class="hide">A</span></span><span class="upper">s for</span> the other studies with which <i>Journeys</i> is correlated, we shall
+take them up one by one and at greater length. First in importance is
+reading. This is always first in importance in school, for every other
+study depends upon it. In fact the prime motive of <i>Journeys</i> is to
+teach reading, and it will teach reading in the school and in the home.
+The child who has read what these books have to offer in the way that
+these books teach will have a power that cannot be taken from him, and
+his position in class and elsewhere will be raised immediately. Besides
+the fund of information he will have acquired he will have made for
+himself a habit that will always benefit him. Every study in the books
+from the first page to the last is a help in reading, and all the
+lessons of this volume are directed to reading. But there are three or
+more long chapters in this volume which take up the different methods of
+reading and apply them to selections on all conceivable subjects dealt
+with in <i>Journeys</i>. To these chapters on reading the teacher and the
+parent who wants to be informed are directed. The treatment is simple
+and not above the effort of anyone, and the method will appeal to all
+high school students of literature, for it is the method of the best
+teachers of that subject.</p>
+
+<p><span class='pagenum'><a name="Page_349" id="Page_349">[349]</a></span></p>
+
+
+<h3 class="section"><a name="B_Language" id="B_Language"></a>B. <span class="smcap">Language</span></h3>
+
+<p class="opening"><span class="dropcapt"><span class="hide">T</span></span><span class="upper">here</span> are two distinct phases of the teaching of language: pupils must
+be taught to speak and to write with ease, fluency and correctness.
+There are very few children who do not like to talk. It is as natural to
+them as to breathe. But as soon as they begin to speak we begin to
+correct their speech. Much of our criticism is given publicly, at least
+before other children, some of whom are known to speak more fluently and
+correctly than those whose errors are being criticized. In consequence,
+the children begin to doubt themselves, to hesitate, and gradually to
+lose their desire to talk. In fact, so timid and reluctant do they
+become that by the time they have been in school a few years many
+teachers find their greatest difficulty in getting pupils to recite well
+or to talk naturally. Perhaps before and after school and at recess they
+will converse freely and delightfully, but as soon as their classes are
+called they become reticent and ill at ease. Not all of this lack of
+spirit is due to the teacher, but some of it is. In any event it is an
+unfortunate condition, and the teacher is anxious to remove it.</p>
+
+<p>At home a similar condition prevails. If the parents are themselves
+accurate in speech and alive to the importance of making their children
+good talkers and users of correct English they will be ready with
+criticism, and unless they are careful will do their share to repress
+the natural frankness of child nature. Parents who have been teachers
+are quite as liable to err as others are to remain in igno<span class='pagenum'><a name="Page_350" id="Page_350">[350]</a></span>rance in
+attempting to understand the psychology of the child mind. Freedom of
+conversation on topics of interest where correct models of speech are
+always before the child will accomplish more in making cultivated speech
+than will twice as much direct instruction. If only parents will read
+the things that the children are reading and affect an interest in those
+things they can be certain of giving the best training, while they
+themselves will grow in happiness and nearness to their offspring. In
+the fields of literature they can stray together with the consciousness
+that with all the beauty there is nothing to corrupt.</p>
+
+<p>In a lesser degree, perhaps, the same facts are true in written
+language, in composition. But in lessons of this type the instructor
+will not find conditions so favorable: Talking is natural, writing is
+artificial; to speak is instinctive, to write is an art of difficult
+attainment. In the first place, a child must be taught to form strange
+characters with his hand. After he acquires facility in that, he must
+think, put this thoughts into words in his mind, and then laboriously
+transfer his words, letter by letter, to the paper before him. Many a
+child who talks well cannot write a respectable letter. His thoughts
+outrun his hand, and by the time the first labored sentence is written
+his ideas have fled and he must begin again. Is it any wonder that his
+sentences are disconnected, his thought meager?</p>
+
+<p>Just think what it means to a child to write you a letter, or even a
+brief paragraph! Suppose he wants to tell you about a dog he has at
+home. He begins by thinking: &#8220;My dog, Ben, is a pretty little woolly
+fellow with bright eyes and long silky <span class='pagenum'><a name="Page_351" id="Page_351">[351]</a></span>ears,&#8221; and then his thoughts run
+off vaguely into the general idea that he is going to tell you about
+some very cute tricks Ben can perform. The child is all enthusiasm and
+he begins writing and thinking something like this: &#8220;My (that word must
+begin with a capital letter) dog (&#8216;Ben&#8217; must begin with a capital, too)
+Ben is a (is that &#8216;pritty&#8217; or &#8216;pretty&#8217;? It&#8217;s pronounced &#8216;pritty&#8217; anyhow)
+pritty (that don&#8217;t look right. Scratch it out!) pretty (well, that
+don&#8217;t, I mean <i>doesn&#8217;t</i> look right either, but I&#8217;ll leave it) (For
+goodness sake, how do you spell it? &#8216;Wooly&#8217;? &#8216;wolly&#8217;? &#8216;woolly&#8217;? I guess
+I had it right at first) wooly fellow (where shall I put the commas?
+I&#8217;ll leave &#8216;em out. Teacher can put them in if she wants them.) with
+bright eyes and long slicky (no, no, that isn&#8217;t right! How funny!
+Scratch it out.) silky ears. (I nearly forgot the period. Now what was I
+going to say next?).&#8221; When he is through, his first sentence is like
+this: &#8220;My dog Ben is a pretty little wooly fellow with bright eyes and
+long silky ears.&#8221; He looks at his work with doubt and disgust as he
+scratches his head for the next idea. He has wholly forgotten what he
+intended to tell about! Later, his work, wholly unsatisfactory to
+himself comes to you for criticism and you take your blue pencil or your
+pen with red ink and put in the marks if any are needed, indicate the
+misspelled words and sigh as you say, &#8220;Will Charlie ever learn to write
+a decent composition?&#8221; Certainly he will, when his writing becomes
+mechanical, when his hand makes the letters, puts in the marks, and his
+lower brain spells the words for him, without disturbing the higher
+cells which are occupied with his ideas.</p>
+
+<p><span class='pagenum'><a name="Page_352" id="Page_352">[352]</a></span>These are the diverse problems that confront anyone who tries to teach
+language to a child. We cannot solve them all, but most certainly we can
+lend some assistance.</p>
+
+
+<h3 class="section"><a name="Oral_Lessons" id="Oral_Lessons"></a>1. Oral Lessons</h3>
+
+<p>Success in oral language lessons rests primarily upon interest. If you
+can secure interest, the children will talk freely; if you retain
+interest, you can criticize freely and with good effect.</p>
+
+<p>Criticisms should not be too severe and should always be impersonal. It
+is not John and Mary who are being corrected, but the mistakes that John
+and Mary make. You have heard both parents and teachers say, &#8220;John, why
+will you persist in saying, &#8216;I done it&#8217;? Don&#8217;t you know that is wrong?
+You must correct yourself.&#8221; Such criticism is wholly bad. If John says
+&#8220;I done it,&#8221; it is because he has heard the expression and become
+habituated to its use. He cannot be taught differently by berating him.
+When he says, &#8220;I done it,&#8221; repeat after him in a kindly inquiring voice,
+&#8220;I <i>done</i> it?&#8221; or say in a kindly way, &#8220;I did it.&#8221; In either case John
+will give you the correct form willingly, and when he has done so times
+enough he will forget the wrong form and cease to use it.</p>
+
+<p>Everyone must remember that children have heard slang and incorrect
+speech almost from infancy; that the playground, the street and the home
+have been steadily teaching, and that the minds of even primary children
+may be filled with not only loose forms of speech, but even with profane
+and indecent expressions. One of the natural correctives for such things
+is the reading and telling of <span class='pagenum'><a name="Page_353" id="Page_353">[353]</a></span>attractive stories, full of dramatic
+power, calculated to stimulate right feeling, couched in clear and
+forcible English. Elsewhere in this volume under the title <i>Telling
+Stories</i> are suggestions and good models.</p>
+
+<p>From the standpoint of the language lesson, children must reproduce the
+story, must &#8220;tell it back&#8221; to make it valuable to them. The instructor&#8217;s
+part in this reproduction may be summed up as follows:</p>
+
+<p>1. Be an interested audience for the child.</p>
+
+<p>2. Secure clearness. Do it by a gentle question or a remark now and
+then: &#8220;I am not sure that I understand you.&#8221; &#8220;Do you think I would know
+what you mean if I had never read the story?&#8221; &#8220;If you were telling the
+story to your playmate would she understand that?&#8221;</p>
+
+<p>3. Encourage the child to use his own words, when he follows too closely
+the phraseology that was given him, yet remember that one of the objects
+of the exercise is to give the children the use of a wider vocabulary
+and to make them appreciate and use beautiful and forcible expressions.</p>
+
+<p>4. Be reasonably content with freedom of expression at first, and do not
+expect too rapid improvement. You are moving against fixed habits.</p>
+
+<p>5. Vary the character of the exercise. Sometimes permit one child to
+tell the whole story; at other times, call upon other children, or
+continue the story yourself.</p>
+
+<p>6. If the story is a difficult one, do not ask for its reproduction
+until it is thoroughly understood. Make its meaning clear by skilful
+questioning, <span class='pagenum'><a name="Page_354" id="Page_354">[354]</a></span>which with the answers makes an extremely valuable
+conversation lesson.</p>
+
+<p>7. Encourage the use of beautiful expressions, of fine figures of
+speech. Do it by using such expressions yourself and by pointing them
+out in the story or poem you are using.</p>
+
+<p>8. Beware of spoiling a beautiful poem or an elegant prose selection by
+poor reproduction. After the story has been related and the meaning made
+clear have the original read several times exactly as it is written and
+encourage the children to commit it to memory.</p>
+
+<p>There are in <i>Journeys Through Bookland</i> many selections suitable for
+these oral lessons. For the little folks there are some of the <i>Nursery
+Rhymes</i>, of Volume I, like the following:</p>
+
+<ul class="booklist">
+  <li><i>Little Boy Blue</i>, Page 33.</li>
+  <li><i>Mary, Mary, Quite Contrary</i>, Page 30.</li>
+  <li><i>Ladybird, Ladybird</i>, Page 12.</li>
+  <li><i>Little Bo-Peep</i>, Page 9.</li>
+  <li><i>Jack and Jill</i>, Page 27.</li>
+  <li><i>Poor Robin</i>, Page 16.</li>
+  <li><i>There Was a Jolly Miller</i>, Page 47.</li>
+  <li><i>Twinkle, Twinkle, Little Star</i>, Page 44.</li>
+</ul>
+
+<p>In the same class may be included those beautiful poems by Stevenson and
+Field, poems that every child loves and will be delighted to talk about.
+For instance, the following from the same volume:</p>
+
+<ul class="booklist">
+  <li><i>The Swing</i>, Page 67.</li>
+  <li><i>Singing</i>, Page 83.</li>
+  <li><i>The Rock-a-by Lady</i>, Page 94.</li>
+  <li><i>My Bed is a Boat</i>, Page 126.</li>
+  <li><i>Foreign Lands</i>, Page 130.</li>
+  <li><i>Little Blue Pigeon</i>, Page 133.</li>
+  <li><span class='pagenum'><a name="Page_355" id="Page_355">[355]</a></span><i>The Land of Counterpane</i>, Page 144.</li>
+  <li><i>Norse Lullaby</i>, Page 246.</li>
+  <li><i>Where Go the Boats?</i> Page 256.</li>
+  <li><i>Wynken, Blynken and Nod</i>, Page 262.</li>
+  <li><i>Keepsake Mill</i>, Page 349.</li>
+  <li><i>The Duel</i>, Page 384.</li>
+</ul>
+
+<p>The last list, however, includes many of those poems which must not be
+spoiled by childish re-telling. Use them for conversation subjects and
+then for reading or recitation.</p>
+
+<p>The fables will be found to provide excellent material, and there need
+be no fear of ruining their effect as literature:</p>
+
+<ul class="booklist">
+  <li><i>The Lion and the Mouse</i>, Volume I, page 75.</li>
+  <li><i>The Wolf and the Crane</i>, I, 96.</li>
+  <li><i>The Lark and Her Young Ones</i>, I, 131.</li>
+  <li><i>The Cat and the Chestnuts</i>, I, 142.</li>
+  <li><i>The Sparrow and the Eagle</i>, Volume II, 8.</li>
+</ul>
+
+<p>Certain of the fairy stories are excellent; so are anecdotes concerning
+men of whom the children should know; historical tales, and stories
+about plants, birds and other animals. Among the great number of
+selections that might be included under this head, some of the best are
+the following:</p>
+
+<p>1. Fairy Tales and Folk Stories:</p>
+
+<ul class="booklist">
+  <li><i>Silverlocks and the Three Bears</i>, Volume I, 101.</li>
+  <li><i>The Hardy Tin Soldier</i>, I, 148.</li>
+  <li><i>Cinderella</i>, I, 224.</li>
+  <li><i>The Ugly Duckling</i>, I, 414.</li>
+  <li><i>Why the Sea is Salt</i>, II, 484.</li>
+  <li><i>The Pied Piper of Hamelin</i>, III, 384.</li>
+</ul>
+
+<p>2. Biographical Stories:</p>
+
+<ul class="booklist">
+  <li><i>Robert Louis Stevenson</i>, Volume I, 128.</li>
+  <li><span class='pagenum'><a name="Page_356" id="Page_356">[356]</a></span><i>Eugene Field</i>, I, 242.</li>
+  <li><i>George Rogers Clark</i>, VI, 422.</li>
+  <li><i>P&egrave;re Marquette</i>, VIII, 121.</li>
+</ul>
+
+<p>3. Myths:</p>
+
+<ul class="booklist">
+  <li><i>The Wonderful Gifts</i>, Volume I, 368.</li>
+  <li><i>The Chimera</i>, II, 173.</li>
+  <li><i>The Story of Phaethon</i>, II, 206.</li>
+</ul>
+
+<p>4. Historical Tales:</p>
+
+<ul class="booklist">
+  <li><i>Robert Bruce and the Spider</i>, Volume V, 314.</li>
+  <li><i>The Fall of the Alamo</i>, VIII, 141.</li>
+  <li><i>Herv&eacute; Riel</i>, VIII, 168.</li>
+</ul>
+
+<p>5. About Flowers and Plants:</p>
+
+<ul class="booklist">
+  <li><i>The Daffodils</i>, Volume VII, 1.</li>
+  <li><i>Trees and Ants That Help Each Other</i>, VII, 306.</li>
+  <li><i>A Bed of Nettles</i>, VIII, 209.</li>
+</ul>
+
+<p>6. About Birds:</p>
+
+<ul class="booklist">
+  <li><i>Who Stole the Bird&#8217;s Nest?</i> Volume II, 399.</li>
+  <li><i>Owls</i>, IX, 229.</li>
+</ul>
+
+<p>7. About Other Animals:</p>
+
+<ul class="booklist">
+  <li><i>Elephant Hunting</i>, Volume VI, 385.</li>
+  <li><i>The Buffalo</i>, VII, 96.</li>
+  <li><i>The Pond in Winter</i>, VII, 280.</li>
+</ul>
+
+<p>The longer stories you will abbreviate in telling, and the children will
+still further shorten them. Try, however, to retain the spirit of each.
+Do not try to tell all that is contained in the longer articles
+mentioned above. Select interesting portions, a single anecdote, a few
+facts that will hold attention.</p>
+
+<p><a name="The_Wind_and_the_Sun" id="The_Wind_and_the_Sun"></a>At times vary the exercise by giving a very simple theme and ask the
+children to make up a story to fit it. If they have difficulty, help
+them to think and talk. When they see what you want some will surprise
+you with their vivid imaginations and pic<span class='pagenum'><a name="Page_357" id="Page_357">[357]</a></span>turesque modes of expression.
+Suppose you have in mind the fable <i>The Wind and the Sun</i> (Volume I,
+Page 95). You might present the idea to them in this form: &#8220;The Wind and
+the Sun each tried to make a man take off his coat. The Wind tried and
+failed, then the Sun tried and succeeded. Can you tell me a story about
+that?&#8221; If you meet with no satisfactory response, begin questioning
+somewhat in this style, and perhaps the child will answer nearly as
+indicated:</p>
+
+<p>Question. You don&#8217;t know what I mean? Then let us tell it together. How
+do you think the Wind would try to make a man take off his coat?</p>
+
+<p>Answer. He would try to blow it off.</p>
+
+<p>Q. How would he blow?</p>
+
+<p>A. He would blow hard.</p>
+
+<p>Q. Can you think of another word besides <i>hard</i> to show how he would
+blow?</p>
+
+<p>A. Fierce.</p>
+
+<p>Q. Fiercely. Yes, &#8220;<i>fiercely</i>&#8221; is a good word. How fiercely would he
+blow?</p>
+
+<p>A. Very fierce.</p>
+
+<p>Q. Yes, very <i>fiercely</i>. Did you notice I said &#8220;fiercely,&#8221; John? Now
+can&#8217;t you think of a comparison with something else that is fierce, so
+that our story will sound well and people will like it?</p>
+
+<p>A. A lion is fierce. We could say, &#8220;He blew as fiercely as a lion.&#8221;</p>
+
+<p>Q. But a lion does not blow. What does he do?</p>
+
+<p>A. He tears his prey when he captures it.</p>
+
+<p>Q. That&#8217;s good. Now tell me how the Wind tried to make the man take off
+his coat.</p>
+
+<p>A. The Wind blew fiercely as a lion tears his prey.</p>
+
+<p><span class='pagenum'><a name="Page_358" id="Page_358">[358]</a></span>Q. Good. Did the man take off his coat?</p>
+
+<p>A. I don&#8217;t think he did. I think he would try to keep it on.</p>
+
+<p>Q. How hard do you think he would try?</p>
+
+<p>A. As hard as he could.</p>
+
+<p>Q. Did he lose it?</p>
+
+<p>A. No. No matter what the Wind did I think the man would keep on his
+coat.</p>
+
+<p>Q. Will you please tell the story as far as we have gone?</p>
+
+<p>A. The Wind and the Sun tried to make a man take off his coat. First the
+Wind blew as fiercely as a lion tears his prey, but the man clung more
+closely to his coat and would not let it go.</p>
+
+<p>Q. That is good, but it does not satisfy me yet. I want a longer,
+prettier story. Let us make believe the Wind and the Sun are two men.
+Make them talk so they will seem real to us. Can&#8217;t you start us?</p>
+
+<p>A. One day Mr. Wind and Mr. Sun got to talking. Each one thought he was
+stronger than the other. They saw a man walking along the road. He had a
+big overcoat on and Mr. Wind said that he&mdash;</p>
+
+<p>Q. Tell us exactly what Mr. Wind said.</p>
+
+<p>A. Mr. Wind said, &#8220;I am stronger than you are. I can make that man take
+off his coat. You can&#8217;t!&#8221;</p>
+
+<p>Q. That is a fine start. Tell us what the Sun said.</p>
+
+<p>A. The Sun said that he&mdash;</p>
+
+<p>Q. &#8220;That he?&#8221;</p>
+
+<p>A. The Sun said, &#8220;I can make him take off his coat, and I can do it
+quicker than you can.<span class='pagenum'><a name="Page_359" id="Page_359">[359]</a></span>&#8221;</p>
+
+<p>Q. Good. Go on.</p>
+
+<p>A. So they tried. Mr. Wind began. He blew as hard as he could and
+whistled around the man. He blew as fiercely as a lion tears his prey,
+but the man wouldn&#8217;t take off his coat.</p>
+
+<p>Q. What would the man do to his coat?</p>
+
+<p>A. I think he&#8217;d hold on to it, button it up, draw it close around him.</p>
+
+<p>Q. Good. Very good. Now tell the story as well as you can.</p>
+
+<p>A. Begin at the beginning?</p>
+
+<p>Q. Yes.</p>
+
+<p>A. One day Mr. Wind and Mr. Sun got into a quarrel about who was the
+strongest. While they were at it, a man in a heavy overcoat came walking
+along the road. When Mr. Wind saw the man he said, &#8220;Now see that man
+down there. I can make him take off his coat, but you can&#8217;t.&#8221; Mr. Sun
+replied, &#8220;I don&#8217;t believe you can do it, but I can, though,&#8221; then Mr.
+Wind said, &#8220;Well, I&#8217;ll show you, you conceited thing!&#8221; So the Wind blew
+and blew, fierce and loud like a lion attacking his prey, but the man
+wouldn&#8217;t take off his coat. He drew it around him and buttoned it up and
+hung on to it.</p>
+
+<p>Q. I like your story. But how many people were talking?</p>
+
+<p>A. Two.</p>
+
+<p>Q. Did you mean to say &#8220;<i>strongest</i>&#8221;?</p>
+
+<p>A. Stronger.</p>
+
+<p>It is not necessary to continue this farther, for enough has been
+written to show how a story may be developed and improved with each
+retelling.</p>
+
+<p>The same style of work, perhaps to even better advantage, may be done
+from the pictures so num<span class='pagenum'><a name="Page_360" id="Page_360">[360]</a></span>erous in <i>Journeys Through Bookland</i>. In this
+volume, under the title <i>Pictures and Their Use</i>, will be found
+plentiful suggestions that will be helpful in conversation lessons.</p>
+
+
+<h3 class="section"><a name="Written_Lessons" id="Written_Lessons"></a>2. Written Lessons</h3>
+
+<h4 class="subsection"><a name="A_Introduction" id="A_Introduction"></a>A. Introduction.</h4>
+
+<p>The demands of written composition are so much more severe than those of
+oral composition that we must be careful not to ask more than the child
+can execute with comparative ease. Before he begins to write, he should
+have clear ideas of what he intends to write and should have those ideas
+so arranged that they will not be confused in the process of writing.
+Moreover, a child must become quite familiar with writing as an art
+before he can be expected to originate ideas or forms of expression for
+the purpose of writing them. It follows, then, that some of the early
+written work in language may profitably consist of copying selections of
+various kinds.</p>
+
+<p>The titles given under the preceding section (<i>Oral Lessons</i>) will lead
+to many excellent exercises for this purpose. Insist on perfect accuracy
+of copy. Spelling, capitalization and punctuation must be correct. If
+the original is prose, insist upon proper paragraphing; if poetry, upon
+exactness in the arrangement of the lines, especially in the matter of
+indentation. Children will quickly see the relation that indentation
+bears to rhymes. By following with exactness, the child learns
+unconsciously to observe the general rules. By occasionally calling
+attention to the reasons for forms, children are taught to act
+intelligently and <span class='pagenum'><a name="Page_361" id="Page_361">[361]</a></span>to decide for themselves when they come to original
+composition.</p>
+
+<p>Rhythm is as natural as breathing, and rhyming is easy for children with
+quick ears and quick thought. You will be surprised the first time you
+try the exercise to see how quickly they will imitate a rhythm with
+which they are familiar, and the skill they show in making rhymes. Try
+it first as an oral exercise, and later ask for written lines. Much of
+such work may not be profitable, but it serves well to give variety.
+Making simple parodies is amusing and stimulating to thought. Sometimes
+you will help by suggesting rhymes or by giving hints as to the subject
+to be parodied.</p>
+
+<p>Take the nursery rhyme <i>There Was an Old Woman</i> (Volume I, page 36) for
+a model. Suggest <i>bird</i> and <i>nest</i> as ideas for new rhymes and keep
+helping until you get something like this:</p>
+
+<p class="poem">There was a sweet birdie<br />
+<span class="i1">Who built a fine nest,</span><br />
+A beautiful birdie<br />
+<span class="i1">With a very red breast.</span></p>
+
+<p>Use the same meter many times over till all become familiar with it.
+Similar exercises prove highly interesting to children of all ages.</p>
+
+<p>Although this is not a treatise on written language lessons, a few
+general suggestions may not be out of place:</p>
+
+<p>1. Be sure that the children have something interesting about which to
+write.</p>
+
+<p>2. Be sure that they have a good stock of ideas on the subject, or that
+they know how and where <span class='pagenum'><a name="Page_362" id="Page_362">[362]</a></span>to get information and can get it without great
+difficulty.</p>
+
+<p>3. Be sure that they write an outline of their composition or have one
+thoroughly in mind before they begin on the essay itself.</p>
+
+<p>4. Give plenty of time for the writing.</p>
+
+<p>5. Show a decided interest in their preparation and in their
+compositions.</p>
+
+<p>6. Do not be severe in your criticisms. Give encouragement. Concentrate
+your efforts on one or two errors at a time. Let other mistakes pass
+till a more convenient time.</p>
+
+<p>7. <i>a.</i> Watch for errors:</p>
+
+<p style="margin-left: 2em;">(1) In the use of capital letters.</p>
+
+<p style="margin-left: 2em;">(2) In the use of punctuation marks; first of terminal marks, then
+of the marks within a sentence.</p>
+
+<p style="margin-left: 1em;"><i>b.</i> See that every sentence is complete, with subject and predicate.</p>
+
+<p style="margin-left: 1em;"><i>c.</i> See that verbs agree with subjects, and pronouns with antecedents.</p>
+
+<p style="margin-left: 1em;"><i>d.</i> Insist that the work be paragraphed.</p>
+
+<p style="margin-left: 1em;"><i>e.</i> Watch for errors in case among the pronouns. The objective case is
+troublesome.</p>
+
+<p style="margin-left: 1em;"><i>f.</i> Look for adjective forms where adverbial forms are correct.</p>
+
+<p>8. Require care in all work. Neatness and legibility are essential.</p>
+
+<p>9. Mark errors, do not correct them. Let the children do that. A simple
+system of marks will enable you to indicate the nature of the error.</p>
+
+<p>10. When the mistakes have been corrected, have a neat copy made and
+preserved.</p>
+
+<p>11. Try sincerely to work with your children and to secure a genuine
+spirit of co-operation.</p>
+
+<p><span class='pagenum'><a name="Page_363" id="Page_363">[363]</a></span></p>
+
+
+<h4 class="subsection"><a name="B_Literature_in_Written_Lessons" id="B_Literature_in_Written_Lessons"></a>B. Literature in Written Lessons.</h4>
+
+<p>Indirectly, all that is said on the teaching of reading in this and
+other volumes bears upon language, and you are earnestly urged to
+consider it all carefully in that light. More directly, what has been
+written herein on the subject of conversation lessons and oral language
+is a necessary preliminary to any discussion of written work and should
+be used freely in the assignment and preparation of subjects for written
+exercises. The outlines for study in reading and the outlines of the
+oral lessons are easily modified to become very satisfactory outlines
+for compositions. The selections recommended for oral lessons are all
+adapted to written work.</p>
+
+<p><a name="Narration_XIV" id="Narration_XIV"></a><span class="smcap">Narration.</span> As in other instances, however, it here seems wise to give a
+few suggestions specifically for the written exercises, and as a basis
+for such suggestions we will take selections from <i>Journeys Through
+Bookland</i>.</p>
+
+<p><a name="Robin_Hood_and_the_Stranger" id="Robin_Hood_and_the_Stranger"></a>Robin Hood has been an interesting character for many generations of
+schoolboys, and among the ballads concerning him (Volume III, page 436)
+are several good selections for reading aloud. Most children know
+something about Robin Hood and many of them have read full accounts, yet
+probably the old ballads are not familiar. The note on page 436 gives
+information about the ballads and tells what it is necessary to know
+about Robin Hood himself. Suppose we take as a subject the ballad on
+page 444, <i>Robin Hood and the Stranger</i>. The notes explain peculiar
+expressions and give the meanings of obsolete words. There is a manly,
+rough-and-tumble spirit in the ballad <span class='pagenum'><a name="Page_364" id="Page_364">[364]</a></span>that boys like, and it is clean
+and wholesome, as well.</p>
+
+<p>Read the ballad to the children, explaining the more obscure words and
+phrases as you go along. Encourage the children to ask questions
+whenever they do not fully understand. Talk freely until you have made
+everything clear and have secured interest. Then read the whole ballad
+without interruption. Read with expression and enthusiasm. Show the
+spirit and virility of the men.</p>
+
+<p>Then by questions bring out the facts of the narrative in logical order
+as they appear, and have each child copy them for himself. They
+constitute the outline each is to write. Adapt the outline to the age
+and acquirements of the child; make it as full or as brief as you
+please, but make it logical and complete. Let it be similar to the
+following:</p>
+
+<p>1. Robin Hood goes hunting.</p>
+
+<p>2. He meets a well-dressed stranger.</p>
+
+<p>3. The stranger kills a deer by a remarkable shot with his bow.</p>
+
+<p>4. Robin Hood invites the stranger to join his company.</p>
+
+<p>5. The stranger threatens Robin Hood.</p>
+
+<p>6. They prepare to fight with bows.</p>
+
+<p>7. Robin Hood thinks it a pity that either should be slain, and proposes
+to fight with broadswords.</p>
+
+<p>8. Robin Hood strikes a heavy blow which the stranger returns with
+interest.</p>
+
+<p>9. Robin Hood feels great respect for the stranger&#8217;s power, and asks who
+he is.</p>
+
+<p>10. The stranger proves to be Robin Hood&#8217;s only nephew.</p>
+
+<p><span class='pagenum'><a name="Page_365" id="Page_365">[365]</a></span>11. They meet Little John, who wants to fight young Gamwell.</p>
+
+<p>12. Robin Hood compels peace, makes Gamwell second to Little John and
+names him Scarlet.</p>
+
+<p>Talk to the children freely after you have made the outline; advise them
+to make the story interesting, dramatic, and not too long. Show them
+that it is better to use direct discourse; that is, to make the
+characters seem alive. The result will be a good <i>narration</i>, the
+simplest and most common form of written discourse.</p>
+
+<p><a name="Description_XIV" id="Description_XIV"></a><span class="smcap">Description.</span> To so describe a scene to another person that he may see it
+clearly and vividly is high art. It is necessary in narration and often
+lends strength to description and exposition. Accordingly, it is one of
+the most important forms of composition. In no direction, perhaps, can
+<i>Journeys Through Bookland</i> be of greater assistance.</p>
+
+<p>I. In the first place, the pictures are a mine of subjects for
+description. The pictures themselves may be described, and many of them
+will suggest other subjects for similar tasks. For instance, in Volume
+V, on page 219, is a picture of Sir Galahad when the Holy Grail appears
+to him. Some of the topics for description are the following:</p>
+
+<p>1. The picture, <i>Sir Galahad</i>. (For suggestions as to the description of
+pictures, etc., see the topic <i>Pictures and Their Use</i>, in this volume.)</p>
+
+<p>2. The trees in the forest.</p>
+
+<p>3. The armor of Sir Galahad and the trappings of his horse.</p>
+
+<p>Again, in Volume V, on page 17, is the picture of Gulliver&#8217;s <i>Journey to
+the Metropolis</i>, which gives us these topics:</p>
+
+<p><span class='pagenum'><a name="Page_366" id="Page_366">[366]</a></span>1. The picture.</p>
+
+<p>2. The cart on which the Lilliputians transport Gulliver. (Read the
+account in the story for further facts.)</p>
+
+<p>Facing page 116 in the same volume is the halftone of King Arthur in
+armor. To write a minute description of the armor would be an excellent
+exercise, requiring close observation and not a little reading, if the
+children wish to name the pieces of armor the king wears.</p>
+
+<p>II. Many of the stories contain beautiful descriptive passages, which
+may be studied with profit, and some of the selections are almost wholly
+descriptive. An excellent example of the latter type and an exceedingly
+interesting article for children is <i>Some Children&#8217;s Books of the Past</i>
+(Volume V, Page 101).</p>
+
+<p><a name="The_King_of_the_Golden_River" id="The_King_of_the_Golden_River"></a><i>The King of the Golden River</i> (Volume II, page 405) and <i>A Christmas
+Carol</i> (Volume VI, page 244) are especially rich in material of this
+kind. On page 408 of the former selection the King is described at his
+first appearance. An analysis of the paragraph is to be found on page
+445 of the same volume, under the title <i>First Appearance</i>. By comparing
+the analysis and the descriptive paragraph it will be seen that the
+former gives the facts only, while in the latter there are comparisons
+and descriptive words that make the whole vivid and artistic.</p>
+
+<p>The outline is a good description of an imaginary person. After the
+children have studied paragraph and outline, give them another outline
+like this:</p>
+
+<ol class="outline">
+  <li>1. General statement, or introduction.</li>
+  <li>2. Nose.</li>
+  <li><span class='pagenum'><a name="Page_367" id="Page_367">[367]</a></span>3. Cheeks.</li>
+  <li>4. Eyes.</li>
+  <li>5. Beard.</li>
+  <li>6. Hair.</li>
+  <li>7. Height.</li>
+  <li>8. Clothing.</li>
+  <li class="level2"><i>a.</i> Hat.</li>
+  <li class="level2"><i>b.</i> Coat.</li>
+  <li class="level2"><i>c.</i> Vest.</li>
+  <li class="level2"><i>d.</i> Trousers.</li>
+  <li class="level2"><i>e.</i> Shoes.</li>
+</ol>
+
+<p>Require each child to follow the outline and to write a smooth, readable
+description of a man whom he knows. Vary the exercise by asking the
+children to describe some man whose picture you show; some man whom all
+have seen, or, if it can be done in the proper spirit, one of the other
+children who is willing to pose. Then ask them to describe some fanciful
+character about whom you make a general statement, as, for example, &#8220;He
+was the most amusing man I ever saw in my life,&#8221; or, &#8220;He was certainly
+the most dignified man in appearance and the best-dressed man I ever
+saw.&#8221; A comparison of the descriptions given by the different members of
+the class will be amusing and instructive. Try to secure descriptions
+which in style are in harmony with the subject.</p>
+
+<p><a name="On_the_Receipt_of_My_Mothers_Picture" id="On_the_Receipt_of_My_Mothers_Picture"></a>III. In many of the selections the authors have not tried to describe
+things very fully. In such cases you have fine opportunities to train
+the imagination by asking the children to supplement the descriptions.
+For instance, <i>On the Receipt of My Mother&#8217;s Picture</i> (Volume VII, page
+331) raises <span class='pagenum'><a name="Page_368" id="Page_368">[368]</a></span>among other subjects for descriptive writing the following:</p>
+
+<ol class="outline">
+  <li>1. Describe Cowper&#8217;s mother.</li>
+  <li>2. Describe the picture he received.</li>
+  <li>3. Describe the home of his infancy.</li>
+  <li>4. Describe the &#8220;well-havened isle.&#8221;</li>
+</ol>
+
+<p>Children should be taught to look through the entire poem for facts that
+bear on the topics. When writing, they must not misrepresent these facts
+nor give others that contradict those in the poem. Where nothing is
+said, the child may see what he likes. Such exercises tend to make
+children appreciate good literature, and, when they are reading, to
+visualize the things to which allusion is made.</p>
+
+<p><a name="Exposition_XIV" id="Exposition_XIV"></a><a name="Cid_Campeador" id="Cid_Campeador"></a><span class="smcap">Exposition.</span> In Volume IV, beginning on page 14, is the story of Martin
+Pelaez, the Asturian, which will offer good material for a composition
+of another kind. The introduction to <i>Cid Campeador</i>, page 9, will give
+you information you are likely to need to answer questions.</p>
+
+<p>As in the exercise just given, begin to read and make such explanatory
+comments as are needed to show clearly the character of Martin. You
+will, of course, need to make the story lucid to the children. Show
+that&mdash;</p>
+
+<p><i>a.</i> Pelaez was a Spanish grandee of great strength and noble form.</p>
+
+<p><i>b.</i> He was a coward at heart.</p>
+
+<p><i>c.</i> Twice he ran from the enemy and avoided battle.</p>
+
+<p><i>d.</i> Both times he was asked by the Cid to sit with him at the table,
+and not with the noblest knights.</p>
+
+<p><span class='pagenum'><a name="Page_369" id="Page_369">[369]</a></span><i>e.</i> The first time Martin thought it an honor to himself; the second
+time, he saw it to be a grave reproof.</p>
+
+<p><i>f.</i> Thereafter he fought nobly, was seated with the great knights, and
+became one of the Cid&#8217;s most favored friends.</p>
+
+<p>When these points have been fixed in mind, proceed to develop an outline
+for the composition. It may be something like this:</p>
+
+<p><i>a.</i> The character of Martin as we first meet him in the story, with
+instances to prove the nature of it.</p>
+
+<p><i>b.</i> His character after he was changed by the Cid, with evidences to
+show it. Exemplified:</p>
+
+<p>1. He was a coward. We know it from&mdash;</p>
+
+<p><span style="margin-left: 1em;">(<i>a</i>) His flight during the first battle.</span></p>
+
+<p><span style="margin-left: 1em;">(<i>b</i>) His retreat during the second battle.</span></p>
+
+<p><span style="margin-left: 1em;">(<i>c</i>) The fact that he was large, strong and well versed in arms
+yet would not fight.</span></p>
+
+<p><span style="margin-left: 1em;">(<i>d</i>) The fact that he hoped to escape the notice of the Cid.</span></p>
+
+<p>2. He was teachable. We know it because he needed but two lessons.</p>
+
+<p>3. He was brave. We know it from his conduct in battle.</p>
+
+<p>4. He had many noble characteristics. We know it because be became the
+trusted friend of the Cid.</p>
+
+<p>Put into the form of a composition, we might expect something like this:</p>
+
+<p>&#8220;Martin Pelaez, when we first knew him, was an arrant coward, for though
+strong, well-formed and versed in the use of arms, he more than once
+fled before the enemy. He had other traits of a <span class='pagenum'><a name="Page_370" id="Page_370">[370]</a></span>coward, as we may know
+from his actions in hiding in his tent and hoping to escape the eye of
+his master and unfairly gain the reputation of a brave knight.</p>
+
+<p>&#8220;Later, however, under the wise treatment of the Cid he was made ashamed
+of his cowardice, conquered it and became a courageous warrior. In fact,
+he was one of the bravest and most powerful knights in the army of the
+Cid.</p>
+
+<p>&#8220;More than that, Martin Pelaez developed all the traits of a gentleman.
+He became a good keeper of secrets, was wise in counsel and brave in
+action.&#8221;</p>
+
+<p>The foregoing is a good example of exposition, the third of the four
+forms of prose composition.</p>
+
+<p><a name="Argument" id="Argument"></a><a name="The_Boston_Massacre" id="The_Boston_Massacre"></a><span class="smcap">Argument.</span> <i>The Boston Massacre</i> by Nathaniel Hawthorne (Volume IV, page
+217) offers several good questions for debate. We may select the
+decision of the judges (page 223) as the one furnishing the best
+opportunity. Hawthorne says, &#8220;The judges told the jury that the insults
+and violence which had been offered to the soldiers justified them in
+firing at the mob.&#8221;</p>
+
+<p>To bring the question into a form for debate we might write it, &#8220;Were
+the judges right in their decision?&#8221; This leaves the question evenly
+balanced, with no prejudice against either side. It might be put more
+formally: &#8220;<i>Resolved.</i> That the judges were right in their decision.&#8221;
+The effect of stating the question in the latter form is to throw the
+&#8220;burden of proof&#8221; on the negative. In other words, if the question is in
+the latter form and the arguments are equally balanced, the decision
+would have to be that the judges were right.</p>
+
+<p><span class='pagenum'><a name="Page_371" id="Page_371">[371]</a></span>Having determined the form of the question, the children may be
+separated into two groups, as nearly as possible equal in ability, and
+one group may be appointed to take the side of the judges and one the
+side of the soldiers.</p>
+
+<p>Having arranged the preliminaries, converse with the children freely,
+bringing out points equally in favor of both sides. Avoid any appearance
+of favoritism. If one side is manifestly stronger than the other,
+however, you may put them on a level by showing a few arguments to the
+weaker side. Do this openly, so that all may understand your action.</p>
+
+<p>Encourage the children to study both sides of the question and to be
+fair-minded. In fact, the ordinary debate where children are appointed
+to argue upon a certain side of the question does not bring into play
+the same good methods of thought and judgment as the free debate, in
+which each child studies both sides of the question, determines which
+side he thinks the right one, and then argues for that side.</p>
+
+<p>In this question urge the children to study the subject in their
+histories or in any reference books that may be handy. Help them to get
+at the truth of the matter. Hawthorne may show prejudice. Does he? We
+may feel a bias in favor of one side or the other. Do we? Then to the
+extent of that bias we are liable to be unfair and to fail in making a
+sound argument.</p>
+
+<p>After the children have read what they can find on the subject, ask them
+to arrange their arguments in parallel columns, for and against the
+judges. Something like the following may appear:</p>
+
+<p><span class='pagenum'><a name="Page_372" id="Page_372">[372]</a></span></p>
+
+<table border="0" cellpadding="0" cellspacing="10" style="width: 80%; text-indent: 1em;" summary="for and against example">
+<tr>
+  <td class="tdc">FOR</td>
+  <td class="tdc">AGAINST</td>
+</tr>
+<tr>
+  <td>1. The Americans
+were the subjects of the
+English, and subjects
+should be loyal.</td>
+  <td>1. The English had
+oppressed the colonists
+by unjust taxes and in
+other ways (mention
+them) until the time
+for loyalty had ceased.</td>
+</tr>
+<tr>
+  <td>2. The colonists
+were not an organized
+body, acting legally.
+They were a wild mob,
+and mobs must be
+quelled or lives and
+property cannot be protected.</td>
+  <td>2. If these colonists
+were a mob they were
+justified in their acts.
+It was an insult and
+worse to quarter troops
+upon them and they
+naturally resented it.
+They had had no time
+to organize and make
+laws. They had to act
+at once.</td>
+</tr>
+<tr>
+  <td>3. The mob was
+composed of wild
+young men, and most
+of the colonists did not
+approve of their acts.</td>
+  <td>3. It is always the
+young men who lead.
+In most great movements
+it has been the
+young men who were
+right.</td>
+</tr>
+<tr>
+  <td>4. The mob called
+the soldiers &#8220;lobster-backs,&#8221;
+&#8220;red-coats,&#8221; and
+other insulting names
+before the soldiers
+spoke.</td>
+  <td>4. The soldiers forgot
+their discipline and
+called the colonists &#8220;rebel
+rascals&#8221; and threatened
+to use bayonets.</td>
+</tr>
+<tr>
+  <td>5. The mob crowded
+the soldiers off the
+sidewalk, threw snow
+and lumps of ice at
+<span class='pagenum'><a name="Page_373" id="Page_373">[373]</a></span>them. The young men
+dared the soldiers to
+fire, threatened to drive
+them to their barracks
+and to beat them down.</td>
+  <td>&nbsp; 5. The soldiers
+should have kept to their
+barracks, but they paraded
+the streets and
+pricked the townspeople
+with their bayonets.</td>
+</tr>
+<tr>
+  <td>6. Captain Preston
+was acting under orders,
+and he warned the colonists
+that he would preserve
+order at any risk.</td>
+  <td>6. Captain Preston
+was unwise, irritating,
+overbearing, and by his
+attitude provoked the
+colonists beyond human
+endurance.</td>
+</tr>
+<tr>
+  <td>7. The firing was a
+mistake. It was not by
+Captain Preston&#8217;s orders.</td>
+  <td>7. Captain Preston
+ordered his men to fire
+on the colonists.</td>
+</tr>
+<tr>
+  <td>8. The first shot was
+fired by a masked man
+who appeared on the
+balcony of a house and
+fired at the soldiers.</td>
+  <td>8. A British sympathizer
+in a mask fired
+into the crowd of unarmed
+colonists.</td>
+</tr>
+<tr>
+  <td>9. The British soldiers
+were soon withdrawn
+and everything
+done to make the colonists
+feel right about
+the affair. This showed
+that the British were
+still very friendly to the
+colonists, and desired
+their good will.</td>
+  <td>9. By withdrawing
+the troops the British
+confessed that they were
+in the wrong.</td>
+</tr>
+<tr>
+  <td>10. Judges who were
+supposed to be honorable
+men heard all the
+evidence and would not
+be liable to make any
+mistake.</td>
+  <td>10. The judges were
+British appointees, not
+in sympathy with the
+colonists and too much
+prejudiced to be able to
+decide fairly.</td>
+</tr>
+<tr>
+  <td>11. The judges
+were so thoroughly
+convinced that the soldiers
+were not guilty
+that they told the jury
+what verdict to give.</td>
+  <td>11. The judges knew
+they were wrong and
+were afraid to leave the
+question to the jury.</td>
+</tr>
+</table>
+
+<p>The &#8220;points&#8221; given above show some of the really minor debatable topics
+that arise under the larger question. They show, too, how differently
+the same incidents may appear to different eyes. Perhaps some of the
+&#8220;points&#8221; are stated unfairly, to give strength to the argument. Bare
+assertions are not proofs and some of the &#8220;points&#8221; are nothing but
+assertions. Opinions are not arguments. Some of the statements would
+need to bolstered up by facts and &#8220;authorities&#8221; before they could be
+accepted as real arguments.</p>
+
+<p>Most debates are oral, but, for our purpose, they are to be considered
+as written language lessons. Hence, when the arguments are marshalled as
+above, the child should select the side he feels to be right and compose
+his argument in proper form. Teach him to see the three parts to his
+argument, namely, the introduction, the body of his argument, and the
+conclusion. Tell him to make his style personal, clear, concise,
+logical, strong, persuasive and convincing. Show him what each
+characteristic in the above list means.</p>
+
+<p>For example, the <i>argument</i> for the judges made from the assertions
+given above might be stated as follows:</p>
+
+<p><span class='pagenum'><a name="Page_375" id="Page_375">[375]</a></span><i>Introduction.</i> &#8220;That the judges were right when they pronounced Captain
+Preston and the eight British soldiers not guilty of murder when they
+fired on the colonial mob in what is incorrectly called the &#8216;Boston
+Massacre&#8217; will be proved in this argument.&#8221;</p>
+
+<p><i>Body of the Argument.</i> &#8220;The citizens of Boston were English subjects
+who had been fostered by the mother country. Since the settlement at
+Plymouth in 1620 no other nation had claimed or exercised any control
+over them, and I maintain that loyalty to his country is one of the
+highest duties of every citizen.&#8221; (It is not advisable to write here the
+&#8220;body&#8221; of the argument. It would naturally be continued step by step
+till the eleven &#8220;points&#8221; given above had been exhausted. If those
+&#8220;points&#8221; had been brought up in the general conversation lesson every
+child would be expected to add others that he had found by his own
+study. Liberty of omission, arrangement and addition should always be
+allowed. Originality is always at a premium.)</p>
+
+<p><i>Conclusion.</i> &#8220;I have now presented to you the reasons for my belief. I
+have shown you conclusively that the colonists were British subjects and
+owed unquestioning loyalty to their country; that&mdash;&mdash;[Here recapitulate
+briefly but forcibly the arguments, so as to present them convincingly
+and at one time.] In view of all these facts I maintain that I have
+shown that the judges did not err when they pronounced Captain Preston
+and the eight soldiers not guilty of murder.&#8221;</p>
+
+<p>Of course, the form of the introduction and conclusion may vary from
+that given here. Each child <span class='pagenum'><a name="Page_376" id="Page_376">[376]</a></span>should be allowed the greatest freedom of
+expression consistent with the facts that there must be an introduction
+that states the question fairly and clearly, and a conclusion that shows
+how much the contentions have been proved.</p>
+
+<p><a name="Conclusion" id="Conclusion"></a><span class="smcap">Conclusion.</span> While narration, description, exposition and argument are
+the four forms of prose composition, we do not find frequently that
+selections are exclusively one or another. Nearly every story contains
+description, and exposition is not infrequent; expositions often contain
+description and narration, and arguments are often based upon narration
+and exposition. Excellent language lessons may be given by examining
+masterpieces to see what forms of composition they represent or which
+form predominates.</p>
+
+<p><a name="An_Exciting_Canoe_Race" id="An_Exciting_Canoe_Race"></a>Thus, in <i>An Exciting Canoe Race</i> (Volume VII, page 79), an extract from
+Cooper&#8217;s <i>The Last of the Mohicans</i>, may be found several forms of
+composition:</p>
+
+<p>1. The story as a whole is narration.</p>
+
+<p>2. On page 81 is this passage in exposition: &#8220;That&#8217;s a trail that
+nothing but a nose can follow; grass is a treacherous carpet for a
+flying party to tread on, but wood and stone take no print from a
+moccasin. Had you worn your armed boots, there might indeed have been
+something to fear; but with the deerskin suitably prepared, a man may
+trust himself, generally, on rocks with safety. Shove in the canoe
+higher to the land, Uncas; this sand will take a stamp as easily as the
+butter of the Jarmans on the Mohawk. Softly, lad, softly; it must not
+touch the beach, or the knaves will know by what road we have left the
+place.<span class='pagenum'><a name="Page_377" id="Page_377">[377]</a></span>&#8221;</p>
+
+<p>3. On page 86 is this descriptive passage: &#8220;The well-known crack of a
+rifle, whose ball came skipping along the placid surface of the strait,
+and a shrill yell from the island interrupted his speech and announced
+that their passage was discovered. In another instant several savages
+were seen rushing into the canoes, which were soon dancing over the
+water in pursuit. These fearful precursors of a coming struggle produced
+no change in the countenances and movements of his three guides, so far
+as Duncan could discover, except that the strokes of their paddles were
+longer and more in unison, and caused the little bark to spring forward
+like a creature possessing life and volition.&#8221;</p>
+
+<p>It will be observed that the paragraph just quoted is not purely
+descriptive, but that it contains something of narration as well. A
+single sentence of pure description is the following, to be found on
+page 88: &#8220;So rapid was the progress of the light vessels that the lake
+curled in their front in miniature waves and their motion became
+undulating by its own velocity.&#8221;</p>
+
+<p>The following, from page 90, is a brief argument in conversational form,
+the elementary form of debate:</p>
+
+<p>&#8220;Get you then into the bottom of the canoe, you and the colonel; it will
+be so much taken from the size of the mark.&#8221;</p>
+
+<p>&#8220;It would be but an ill example for the highest in rank to dodge, while
+the warriors were under fire!&#8221;</p>
+
+<p>&#8220;Lord! Lord! that is now a white man&#8217;s courage! And, like too many of
+his notions, not to be maintained by reason. Do you think the Sagamore
+or<span class='pagenum'><a name="Page_378" id="Page_378">[378]</a></span> Uncas, or even I, who am a man without a cross, would deliberate
+about finding a cover in a scrimmage when an open body would do no good?
+For what have the Frenchers reared up their Quebec, if fighting is
+always to be done in the clearings?&#8221;</p>
+
+<p>&#8220;All that you say is very true, my friend; still, our custom must
+prevent us from doing as you wish.&#8221;</p>
+
+<p>Good selections to use for the purposes described and good subjects for
+compositions are the following from <i>Journeys Through Bookland</i>:</p>
+
+<p>For Narration:</p>
+
+<ol class="outline">
+  <li>1. Stories from <i>The Swiss Family Robinson</i>, Volume III, page 99.</li>
+  <li>2. <i>The Story of Siegfried</i>, III, 410.</li>
+  <li>3. <i>The Death of Hector</i>, IV, 364.</li>
+  <li>4. <i>Tom Brown at Rugby</i>, V, 469.</li>
+  <li>5. <i>The Recovery of the Hispaniola</i>, VII, 352.</li>
+  <li>6. <i>The Adventure of the Windmills</i>, VII, 438.</li>
+  <li>7. <i>The Adventure of the Wooden Horse</i>, VII, 467.</li>
+  <li>8. <i>The Battle of Ivry</i>, VIII, 76.</li>
+</ol>
+
+<p>For Description:</p>
+
+<ol class="outline">
+  <li>1. <i>How the Old Woman Looked.</i> See <i>The Old Woman Who Lived in a
+Shoe</i>, Volume I, page 35.</li>
+  <li>2. <i>The House in the Tree.</i> See <i>Swiss Family Robinson</i>, III, 141.</li>
+  <li>3. <i>A Forest Scene.</i> See <i>Pictures of Memory</i>, IV, 128.</li>
+  <li>4. <i>Sheridan&#8217;s Horse.</i> See <i>Sheridan&#8217;s Ride</i>, IV, 223.</li>
+  <li>5. <i>Christmas.</i> See <i>The Fir Tree</i>, II, 68, and <i>Christmas in Old
+Time</i>, VI, 356.</li>
+  <li>6. <i>A Scene of My Childhood.</i> See <i>The Old Oaken Bucket</i>, VII, 11.</li>
+  <li>7. <i>My Old Kentucky Home.</i> See poem of the same name, VII, 179.</li>
+</ol>
+
+<p><span class='pagenum'><a name="Page_379" id="Page_379">[379]</a></span>For Exposition:</p>
+
+<ol class="outline">
+  <li>1. <i>The Character of the Boy, Tom.</i> See <i>Tom, the Water Baby</i>, Volume
+II, page 215.</li>
+  <li>2. <i>What Kind of a Man was Viking?</i> See <i>The Skeleton in Armor</i>, V,
+327.</li>
+  <li>3. <i>Exaggeration and Falsehood.</i> See <i>Baron Munchausen</i>, V, 403.</li>
+  <li>4. <i>On the construction, meaning, and sentiment in &#8220;Home, Sweet
+Home.&#8221;</i> See VI, 221.</li>
+  <li>5. <i>The Strength of the Gorilla Compared with that of the Elephant.</i>
+See <i>A Gorilla Hunt</i>, VII, 247, and <i>Elephant Hunting</i>, VI, 385.</li>
+  <li>6. <i>The Wit of the Visitor.</i> See <i>Limestone Broth</i>, VI, 467.</li>
+  <li>7. <i>A Character Sketch of Alice and John.</i> See <i>Dream Children</i>. VIII,
+335.</li>
+</ol>
+
+<p>For Argument:</p>
+
+<ol class="outline">
+  <li>1. <i>Was the Second Traveler in the Right?</i> See <i>The Two Travelers</i>,
+Volume I, page 109.</li>
+  <li>2. <i>Were the Three Men Perfectly Healthy?</i> See <i>We Plan a River Trip</i>,
+V, 443.</li>
+  <li>3. <i>Was the Punishment of the Ancient Mariner Just?</i> See <i>The Rime of</i>
+<i>the Ancient Mariner</i>, VII, 29.</li>
+  <li>4. <i>Was it Sensible for Casabianca to Remain on the Burning Ship?</i> See
+<i>Casabianca</i>, VIII, 313.</li>
+  <li>5. <i>Should Warren Hastings Have Been Convicted?</i> See <i>The Impeachment
+of Warren Hastings</i>, IX, 32.</li>
+</ol>
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_380" id="Page_380">[380]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_XV" id="CHAPTER_XV"></a>CHAPTER XV<br />
+<br />
+<span class="smcap">Journeys Through Bookland in Its Relation to the School</span>&mdash;(Continued)</h2>
+
+
+<h3 class="section"><a name="Nature_Study" id="Nature_Study"></a><i>Nature Study</i></h3>
+
+<p class="opening"><span class="dropcapn"><span class="hide">N</span></span><span class="upper">ature</span> study to be most valuable must be in reality the study of nature.
+Its beginnings are in observation and experiment, but there comes a time
+when the child must go to books for information and enlightenment. The
+purposes of nature study are to awaken a spirit of inquiry concerning
+things in the immediate vicinity and thence in wider fields; to develop
+observation, comparison and reason; to give interests that will charm
+the possessor through life; to introduce the elements of the natural
+sciences. Enthusiasts have made the study of nature the basis of all
+school work, the correlating force in all studies. Such an idea has
+merit in it, for it is certain that lessons begun in the observation of
+living things and the phenomena of nature speedily ramify into language,
+reading, geography, history, and even mathematics.</p>
+
+<p>There is among some an unfortunate tendency to go too much to books for
+material and to seize too quickly any suggestion that leads in that
+direction. Yet books are valuable at the proper time and in the proper
+place. When facts have been learned, they may be made vital by good
+literary selections; when facts not accessible by observation are
+needed, <span class='pagenum'><a name="Page_381" id="Page_381">[381]</a></span>they may be obtained through books. On the other hand,
+literature is full of allusions to natural facts and phenomena and may
+only be understood by him who knows nature. Both phases of the subject
+are of vital interest.</p>
+
+<p>Instead of attempting any systematic outline for nature study we will
+here try to give help on two problems only:</p>
+
+<p><i>First.</i> How may nature study be broadened by the use of literature?</p>
+
+<p><i>Second.</i> How may the study of nature help in the appreciation of
+literature?</p>
+
+
+<h3 class="section"><a name="Ch_XV_I" id="Ch_XV_I"></a>I.</h3>
+
+<p class="opening"><span class="dropcapi"><span class="hide">I</span></span><span class="upper">n</span> trying to answer the first question we will present first a
+classified list of selections from <i>Journeys Through Bookland</i> which are
+closely related to the study of nature and indicate briefly how they may
+be used.</p>
+
+<h4 class="volume"><a name="A_Seven_Long_Selections" id="A_Seven_Long_Selections"></a>A. Seven Long Selections.</h4>
+
+<p>In the first place, there are long selections in which there are many
+anecdotes and incidents which are usable in nature study. We will give
+partial lists of what is to be found therein, but it is well to read the
+whole selection and choose what is best for the occasion.</p>
+
+<p><a name="Tom_the_Water_Baby_XV" id="Tom_the_Water_Baby_XV"></a>1. <i>Tom, the Water Baby</i> (Volume II, page 215). This is one of the most
+charming stories in the book, especially for young children, though
+older ones and even people of mature years will enjoy it thoroughly.
+Tom, a little chimney sweep, after perilous adventures, dies, or rather
+turns into a newt or eft, a water baby. His exciting life <span class='pagenum'><a name="Page_382" id="Page_382">[382]</a></span>thereafter is
+in the waters, where he meets many of its strange denizens. The whole
+story is highly imaginative, humorous, and full of fine lessons,
+beautifully given. The more important of his adventures, from our point
+of view, are concerned with the following:</p>
+
+<ul class="booklist">
+  <li>The Caddis Fly, pages 261-264.</li>
+  <li>The Dragon Fly, pages 264-265.</li>
+  <li>The Sand Fly, pages 267-269.</li>
+  <li>Otters, pages 270-271, 273-274.</li>
+  <li>Salmon, pages 272, 279-283.</li>
+  <li>Tides, page 287.</li>
+  <li>The Turbot, page 289.</li>
+  <li>Lobsters, pages 292-294, 300-303.</li>
+  <li>Sea Cucumbers, page 297.</li>
+  <li>Great Auk, page 339.</li>
+  <li>Mother Carey&#8217;s Chickens (Stormy Petrels), page 344.</li>
+</ul>
+
+<p><a name="Robinson_Crusoe" id="Robinson_Crusoe"></a>2. <i>Robinson Crusoe</i> (Volume III, page 45). Two chapters only are given
+from this great story, but the first, dealing with the capture and
+education of Crusoe&#8217;s man Friday, may be worth while to read in
+connection with studies of savage races. It is not altogether
+scientific.</p>
+
+<p><a name="The_Swiss_Family_Robinson" id="The_Swiss_Family_Robinson"></a>3. <i>The Swiss Family Robinson</i> (Volume III, page 99). This famous old
+story will be charming to children for many generations to come. It is a
+tale of the wonderful struggle of a family against nature. It may be a
+fact that it is unreasonable and impossible; that not all the seeming
+facts are true; that nature never plays so perfectly into the hand of
+man; that not all the living things mentioned are to be found in one
+locality. But it is clean, wholesome adventure, and the errors in it
+<span class='pagenum'><a name="Page_383" id="Page_383">[383]</a></span>will do no harm. Many a good language lesson and many an addition to
+nature lessons may be drawn from it. The efforts of the family to
+utilize what they find, though too successful, are worthy of imitation.
+Some of the more interesting things met by the family are the following:</p>
+
+<ul class="booklist">
+  <li>Lobsters, page 113.</li>
+  <li>Oysters, pages 114, 117.</li>
+  <li>Agouti, page 116, with a picture on page 116.</li>
+  <li>Cocoanuts, pages 125-128.</li>
+  <li>Calabash Trees, page 123.</li>
+  <li>Monkeys and Cocoanuts, pages 125-128.</li>
+  <li>Shark, page 138.</li>
+  <li>Turtle, pages 145-149.</li>
+  <li>Penguins (picture), page 152, pages 151-153.</li>
+  <li>Cassava Bread, pages 154-157.</li>
+  <li>Caoutchouc, page 170.</li>
+  <li>Onager (Wild Ass), pages 171-174 (picture, page 172).</li>
+  <li>New Zealand Flax, pages 175-176.</li>
+  <li>Flamingo, page 177.</li>
+  <li>Salt Cavern, pages 180-185.</li>
+  <li>Herrings, pages 187-188.</li>
+  <li>Gypsum, page 188.</li>
+  <li>Boa Constrictor, pages 192-195.</li>
+  <li>Ostrich, pages 206-215.</li>
+  <li>Walrus, page 222.</li>
+  <li>Hyenas, pages 227-228.</li>
+  <li>Lions, pages 252-256.</li>
+</ul>
+
+<p><a name="Brute_Neighbors" id="Brute_Neighbors"></a>4. <i>Brute Neighbors</i> (Volume VII, page 260) is an interesting essay by
+Henry David Thoreau, the most delightful of American naturalist writers.
+In this essay he chats familiarly about the animals that surround his
+cottage in the woods, and shows <span class='pagenum'><a name="Page_384" id="Page_384">[384]</a></span>the closeness of his observation as
+well as the breadth of his general knowledge. It is a nature study in
+itself as a whole. Besides mention of other animals, he tells
+interesting anecdotes of the following:</p>
+
+<ul class="booklist">
+  <li>A Wild Mouse, page 261.</li>
+  <li>The Partridge, as the ruffed grouse is called in New England, pages 262-263.</li>
+  <li>The Woodcock, page 264.</li>
+  <li>The Fighting Ants, pages 264-268.</li>
+  <li>The Loon, pages 270-274.</li>
+</ul>
+
+<p><a name="The_Pond_in_Winter" id="The_Pond_in_Winter"></a>5. <i>The Pond in Winter</i> (Volume VII, page 280). This is another of
+Thoreau&#8217;s charming essays in natural history. It contains a pretty
+description of the snow and ice covered pond (page 280), an account of
+fishing through the ice (pages 282-283), and a vivid description of the
+pickerel (pages 283-284).</p>
+
+<p><a name="Winter_Animals" id="Winter_Animals"></a>6. <i>Winter Animals</i> (Volume VII, page 293) is a third one of Thoreau&#8217;s
+essays. An analysis shows that he tells something of all the following
+interesting things:</p>
+
+<ol class="outline">
+  <li>I. Winter routes over lakes, pages 293-294.</li>
+  <li class="level1">II. Sounds by day and night.</li>
+  <li class="level2">a. The melodious note of a hooting owl, page 294.</li>
+  <li class="level2">b. The honking of a goose, page 294.</li>
+  <li class="level2">c. The harsh and tremulous call of a cat-owl, page 294.</li>
+  <li class="level2">d. The whooping of the ice, page 295.</li>
+  <li class="level2">e. The barking of foxes, page 295.</li>
+  <li class="level2">f. The feet of the red squirrel down the sides of the house, page 295.</li>
+  <li class="level2"><span class='pagenum'><a name="Page_385" id="Page_385">[385]</a></span>g. The discordant screams of the jays, page 298.</li>
+  <li class="level2">h. The wiry note of the chickadee, page 298.</li>
+  <li class="level2">i. The whirring wings of the partridges, page 299.</li>
+  <li class="level2">j. The yelping of hounds, and the hunting
+    horn (including fox hunting), pages 300-304.</li>
+  <li class="level1">III. The destructiveness of squirrels and wild mice, pages 296-297.</li>
+  <li class="level1">IV. The hares, pages 304-305.</li>
+</ol>
+
+<p><a name="Trees_and_Ants_That_Help_Each_Other" id="Trees_and_Ants_That_Help_Each_Other"></a>7. <i>Trees and Ants That Help Each Other</i> (Volume VII, page 306) is a
+selection from the writings of Thomas Belt. It is an extremely
+interesting account of some of the curious adaptations of plants and
+animals to each other, as is indicated sufficiently by the title. An
+outline of the essay follows:</p>
+
+<ol class="outline">
+  <li>I. A species of acacia, pages 306-309.</li>
+  <li class="level2">1. Houses and feeds ants.</li>
+  <li class="level3">a. Houses in thorns.</li>
+  <li class="level3">b. Feeds (1) by glands and (2) by a pear-shaped appendage.</li>
+  <li class="level2">2. Ants protect trees.</li>
+  <li class="level2">3. Each seems beneficial to the other.</li>
+  <li class="level1">II. A cecropia, or trumpet tree, pages 309-311.</li>
+  <li class="level2">1. Houses and feeds ants.</li>
+  <li class="level3">a. Houses in hollow stems.</li>
+  <li class="level3">b. Feeds ants through herds of plant-lice that suck juices of
+    plant and secrete honey.</li>
+  <li class="level2">2. Ants protect trees.</li>
+  <li class="level2">3. Apparently beneficial to all.</li>
+  <li class="level1"><span class='pagenum'><a name="Page_386" id="Page_386">[386]</a></span>III. An evergreen shrub.</li>
+  <li class="level2">1. Houses and (probably) feeds ants.</li>
+  <li class="level3">a. Houses in pouches at base of leaves.</li>
+  <li class="level3">b. Probably feeds ants through the services
+    of scale insects and plant-lice.</li>
+  <li class="level2">2. Ants protect shrubs.</li>
+  <li class="level2">3. Probably beneficial to all.</li>
+  <li class="level1">IV. Plants feeding ants, pages 311-312.</li>
+  <li class="level2">1. Orchids.</li>
+  <li class="level2">2. Passion flowers.</li>
+  <li class="level2">3. Dog rose.</li>
+</ol>
+
+
+<h4 class="volume"><a name="B_Classified_Selections" id="B_Classified_Selections"></a>B. Classified Selections</h4>
+
+<p>The following selections, ranging from nursery rhymes to some of the
+finest things ever written, may be considered available for the purpose
+of creating interest in nature study or of adding to a stock of
+knowledge already acquired. For convenience, they are classified in a
+general way, according to the subject-matter of which they treat:</p>
+
+<ol class="outline">
+  <li><a name="I._Flowers_and_plant_life" id="I._Flowers_and_plant_life"></a>I. Flowers and plant life:</li>
+  <li class="level2"><i>a.</i> Nursery rhymes:</li>
+  <li class="level3">(1) <i>Daffy-Down-Dilly Has Come Up to Town</i>, Volume I, page 47.</li>
+  <li class="level3">(2) <i>Mary, Mary Quite Contrary</i>, I, 30.</li>
+  <li class="level2"><i>b.</i> Fables:</li>
+  <li class="level3">(1) <i>The Boy and the Nettle</i>, Volume I, page 65.</li>
+  <li class="level3">(2) <i>The Fox and the Grapes</i>, I, 135.</li>
+  <li class="level2"><i>c.</i> Fairy Tales:</li>
+  <li class="level3">(1) <i>The Tree</i>, Volume I, page 301.</li>
+  <li class="level3"><span class='pagenum'><a name="Page_387" id="Page_387">[387]</a></span>(2) <i>The Flax</i>, I, 378.</li>
+  <li class="level3">(3) <i>The Fir Tree</i>, II, 68.</li>
+  <li class="level2"><i>d.</i> Poems:</li>
+  <li class="level3">(1) <i>The Reaper and the Flowers</i>, Volume I, page 410.</li>
+  <li class="level3">(2) <i>John&#8217;s Pumpkin</i>, III, 1.</li>
+  <li class="level3">(3) <i>The Potato</i>, II, 467.</li>
+  <li class="level3">(4) <i>The Moss Rose</i>, VI, 98.</li>
+  <li class="level3">(5) <i>The Daffodils</i>, VII, 1.</li>
+  <li class="level3">(6) <i>To the Fringed Gentian</i>, VII, 4.</li>
+  <li class="level3">(7) <i>To a Mountain Daisy</i>, VII, 8.</li>
+  <li class="level3">(8) <i>The Petrified Fern</i>, VII, 77.</li>
+  <li class="level2"><i>e.</i> An interesting essay:</li>
+  <li class="level3">(1) <i>A Bed of Nettles</i>, Volume VIII, page 209.</li>
+  <li class="level2"><i>f.</i> See references to <a href="#The_Swiss_Family_Robinson"><i>The Swiss Family Robinson</i></a> and <a href="#Trees_and_Ants_That_Help_Each_Other"><i>Trees
+    and Ants That Help Each Other</i></a>, in the earlier part of this
+    section.</li>
+  <li class="level1"><a name="II_Birds" id="II_Birds"></a>II. Birds:</li>
+  <li class="level2"><i>a.</i> Nursery rhymes:</li>
+  <li class="level3">(1) <i>Lady Bird, Lady Bird</i>, Volume I, page 12.</li>
+  <li class="level3">(2) <i>Higgledy, Piggledy</i>, I, 20.</li>
+  <li class="level3">(3) <i>Poor Robin</i>, I, 16.</li>
+  <li class="level2"><i>b.</i> Poems:</li>
+  <li class="level3">(1) <i>Little Birdie</i>, Volume I, page 142.</li>
+  <li class="level3"><span class='pagenum'><a name="Page_388" id="Page_388">[388]</a></span>(2) <i>The Brown Thrush</i>, I, page 147.</li>
+  <li class="level3">(3) <i>The English Robin</i>, II, 214.</li>
+  <li class="level3">(4) <i>Who Stole the Bird&#8217;s Nest</i>? II, 399.</li>
+  <li class="level3">(5) <i>Four Ducks on a Pond</i>, VI, 98.</li>
+  <li class="level3">(6) <i>The Rime of the Ancient Mariner</i>, VII, 29.</li>
+  <li class="level3">(7) <i>Ode to a Skylark</i>, VII, 275</li>
+  <li class="level3">(8) <i>To a Waterfowl</i>, VII, 395.</li>
+  <li class="level3">(9) <i>The Romance of the Swan&#8217;s Nest</i>, VIII, 315.</li>
+  <li class="level2"><i>c.</i> Fables:</li>
+  <li class="level3">(1) <i>The Fox and the Crow</i>, Volume I, page 64.</li>
+  <li class="level3">(2) <i>The Fox and the Stork</i>, I, 73.</li>
+  <li class="level3">(3) <i>The Wolf and the Crane</i>, I, 96.</li>
+  <li class="level3">(4) <i>The Lark and Her Young Ones</i>, I, 131.</li>
+  <li class="level3">(5) <i>The Owl and the Pussy Cat</i>, I, 339.</li>
+  <li class="level3">(6) <i>Minerva and the Owl</i>, II, 7.</li>
+  <li class="level2"><i>d.</i> Fairy Story:</li>
+  <li class="level3">(1) <i>The Ugly Duckling</i>, Volume I, page 414.</li>
+  <li class="level2"><i>e.</i> An Essay:</li>
+  <li class="level3">(1) <i>Owls</i>, IX, page 229.</li>
+  <li class="level2"><span class='pagenum'><a name="Page_389" id="Page_389">[389]</a></span><i>f.</i> See also references to <a href="#Tom_the_Water_Baby_XV"><i>Tom, the Water Baby</i></a>, <a href="#The_Swiss_Family_Robinson"><i>The Swiss
+    Family Robinson</i></a>, <a href="#Brute_Neighbors"><i>Brute Neighbors</i></a>, and <a href="#Winter_Animals"><i>Winter Animals</i></a>,
+    in earlier parts of this section.</li>
+  <li class="level1"><a name="III_Four-footed_animals" id="III_Four-footed_animals"></a>III. Four-footed animals:</li>
+  <li class="level2"><i>a.</i> Nursery rhymes:</li>
+  <li class="level3">(1) <i>Ding Dong Bell</i>, Volume I, page 15.</li>
+  <li class="level3">(2) <i>Little Bo Peep</i>, I, 9.</li>
+  <li class="level3">(3) <i>Old Mother Hubbard</i>, I, 24.</li>
+  <li class="level3">(4) <i>Three Little Kittens</i>, I, 13.</li>
+  <li class="level3">(5) <i>Baa, Baa, Black Sheep</i> I, 8.</li>
+  <li class="level2"><i>b.</i> Fables:</li>
+  <li class="level3">(1) <i>The Fox and the Crow</i>, Volume I, page 64.</li>
+  <li class="level3">(2) <i>The Ass in the Lion&#8217;s Skin</i>, I, 65.</li>
+  <li class="level3">(3) <i>The Fox and the Stork</i>, I, 73.</li>
+  <li class="level3">(4) <i>The Gnat and the Bull</i>, I, 70.</li>
+  <li class="level3">(5) <i>The Lion and the Mouse</i>, I, 75.</li>
+  <li class="level3">(6) <i>The Wolf and the Crane</i>, I, 96.</li>
+  <li class="level3">(7) <i>The Fox and the Grapes</i>, I, 135.</li>
+  <li class="level3">(8) <i>The Bat and the Two Weasels</i>, I, 154.</li>
+  <li class="level3"><span class='pagenum'><a name="Page_390" id="Page_390">[390]</a></span>(9) <i>The Owl and the Pussy Cat</i>, I, 339.</li>
+  <li class="level3">(10) <i>The Horse and the Stag,</i> I, 338.</li>
+  <li class="level3">(11) <i>The Fox, the Wolf, and the Horse</i>, I, 377.</li>
+  <li class="level3">(12) <i>The Wolf and the Lamb</i>, I, 455.</li>
+  <li class="level2"><i>c.</i> Poetry:</li>
+  <li class="level3">(1) <i>The Cow</i>, Volume I, page 106.</li>
+  <li class="level3">(2) <i>Mercy to Animals</i>, I, 413.</li>
+  <li class="level3">(3) <i>How They Brought the Good News from Ghent to Aix</i>, V, 335.</li>
+  <li class="level3">(4) <i>To a Mouse</i>, VII, 5.</li>
+  <li class="level2"><i>d.</i> Stories:</li>
+  <li class="level3">(1) <i>A Dog of Flanders</i>, Volume IV, page 93.</li>
+  <li class="level3">(2) <i>The Lion and the Missionary</i>, VI, 93.</li>
+  <li class="level3">(3) <i>Rab and His Friends</i>, VI, 99.</li>
+  <li class="level3">(4) <i>Elephant Hunting</i>, VI, 385.</li>
+  <li class="level3">(5) <i>The Gorilla Hunt</i>, VII, 247.</li>
+  <li class="level2"><i>e.</i> Essays:</li>
+  <li class="level3">(1) <i>Some Clever Monkeys</i>, Volume VI, page 402.</li>
+  <li class="level3">(2) <i>The Buffalo</i>, VII, 96.</li>
+  <li class="level2"><i>f.</i> See, also, references to <a href="#Tom_the_Water_Baby_XV"><i>Tom, the Water Baby</i></a>, <a href="#The_Swiss_Family_Robinson"><i>The Swiss
+    Family Robinson</i></a>, <a href="#Brute_Neighbors"><i>Brute Neighbors</i></a>, and <a href="#The_Pond_in_Winter"><i>The Pond in Winter</i></a>,<span class='pagenum'><a name="Page_391" id="Page_391">[391]</a></span>
+    in the earlier part of this section.</li>
+  <li class="level1"><a name="IV_Reptiles" id="IV_Reptiles"></a>IV. Reptiles:</li>
+  <li class="level2"><i>a.</i> Fable:</li>
+  <li class="level3">(1) <i>The Boys and the Frogs</i>, Volume I, page 63.</li>
+  <li class="level2"><i>b.</i> See, also, references to <a href="#Tom_the_Water_Baby_XV"><i>Tom, the Water Baby</i></a>, and <a href="#The_Swiss_Family_Robinson"><i>The
+    Swiss Family Robinson</i></a>, in the earlier part of this section.</li>
+  <li class="level1"><a name="V_Insects" id="V_Insects"></a>V. Insects:</li>
+  <li class="level2"><i>a.</i> Nursery rhyme:</li>
+  <li class="level3">(1) <i>Little Miss Muffett</i>, Volume I, page 29.</li>
+  <li class="level2"><i>b.</i> Fable:</li>
+  <li class="level3">(1) <i>The Gnat and the Bull</i>, I, 70.</li>
+  <li class="level2"><i>c.</i> Poem:</li>
+  <li class="level3">(1) <i>The Spider and the Fly</i>, III, 19.</li>
+  <li class="level2"><i>d.</i> Essay:</li>
+  <li class="level3">(1) <i>Trees and Ants That Help Each Other</i>, VII, 306.</li>
+  <li class="level2"><i>e.</i> See, also, references to <a href="#Tom_the_Water_Baby_XV"><i>Tom, the Water Baby</i></a>, in the
+    earlier part of this section.</li>
+  <li class="level1"><a name="VI_Denizens_of_the_water" id="VI_Denizens_of_the_water"></a>VI. Denizens of the water:</li>
+  <li class="level2"><i>a.</i> Fish:</li>
+  <li class="level3">(1) <i>Salmon Fishing</i>, Volume VII, page 285.</li>
+  <li class="level3">(2) &#8220;Pickerel,&#8221; in <i>The Pond in Winter</i>, VII, 280.</li>
+  <li class="level3"><span class='pagenum'><a name="Page_392" id="Page_392">[392]</a></span>(3) See, also, &#8220;Salmon,&#8221; in <i>Tom, the Water Baby</i>, II, 272, 279-283.</li>
+  <li class="level2"><i>b.</i> See numerous references to <a href="#Tom_the_Water_Baby_XV"><i>Tom, the Water Baby</i></a>, in the
+    earlier part of this section.</li>
+  <li class="level1"><a name="VII_Natural_Phenomena" id="VII_Natural_Phenomena"></a>VII. Natural Phenomena:</li>
+  <li class="level2"><i>a.</i> Nursery rhymes:</li>
+  <li class="level3">(1) <i>Rainbow in the Morning</i>, Volume I, page 48.</li>
+  <li class="level3">(2) <i>If All the World Were Water</i>, I, 48.</li>
+  <li class="level2"><i>b.</i> Poems:</li>
+  <li class="level3">(1) <i>Twinkle, Twinkle, Little Star</i>, Volume I, page 44.</li>
+  <li class="level3">(2) <i>The Sun&#8217;s Travels</i>, I, 68.</li>
+  <li class="level3">(3) <i>Rain</i>, I, 110.</li>
+  <li class="level3">(4) <i>Autumn Fires</i>, I, 394.</li>
+  <li class="level3">(5) <i>The Wind</i>, I, 440.</li>
+  <li class="level3">(6) <i>The First Snowfall</i>, II 403.</li>
+  <li class="level3">(7) <i>In Time&#8217;s Swing</i>, II, 481.</li>
+  <li class="level3">(8) <i>Echo</i>, III, 286.</li>
+  <li class="level3">(9) <i>The Rainbow</i>, VI, 91.</li>
+  <li class="level3">(10) <i>Sweet and Low</i>, VI, 122.</li>
+  <li class="level3">(11) <i>The Cloud</i>, VII, 257.</li>
+  <li class="level2"><i>c.</i> Fable:</li>
+  <li class="level3">(1) <i>The Wind and the Sun</i>, Volume I, page 95.</li>
+  <li class="level1"><a name="VIII_Geographical_in_Nature" id="VIII_Geographical_in_Nature"></a>VIII. Geographical in Nature:</li>
+  <li class="level2">(1) <i>At the Seaside</i>, Volume I, page 129.</li>
+  <li class="level2"><span class='pagenum'><a name="Page_393" id="Page_393">[393]</a></span>(2) <i>From a Railway Carriage</i>, I, 198.</li>
+  <li class="level2">(3) <i>Stop, Stop, Pretty Water</i>, I, 317.</li>
+  <li class="level2">(4) <i>Song of the Brook</i>, IV, 60.</li>
+  <li class="level2">(5) <i>A Descent into the Maelstrom</i>, VIII, 95.</li>
+  <li class="level2">(6) <i>Ascent of the Jungfrau</i>, IX, 1.</li>
+</ol>
+
+
+<h3 class="section"><a name="Complete_Study" id="Complete_Study"></a>II</h3>
+
+<p class="opening"><span class="dropcapa"><span class="hide">A</span></span><span class="upper">id</span> in answering the second problem may be found in the following
+paragraph:</p>
+
+<p>A series of interesting studies may be founded on the use which authors
+make of nature by way of direct and indirect allusion in their works.
+Such lessons are the opposite of those we have been considering. Now,
+the literary selection is taken first, read carefully and the allusions
+noted and classified. It will be noticed that it is not necessary that
+selections used for this purpose should be new to the pupils. In fact,
+genuine literature has the merit of being always new, always
+interesting. No better service can be rendered to a child than to create
+in him a love for the fine things in literature. Continued, monotonous
+study of a masterpiece may breed dislike of it, especially if the
+exercises are dull and formal. But to approach an old favorite from a
+new direction, to look at it from a new point of view, is to lend it
+added charms.</p>
+
+<p><a name="The_King_of_the_Golden_River_XV" id="The_King_of_the_Golden_River_XV"></a>A. To illustrate our method, we will use <i>The King of the Golden River</i>
+(Volume II, page 405).</p>
+
+<p>1. <i>Assignment.</i> The leader assigns the work as follows: &#8220;I wish you to
+read the first section of<span class='pagenum'><a name="Page_394" id="Page_394">[394]</a></span> <i>The King of the Golden River</i> and write in
+the order of their occurrence, every mention of a living thing or
+natural object and every allusion to them. Use the words of the story
+when possible, but be brief. After each put a number, to show the page
+of the story. Let us see who can find the greatest number and who can
+make the best paper.&#8221;</p>
+
+<p>2. <i>Preparation.</i> If the children work well their lists will be
+something like this:</p>
+
+<ol class="outline">
+  <li>a. The valley in the mountains. Page 405.</li>
+  <li class="level2">(1) Snow-covered peaks; cataracts; a crag; river; circular hollows.</li>
+  <li class="level2">(2) Heavy crops; high hay; red apples; blue grapes; rich wine; sweet honey.</li>
+  <li class="level2">(3) Blackbirds; hedgehogs; crickets; cicadas.</li>
+  <li class="level2">(4) Corn.</li>
+  <li>b. The wet summer. Page 407.</li>
+  <li class="level2">(1) Hay; vines; corn.</li>
+  <li>c. A nice piece of mutton. Page 408.</li>
+  <li>d. Must be the wind. Page 408.</li>
+  <li>e. A black feather some three feet long. Page 409.</li>
+  <li>f. Like a beaten puppy&#8217;s tail. Page 410.</li>
+  <li>g. Like a mill stream. Page 410.</li>
+  <li>h. Licking its chops. Page 410.</li>
+  <li>i. A gust of wind that made the old chimneys totter. Page 411.</li>
+  <li>j. Quicksilver-like streams. Page 411.</li>
+  <li>k. Like a straw in the high wind. Page 413.</li>
+  <li>l. A wreath of ragged cloud, that whirled and rolled away down the valley. Page 415.</li>
+  <li>m. A gush of rain. Page 415.</li>
+  <li>n. Howling wind and rushing rain without intermission. Page 415.</li>
+  <li><span class='pagenum'><a name="Page_395" id="Page_395">[395]</a></span>o. The room was full of water. Page 416.</li>
+  <li>p. A misty moonbeam. Page 416.</li>
+  <li>r. Like a cork. Page 416.</li>
+  <li>s. The inundation. Pages 416-417.</li>
+  <li class="level2">(1) Trees; crops; cattle swept away.</li>
+  <li class="level2">(2) Red sand and gray mud left in their stead.</li>
+  <li class="level2">(3) Corn swept away.</li>
+  <li class="level2">(4) <i>Breezy</i> letters.</li>
+  <li class="level2">(5) Southwest Wind, Esquire.</li>
+</ol>
+
+<p>3. <i>Recitation.</i> The leader&#8217;s part in the recitation is to help the
+children to classify the things mentioned, to bring out the meaning of
+the figures of speech, and to see that the allusions are understood.</p>
+
+<p>In writing this fine chapter, Ruskin has mentioned or alluded to the
+following:</p>
+
+<div style="margin-left: 1em;">
+<p class="hanging2">a. Land and water forms: Mountains; valley; snow; peaks; cataracts;
+river; circular hollow; mill stream; cloud; rain; globe of foam.</p>
+
+<p class="hanging2">b. Animals: Sheep (mutton); bird (feathers); puppy; dog (licking its
+chops); wolf (howling wind); cattle.</p>
+
+<p class="hanging2">c. Plant life: Crops; hay; apples; grapes; corn; vines; straw; cork;
+trees.</p>
+
+<p class="hanging2">d. Natural phenomena: A wet summer wind blowing; gushing rain;
+whirling clouds; misty moonbeam; floating foam; sweeping
+inundation; breezes (breezy letters).</p>
+
+<p class="hanging2">e. Rock material: Quicksilver; red sand; gray mud.</p>
+
+<p class="hanging2"><span class='pagenum'><a name="Page_396" id="Page_396">[396]</a></span>f. Natural products: Crops; apples; hay; grapes; wine; honey; corn;
+mutton; cork; cattle.</p>
+
+<p class="hanging2">g. Figures of speech: (In studying figures of speech, make three
+points in each, viz.: <i>First</i>, the basis of the figure; <i>second</i>,
+the translation of the figure into literal English; <i>third</i>, the
+force and beauty of the figure and its effect on the meaning of the
+sentence. With older children the names of the figures may be
+given. Illustrations of these directions will follow.)</p>
+
+<p class="hanging3">(1) Like a beaten puppy&#8217;s tail. (A beaten puppy drops his tail and
+drags it weakly behind him. The feather drooped down behind him
+and dragged limply along. The figure gives a vivid picture of the
+wet feather, limp and unhandsome. The figure is a comparison in
+the form of a <i>simile</i>.)</p>
+
+<p class="hanging3">(2) Like a mill stream. (Rushing, roaring, fast and furious.)</p>
+
+<p class="hanging3">(3) Licking its chops. (<i>First</i>, a dog runs out his tongue and
+licks his lips and the outside of his face [cheeks&mdash;chops] when he
+sees food brought to him. A red flame twists and waves around like
+the tongue of a dog. We speak of &#8220;tongues of flame&#8221; and &#8220;hungry
+flames devouring.&#8221; <i>Second</i>, long streams of flame waved around
+and curled about the wood as they<span class='pagenum'><a name="Page_397" id="Page_397">[397]</a></span> burned it. <i>Third</i>, how much
+more vivid is the picture we see of the beautiful fire. The words
+&#8220;rustling&#8221; and &#8220;roaring&#8221; help to strengthen the figure. This is a
+fine comparison, but as it is not directly expressed by the use of
+the words &#8220;like&#8221; or &#8220;as&#8221; we call it a <i>metaphor</i>.)</p>
+
+<p class="hanging3">(4) Quicksilver-like streams. (Bright, shining, smoothly running,
+with metallic luster.)</p>
+
+<p class="hanging3">(5) Like a straw in the high wind. (Rapid, uncertain, irregular
+motion.)</p>
+
+<p class="hanging3">(6) A wreath of ragged cloud. (Notice the metaphor in <i>wreath</i>&mdash;also
+in <i>ragged</i>.)</p>
+
+<p class="hanging3">(7) Howling wind. (A wolf howls. The figure which raises an inanimate
+object to the level of animate beings, or raises an animate being
+[a dog, for instance] to the level of a human being, is called
+<i>personification</i>.)</p>
+
+<p class="hanging3">(8) Like a cork.</p>
+
+<p class="hanging3">(9) <i>Swept</i> away.</p>
+
+<p class="hanging3">(10) <i>Breezy</i> letters. (The words <i>swept</i> and <i>breezy</i> are
+somewhat metaphorical, though their frequent use in this manner
+makes the meaning almost literal.)</p>
+
+<p class="hanging3">(11) Southwest Wind, Esquire. (Personification.)</p>
+</div>
+
+<p>B. A second lesson may confine itself more closely to the figures of
+speech. Naturally this study of figures belongs with language and
+literature, but the point we wish to make is one of <span class='pagenum'><a name="Page_398" id="Page_398">[398]</a></span>correlation. There
+is a literary side to nature study, and a natural history side to
+literature. Many of the greatest authors have been ardent lovers of
+nature, and have drawn liberally on their knowledge of nature in
+beautifying what they have written. Many a reader, from lack of
+knowledge or from careless habits, passes over the most delightful
+things, as blind and deaf as he who sees no beauty in the wild flowers
+and hears no melody in the songs of birds.</p>
+
+<p>For the second lesson of this character we will take the second and
+third chapters of <i>The King of the Golden River</i>, hoping to find an
+abundance of figures based on nature in some of its forms. We may not
+find many. Some writers use few. We suspect that Ruskin used them
+freely; as a matter of fact he was one of the greatest lovers of nature,
+a man who labored hard to bring art and nature together and to find a
+place for them in the lives of all.</p>
+
+<p>We find in the second chapter the following nature figures:</p>
+
+<div style="margin-left: 1em;">
+<p class="hanging">a. Southwest Wind, Esquire, page 418.</p>
+
+<p class="hanging">b. His relations, the West Winds, page 418.</p>
+
+<p class="hanging">c. It looks more like silk, page 419.</p>
+
+<p class="hanging">d. The hot breath of the furnace, page 420.</p>
+
+<p class="hanging">e. Bright tongues of fiery cloud burning and quivering about them, page 420.</p>
+
+<p class="hanging">f. A clear <i>metallic</i> voice, page 420.</p>
+
+<p class="hanging">g. Like that of a kettle on the boil, page 421.</p>
+
+<p class="hanging">h. As smooth and polished as a river, page 421.</p>
+
+<p class="hanging">i. The prismatic colors gleamed over it, as if on a surface of
+mother-of-pearl, page 422.</p>
+
+<p class="hanging"><span class='pagenum'><a name="Page_399" id="Page_399">[399]</a></span>j. In order to allow time for the consternation ... to evaporate, page 424.</p>
+</div>
+
+<p>In the third chapter are the following:</p>
+
+<div style="margin-left: 1em;">
+<p class="hanging">a. Knotty question, page 426.</p>
+
+<p class="hanging">b. Like a line of forked lightning, page 427.</p>
+
+<p class="noindent">(This whole paragraph is a wonderfully beautiful description.)</p>
+
+<p class="hanging">c. Rose like slow smoke, page 427.</p>
+
+<p class="hanging">d. In feeble wreaths, page 428.</p>
+
+<p class="hanging">e. Shrieks resembling those of human voices in distress or pain, page 428.</p>
+
+<p class="hanging">f. None like the ordinary forms of splintered ice, page 428.</p>
+
+<p class="hanging">g. <i>Deceitful</i> shadows, page 428.</p>
+
+<p class="hanging">h. Lurid lights <i>played</i>, page 428.</p>
+
+<p class="hanging">i. Ice <i>yawned</i> into fresh chasms, page 428.</p>
+
+<p class="hanging">j. Fell <i>thundering</i> across his path, page 429.</p>
+
+<p class="hanging">k. Rays <i>beat</i> intensely, page 429.</p>
+
+<p class="hanging">l. Its lips parched and burning, page 430.</p>
+
+<p class="hanging">m. Long snake-like shadows, page 430.</p>
+
+<p class="hanging">n. The <i>leaden</i> weight of the <i>dead</i> air pressed upon his brow and
+heart, page 430.</p>
+
+<p class="hanging">o. Shaped like a sword, page 431.</p>
+
+<p class="hanging">p. Like a red-hot ball, page 431.</p>
+
+<p class="hanging">q. They shook their crests like tongues of fire, page 432.</p>
+
+<p class="hanging">r. Flashes of <i>bloody</i> light gleamed along their foam, page 432.</p>
+
+<p class="hanging">s. An icy chill shot through his limbs, page 432.</p>
+
+<p class="hanging">t. The <i>moaning</i> of the river, page 432.</p>
+
+<p class="hanging">u. <i>The Black Stone</i>, page 432.</p>
+</div>
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_400" id="Page_400">[400]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_XVI" id="CHAPTER_XVI"></a>CHAPTER XVI<br />
+<br />
+<span class="smcap">Journeys Through Bookland in Its Relation to the School</span>&mdash;(Continued)</h2>
+
+
+<h3 class="section"><a name="Geography_and_History" id="Geography_and_History"></a><i>Geography and History</i></h3>
+
+<p class="opening"><span class="dropcapt"><span class="hide">T</span></span><span class="upper">he</span> connection between geography and history on the one hand and
+literature on the other is most intimate. In the first place nearly all
+our knowledge of history must come through reading, and while we learn
+our geography most accurately through travel and observation, but a
+small part of our information comes through those channels. We read
+incessantly of our own country and others, we fill our minds with
+visions of plants, animals and the peoples of foreign lands from the
+facts we gather from the papers, magazines and books. If most of our
+facts come through reading it is no less true that most of our real
+interest in geography and history comes not from the facts of our
+text-books but from the literature we have read, the literature that
+clothed those facts and made them real and living. Ask yourselves what
+gave you your first real interest in the history of Scotland and see if
+your answer is not, &#8220;The novels of Scott.&#8221; Again, where did you get your
+first adequate ideas of chivalry and the feudal system if it was not
+from <i>Ivanhoe</i> or some similar piece of literature? What makes the
+Crimean War a household word in the homes of two continents if it is not
+the deeds of<span class='pagenum'><a name="Page_401" id="Page_401">[401]</a></span> Florence Nightingale and Tennyson&#8217;s <i>Charge of the Light
+Brigade</i>? Who can tell most of the Battle of Waterloo, he who has read
+the facts of history or he who has read Byron&#8217;s thrilling poem and the
+description by Victor Hugo? Who knows the English home as it was? He who
+reads Goldsmith&#8217;s <i>Deserted Village</i>.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="image12" id="image12"></a><a href="images/image12-full.jpg"><img src="images/image12.jpg" width="253" height="400" alt="Portraits" title="Oliver Goldsmith
+Matthew Arnold
+John Ruskin
+Thomas Babington Macaulay
+John Bunyan
+Thomas De Quincey
+Charles Lamb" /></a><br />
+<span class="caption smcap">Oliver Goldsmith&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Matthew Arnold<br />
+John Ruskin<br />
+Thomas Babington Macaulay&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;John Bunyan<br />
+Thomas De Quincey&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Charles Lamb</span>
+</div>
+
+<p>It is in furnishing those literary masterpieces that give life to
+geography and inspiration to history that <i>Journeys Through Bookland</i>
+gives the best of assistance to boys and girls in their school work.
+Some of its selections will give facts and many of them, but the facts
+form the smaller part of the contribution. History is valuable only as
+it enables us to understand the present, thrills us with the
+accomplishments of the past and teaches us how to live and act in the
+future. No man is so wrapped up in business that he does not heed the
+charm of noble deeds and fails to be moved by glorious achievement. Some
+histories are literature in themselves and have the inspiring quality we
+crave, but most of them are too dry and scientific to afford much
+interest to the child. So the greater part of our selections are not
+from the books that are called real history but from those which appeal
+to the imagination and stir the soul. Geographical teaching is likewise
+indirect in <i>Journeys</i> but it is none the less helpful and inspiring. To
+prove the truth of these statements we have only to present what the
+books contain and show how the selections may be used.</p>
+
+<p>It does not seem wise to separate the two subjects too widely, for they
+are closely related and intimately interwoven in almost all reading.
+There <span class='pagenum'><a name="Page_402" id="Page_402">[402]</a></span>are, it is true, some masterpieces that may be considered purely
+geographical and others that are as entirely historical, but these will
+be easily identified. <a name="Classified_Selections" id="Classified_Selections"></a>Yet for ease and readiness in locating them we
+append a list of nearly one hundred selections and classify them in a
+simple manner:</p>
+
+<ol class="outline">
+  <li>1. Largely geographical.</li>
+  <li class="level2"><i>a.</i> Juvenile poems with geographical allusions, or based on
+  geographical facts:</li>
+  <li class="level3">(1) <i>The Suns Travels</i>, Volume I, page 68.</li>
+  <li class="level3">(2) <i>Singing</i>, I, 83.</li>
+  <li class="level3">(3) <i>Foreign Lands</i>, I, 130.</li>
+  <li class="level3">(4) <i>At the Seaside</i>, I, 129.</li>
+  <li class="level3">(5) <i>Old Gaelic Lullaby</i>, I, 203.</li>
+  <li class="level3">(6) <i>Where Go the Boats?</i> I, 256.</li>
+  <li class="level3">(7) <i>Foreign Children</i>, I, 351.</li>
+  <li class="level3">(8) <i>Keepsake Mill</i>, I, 349.</li>
+  <li class="level3">(9) <i>Windy Nights</i>, II, 123.</li>
+  <li class="level3">(10) <i>Picture Books in Winter</i>, II, 87.</li>
+  <li class="level3">(11) <i>The Child&#8217;s World</i>, II, 66.</li>
+  <li class="level2"><i>b.</i> Stories and poems that describe places or people in Europe
+and some of their customs and modes of life:</li>
+  <li class="level3">(1) <i>The Tree</i>, Volume I, page 301.</li>
+  <li class="level3">(2) <i>The Snow Maiden</i>, I, 257.</li>
+  <li class="level3">(3) <i>The Snow Queen</i>, II, 124.</li>
+  <li class="level3">(4) <i>The Skeleton in Armor</i>, V, 327.</li>
+  <li class="level3">(5) <i>Rab and His Friends</i>, VI, 99.</li>
+  <li class="level3">(6) <i>The Governor and the Notary</i>, VII, 20.</li>
+  <li class="level3">(7) <i>Don Quixote</i>, VII, 431.</li>
+  <li class="level3">(8) <i>The Alhambra</i>, VIII, 153.</li>
+  <li class="level3">(9) <i>Ascent of the Jungfrau</i>, IX, 1.</li>
+  <li class="level3">(10) <i>The Cotters Saturday Night</i>, VIII, 319.</li>
+  <li class="level2"><span class='pagenum'><a name="Page_403" id="Page_403">[403]</a></span><i>c.</i> Fanciful legends with geographical interests:</li>
+  <li class="level3">(1) <i>Why the Sea Is Salt</i>, Volume II, page 484.</li>
+  <li class="level3">(2) <i>Origin of the Opal</i>, II, 480.</li>
+  <li class="level2"><i>d.</i> A Story from Japan.</li>
+  <li class="level3">(1) <i>The Mirror of Matsuyana</i>, Volume II, page 36.</li>
+  <li class="level2"><i>e.</i> A story of longitude:</li>
+  <li class="level3">(1) <i>Three Sundays in a Week</i>, Volume VI, page 453.</li>
+  <li class="level2"><i>f.</i> Plants or plant life:</li>
+  <li class="level3">(1) <i>The Potato</i>, Volume II, page 467.</li>
+  <li class="level3">(2) <i>Trees and Ants That Help Each Other</i>, VII, 306.</li>
+  <li class="level3">(3) <i>A Bed of Nettles</i>, VIII, 209.</li>
+  <li class="level2"><i>g.</i> Animal life:</li>
+  <li class="level3">(1) <i>Salmon Fishing</i>, VII, 285.</li>
+  <li class="level3">(2) <i>Winter Animals</i>, VII, 293.</li>
+  <li class="level3">(3) <i>Trees and Ants That Help Each Other</i>, VII, 306.</li>
+  <li class="level3">(4) <i>Owls</i>, IX, 229.</li>
+  <li class="level3">(5) <i>Elephant Hunting</i>, VI, 385.</li>
+  <li class="level3">(6) <i>Some Clever Monkeys</i>, VI, 402,</li>
+  <li class="level3">(7) <i>The Buffalo</i>, VII, 96.</li>
+  <li class="level3">(8) <i>A Gorilla Hunt</i>, VII, 247.</li>
+  <li class="level3">(9) <i>Brute Neighbors</i>, VII, 260.</li>
+  <li class="level3">(10) <i>The Pond in Winter</i>, VII, 280.</li>
+  <li class="level2"><i>h.</i> Natural phenomena:</li>
+  <li class="level3">(1) <i>The Cloud</i>, Volume VII, page 257.</li>
+
+  <li class="level1">2. Indians and their habits. The selections are either historical or
+    geographical or both.</li>
+  <li class="level2"><i>a.</i> <i>The Arickara Indians.</i> (A description of the habits
+    and customs of one of the<span class='pagenum'><a name="Page_404" id="Page_404">[404]</a></span> western tribes.) Volume IV, page
+    472.</li>
+  <li class="level2"><i>b.</i> <i>Reminiscences of a Pioneer.</i> (This contains a few
+interesting anecdotes of Indians and many incidents of pioneer
+life.) Volume V, page 340.</li>
+  <li class="level2"><i>c.</i> <i>Black Hawk Tragedy.</i> (A very interesting biographical
+and historical sketch.) Volume VII, page 58.</li>
+  <li class="level2"><i>d.</i> <i>An Exciting Canoe Race.</i> (A story of the New York Indians
+at an early day.) Volume VII, page 79.</li>
+  <li class="level2"><i>e.</i> <i>David Crockett in the Creek War.</i> (An interesting account
+of southern Indians and their wars.) Volume VIII, page 37.</li>
+
+  <li class="level1 hanging1">3. Biography. The selections in this group consist of anecdotal
+sketches, brief biographies, extracts from longer works, and a few
+poems.</li>
+  <li class="level2"><i>a.</i> Authors of the United States and of foreign countries:</li>
+  <li class="level3">(1) <i>Robert Louis Stevenson</i>, Volume I, page 128.</li>
+  <li class="level3">(2) <i>Eugene Field</i>, I, 242.</li>
+  <li class="level3">(3) <i>Hans Christian Andersen</i>, II, 81.</li>
+  <li class="level3">(4) <i>Henry Wadsworth Longfellow</i>, IV, 62.</li>
+  <li class="level3">(5) <i>Alice and Phoebe Cary</i>, IV, 116.</li>
+  <li class="level3">(6) <i>Nathaniel Hawthorne</i>, IV, 180.</li>
+  <li class="level3">(7) <i>Sir Walter Scott</i>, VI, 26.</li>
+  <li class="level3">(8) <i>John Greenleaf Whittier</i>, VII, 381.</li>
+  <li class="level3">(9) <i>William Cullen Bryant</i>, VII, 391.</li>
+  <li class="level3">(10) <i>Oliver Wendell Holmes</i>, VII, 398.</li>
+  <li class="level3">(11) <i>James Russell Lowell</i>, VII, 411.</li>
+  <li class="level3"><span class='pagenum'><a name="Page_405" id="Page_405">[405]</a></span>(12) <i>Washington Irving</i>, VIII, 216.</li>
+  <li class="level3">(13) <i>Charles and Mary Lamb</i>, VIII, 328.</li>
+  <li class="level2"><i>b.</i> Biblical Characters:</li>
+  <li class="level3">(1) <i>The Story of Joseph</i>, Volume I, page 456.</li>
+  <li class="level3">(2) <i>The Story of Esther</i>, II, 448.</li>
+  <li class="level3">(3) <i>David</i>, IV, 274.</li>
+  <li class="level3">(4) <i>Ruth</i>, VI, 143.</li>
+  <li class="level2"><i>c.</i> The author of many fables:</li>
+  <li class="level3">(1) <i>Aesop</i>, Volume II, page 1.</li>
+  <li class="level2"><i>d.</i> English history:</li>
+  <li class="level3">(1) <i>Alfred the Great</i>, Volume IV, 260.</li>
+  <li class="level3">(2) <i>Queen Victoria</i>, VII, 152.</li>
+  <li class="level3">(3) <i>Florence Nightingale</i>, IX, 13.</li>
+  <li class="level2"><i>e.</i> American history:</li>
+  <li class="level3">(1) <i>George Rogers Clark</i>, Volume VI, page 422.</li>
+  <li class="level3">(2) <i>David Crockett in the Creek War</i>, VIII, 37.</li>
+  <li class="level3">(3) <i>P&egrave;re Marquette</i>, VIII, 121.</li>
+  <li class="level3">(4) <i>Abraham Lincoln</i>, IX, 324.</li>
+  <li class="level2"><i>f.</i> Roman history:</li>
+  <li class="level3">(1) <i>Julius C&aelig;sar</i>, Volume IX, page 126.</li>
+  <li class="level1">4. Myths from several sources:</li>
+  <li class="level2"><i>a.</i> Grecian and Roman:</li>
+  <li class="level3">(1) <i>Atalanta&#8217;s Race</i>, Volume I, page 386.</li>
+  <li class="level3">(2) <i>Baucis and Philemon</i>, I, 431.</li>
+  <li class="level3">(3) <i>The Golden Touch</i>, II, 43.</li>
+  <li class="level3">(4) <i>The Chimera</i>, II, 173.</li>
+  <li class="level3">(5) <i>The Story of Phaethon</i>, II, 206.</li>
+  <li class="level3">(6) <i>The Queen of the Underworld</i>, II, 468.</li>
+  <li class="level3">(7) <i>Cupid and Psyche</i>, III, 365.</li>
+  <li class="level2"><i>b.</i> Northern Europe:</li>
+  <li class="level3">(1) <i>How the Wolf was Bound</i>, II, 91.</li>
+  <li class="level3"><span class='pagenum'><a name="Page_406" id="Page_406">[406]</a></span>(2) <i>The Death of Balder</i>, II, 99.</li>
+  <li class="level3">(3) <i>The Punishment of Loki</i>, II, 111.</li>
+  <li class="level3">(4) <i>Beowulf and Grendel</i>, III, 350.</li>
+  <li class="level2"><i>c.</i> Miscellaneous:</li>
+  <li class="level3">(1) <i>Stories of the Creation</i>, Volume IV, page 159.</li>
+
+  <li class="level1 hanging">5. Legendary heroes. The following selections give vivid ideas of the
+great national heroes whose reputed deeds have been an inspiration to
+hosts of children in many lands:</li>
+
+  <li class="level2"><i>a.</i> Scandinavian:</li>
+  <li class="level3">(1) <i>Frithiof the Bold</i>, Volume III, page 394.</li>
+  <li class="level2"><i>b.</i> German:</li>
+  <li class="level3">(1) <i>The Story of Siegfried</i>, Volume III, page 410.</li>
+  <li class="level2"><i>c.</i> English:</li>
+  <li class="level3">(1) <i>Robin Hood</i>, Volume III, page 436.</li>
+  <li class="level3">(2) <i>King Arthur</i>, V, 113.</li>
+  <li class="level3">(3) <i>Balin and Balan</i>, V, 130.</li>
+  <li class="level3">(4) <i>Geraint and Enid</i>, V, 148.</li>
+  <li class="level3">(5) <i>The Holy Grail</i>, V, 207.</li>
+  <li class="level3">(6) <i>Dissensions at King Arthur&#8217;s Court</i>, V, 232.</li>
+  <li class="level3">(7) <i>The Passing of Arthur</i>, V, 237.</li>
+  <li class="level2"><i>d.</i> French:</li>
+  <li class="level3">(1) <i>Roland at Roncesvalles</i>, Volume III, page 460.</li>
+  <li class="level2"><i>e.</i> Spanish:</li>
+  <li class="level3">(1) <i>The Cid</i>, Volume IV, page 9.</li>
+  <li class="level2"><i>f.</i> Greek:</li>
+  <li class="level3">(1) <i>The Death of Hector</i>, Volume IV, page 364.</li>
+  <li class="level3">(2) <i>Ulysses</i>, IV, 398.</li>
+  <li class="level2"><span class='pagenum'><a name="Page_407" id="Page_407">[407]</a></span><i>g.</i> Roman:</li>
+  <li class="level3">(1) <i>Horatius</i>, Volume VI, page 1.</li>
+
+  <li class="level1">6. Historical tales, poems, and selections of different kinds and
+varying degrees of difficulty:</li>
+  <li class="level2"><i>a.</i> Northern Europe:</li>
+  <li class="level3">(1) <i>Holger Danske</i>, Volume II, page 377.</li>
+  <li class="level3">(2) <i>Make Way for Liberty</i>, VII, 172.</li>
+  <li class="level3">(3) <i>Marco Bozzaris</i>, VIII, 90.</li>
+  <li class="level2"><i>b.</i> France and Napoleon:</li>
+  <li class="level3">(1) <i>Incident of the French Camp</i>, Volume IV, page 174.</li>
+  <li class="level3">(2) <i>Battle of Ivry</i>, VIII, 76.</li>
+  <li class="level3">(3) <i>Herv&eacute; Riel</i>, VIII, 168.</li>
+  <li class="level3">(4) <i>The Battle of Waterloo</i>, VIII, 176.</li>
+  <li class="level3">(5) <i>The Battle of Cressy</i>, IX, 161.</li>
+  <li class="level2"><i>c.</i> Classic lands:</li>
+  <li class="level3">(1) <i>The Wooden Horse</i>, Volume IV, page 383.</li>
+  <li class="level3">(2) <i>The Battle of Thermopylae</i>, VIII, 81.</li>
+  <li class="level3">(3) <i>The Death of Caesar</i>, IX, 126.</li>
+  <li class="level3">(4) <i>The Death of Caesar</i>, IX, 143.</li>
+  <li class="level3">(5) <i>Julius Caesar</i>, IX, 155.</li>
+  <li class="level2"><i>d.</i> British Isles:</li>
+  <li class="level3">(1) <i>Chevy Chase</i>, Volume IV, page 312.</li>
+  <li class="level3">(2) <i>The Ballad of Agincourt</i>, V, 95.</li>
+  <li class="level3">(3) <i>Some Children&#8217;s Books of the Past</i>, V, 101.</li>
+  <li class="level3">(4) <i>The Rise of Robert Bruce</i>, V, 278.</li>
+  <li class="level3">(5) <i>Bruce and the Spider</i>, V, 314.</li>
+  <li class="level3">(6) <i>The Heart of Bruce</i>, V, 316.</li>
+  <li class="level3">(7) <i>The Tournament</i>, VI, 38.</li>
+  <li class="level3">(8) <i>Bannockburn</i>, VII, 15.</li>
+  <li class="level3"><span class='pagenum'><a name="Page_408" id="Page_408">[408]</a></span>(9) <i>The Charge of the Light Brigade</i>, VII, 147.</li>
+  <li class="level3">(10) <i>The Recessional</i>, VII, 164.</li>
+  <li class="level3">(11) <i>The Battle of Trafalgar</i>, VIII, 284.</li>
+  <li class="level3">(12) <i>Casabianca</i>, VIII, 313.</li>
+  <li class="level3">(13) <i>The Impeachment of Warren Hastings</i>, IX, 32.</li>
+  <li class="level3">(14) <i>The Battle of Cressy</i>, IX, 161.</li>
+  <li class="level3">(15) <i>The Battle of Hastings</i>, IX, 330.</li>
+  <li class="level2"><i>e.</i> United States:</li>
+  <li class="level3">(1) <i>The Pine Tree Shillings</i>, Volume IV, page 192.</li>
+  <li class="level3">(2) <i>The Sunken Treasure</i>, IV, 199.</li>
+  <li class="level3">(3) <i>The Hutchinson Mob</i>, IV, 208.</li>
+  <li class="level3">(4) <i>The Boston Massacre</i>, IV, 217.</li>
+  <li class="level3">(5) <i>The Landing of the Pilgrim Fathers in New England</i>, IV, 197.</li>
+  <li class="level3">(6) <i>Sheridan&#8217;s Ride</i>, IV, 223.</li>
+  <li class="level3">(7) <i>Henry Hudson&#8217;s Fourth Voyage</i>, V, 254.</li>
+  <li class="level3">(8) <i>Reminiscences of a Pioneer</i>, V, 340.</li>
+  <li class="level3">(9) <i>Braddock&#8217;s Defeat</i>, V, 379.</li>
+  <li class="level3">(10) <i>The American Flag</i>, V, 396.</li>
+  <li class="level3">(11) <i>Stonewall Jackson&#8217;s Way</i>, V, 400.</li>
+  <li class="level3">(12) <i>The Capture of Vincennes</i>, VI, 428.</li>
+  <li class="level3">(13) <i>The Old Continentals</i>, VII, 175.</li>
+  <li class="level3">(14) <i>America</i>, VIII, 60.</li>
+  <li class="level3">(15) <i>The Fall of the Alamo</i>, VIII, 141.</li>
+  <li class="level3">(16) <i>The Knickerbocker History of New York</i>, VIII, 224.</li>
+  <li class="level3">(17) <i>The Battle of Saratoga</i>, IX, 176.</li>
+  <li class="level3">(18) <i>The Gettysburg Address</i>, IX, 321.</li>
+  <li class="level2"><i>f.</i> America, outside of the United States:</li>
+  <li class="level3">(1) <i>The Buccaneers</i>, Volume V, page 359.</li>
+  <li class="level3"><span class='pagenum'><a name="Page_409" id="Page_409">[409]</a></span>(2) <i>Captain Morgan at Maracaibo</i>, V, 365.</li>
+  <li class="level3">(3) <i>Ringrose and His Buccaneers</i>, VIII, 1.</li>
+  <li class="level3">(4) <i>The Retreat of Cortez</i>, VIII, 63.</li>
+</ol>
+
+<p>The object of teaching geography and history is not solely that children
+may acquire a collection of facts. Too often the lessons in these
+branches consist merely in memorizing text books, in learning long
+descriptions, in the study of meaningless maps and in the listing of
+political and military events in chronological order. The value of such
+work is comparatively small, and the studies cannot be considered
+profitable. If, however, children are taught to know and understand
+people, their habits and modes of life; if they learn geographical facts
+in their relation to humanity, to study events in the relation of cause
+to effect, to seek for truth and the meaning of things, then nothing is
+more productive of good than the teaching of geography and history.</p>
+
+<p>If we accept as true the foregoing statements, then methods of teaching
+the subjects become clear as we think of them. It is evident that early
+lessons should be designed to create interest:</p>
+
+<p>(1) In the world of things immediately around us; in the land and what
+grows and lives upon it; in the water, its relation to the land, its
+motions, and the life that it contains; in the air, its phenomena and
+its denizens; in human beings, their feelings and all their activities.</p>
+
+<p>(2) In the great earth as a whole and its parts; in foreign animals and
+plants; in humanity in other lands.</p>
+
+<p>It appears that so broad an outline as the one just given can never be
+filled in, that the study <span class='pagenum'><a name="Page_410" id="Page_410">[410]</a></span>of geography and history, the study of the
+world and its peoples, can never be completed. If such is the case, it
+follows that the teacher who creates the most vital interest in the
+subject, who leaves with her pupils the most ardent desire to study and
+know, has been of greatest service to them.</p>
+
+<p>Now, the great interests of life have their inception in early years
+when the mind is active, curiosity strong, and instruction accepted
+without question. Then should be created that abiding interest which
+will make good students of geography and history, good citizens, good
+men and women. If too many formal lessons are given them, and pupils are
+set to work at dreary tasks and are asked to memorize dry facts, it is
+probable that they will never become good students. How, then, shall an
+abiding interest be created?</p>
+
+<p>The entrance to the field of geography is through nature study, which is
+discussed elsewhere under that title. For the first two years of a
+child&#8217;s school life he will hear nothing of geography, and even in the
+third year there will be little formal reference to it, but all the time
+he is quietly mastering facts and developing interests that are
+geographical in their character.</p>
+
+<p><a name="Model_geography_lesson" id="Model_geography_lesson"></a>When systematic lessons begin, there should be presented only real facts
+and genuine things, that bear some close and direct relation to
+ourselves and that should be matters of personal observation, as far as
+possible. Day and night in summer and winter, the seasons, the weather,
+wind, rain, snow, sleet, foods, clothing, the occupations of the
+neighborhood, the brooks and bodies of water about the school, hills,
+valleys, plains, plants and animals of <span class='pagenum'><a name="Page_411" id="Page_411">[411]</a></span>the locality, each in turn
+serves its purpose. We cannot here show how these various subjects
+should be treated, but to illustrate the use of literature in elementary
+geography lessons we will present an outline on a single subject. New
+possibilities will be seen in every direction if frequent use of the
+list given above is made in finding suitable selections.</p>
+
+<p><a name="The_wind" id="The_wind"></a>If we choose the wind as the subject of our model lesson, we may be sure
+to cover several recitations that will lead us into reading, nature
+study and language (oral and written). It is a subject that encourages
+wide correlation. The outline might be the following:</p>
+
+<ol class="outline">
+  <li>1. <i>Purpose of the Lesson.</i> To teach the following facts:</li>
+  <li class="level2"><i>a.</i> That air occupies space.</li>
+  <li class="level2"><i>b.</i> That wind is air in motion and has force.</li>
+  <li class="level2"><i>c.</i> The directions and names of winds.</li>
+  <li class="level2"><i>d.</i> The uses of winds.</li>
+  <li class="level1">2. <i>Experiments and Observation.</i></li>
+  <li class="level2 hanging2"><i>a.</i> <i>Take an empty bottle and thrust it squarely, mouth down, into
+water.</i> Does the water rise in the bottle? (Only a little way.)
+Why? (It can&#8217;t get in. There is air in the bottle.)</li>
+  <li class="level2 hanging2"><i>b.</i> <i>Raise the bottle slowly and tip it slightly so that a part of
+the mouth is above the water, then push it horizontally into
+the water.</i> Does the water go into the bottle now? (Yes.) Why?
+(Because there is no air there to keep it out.) How do you
+know? (I saw the air coming out in bubbles.) Why didn&#8217;t the air
+come out when we pushed the bottle down the first time? (The<span class='pagenum'><a name="Page_412" id="Page_412">[412]</a></span>
+water was too heavy; it held the air in.)</li>
+  <li class="level2 hanging2"><i>c.</i> <i>Hold your hand close in front of your mouth and blow.</i> Can you
+feel anything? (Yes; the air strikes my hand.) When you are out
+in the wind can you feel it? (Yes; it pushes against me.) Can
+it push hard? (Yes; sometimes it pushes over trees and houses.)
+What is the wind? (It is air moving.)</li>
+  <li class="level2 hanging2"><i>d.</i> Is the wind blowing today? Did it blow yesterday? From what
+direction is it (was it) blowing? How do you know? (I saw trees
+bending away from it. I felt it pushing from that side. It came
+in at that window. The vane on the church steeple pointed that
+way.)</li>
+  <li class="level2 hanging2"><i>e.</i> When a wind comes from the South, what do we call it? (South
+wind.) When a wind blows from the North what do we call it?
+(North wind.) What wind brings cold weather? (North.) What wind
+brings warm weather? (South.) What wind brings long spells of
+rainy weather? (East.) What wind brings showers and
+thunderstorms? (South and West.) What winds prevail in summer?
+(South and West.) What winds prevail in winter? (North.)</li>
+  <li class="level2 hanging2"><i>f.</i> What work have you seen the wind do? (Turn windmills; sail
+boats.) Have you seen it do any work for us here? (Yes; it
+drives the clouds that bring us rain. It drives away stormy
+clouds.) Can&#8217;t you think of something else? (It scatters seeds<span class='pagenum'><a name="Page_413" id="Page_413">[413]</a></span>
+of plants. It shakes nuts from trees. It helps melt snow and
+ice. It keeps the air clean and pure.)</li>
+  <li class="level1">3. <i>Literature.</i></li>
+  <li class="level2 hanging2"><i>a.</i> As an introduction to the lesson or in preparation, give the
+first two stanzas of that beautiful poem by W. B. Rands, <i>The
+Child&#8217;s World</i> (Volume II, page 66).</li>
+  <li class="level2 hanging2"><i>b.</i> In considering the strength of the wind, there is a fine
+opportunity to introduce the fable <i>The Wind and the Sun</i>
+(Volume I, page 95).</li>
+  <li class="level2 hanging2"><i>c.</i> Robert Louis Stevenson&#8217;s verses, <i>Windy Nights</i> (Volume II,
+page 123), are entertaining and give an opportunity for nice
+explanation.</li>
+  <li class="level2 hanging2"><i>d.</i> In the same light as the preceding selection may be regarded
+the imaginative verses by the same author, <i>The Wind</i> (Volume
+I, page 440).</li>
+  <li class="level2 hanging2"><i>e.</i> In <i>The King of the Golden River</i> (Volume II) is a humorous
+personification of the southwest wind. It is strikingly true of
+the nature of that wind. The description begins on page 408,
+and a second appearance of the wind is chronicled on page 415.</li>
+  <li class="level2 hanging2"><i>f.</i> Finest of all the selections for this topic is Tennyson&#8217;s
+exquisite lullaby, <i>Sweet and Low</i> (Volume VI, page 122). This
+is well worth memorizing.</li>
+</ol>
+
+<p><a name="Model_history_lesson" id="Model_history_lesson"></a>If we wish a model for a history lesson, the following will answer:</p>
+
+<p><a name="Alfred_the_great" id="Alfred_the_great"></a>One of the interesting characters in history is<span class='pagenum'><a name="Page_414" id="Page_414">[414]</a></span> King Alfred of England,
+and in the sketch of him (Volume IV, page 260) are facts enough for
+several elementary lessons in history. The outline for teaching might be
+as follows:</p>
+
+<ol class="outline">
+  <li>1. <i>Preparation.</i></li>
+  <li class="level2 hanging2"><i>a.</i> Read the article above referred to, and such other material
+concerning Alfred as can be found.</li>
+  <li class="level2 hanging2"><i>b.</i> Select two incidents for story telling and prepare them for
+recital. (See articles on <a href="#CHAPTER_IV"><i>Story Telling</i></a> in this Volume.)</li>
+  <li class="level1">2. <i>Presentation.</i></li>
+  <li class="level2 hanging2"><i>a.</i> Tell the first story (page 260). It might be given in this form:</li>
+</ol>
+
+<p>&#8220;More than a thousand years ago, Alfred, the youngest of the four sons
+of the king, was born. He was a fine lad and the favorite of his
+parents, but when he was twelve years of age he had not yet learned to
+read. This is not so strange, when we stop to think that it was long
+before people knew anything about printing, and every letter in every
+book had to be slowly made with a pen.</p>
+
+<p>&#8220;This made books very expensive and rare, so that only a few people
+could own even one. Still, you have no idea how beautiful some of those
+books were. They were written on thin, fine-grained leather called
+parchment, and were beautifully decorated in colors. The capital letters
+which began paragraphs, and sometimes all the capital letters, were made
+large, in fanciful shapes, and all around them were painted flowers,
+birds, human beings, or pretty designs, so that each letter was a
+beautiful picture in itself. Then in the margins, <span class='pagenum'><a name="Page_415" id="Page_415">[415]</a></span>above the titles, at
+every place where there was no writing were still other delicate
+designs. Some of those wonderful old books are still in existence, and
+people go long distances to see them. They are more valuable now than
+ever, and most of them are safely guarded in museums.</p>
+
+<p>&#8220;One day Alfred&#8217;s mother was reading to her children, from one of those
+beautiful books, some fine poems which the Saxons had written. The boys
+all became very much interested in the rich little paintings that
+decorated it. The mother pointed out its beauties and told the boys how
+carefully the artists had worked and how long it had taken them to do
+it.</p>
+
+<p>&#8220;&#8216;Did you ever see its equal?&#8217; she asked.</p>
+
+<p>&#8220;&#8216;No,&#8217; replied the oldest boy, &#8216;I have not seen anything like it. I wish
+I had one like it.&#8217;</p>
+
+<p>&#8220;&#8216;Boys,&#8217; said the mother, &#8216;this is one of the greatest treasures I have,
+and I would not like to part with it. Yet I love my boys better than the
+book, and I want them to learn to read. So this is what I will gladly
+do: I will give this book to the first of you who comes to me and shows
+that he can read it understandingly.&#8217;</p>
+
+<p>&#8220;&#8216;It is my book, for I can read some already,&#8217; said the oldest.</p>
+
+<p>&#8220;&#8216;But I can work harder than you, and I will learn faster,&#8217; said the
+second.</p>
+
+<p>&#8220;&#8216;I learn more easily than any of you,&#8217; the third boy added. &#8216;I feel
+sure I shall win the book.&#8217;</p>
+
+<p>&#8220;Alfred said nothing, but as soon as his mother had ceased to read he
+hurried away, found a wise man to teach him and began immediately to
+work with great diligence. It was not long before he <span class='pagenum'><a name="Page_416" id="Page_416">[416]</a></span>began to read for
+himself, and before his brothers had made much progress Alfred went to
+his mother.</p>
+
+<p>&#8220;&#8216;I think I can read the book,&#8217; he said.</p>
+
+<p>&#8220;&#8216;I do not think you have had time to learn. You are hurrying too much.
+You should study more,&#8217; his mother replied.</p>
+
+<p>&#8220;&#8216;But, mother, please let me try,&#8217; pleaded Alfred.</p>
+
+<p>&#8220;The mother yielded and Alfred brought the big book to her and laid it
+on her knee. Then he opened it at the beginning and with very few
+mistakes read poem after poem. His mother was more than satisfied, and
+when Alfred left the room he was hugging the elegant book and carrying
+it to his part of the castle.</p>
+
+<p>&#8220;This was only the beginning, for Alfred became the greatest scholar and
+the wisest king the Saxons ever had. He made just laws, he ruled kindly,
+he founded schools, and he tried in every way to make his subjects
+better, wiser and happier. Do you not think it all began in his love for
+the beautiful look?&#8221;</p>
+
+<p>3. <i>Recitation.</i></p>
+
+<p>Ask questions and make the children see in the story:</p>
+
+<p><i>a.</i> (The Introduction.) The first general facts about Alfred.</p>
+
+<p><i>b.</i> (The Body of the Narrative.) The story of how Alfred learned
+to read.</p>
+
+<p><i>c.</i> (The Conclusion.) Alfred wins the prize and becomes a great ruler.</p>
+
+<p>Then ask them to tell the story in their own words.</p>
+
+<p><span class='pagenum'><a name="Page_417" id="Page_417">[417]</a></span>Finally ask them to write the story for a composition.</p>
+
+<p>4. <i>Additional Information.</i> Find out what other things about Alfred are
+already known to the class. Then tell the story of Alfred and the cakes
+(page 261); of his battles with the Danes under Guthrum (page 262); of
+his war with the Danes under Hastings (page 263); of his work for his
+people (page 264); and of his plans and inventions (page 265).</p>
+
+<p>5. <i>Supplementary Readings.</i> If the lessons on Alfred have been well
+conducted, interest will have been created in a variety of subjects
+relating to early English history. The Saxons, their mode of life,
+armor, weapons, manner of warfare, laws and customs; the Danes and their
+characteristics; the rulers who followed Alfred; the formation of the
+English nation, are topics that readily suggest themselves.</p>
+
+<hr style='width: 45%;' />
+
+<p>More or less closely connected with these lines of thought are the
+following selections in <i>Journeys Through Bookland</i>. Interest may be
+deflected in any direction. If the selections are too hard for the class
+to read, tell the stories in simplified form:</p>
+
+<ul class="booklist">
+  <li>1. <i>The Legends of King Arthur</i> (Volume V, beginning on page 113).</li>
+  <li>2. <i>The Attack on the Castle</i> (Volume IV, page 322).</li>
+  <li>3. <i>The Battle of Hastings</i> (Volume IX, page 330).</li>
+  <li>4. <i>Beowulf and Grendel</i> (Volume III, page 350).</li>
+  <li>5. <i>Chevy Chase</i> (Volume IV, page 312).</li>
+  <li><span class='pagenum'><a name="Page_418" id="Page_418">[418]</a></span>6. <i>Frithiof the Bold</i> (Volume III, page 394).</li>
+  <li class="hanging2">7. The myths of the Northland, viz.: <i>How the Wolf Was Bound</i> (Volume
+II, page 91); <i>The Death of Balder</i> (Volume II, page 99); <i>The
+Punishment of Loki</i> (Volume II, page 111); and part of <i>Stories of
+the Creation</i> (Volume IV, page 159).</li>
+  <li>8. <i>A Norse Lullaby</i> (Volume I, page 246).</li>
+  <li>9. <i>The Tournament</i> (Volume VI, page 38).</li>
+  <li>10. <i>The Skeleton in Armor</i> (Volume V, page 327).</li>
+</ul>
+
+<p>It will be noticed that while this outline is given for use with young
+children, it easily may be adapted to the use of older ones and may lead
+into a wide course in historical reading.</p>
+
+<p>The textbook in history is necessarily brief and really little more than
+an outline of events. In many instances the book gives too much space to
+battles, sieges and military movements and too little to the conditions
+of life, to manners, customs and causes and effects of events. Yet the
+textbook is a valuable guide and enables anyone to present the subject
+logically and to systematize what is learned, if nothing more.</p>
+
+<p>What a wide range of subjects is covered in the study of history! What
+abundance of material for study is required! Dates must be learned and
+events arranged chronologically; maps must be studied, fixed in mind and
+made of real value by a comprehension of the things they are supposed to
+represent; military events must be understood in relation to the causes
+that lead to them and the results that follow. Some few battles or
+campaigns must be made vivid enough to give an idea of the <span class='pagenum'><a name="Page_419" id="Page_419">[419]</a></span>expense, the
+labor, the suffering and the horrors involved in war; government,
+educational and religious institutions, religious and social customs and
+financial methods must be studied; industries and amusements, the lives
+of the people, food and food supplies, the production of clothing and
+building material must be examined; in fact, each one of the multiform
+interests of humanity may be a fair topic for study at some time in the
+history class.</p>
+
+<p>Methods of instruction must be as varied as the subject-matter.
+Sometimes drill is necessary to fix facts; again it is necessary to
+encourage the observation and study of persons, things and events about
+us; a third time, wide research and extensive reading are demanded;
+again, the feelings must be aroused, sentiment and enthusiasm
+encouraged, patriotism taught.</p>
+
+<p>There is material for many of these exercises in <i>Journeys Through
+Bookland</i>.</p>
+
+<p>As a type of study for the military campaign, we might take Burgoyne&#8217;s
+campaign in the Revolution. From the textbook we may learn certain facts
+and encourage the pupils to group them as follows:</p>
+
+<p><a name="Burgoynes_Campaign" id="Burgoynes_Campaign"></a><i>Burgoyne&#8217;s Campaign.</i></p>
+
+<ol class="outline">
+  <li>1. Conditions prior thereto:</li>
+  <li class="level2 hanging2"><i>a.</i> The British occupied only New York and Newport.</li>
+  <li class="level2 hanging2"><i>b.</i> They understood the natural highway that existed along Lake
+Champlain and the Hudson River from the Saint Lawrence River to
+New York.</li>
+  <li class="level2 hanging2"><i>c.</i> They resolved to establish a line of military posts along this
+highway.</li>
+  <li class="level1"><span class='pagenum'><a name="Page_420" id="Page_420">[420]</a></span>2. Plan of Campaign:</li>
+  <li class="level2 hanging2"><i>a.</i> General Burgoyne was sent to Canada with 4,000 British regulars
+and 3,000 Hessians.</li>
+  <li class="level2 hanging2"><i>b.</i> Canadians and Indians to the number of 1,000 joined the troops
+under Burgoyne.</li>
+  <li class="level2 hanging2"><i>c.</i> St. Leger was sent to Oswego to descend the Mohawk, capture
+Fort Stanwix and join Burgoyne.</li>
+  <li class="level2 hanging2"><i>d.</i> Burgoyne was to go through Richelieu River and Lake Champlain
+by boats; thence march to New York by land.</li>
+  <li class="level1">3. American Troops in Opposition:</li>
+  <li class="level2 hanging2"><i>a.</i> General St. Clair with 3,000 men at Ticonderoga.</li>
+  <li class="level2 hanging2"><i>b.</i> General Schuyler with about 3,000 men on the Hudson.</li>
+  <li class="level1">4. Burgoyne&#8217;s Advance:</li>
+  <li class="level2 hanging2"><i>a.</i> The trip to Ticonderoga made and the Americans dislodged from
+the fort.</li>
+  <li class="level2 hanging2"><i>b.</i> The skirmish at Hubbardton was successful, but the Americans
+were not captured, and the delay to Burgoyne enabled St. Clair
+to join Schuyler.</li>
+  <li class="level2 hanging2"><i>c.</i> The march to the Hudson was full of difficulties and
+discouragements:</li>
+  <li class="level3">(1) Obstructed roads; destroyed bridges.</li>
+  <li class="level3">(2) Inadequate supplies.</li>
+  <li class="level3">(3) Deserting Indians.</li>
+  <li class="level3">(4) Leaving a third of his troops at Ticonderoga.</li>
+  <li class="level2 hanging2"><i>d.</i> The Expedition against Bennington:</li>
+  <li class="level3">(1) Colonel Baum sent to take supplies from the Americans there.</li>
+  <li class="level3"><span class='pagenum'><a name="Page_421" id="Page_421">[421]</a></span>(2) Met General Stark with a force outnumbering him two or three
+    to one.</li>
+  <li class="level3">(3) Rain delayed battle, and British entrenched.</li>
+  <li class="level3">(4) Baum surrounded; his force captured or killed, including a
+    relief party under Riedesel.</li>
+  <li class="level2 hanging2"><i>e.</i> St. Leger&#8217;s Campaign.</li>
+  <li class="level3">(1) Unsuccessful battle at Oriskany.</li>
+  <li class="level3">(2) St. Leger retreated and disappeared from the region after a
+     flight induced by a ruse invented by Benedict Arnold.</li>
+  <li class="level1">5. Burgoyne&#8217;s Surrender.</li>
+  <li class="level2 hanging2"><i>a.</i> He attempted to cut his way through the lines of the American
+troops which surrounded him.</li>
+  <li class="level2 hanging2"><i>b.</i> Crossed the Hudson and met the Americans at Bemis Heights;
+defeated.</li>
+  <li class="level2 hanging2"><i>c.</i> Defeated at Freeman&#8217;s Farm.</li>
+  <li class="level2 hanging2"><i>d.</i> Surrendered October 17, 1777.</li>
+  <li class="level1">6. Effects of the Surrender.</li>
+  <li class="level2 hanging2"><i>a.</i> Gave the Americans many arms and munitions of war.</li>
+  <li class="level2 hanging2"><i>b.</i> Gave the Americans greater confidence in themselves and their
+cause.</li>
+  <li class="level2 hanging2"><i>c.</i> Caused great discouragement to the British, both at home and in
+the colonies.</li>
+  <li class="level2 hanging2"><i>d.</i> Established the prestige of the American cause in Europe.</li>
+  <li class="level2 hanging2"><i>e.</i> Secured the assistance of France.</li>
+  <li class="level2 hanging2"><i>f.</i> Probably was the most influential single campaign in the war
+and largely instrumental in enabling the colonists to win.</li>
+</ol>
+
+<p><span class='pagenum'><a name="Page_422" id="Page_422">[422]</a></span>The preceding outline is the framework for the study of one military
+campaign. In a school it would be the basis for topical recitations, but
+in itself it has neither interest nor vitality. The main points should
+be memorized so that facts learned subsequently may be logically
+arranged. When the general outline is mastered, teachers and pupils
+begin to fill in details from all available sources and create in the
+minds of the pupils vivid pictures of the scenes, a thorough
+understanding of the course of events, and a lively realization of the
+effect of this remarkable episode of a great war. At home it may be used
+in a similar manner.</p>
+
+<p>To further assist in this instance and to furnish a type or model for
+succeeding studies, we will traverse the outline again, showing what may
+be done with it and how literature may lend its aid to the study of
+history. In <i>Journeys Through Bookland</i> we have a long extract from <i>The
+Battle of Saratoga</i> by Creasy (Volume IX, page 176). This will be the
+source of much of our information, and there are explanatory footnotes
+of considerable value. We reproduce here only the indices of the
+original outline:</p>
+
+<p>1. <i>a</i>, <i>b</i> and <i>c</i>. A good outline map of the colonies is necessary. It
+must show the location of bodies of water, natural thoroughfares, cities
+and forts. The map should be made for the purpose and contain no details
+beyond those necessary for an understanding of this campaign. A second
+map showing a strip of country from the Saint Lawrence to New York and
+wide enough to include all the operations of the armies should contain
+more detail and be used frequently as the study proceeds.<span class='pagenum'><a name="Page_423" id="Page_423">[423]</a></span> It may be
+well for each child to draw this region in outline and fill in the
+details as his study proceeds. Read page 177, Volume IX.</p>
+
+<p>2. <i>a</i>, <i>b</i>, <i>c</i> and <i>d</i>. Read pages 180-182, Volume IX.</p>
+
+<p>3. <i>a</i> and <i>b</i>. Pages 182-183, Volume IX.</p>
+
+<p>4. <i>a</i> and <i>b</i>. Pages 181-182, Volume IX. The quotation from Burke,
+Volume IX, pages 183 and 184, and the following paragraph are
+interesting accounts of the feeling in England and America over the
+apparent successes of Burgoyne.</p>
+
+<p><i>c.</i> The causes of the increased efficiency of the Americans and the
+bitterness with which the British were regarded by the colonists is
+explained on pages 184 and 185 of Volume IX.</p>
+
+<p>Something of the nature of the Indian allies may be gained from the
+story, <i>An Exciting Canoe Race</i> (Volume VII, page 79).</p>
+
+<p>A stirring poem, to be read in this connection, is <i>The Old
+Continentals</i> (Volume VII, page 175).</p>
+
+<p>5. <i>a</i>, <i>b</i>, <i>c</i> and <i>d</i>. The final days of the campaign and the
+surrender are described on pages 193-200, Volume IX. In using this,
+bring out the following points not made in the original outline:</p>
+
+<p>The near approach of Clinton and the message from him. What must
+Burgoyne have felt when he received the message! Put human interest into
+the tale.</p>
+
+<p>The character of Burgoyne, Gates and Arnold, as shown by their acts.</p>
+
+<p>The Germans (Hessians) in the campaign.</p>
+
+<p>The burial of General Frazer.</p>
+
+<p>The condition of the British troops when they surrendered.</p>
+
+<p><span class='pagenum'><a name="Page_424" id="Page_424">[424]</a></span>The terms of surrender.</p>
+
+<p>Gates&#8217;s message to Congress.</p>
+
+<p>6. <i>a</i>, <i>b</i>, <i>c</i>, <i>d</i> and <i>e</i>. See, in this connection, pages 198 and
+199 of Volume IX.</p>
+
+<p><i>The Soldier&#8217;s Dream</i> (Volume VII, page 170) is a good poem to read for
+the purpose of exciting sympathy for the soldiers.</p>
+
+<p><i>The Picket Guard</i> (Volume VII, page 177) is useful in a similar way,
+though written in connection with another war.</p>
+
+<p><i>The American Flag</i> (Volume V, page 396) may be used here. Did the
+American soldiers carry the flag of the United States at the time of the
+battle of Saratoga? If not, what flag was borne? Did the &#8220;United
+Colonies&#8221; have a flag?</p>
+
+<p>By consulting the tabulated list of selections useful in history classes
+you may find other things of interest. Care should be taken, however,
+not to cloud the main purpose of the lessons by the introduction of too
+much literary matter.</p>
+
+<hr style='width: 45%;' />
+
+<p>Before leaving the subject of history and geography we urge upon those
+who wish to work with children, a careful perusal of the sections
+entitled <i>Close Reading</i> in this volume.</p>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_425" id="Page_425">[425]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_XVII" id="CHAPTER_XVII"></a>CHAPTER XVII<br />
+<br />
+<span class="smcap">Journeys Through Bookland in Its Relation to the High School</span></h2>
+
+
+<h3 class="section"><a name="Introduction" id="Introduction"></a><i>Introduction</i></h3>
+
+<p class="opening"><span class="dropcapa"><span class="hide">A</span></span><span class="upper">ll</span> high school students are expected to be well grounded in good
+literature. It is part of every well planned course of study and the
+basis of much of the work in every year. Yet very few high schools are
+able to furnish the material for every student to read, and often the
+methods of instruction are inadequate to the large classes or fail in
+character and execution. There is contained in <i>Journeys</i> practically
+all the real literature that is necessary for the foundation of a broad
+culture, and though much of it is simple and elementary, it is no less
+interesting and valuable. As a matter of fact, few high school students
+have ever read the simpler classics in a manner that brought to them the
+full message of the selections. Accordingly the most elementary things
+are often the newest and the most valuable. The simplest of the nursery
+rhymes, as may be seen by the comments and explanations given in another
+part of this volume, are full of interest to high school boys and girls,
+and in not a few schools form the basis of many serious lessons. The
+fables, the myths and the literature of the legendary heroes are not
+only interesting, but are of sufficient breadth <span class='pagenum'><a name="Page_426" id="Page_426">[426]</a></span>in meaning to justify
+hard work on the part of anyone who has not already mastered them. It is
+a mistake to think that the simple things do not interest young men and
+young women. The people who scorn the elementary literature of nursery
+rhymes, fairy tales and fables are the immature boys of thirteen or
+fourteen years to whom everything juvenile seems beneath their dignity
+and newly acquired independence.</p>
+
+<p>The reader of <i>Journeys</i> will notice, however, that the quantity of
+matter that may be called really juvenile is small in comparison with
+the grand total. As a matter of fact, the selections of the last six
+volumes are worthy the reading by anyone, old or young, at any time, and
+to be fully appreciated they must be read with care and discrimination
+by everyone. The sixth, seventh, eighth and ninth volumes are all
+high-class literature for adults as well as young children and the
+studies are worthy a place in any high school.</p>
+
+<p>The older a person grows the more he loves the things that were a
+delight to his childhood and the more keenly he realizes his loss if he
+never had the opportunity to become well acquainted with the great
+masterpieces that have been the comfort and inspiration of such
+countless thousands of people. Men and women of judgment never criticize
+the selections in <i>Journeys</i> on the ground that they are too simple or
+are childish. Good literature never dies, never loses its interest. It
+lives in a day-by-day intimacy with every one of its acquaintances, and
+the love for it increases year by year for everyone who will listen to
+its teachings.</p>
+
+<p>Doubtless some high school students will be glad <span class='pagenum'><a name="Page_427" id="Page_427">[427]</a></span>to have pointed out to
+them more in detail the things which are especially applicable to their
+work in school and which will help them in the mastery of the subject so
+that their school work will be made easier and they may raise their rank
+in the eyes of their teachers and companions.</p>
+
+
+<h3 class="section"><a name="Ch_XVII_A" id="Ch_XVII_A"></a>A</h3>
+
+<p class="opening"><span class="dropcapn"><span class="hide">N</span></span><span class="upper">early</span> all of the studies in the other volumes and all of them in this
+volume are of value to high school students. If they are not difficult
+enough to cause work they at least suggest ways of reading that will be
+valuable. In the ten volumes the studies are scattered so that young
+children may not see too much of the machinery of instruction as they
+read. On the other hand the high school student wants the material
+systematically arranged and easy of access.</p>
+
+<p><a name="Classification_of_Studies" id="Classification_of_Studies"></a>Accordingly the following arrangement of the studies in this and the
+other volumes of <i>Journeys</i> will be of assistance:</p>
+
+<ol class="outline">
+  <li>I. Studies in Character:</li>
+  <li class="level2">(1) <i>Cinderella</i>, Volume I, page 224.</li>
+  <li class="level2">(2) <i>The Hardy Tin Soldier</i>, <a href="#The_Hardy_Tin_Soldier">X, 158</a>.</li>
+  <li class="level2">(3) <i>Rab and His Friends</i>, <a href="#Rab_and_His_Friends">X, 177</a>.</li>
+  <li class="level1">II. Studies in plot:</li>
+  <li class="level2">(1) <i>The Snow Queen</i>, Volume II, page 124.</li>
+  <li class="level2">(2) <i>The Gold Bug</i>, IX, 232.</li>
+  <li class="level2">(3) <i>Cinderella</i>, <a href="#Cinderella">X, 150</a>.</li>
+  <li class="level1">III. Studies in description:</li>
+  <li class="level2">(1) <i>The King of the Golden River</i>, Volume II, page 405.</li>
+  <li class="level2"><span class='pagenum'><a name="Page_428" id="Page_428">[428]</a></span>(2) <i>The Reaper&#8217;s Dream</i>, VII, 345.</li>
+  <li class="level2">(3) <i>The Recovery of the Hispaniola</i>, VII, 352.</li>
+  <li class="level1">IV. Method of analysis:</li>
+  <li class="level2">(1) <i>The Gettysburg Address</i>, Volume IX, page 321.</li>
+  <li class="level2">(2) <i>Braddock&#8217;s Defeat</i>, <a href="#Braddocks_Defeat">X, 227</a>.</li>
+  <li class="level1">V. General studies involving several or all of the main points:</li>
+  <li class="level2">(1) <i>Incident of the French Camp</i>, Volume IV, page 174.</li>
+  <li class="level2">(2) <i>The Tempest</i>, VIII, 468. (Extensive
+    studies following the drama.)</li>
+  <li class="level2">(3) <i>The Passing of Arthur</i>, <a href="#The_Passing_of_Arthur">X, 214</a>.</li>
+  <li class="level1">VI. Studies in rhyme, meter and melody:</li>
+  <li class="level2">(1) <i>The Country Squire</i>, Volume VI, page 474.</li>
+  <li class="level2">(2) <i>To My Infant Son</i>, VI, 478.</li>
+  <li class="level2">(3) <i>The Daffodils</i>, VII, 1.</li>
+  <li class="level2">(4) <i>The Old Oaken Bucket</i>, VII, 11.</li>
+  <li class="level2">(5) <i>Bannockburn</i>, VII, 15.</li>
+  <li class="level2">(6) <i>Boat Song</i>, VII, 17.</li>
+  <li class="level2">(7) <i>The Bugle Song</i>, <a href="#The_Bugle_Song">X, 287</a>.</li>
+  <li class="level1">VII. Studies in interpretation, giving various methods and considering
+    different phases of the subject:</li>
+  <li class="level2">(1) <i>Christmas in Old Time</i>, Volume VI, page 356.</li>
+  <li class="level2">(2) <i>The Recessional</i>, VII, 164.</li>
+  <li class="level2">(3) <i>The Cubes of Truth</i>, VII, 406.</li>
+  <li class="level2">(4) <i>America</i>, VIII, 60.</li>
+  <li class="level2">(5) <i>A Descent Into the Maelstrom</i>, VIII, 95.</li>
+  <li class="level2">(6) <i>Dream Children</i>, VIII, 335.</li>
+  <li class="level2"><span class='pagenum'><a name="Page_429" id="Page_429">[429]</a></span>(7) <i>The Vision of Mirza</i>, IX, 285.</li>
+  <li class="level2">(8) <i>Pippa Passes</i>, IX, 293.</li>
+  <li class="level2">(9) <i>Rab and His Friends</i>, <a href="#Rab_and_His_Friends_IX">X, 225</a>.</li>
+  <li class="level2">(10) <i>The Reaper and the Flowers</i>, <a href="#The_Reaper_and_the_Flowers">X, 272</a>.</li>
+  <li class="level2">(11) <i>Adventures in Lilliput</i>, V, 8.</li>
+  <li class="level2">(12) <i>David Crockett in the Creek War</i>, VIII, 37.</li>
+  <li class="level2">(13) <i>The Impeachment of Warren Hastings</i>, IX, 32.</li>
+  <li class="level2">(14) <i>A Christmas Carol</i>, VI, 244.</li>
+  <li class="level1">VIII. Biographical sketches of authors, suitable for class use:</li>
+  <li class="level2">(1) <i>Robert Louis Stevenson</i>, Volume I, page 128.</li>
+  <li class="level2">(2) <i>Eugene Field</i>, I, 242.</li>
+  <li class="level2">(3) <i>Aesop</i>, II, 1.</li>
+  <li class="level2">(4) <i>Hans Christian Andersen</i>, II, 81.</li>
+  <li class="level2">(5) <i>Henry W. Longfellow</i>, IV, 62.</li>
+  <li class="level2">(6) <i>Alice and Phoebe Gary</i>, IV, 116.</li>
+  <li class="level2">(7) <i>Nathaniel Hawthorne</i>, IV, 180.</li>
+  <li class="level2">(8) <i>Jonathan Swift</i>, V, 1.</li>
+  <li class="level2">(9) <i>Sir Walter Scott</i>, VI, 26.</li>
+  <li class="level2">(10) <i>John Howard Payne</i>, VI, 221.</li>
+  <li class="level2">(11) <i>John Greenleaf Whittier</i>, VII, 381.</li>
+  <li class="level2">(12) <i>William Cullen Bryant</i>, VII, 391.</li>
+  <li class="level2">(13) <i>Oliver Wendell Holmes</i>, VII, 398.</li>
+  <li class="level2">(14) <i>James Russell Lowell</i>, VII, 411.</li>
+  <li class="level2">(15) <i>Elizabeth Barrett Browning</i>, VII, 419.</li>
+  <li class="level2">(16) <i>Washington Irving</i>, VIII, 216.</li>
+  <li class="level2">(17) <i>Charles and Mary Lamb</i>, VIII, 328.</li>
+  <li class="level2">(18) <i>William Shakespeare</i>, VIII, 468.</li>
+</ol>
+
+<p><span class='pagenum'><a name="Page_430" id="Page_430">[430]</a></span></p>
+
+
+<h3 class="section"><a name="Ch_XVII_B" id="Ch_XVII_B"></a>B</h3>
+
+<p class="opening"><span class="dropcapt"><span class="hide">T</span></span><span class="upper">he</span> assistance that literature may give in reading, language, nature
+study, history and geography is set forth at length in other chapters of
+this volume, and the high school student is earnestly requested to
+examine those chapters carefully and utilize whatever appeals to him in
+his studies. Especially are the chapters on reading and language
+valuable. Usually the greater part of the criticisms passed upon high
+school work is aimed against weaknesses in English. No small portion of
+this criticism is just, and it comes to a considerable extent from the
+fact that theme work is usually assigned on subjects so abstruse and so
+far beyond the ready appreciation of the student that the youthful
+writer is more concerned in finding out what he is to write than in
+thinking how he shall write. The result is a carelessness that brings
+errors in construction and an entire lack of clearness and elegance in
+expression. Even the older pupils can learn more from writing upon
+simple subjects where the material is easily obtained and is in itself
+interesting than from the usual difficult and uninteresting subjects.</p>
+
+<p>The close analysis of a masterpiece gives fine models of expression and
+furnishes the best of material for discussion. The use of capital
+letters and punctuation marks, spelling and the choice of words are all
+subjects for study and are all learned best from good models, such as
+are found in the masterpieces of literature. Students will soon <span class='pagenum'><a name="Page_431" id="Page_431">[431]</a></span>learn
+that the rules of grammar are not always so hard and fast as they appear
+and that the practice of authors and publishers varies in minor things,
+especially in the use of commas and capital letters.</p>
+
+<p>Some studies of special interest that may be based upon the masterpieces
+in <i>Journeys</i> will be given below. Many of the stories, poems and essays
+are accompanied by notes, queries and comments that will assist in
+making the studies profitable. Several good lessons may be derived from
+each topic and may be pursued at greater length by research in the
+volumes of reference in the school or public library.</p>
+
+<p><a name="Type_Studies" id="Type_Studies"></a>Look in the Index of the tenth volume for the following topics and then
+find in the proper volumes the several selections named in the Index:</p>
+
+<p>I. <i>Ballads.</i> Eight of the old English ballads and five more modern
+imitations are given. They are virile poems; simple, direct narratives.
+The old ones show the peculiarities of the old style English diction
+before poetry had been refined, while the later ones, breathing still
+the fire and originality of the earlier, are more polished and show the
+greater skill and accomplishments of the poets. The old ballads sprang
+spontaneously from the race, and doubtless many minds contributed to
+their phraseology, for they were sung and recited and passed on from
+mouth to mouth for generations before they were fixed in their present
+form.</p>
+
+<p>II. <i>Essays.</i> In the list of essays (fourteen) are some of the most
+exquisite ever written and others that are full of information and
+inspiration. <i>Dream Children</i> is a perfect prose lyric; <i>Some Children&#8217;s
+Books of the Past</i> is an extremely interesting <span class='pagenum'><a name="Page_432" id="Page_432">[432]</a></span>essay of the
+informational class. Besides the essays listed in the Index there are
+other selections in essay form that may be studied with profit. Here are
+some of them:</p>
+
+<ul class="booklist">
+  <li>1. <i>Abraham Lincoln</i>, Volume IX, page 324.</li>
+  <li>2. <i>The Arickara Indians</i>, IV, 472.</li>
+  <li>3. <i>The Buffalo</i>, VII, 96.</li>
+  <li>4. <i>Alfred the Great</i>, IV, 260.</li>
+  <li>5. <i>The Battle of Cressy</i>, IX, 161.</li>
+  <li>6. <i>The Battle of Hastings</i>, IX, 330.</li>
+  <li>7. <i>A Bed of Nettles</i>, VIII, 209.</li>
+  <li>8. <i>Brute Neighbors</i>, VII, 260.</li>
+  <li>9. <i>The Buccaneers</i>, V, 359.</li>
+  <li>10. <i>Stories of the Creation</i>, IV, 159.</li>
+  <li>11. <i>Trees and Ants That Help Each Other</i>, VII, 306.</li>
+</ul>
+
+<p>III. <i>Fables.</i> The names of more than thirty fables are given in the
+list. Comparative study of these fables, considering the animals most
+frequently mentioned, the correctness and naturalness of the traits
+ascribed to the different animals, the moral precepts inculcated by the
+fables, etc., will be found interesting and profitable.</p>
+
+<p>IV. <i>Fairy Lore and Folk Lore.</i> Though fairy stories may have lost their
+intrinsic interest for high school students, the teacher will find in
+the collection given here the material for many a study. What merits
+keep the old stories alive and make them perennially fascinating to
+children of all nations? Which stories are the better for children,
+those of Hans Christian Andersen or those of the Brothers Grimm? What
+are the particular merits or demerits of each class? How do the stories
+by <span class='pagenum'><a name="Page_433" id="Page_433">[433]</a></span>the latter writers compare in originality and beauty with the older
+stories? What comparisons can be made between <i>The Ugly Duckling</i> and
+<i>The King of the Golden River</i>? What merits has <i>Cinderella</i> over
+<i>Bluebeard</i>? What is the effect of <i>Jack the Giant Killer</i> and stories
+of that kind on the minds of young people?</p>
+
+<p>V. <i>Fiction.</i> Look under the subtitles for the long list of stories
+suitable for study when the class is dealing with fiction.</p>
+
+<p>VI. <i>Legendary Heroes.</i> What can be more interesting than a study of
+these characters from the borderland of history? These great figures
+come forth from the shadows of the past and move before us like living
+men: Beowulf, the Saxon; Frithiof, the Norse hero; Siegfried, the
+German; Roland, the French knight; The Cid, Spain&#8217;s greatest warrior and
+gentleman; Hector and Ulysses, the Greeks; King Arthur and his knights
+from England; Horatius, the Roman, and Sohrab, the Persian.</p>
+
+<p>The literature of the Arthurian legends as given in <i>Journeys</i>, where
+they cover about 150 pages, is a cycle of great importance to every high
+school student. The selections concerning Arthur form a series of
+narratives which, though from different sources, give a vivid picture of
+the great knight and his times. The cycle is in volume V and the titles
+are:</p>
+
+<div style="margin-left: 1em;">
+<p class="noindent"><i>a.</i> <i>Arthur Made King</i>, page 117.</p>
+
+<p class="noindent"><i>b.</i> <i>Arthur Weds Guenevere; The Round Table</i>, page 119.</p>
+
+<p class="noindent"><i>c.</i> <i>Arthur and Pellinore</i>, page 122.</p>
+
+<p class="noindent"><i>d.</i> <i>Arthur Gets Excalibur</i>, page 127.</p>
+
+<p class="hanging2"><span class='pagenum'><a name="Page_434" id="Page_434">[434]</a></span><i>e.</i> <i>Balin and Balan</i>, page 130. (The stories given so far were
+written expressly for <i>Journeys</i>, but all have followed rather
+closely the relation of Malory.)</p>
+
+<p class="hanging2"><i>f.</i> <i>Geraint and Enid</i>, page 148. (This is one of the most popular of
+Tennyson&#8217;s <i>Idyls of the King</i>. The poem is given complete.)</p>
+
+<p class="noindent"><i>g.</i> <i>The Holy Grail</i>, page 207.</p>
+
+<p class="hanging3">(1) <i>The Knighting of Sir Galahad</i>, page 208.</p>
+
+<p class="hanging3">(2) <i>The Marvelous Sword</i>, page 209.</p>
+
+<p class="hanging3">(3) <i>Galahad and the Siege Perilous</i>, page 212.</p>
+
+<p class="hanging3">(4) <i>Galahad draws the Sword of Balin Le Savage</i>, page 213.</p>
+
+<p class="hanging3">(5) <i>The Holy Grail Appears</i>, page 214.</p>
+
+<p class="hanging3">(6) <i>Galahad Gets His Shield</i>, page 217.</p>
+
+<p class="hanging3">(7) <i>The Grail Achieved</i>, page 222. (The story of the search for
+the Holy Grail, which is taken from the narrative of Sir Thomas
+Malory, retains his quaint and charming style. The only
+material changes are in paragraphing and the use of quotation
+marks.)</p>
+
+<p class="hanging2"><i>h.</i> <i>Dissensions at King Arthur&#8217;s Court</i>, page 232. (This was written
+for <i>Journeys</i>, to cover the interval between the achievement of
+the Grail by Sir Galahad and the death of Arthur.)</p>
+
+<p class="hanging2"><i>i.</i> <i>The Passing of Arthur</i>, page 237. (This is Tennyson&#8217;s beautiful
+poem given in full. It describes the last days of Arthur&#8217;s reign
+and the strange story of his death.)</p></div><p><span class='pagenum'><a name="Page_435" id="Page_435">[435]</a></span>VII. <i>Lyrics.</i> This topic gives the titles of about fifty beautiful
+lyrics.</p>
+
+<p>VIII. <i>Myths.</i> Twelve titles showing stories from the mythology of
+different nations. Many of the articles have explanatory comments and,
+though stories and notes are intended primarily for young children, the
+whole offers a good introduction to a more extended study of mythology.</p>
+
+<p>IX. <i>Don Quixote.</i> The five adventures related give a good idea of the
+nature of the book and are sufficient for reference when the history
+class is studying chivalry.</p>
+
+<p>X. <i>Odes.</i> These seven of our finest odes will please the class in
+literature.</p>
+
+<p>XI. <i>Poetry.</i> Look up the sub-titles for names of poems.</p>
+
+<p>XII. <i>Wit and Humor.</i> It is not always easy to find what is wanted for
+class study under this head. The selections given are amusing, but at
+the same time most of them have real literary value, as well, and are
+worth study.</p>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_436" id="Page_436">[436]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_XVIII" id="CHAPTER_XVIII"></a>CHAPTER XVIII<br />
+<br />
+<span class="smcap">Recitations and Special Days in School</span></h2>
+
+
+<p class="opening"><span class="dropcapw"><span class="hide">W</span></span><span class="upper">hoever</span> has had charge of young children who are in attendance at school
+has been many, many times worried in trying to answer for them the
+oft-repeated request &#8220;Where shall I find a piece to speak?&#8221; Every volume
+of <i>Journeys Through Bookland</i> has a large number of selections suitable
+for this purpose. All of them may be found readily by consulting the
+Index at the end of the tenth volume, when the name is known or the
+nature of the selection is understood, or by examining the table of
+contents at the beginning of each volume when no intimation of title or
+subject has been given.</p>
+
+<p>It has become customary in most schools to observe with appropriate
+exercises certain notable days. Thanksgiving, Christmas, Memorial Day,
+Flag Day, Arbor Day, and Bird Day have their own peculiar functions and
+for each there is a different style of observance. Recitations, songs,
+readings, stories, help to make up the programs, and upon the parent
+often falls most of the burden in selecting material. In many states the
+Department of Education issues beautiful circulars on some of these
+special days, and from them the teacher draws some of her material and
+forms her program for the occasion. Yet when the one or two days for
+which material has been provided have <span class='pagenum'><a name="Page_437" id="Page_437">[437]</a></span>passed there come a number of
+others which make their demands. Besides those mentioned, there are the
+birthdays of our great patriots and literary men and the general
+exercises at other times for which no special provision has been made.
+For the busy parent, teacher or pupil, <i>Journeys Through Bookland</i>
+provides an almost inexhaustible supply of excellent things, most of
+which may be found readily through the Index. Moreover, the selections
+are from the best literature for children, from that which they should
+know, so that the tired and harrassed mother need not worry for fear
+that the children are filling their minds with useless things.</p>
+
+<p>It does not seem worth while to give long lists of selections
+appropriate to special days, as things are well classified in the Index
+in the tenth volume. Yet to show more fully how <i>Journeys Through
+Bookland</i> may be used, the following suggestions are offered:</p>
+
+<p><a name="I_Bird_Day" id="I_Bird_Day"></a>I. <span class="smcap">Bird Day.</span> Besides many other selections that are usable in different
+grades, the following seem peculiarly appropriate:</p>
+
+<ul class="booklist">
+  <li class="hanging2">1. <i>The Fox and the Crow</i>, Volume I, page 64. (This and the other
+    fables mentioned below may be repeated as given or, better, may be
+    told by a pupil in his own words.)</li>
+  <li>2. <i>The Fox and the Stork</i>, I, 73.</li>
+  <li>3. <i>The Wolf and the Crane</i>, I, 96.</li>
+  <li>4. <i>The Lark and Her Young Ones</i>, I, 131.</li>
+  <li>5. <i>The Brown Thrush</i>, I, 147.</li>
+  <li>6. <i>The Owl and the Pussy-cat</i>, I, 339.</li>
+  <li>7. <i>Minerva and the Owl</i>, II, 7.</li>
+  <li>8. <i>The Sparrow and the Eagle</i>, II, 8.</li>
+  <li>9. <i>Who Stole the Bird&#8217;s Nest?</i> II, 399.</li>
+  <li><span class='pagenum'><a name="Page_438" id="Page_438">[438]</a></span>10. <i>The Barefoot Boy</i>, IV, 3.</li>
+  <li>11. <i>Ode to a Skylark</i>, VII, 275.</li>
+  <li>12. (See also the lists of articles relating to birds, given under the
+    section devoted to <a href="#Nature_Study"><i>Nature Study</i></a> in this volume.)</li>
+</ul>
+
+<p><a name="II_Memorial_Day" id="II_Memorial_Day"></a>II. <span class="smcap">Memorial Day.</span> A few of the selections suitable for this occasion are
+the following:</p>
+
+<ul class="booklist">
+  <li>1. <i>Sheridan&#8217;s Ride</i>, Volume IV, page 223.</li>
+  <li>2. <i>The American Flag</i>, V, 396.</li>
+  <li>3. <i>&#8220;Stonewall&#8221; Jackson&#8217;s Way</i>, V, 400.</li>
+  <li>4. <i>Breathes There the Man</i>, VII, 151.</li>
+  <li>5. <i>For A&#8217; That and A&#8217; That</i>, VII, 149.</li>
+  <li>6. <i>How Sleep the Brave</i>, VII, 151.</li>
+  <li>7. <i>The Picket Guard</i>, VII, 177.</li>
+  <li>8. <i>The Gettysburg Address</i>, IX, 321.</li>
+  <li>9. <i>Abraham Lincoln</i>, IX, 324.</li>
+  <li>10. (See also in the Index the titles under the words <a href="#Patriotic_Poems"><i>Patriotism</i></a>
+    and <a href="#History2"><i>History</i></a>.)</li>
+</ul>
+
+<p><a name="III_Christmas" id="III_Christmas"></a>III. <span class="smcap">Christmas.</span> There are at least three selections dealing specifically
+with Christmas, while many others are appropriate to the time:</p>
+
+<ul class="booklist">
+  <li>1. <i>A Visit from St. Nicholas</i>, Volume II, page 202.</li>
+  <li class="hanging2">2. <i>A Christmas Carol</i>, VI, 244. (This may be made the basis of a very
+interesting afternoon. Parts of the story may be told briefly,
+parts may be read in full, parts recited and parts given as a
+dialogue. Thus the spirit of Christmas cheer and good will that
+animates this beautiful story may be communicated to the pupils in
+the pleasantest of ways and one that will be remembered.)</li>
+  <li>3. <i>Christmas in the Old Time</i>, VI, page 356.</li>
+</ul>
+
+<p><a name="IV_Birthdays" id="IV_Birthdays"></a>IV. <span class="smcap">Birthdays.</span> In the Index will be found the names of a number of great
+men and women <span class='pagenum'><a name="Page_439" id="Page_439">[439]</a></span>of whom there are biographical sketches and from whose
+writings quotations have been made. Each of these may be made the
+subject of a general exercise at an appropriate time.</p>
+
+<p><a name="V_Dramatization" id="V_Dramatization"></a>V. <span class="smcap">Dramatization.</span> Many a poem or story may be put into dramatic form
+with very little effort and thus furnish an exercise for several pupils
+at the same time. The descriptive parts may be read by a pupil not in
+the dialogue or may be omitted. In the latter case, acting may fill the
+void or the narrative may be made into conversation between the
+characters. Some rearrangement may be necessary and a little change in
+phraseology may be needed. Such adaptations the pupils may make
+themselves. The following scenes may be used by pupils of different
+ages:</p>
+
+<p>1. The description of the attack as given by Rebecca to Ivanhoe. (See
+<i>The Attack on the Castle</i>, Volume IV, pages 324 to 338.) By costumes
+and good acting this may be made a very effective scene.</p>
+
+<p>2. A few boys will enjoy rendering the conversational parts of <i>The
+Heart of Bruce</i> (Volume V, page 316) while a girl reads the descriptive
+lines of the ballad.</p>
+
+<p>3. By making some changes in the text and putting into direct discourse
+some of that which Dickens has written in indirect discourse, a capital
+Christmas sketch may be made from the Christmas doings at the Cratchit
+home. (See <i>A Christmas Carol</i>, Volume VI, pages 303 to 312.)</p>
+
+<p>4. <i>Limestone Broth</i> (Volume VI, page 467) can be made into a neat
+little humorous dialogue with very little change.</p>
+
+<p><span class='pagenum'><a name="Page_440" id="Page_440">[440]</a></span>5. Several scenes from <i>The Tempest</i> (Volume VIII, page 364) are
+suitable for school use.</p>
+
+<p>6. <i>The Death of Caesar</i> (Volume IX, page 143) is a fine dialogue and
+affords a good opportunity for many speakers.</p>
+
+<p>7. The conversation between Luigi and his mother (<i>Pippa Passes</i>, Volume
+IX, pages 317-323) is a fine scene for school use, especially if Pippa
+really passes singing at the right moment.</p>
+
+<p><a name="VI_An_Old-fashioned_Afternoon" id="VI_An_Old-fashioned_Afternoon"></a>VI. <span class="smcap">An Old-fashioned Afternoon.</span> Not so many years ago it was an almost
+universal custom to give over Friday afternoon to the &#8220;speaking of
+pieces.&#8221; Occasionally even now a teacher wants one of the old-fashioned
+mixed programs, and though she will prefer to make her own for each
+occasion, the following example will show one of the many that might be
+made from <i>Journeys Through Bookland</i>:</p>
+
+<ul class="booklist">
+  <li class="hanging2">1. <i>Roll Call.</i> (Pupils respond with a memory gem from the hundred
+    given elsewhere in this volume.)</li>
+  <li>2. Song: <i>America</i>, Volume VIII, page 60.</li>
+  <li>3. <i>Wynken, Blynken and Nod</i>, I, 262.</li>
+  <li>4. <i>The Discontented Stonecutter</i>, II, 12.</li>
+  <li>5. Song: <i>Sweet and Low</i>, VI, 122.</li>
+  <li>6. <i>Beowulf and Grendel</i> (retold in brief), III, 350.</li>
+  <li>7. <i>Incident of the French Camp</i>, IV, 174.</li>
+  <li>8. Song: <i>My Old Kentucky Home</i>, VII, 179.</li>
+  <li class="hanging2">9. <i>Echo</i>, III, 286. (Let the answers of Echo be given by someone who
+    is concealed from view of the audience.)</li>
+  <li>10. <i>The First Snowfall</i>, II, 403.</li>
+  <li>11. Song: <i>Home, Sweet Home</i>, VI, 221.</li>
+</ul>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_441" id="Page_441">[441]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_XIX" id="CHAPTER_XIX"></a>CHAPTER XIX<br />
+<br />
+<span class="smcap">Handy List of Studies in Journeys Through Bookland</span></h2>
+
+
+<p class="opening"><span class="dropcapt"><span class="hide">T</span></span><span class="upper">he</span> following list gives the names of those selections upon which the
+more important studies have been based. Here, they are arranged in the
+order in which the selections appear in the several volumes. When a
+study accompanies a selection, the reference given is that upon which
+the selection begins. However, as in a number of instances where studies
+are in one place while the selections are in another, the cross
+references are given more in detail, and a statement is made as to just
+what points in the selection are covered by the studies&mdash;whether these
+latter are character studies, scene studies, word studies, studies of
+figures or historical studies.</p>
+
+<p>Probably not a few of the readers of <i>Journeys</i> will be glad to use the
+studies continuously, or will frequently want to know if some given
+selection in the volume has been treated. This question is easily
+answered by referring to this chapter, finding the volume in which the
+selection occurs, and then running down the numbers at the right of the
+page. This method will be more expeditious than running over the titles
+of the selections, though of course the latter may be followed.</p>
+
+<p>Reference should also be had to the General Index, under <i>Studies</i>.</p>
+
+<p><span class='pagenum'><a name="Page_442" id="Page_442">[442]</a></span></p>
+
+<h3 class="section"><a name="Volume_One" id="Volume_One"></a><span class="smcap">Volume One</span></h3>
+
+<table border="0" cellpadding="0" cellspacing="0" style="width: 80%;" summary="contents of volume 1">
+<tr>
+  <td></td>
+  <td class="tdr"><span class="smcap">Page</span></td>
+</tr>
+<tr>
+  <td><i>Down Tumbled Wheelbarrow</i></td>
+  <td class="tdr">46</td>
+</tr>
+<tr>
+  <td class="level3">(See Study of Picture&mdash;Volume X, <a href="#Down_Tumbled_Wheelbarrow">page 58</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Dog and His Shadow</i></td>
+  <td class="tdr">63</td>
+</tr>
+<tr>
+  <td class="level3">(See Study on Scene&mdash;Volume X, <a href="#The_Dog_and_His_Shadow">page 164</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Fox and the Crow</i></td>
+  <td class="tdr">64</td>
+</tr>
+<tr>
+  <td class="level3">(See Complete Study&mdash;Volume X, <a href="#The_Fox_and_the_Crow">page 187</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Hare and the Tortoise</i></td>
+  <td class="tdr">71</td>
+</tr>
+<tr>
+  <td class="level3">(See Complete Study&mdash;Volume X, <a href="#The_Hare_and_the_Tortoise">page 185</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Fox and the Stork</i></td>
+  <td class="tdr">73</td>
+</tr>
+<tr>
+  <td class="level3">(See Study on Scene&mdash;Volume X, <a href="#The_Fox_and_the_Stork">page 166</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Rock-a-By Lady</i></td>
+  <td class="tdr">94</td>
+</tr>
+<tr>
+  <td><i>The Wind and the Sun</i></td>
+  <td class="tdr">95</td>
+</tr>
+<tr>
+  <td class="level3">(See Lesson in Language&mdash;Volume X, <a href="#The_Wind_and_the_Sun">page 357</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>My Bed is a Boat</i></td>
+  <td class="tdr">126</td>
+</tr>
+<tr>
+  <td class="level3">(See Study of Picture&mdash;Volume X, <a href="#Nurse_helps_me_when_I_embark">page 52</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Little Blue Pigeon</i></td>
+  <td class="tdr">133</td>
+</tr>
+<tr>
+  <td><i>The Land of Counterpane</i></td>
+  <td class="tdr">144</td>
+</tr>
+<tr>
+  <td><i>The Brown Thrush</i></td>
+  <td class="tdr">147</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#The_Brown_Thrush">page 276</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Hardy Tin Soldier</i></td>
+  <td class="tdr">148</td>
+</tr>
+<tr>
+  <td class="level3">(See Character Study&mdash;Volume X, <a href="#The_Hardy_Tin_Soldier">page 158</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Jack and the Beanstalk</i></td>
+  <td class="tdr">156</td>
+</tr>
+<tr>
+  <td class="level3">(See Study of Picture&mdash;Vol. X, <a href="#Jack_and_the_Beanstalk">page 52</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><span class='pagenum'><a name="Page_443" id="Page_443">[443]</a></span><i>The Town Mouse and the Country Mouse</i></td>
+  <td class="tdr">199</td>
+</tr>
+<tr>
+  <td><i>Old Gaelic Lullaby</i></td>
+  <td class="tdr">203</td>
+</tr>
+<tr>
+  <td><i>Cinderella</i></td>
+  <td class="tdr">224</td>
+</tr>
+<tr>
+  <td class="level3">(See Character Study&mdash;Volume I, page 238)</td>
+  <td></td>
+</tr>
+<tr>
+  <td class="level3">(See Complete Study&mdash;Volume X, <a href="#Cinderella">page 150</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Wynken, Blynken and Nod</i></td>
+  <td class="tdr">262</td>
+</tr>
+<tr>
+  <td class="level3">(See Study of Picture&mdash;Volume X, <a href="#Wynken_Blynken_and_Nod">page 53</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Twin Brothers</i></td>
+  <td class="tdr">264</td>
+</tr>
+<tr>
+  <td><i>Industry and Sloth</i></td>
+  <td class="tdr">300</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in <i>Close Reading</i>&mdash;Volume X, <a href="#Industry_and_Sloth">page 229</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Drummer</i></td>
+  <td class="tdr">303</td>
+</tr>
+<tr>
+  <td class="level3">(See Complete Study&mdash;Volume X, <a href="#The_Drummer">page 193</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Keepsake Mill</i></td>
+  <td class="tdr">349</td>
+</tr>
+<tr>
+  <td><i>&#8220;Something&#8221;</i></td>
+  <td class="tdr">395</td>
+</tr>
+<tr>
+  <td><i>The Fairies</i></td>
+  <td class="tdr">405</td>
+</tr>
+<tr>
+  <td><i>The Reaper and the Flowers</i></td>
+  <td class="tdr">410</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#The_Reaper_and_the_Flowers">page 272</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Ugly Duckling</i></td>
+  <td class="tdr">414</td>
+</tr>
+</table>
+
+<h3 class="section"><a name="Volume_Two" id="Volume_Two"></a><span class="smcap">Volume Two</span></h3>
+
+<table border="0" cellpadding="0" cellspacing="0" style="width: 80%;" summary="contents of volume 2">
+<tr>
+  <td><i>The Golden Touch</i></td>
+  <td class="tdr">43</td>
+</tr>
+<tr>
+  <td><i>The Child&#8217;s World</i></td>
+  <td class="tdr">66</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#The_Childs_World">page 277</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Fir Tree</i></td>
+  <td class="tdr">68</td>
+</tr>
+<tr>
+  <td class="level3">(See Study of Picture, <i>The Swallow and the Stork
+    Came</i>&mdash;Volume X, <a href="#The_Swallow_and_the_Stork_Came">page 55</a>)</td>
+  <td></td>
+</tr>
+<tr>
+  <td class="level3"><span class='pagenum'><a name="Page_444" id="Page_444">[444]</a></span>(See Study in <i>The Lesson and the Author&#8217;s
+    Purpose</i>&mdash;Volume X, <a href="#The_Fir_Tree">page 173</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Picture Books in Winter</i></td>
+  <td class="tdr">87</td>
+</tr>
+<tr>
+  <td><i>Seven Times One</i></td>
+  <td class="tdr">119</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#Seven_Times_One">page 278</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Shuffle-Shoon and Amber Locks</i></td>
+  <td class="tdr">121</td>
+</tr>
+<tr>
+  <td class="level3">(See Study of Picture&mdash;Volume X, <a href="#Shuffle-Shoon_and_Amber_Locks">page 54</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Snow Queen</i></td>
+  <td class="tdr">124</td>
+</tr>
+<tr>
+  <td class="level3">(See Study on <i>The Plot</i>&mdash;Volume II, page 169)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>A Visit from Saint Nicholas</i></td>
+  <td class="tdr">202</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in Figures&mdash;Volume X, <a href="#A_Visit_from_Saint_Nicholas">page 270</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Tom, the Water Baby</i></td>
+  <td class="tdr">215</td>
+</tr>
+<tr>
+  <td class="level3">(See Study of Picture, <i>Tom and the Dragon Fly</i>&mdash;Volume X,
+     <a href="#Tom_and_The_Dragon_Fly">page 55</a>)</td>
+  <td></td>
+</tr>
+<tr>
+  <td class="level3">(See Nature Study Lesson&mdash;Volume X, <a href="#Tom_the_Water_Baby_XV">page 381</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Milkmaid</i></td>
+  <td class="tdr">374</td>
+</tr>
+<tr>
+  <td><i>Holger Danske</i></td>
+  <td class="tdr">377</td>
+</tr>
+<tr>
+  <td><i>The Fairies of Caldon-Low</i></td>
+  <td class="tdr">395</td>
+</tr>
+<tr>
+  <td class="level3">(See Story Told&mdash;Volume X, <a href="#The_Fairies_of_the_Caldon-Low">page 68</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Who Stole the Bird&#8217;s Nest?</i></td>
+  <td class="tdr">399</td>
+</tr>
+<tr>
+  <td class="level3">(See Character Study&mdash;Volume X, <a href="#Who_Stole_the_Birds_Nest">page 95</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The First Snowfall</i></td>
+  <td class="tdr">403</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in Figures&mdash;Volume X, <a href="#The_First_Snowfall">page 270</a>)</td>
+  <td></td>
+</tr>
+<tr>
+  <td class="level3">(See Complete Study&mdash;Volume X, <a href="#The_First_Snowfall_XI">page 281</a>)</td>
+  <td></td>
+</tr>
+<tr>
+  <td><span class='pagenum'><a name="Page_445" id="Page_445">[445]</a></span><i>King of the Golden River</i></td>
+  <td class="tdr">405</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume II, page 441)</td>
+  <td></td>
+</tr>
+<tr>
+  <td class="level3">(See Study in Description&mdash;Volume X, <a href="#The_King_of_the_Golden_River">page 366</a>)</td>
+  <td></td>
+</tr>
+<tr>
+  <td class="level3">(See Complete Study&mdash;Volume X, <a href="#The_King_of_the_Golden_River_XV">page 393</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Potato</i></td>
+  <td class="tdr">467</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#The_Potato">page 285</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Queen of the Underworld</i></td>
+  <td class="tdr">468</td>
+</tr>
+<tr>
+  <td><i>Origin of the Opal</i></td>
+  <td class="tdr">480</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#Origin_of_the_Opal">page 285</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>In Time&#8217;s Swing</i></td>
+  <td class="tdr">481</td>
+</tr>
+<tr>
+  <td><i>Why the Sea Is Salt</i></td>
+  <td class="tdr">484</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in <i>Close Reading</i>&mdash;Volume X, <a href="#Why_the_Sea_Is_Salt">page 231</a>)</td>
+  <td></td>
+</tr>
+</table>
+
+<h3 class="section"><a name="Volume_Three" id="Volume_Three"></a><span class="smcap">Volume Three</span></h3>
+
+<table border="0" cellpadding="0" cellspacing="0" style="width: 80%;" summary="contents of volume 3">
+<tr>
+  <td><i>Robinson Crusoe</i></td>
+  <td class="tdr">45</td>
+</tr>
+<tr>
+  <td class="level3">(See Nature Study&mdash;Volume X, <a href="#Robinson_Crusoe">page 382</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Faithless Sally Brown</i></td>
+  <td class="tdr">92</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in <i>Close Reading</i>&mdash;Volume X,<a href="#Faithless_Sally_Brown"> page 232</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Swiss Family Robinson</i></td>
+  <td class="tdr">99</td>
+</tr>
+<tr>
+  <td class="level3">(See Nature Study&mdash;Volume X, <a href="#The_Swiss_Family_Robinson">page 382</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Cupid and Psyche</i></td>
+  <td class="tdr">365</td>
+</tr>
+<tr>
+  <td><i>Frithiof The Bold</i></td>
+  <td class="tdr">394</td>
+</tr>
+<tr>
+  <td><i>Lochinvar</i></td>
+  <td class="tdr">432</td>
+</tr>
+<tr>
+  <td><i>Robin Hood and the Stranger</i></td>
+  <td class="tdr">444</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in Narration&mdash;Volume X, <a href="#Robin_Hood_and_the_Stranger">page 363</a>)</td>
+  <td></td>
+</tr>
+</table>
+
+<p><span class='pagenum'><a name="Page_446" id="Page_446">[446]</a></span></p>
+
+<h3 class="section"><a name="Volume_Four" id="Volume_Four"></a><span class="smcap">Volume Four</span></h3>
+
+<table border="0" cellpadding="0" cellspacing="0" style="width: 80%;" summary="contents of volume 4">
+<tr>
+  <td><i>The Barefoot Boy</i></td>
+  <td class="tdr">3</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#The_Barefoot_Boy">page 286</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Cid Campeador</i></td>
+  <td class="tdr">9</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in Exposition&mdash;Volume X, <a href="#Cid_Campeador">page 368</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>To H. W. L.</i></td>
+  <td class="tdr">84</td>
+</tr>
+<tr>
+  <td><i>The Village Blacksmith</i></td>
+  <td class="tdr">86</td>
+</tr>
+<tr>
+  <td><i>The Definition of a Gentleman</i></td>
+  <td class="tdr">170</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in <i>Close Reading</i>&mdash;Volume X, <a href="#The_Definition_of_a_Gentleman">page 234</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Incident of the French Camp</i></td>
+  <td class="tdr">174</td>
+</tr>
+<tr>
+  <td><i>The Boston Massacre</i></td>
+  <td class="tdr">217</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in Argument&mdash;Volume X, <a href="#The_Boston_Massacre">page 370</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Alfred the Great</i></td>
+  <td class="tdr">260</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in History&mdash;Volume X, <a href="#Alfred_the_great">page 414</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Little Giffin of Tennessee</i></td>
+  <td class="tdr">461</td>
+</tr>
+<tr>
+  <td class="level3">(See Story Told&mdash;Volume X, <a href="#Little_Giffin_of_Tennessee">page 71</a>)</td>
+  <td></td>
+</tr>
+</table>
+
+<h3 class="section"><a name="Volume_Five" id="Volume_Five"></a><span class="smcap">Volume Five</span></h3>
+
+<table border="0" cellpadding="0" cellspacing="0" style="width: 80%;" summary="contents of volume 5">
+<tr>
+  <td><i>Gulliver&#8217;s Travels</i></td>
+  <td class="tdr">6</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in <i>Close Reading</i> on <i>Adventures in
+     Lilliput</i>&mdash;Volume X, <a href="#Adventures_in_Lilliput">page 235</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Ballad of Agincourt</i></td>
+  <td class="tdr">95</td>
+</tr>
+<tr>
+  <td class="level3">(See Story Told&mdash;Volume X, <a href="#The_Ballad_of_Agincourt">page 74</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Lead, Kindly Light</i></td>
+  <td class="tdr">110</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#Lead_Kindly_Light">page 98</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Geraint and Enid</i></td>
+  <td class="tdr">148</td>
+</tr>
+<tr>
+  <td class="level3">(See Study of Picture, <i>Geraint hears Enid Singing</i>&mdash;Volume X, <a href="#Geraint_hears_Enid_singing">page 60</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><span class='pagenum'><a name="Page_447" id="Page_447">[447]</a></span><i>The Passing of Arthur</i></td>
+  <td class="tdr">237</td>
+</tr>
+<tr>
+  <td class="level3">(See Complete Study&mdash;Volume X, <a href="#The_Passing_of_Arthur">page 214</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Heart of Bruce</i></td>
+  <td class="tdr">316</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in <i>Close Reading</i>&mdash;Volume X, <a href="#The_Heart_of_Bruce">page 238</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>How They Brought the Good News from Ghent to Aix</i></td>
+  <td class="tdr">335</td>
+</tr>
+<tr>
+  <td><i>Reminiscences of a Pioneer</i></td>
+  <td class="tdr">340</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#Reminiscences_of_a_Pioneer">page 119</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Braddock&#8217;s Defeat</i></td>
+  <td class="tdr">379</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in <i>Close Reading</i>&mdash;Volume X, <a href="#Braddocks_Defeat">page 227</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The American Flag</i></td>
+  <td class="tdr">396</td>
+</tr>
+</table>
+
+<h3 class="section"><a name="Volume_Six" id="Volume_Six"></a><span class="smcap">Volume Six</span></h3>
+
+<table border="0" cellpadding="0" cellspacing="0" style="width: 80%;" summary="contents of volume 6">
+<tr>
+  <td><i>Rab and His Friends</i></td>
+  <td class="tdr">99</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in Emotional Power&mdash;Volume X, <a href="#Rab_and_His_Friends">page 177</a>)</td>
+  <td></td>
+</tr>
+<tr>
+  <td class="level3">(See Study in <i>Close Reading</i>&mdash;Volume X, <a href="#Rab_and_His_Friends_IX">page 225</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Annie Laurie</i></td>
+  <td class="tdr">119</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in <i>Close Reading</i>&mdash;Volume X, <a href="#Annie_Laurie">page 243</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Sweet and Low</i></td>
+  <td class="tdr">122</td>
+</tr>
+<tr>
+  <td><i>The Bugle Song</i></td>
+  <td class="tdr">133</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#The_Bugle_Song">page 287</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>A Christmas Carol</i></td>
+  <td class="tdr">244</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in Scene&mdash;Volume X, <a href="#A_Christmas_Carol">page 168</a>)</td>
+  <td></td>
+</tr>
+<tr>
+  <td class="level3">(See Study of Picture, <i>Bob and Tiny Tim</i>&mdash;Volume X,
+    <a href="#Bob_and_Tiny_Tim">page 41</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><span class='pagenum'><a name="Page_448" id="Page_448">[448]</a></span><i>Christmas in Old Time</i></td>
+  <td class="tdr">356</td>
+</tr>
+<tr>
+  <td><i>Poor Richard&#8217;s Almanac</i></td>
+  <td class="tdr">407</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in Character Building&mdash;Volume X, <a href="#Poor_Richards_Almanac">page 101</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Country Squire</i></td>
+  <td class="tdr">474</td>
+</tr>
+<tr>
+  <td><i>To My Infant Son</i></td>
+  <td class="tdr">478</td>
+</tr>
+</table>
+
+<h3 class="section"><a name="Volume_Seven" id="Volume_Seven"></a><span class="smcap">Volume Seven</span></h3>
+
+<table border="0" cellpadding="0" cellspacing="0" style="width: 80%;" summary="contents of volume 7">
+<tr>
+  <td><i>The Daffodils</i></td>
+  <td class="tdr">1</td>
+</tr>
+<tr>
+  <td><i>The Old Oaken Bucket</i></td>
+  <td class="tdr">11</td>
+</tr>
+<tr>
+  <td><i>Bannockburn</i></td>
+  <td class="tdr">15</td>
+</tr>
+<tr>
+  <td><i>Boat Song</i></td>
+  <td class="tdr">17</td>
+</tr>
+<tr>
+  <td><i>The Petrified Fern</i></td>
+  <td class="tdr">77</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#The_Petrified_Fern">page 291</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>An Exciting Canoe Race</i></td>
+  <td class="tdr">79</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in Forms of Expression&mdash;Volume X, <a href="#An_Exciting_Canoe_Race">page 376</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Recessional</i></td>
+  <td class="tdr">164</td>
+</tr>
+<tr>
+  <td><i>The Forsaken Merman</i></td>
+  <td class="tdr">180</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#The_Forsaken_Merman">page 295</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Tom and Maggie Tulliver</i></td>
+  <td class="tdr">186</td>
+</tr>
+<tr>
+  <td><i>The Cloud</i></td>
+  <td class="tdr">257</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#The_Cloud">page 301</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Brute Neighbors</i></td>
+  <td class="tdr">260</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#Brute_Neighbors">page 383</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Ode to a Skylark</i></td>
+  <td class="tdr">275</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in Figures&mdash;Volume X, <a href="#Ode_to_a_Skylark">page 268</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Pond in Winter</i></td>
+  <td class="tdr">280</td>
+</tr>
+<tr>
+  <td class="level3">(See Nature Study&mdash;Volume X, <a href="#The_Pond_in_Winter">page 383</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><span class='pagenum'><a name="Page_449" id="Page_449">[449]</a></span><i>Winter Animals</i></td>
+  <td class="tdr">293</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#Winter_Animals">page 383</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Trees and Ants that Help Each Other</i></td>
+  <td class="tdr">306</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#Trees_and_Ants_That_Help_Each_Other">page 385</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>My Mother&#8217;s Picture</i></td>
+  <td class="tdr">335</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in Description&mdash;Volume X, <a href="#On_the_Receipt_of_My_Mothers_Picture">page 367</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Reaper&#8217;s Dream</i></td>
+  <td class="tdr">345</td>
+</tr>
+<tr>
+  <td><i>The Recovery of the Hispaniola</i></td>
+  <td class="tdr">352</td>
+</tr>
+<tr>
+  <td><i>The Cubes of Truth</i></td>
+  <td class="tdr">406</td>
+</tr>
+<tr>
+  <td><i>The Lost Child</i></td>
+  <td class="tdr">409</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in <i>Close Reading</i>&mdash;Volume X, <a href="#The_Lost_Child">page 243</a>)</td>
+  <td></td>
+</tr>
+</table>
+
+<h3 class="section"><a name="Volume_Eight" id="Volume_Eight"></a><span class="smcap">Volume Eight</span></h3>
+
+<table border="0" cellpadding="0" cellspacing="0" style="width: 80%;" summary="contents of volume 8">
+<tr>
+  <td><i>David Crockett in the Creek War</i></td>
+  <td class="tdr">37</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#David_Crockett_in_the_Creek_War">page 244</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>America</i></td>
+  <td class="tdr">60</td>
+</tr>
+<tr>
+  <td><i>A Descent into the Maelstrom</i></td>
+  <td class="tdr">95</td>
+</tr>
+<tr>
+  <td><i>Herv&eacute; Riel</i></td>
+  <td class="tdr">168</td>
+</tr>
+<tr>
+  <td class="level3">(See Story Told&mdash;Volume X, <a href="#Herve_Riel">page 78</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Dream Children</i></td>
+  <td class="tdr">335</td>
+</tr>
+<tr>
+  <td><i>Reading Shakespeare</i></td>
+  <td class="tdr">346</td>
+</tr>
+<tr>
+  <td><i>The Tempest</i></td>
+  <td class="tdr">364</td>
+</tr>
+</table>
+
+<h3 class="section"><a name="Volume_Nine" id="Volume_Nine"></a><span class="smcap">Volume Nine</span></h3>
+
+<table border="0" cellpadding="0" cellspacing="0" style="width: 80%;" summary="contents of volume 9">
+<tr>
+  <td><i>The Impeachment of Warren Hastings</i></td>
+  <td class="tdr">32</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#The_Impeachment_of_Warren_Hastings">page 248</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td>From <i>The Death of Caesar</i></td>
+  <td class="tdr">143</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume X, <a href="#From_The_Death_of_Caesar">page 253</a>)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Battle of Saratoga</i></td>
+  <td class="tdr">176</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in History&mdash;Volume X, <a href="#Burgoynes_Campaign">page 419</a>)</td>
+  <td></td>
+</tr>
+<tr>
+  <td><span class='pagenum'><a name="Page_450" id="Page_450">[450]</a></span><i>The Gold Bug</i></td>
+  <td class="tdr">232</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume IX, page 283)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Vision of Mirza</i></td>
+  <td class="tdr">285</td>
+</tr>
+<tr>
+  <td class="level3">(See Study in Notes)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>Pippa Passes</i></td>
+  <td class="tdr">293</td>
+</tr>
+<tr>
+  <td class="level3">(See Study&mdash;Volume IX, page 316)</td>
+<td></td>
+</tr>
+<tr>
+  <td><i>The Gettysburg Address</i></td>
+  <td class="tdr">321</td>
+</tr>
+<tr>
+  <td><i>Of Expense</i></td>
+  <td class="tdr">397</td>
+</tr>
+<tr>
+  <td><i>Robert of Lincoln</i></td>
+  <td class="tdr">444</td>
+</tr>
+<tr>
+  <td><i>The Chambered Nautilus</i></td>
+  <td class="tdr">454</td>
+</tr>
+<tr>
+  <td><i>Ode to a Grecian Urn</i></td>
+  <td class="tdr">462</td>
+</tr>
+<tr>
+  <td><i>The Fate of the Indians</i></td>
+  <td class="tdr">466</td>
+</tr>
+<tr>
+  <td><i>A Call to Arms</i></td>
+  <td class="tdr">475</td>
+</tr>
+</table>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_451" id="Page_451">[451]</a></span></p>
+
+<h2 class="chapterhead"><a name="CHAPTER_XX" id="CHAPTER_XX"></a>CHAPTER XX<br />
+<br />
+<span class="smcap">Supplementary Book Lists</span></h2>
+
+
+<p class="opening"><span class="dropcapi"><span class="hide">I</span></span><span class="upper">f</span> <i>Journeys Through Bookland</i> is read as we intend, it will occupy no
+inconsiderable part of the time boys and girls give to reading. Yet
+there will be a call for more books. Some selections from great authors
+will create a taste for more from the same writers, and certain pieces
+will suggest lines of reading that may profitably extend far beyond the
+limits of the present volumes. In fact, this series is meant to be the
+stimulus to a lifetime of reading. Some children are naturally readers,
+and will require more to satisfy their avid tastes than may be
+sufficient for their brothers and sisters, while other children may need
+to be helped even beyond the limits covered by our plans. It may be that
+some parents will feel uncertain what advice to give their boys and
+girls when asked about other books than those indicated in the text. For
+such the following lists have been prepared.</p>
+
+<p>At the present day, good libraries are to be found in almost every town,
+and either from the school or the town library may be drawn most of the
+books mentioned. Books are always good presents, and from these lists
+parents who have watched the development of their children&#8217;s tastes will
+find helpful hints in the selection of presents that will be accepted
+with joy and read with continued pleasure.</p>
+
+<p><span class='pagenum'><a name="Page_452" id="Page_452">[452]</a></span>The training these plans for reading have given will excite interest in
+the great classics which the quantities of light, frivolous stories
+carelessly written for children have in a measure relegated to the
+background. These classics are the foundation of literature, and without
+a knowledge of them, best obtained in youth, genuine culture seems
+almost impossible.</p>
+
+<p>In presenting the lists it has seemed best to make some of them parallel
+to the volumes of this work rather than to arrange them by the ages of
+the children or their grades in school. The power to read intelligently
+and with appreciation is not wholly dependent upon age, nor does rank in
+school show the capability of the young person. Some boys of twelve will
+read and enjoy things that others of sixteen will find almost
+impossible. Not infrequently a little &#8220;sixth-grader&#8221; reads better
+literature than many a high school student. Other lists for older boys
+and girls are classified according to subject-matter. The method in
+every case is obvious.</p>
+
+<p>This series is for boys and girls of all ages; for girls as much as for
+boys. Good literature appeals to universal taste, and there is little
+question of sex in it. There was a time when girls were thought so
+different from boys that &#8220;girls&#8217; books&#8221; were written in abundance. Now
+that girls are given the same education that boys have, they usually
+like the same things. There will be found nearly as great extremes of
+taste in one sex as in the other during those years to which this set is
+adapted. Whatever difference there is in the sexes will manifest itself
+in what each selects for his or her own <span class='pagenum'><a name="Page_453" id="Page_453">[453]</a></span>from the masterpiece that both
+read. That we get from our reading what we put into it, is as true of us
+when we are young as it is when we have grown older. To as great an
+extent as Alice is different from Fred will what she gets from reading
+<i>Rab and His Friends</i> differ from what he absorbs.</p>
+
+<p>In the books of this series the love story has little place, and into it
+sex problems do not enter. Its readers have not reached an age when such
+things are of serious moment, and there is enough good literature for
+them without dragging in or even admitting stories of passion and those
+that make their strongest appeal to the attraction of one sex for
+another. However, there is an abundance of sentiment, and the home
+feelings are recognized again and again; the love of parents for each
+other and for their offspring, the love of brother and sister,
+friendship, the pure affection of young people, love of home, of God, of
+country, all are subjects of the finest selections the language
+contains. Such are to be found in abundance.</p>
+
+<p>In the lists more latitude has been allowed, and while nothing has been
+included that may excite anything but the purest emotions, yet room has
+been made for many of the great novels that are real studies of the
+lives and characters of adults. These books, really written for older
+people, will have their message for the young, a message that will be
+amplified and perhaps changed entirely, when, after many years, the book
+is read again with no lessened interest. <i>Les Miserables</i> was read once
+by a young boy whose attention was caught and held so strongly by the
+exciting story that he held <span class='pagenum'><a name="Page_454" id="Page_454">[454]</a></span>himself through all the long, prosy
+meanderings with which Hugo has delayed the march of his plot. Some
+years later the same boy, grown to a college student, read <i>Les
+Miserables</i> again with even greater interest. He remembered the story
+quite well, but the prosy meanderings had to his broadened intelligence
+become wonderful pictures of life, and even the book-long description of
+the Battle of Waterloo was fascinating, though its only function in the
+story was to say that one man saved another man&#8217;s life. The boy, now a
+man in middle life, read Hugo&#8217;s masterpiece a third time. Story and
+description were now secondary in interest, but the author&#8217;s deep
+insight into human nature, his brilliant style and shrewd, kindly
+philosophy held the old reader more closely than had anything before. So
+will it be with many of the books in the list. If we are to make
+friends, let us meet them as early as we can, see them as often as we
+can, and cling to them as long as we can.</p>
+
+<p><a name="For_separate_volumes" id="For_separate_volumes"></a>In recommending books to children, parents will do well to remember that
+books in which young people are not interested will not be read in such
+a way as to be profitable. The books in these lists are all interesting
+in themselves, and there need be no fear that they will not be read. The
+child who has been trained after the manner indicated in these talks
+will need little further assistance in mastering these books.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="image13" id="image13"></a><a href="images/image13-full.jpg"><img src="images/image13.jpg" width="254" height="400" alt="Portraits" title="Charles Kingsley
+Thomas Moore
+John Tyndall
+Alexander Pope
+Thomas Campbell
+David Livingstone
+George MacDonald" /></a><br />
+<span class="caption smcap">Charles Kingsley&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Thomas Moore<br />
+John Tyndall<br />
+Alexander Pope&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Thomas Campbell<br />
+David Livingstone&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;George MacDonald</span>
+</div>
+
+
+<h3 class="section"><a name="Volume_I" id="Volume_I"></a><i>Volume I</i></h3>
+
+<p class="book"><span class="smcap">&AElig;sop&#8217;s Fables.</span></p>
+
+<p class="annotation">There are many good editions published by the various schoolbook
+houses. That edited by J. H. Stickney and published by Ginn &amp;
+Co. is as good as any, and contains also a supplement with
+fables from La Fontaine and Krilof.</p>
+
+<p><span class='pagenum'><a name="Page_455" id="Page_455">[455]</a></span></p>
+
+<p class="book"><span class="smcap">A Child&#8217;s Garden of Verses</span>, by <i>Robert Louis Stevenson</i>.</p>
+
+<p class="annotation">The edition illustrated by E. Mars and H. M. Squire and
+published by Rand, McNally &amp; Co. is excellent. Jessie Wilcox
+Smith illustrates an edition for Charles Scribner&#8217;s Sons.</p>
+
+<p class="book"><span class="smcap">Lullaby Land</span>, by <i>Eugene Field</i>.</p>
+
+<p class="annotation">This is published in beautiful form by Charles Scribner&#8217;s Sons.</p>
+
+<p class="book"><span class="smcap">Fairy Tales</span>, by <i>Hans Christian Andersen</i>.</p>
+
+<p class="annotation">The schoolbook houses publish selections in an attractive form;
+Blackie and Son, London, a cheap edition.</p>
+
+<p class="book"><span class="smcap">Fairy Tales</span>, by <i>Wilhelm</i> and <i>Jakob Grimm</i>.</p>
+
+<p class="annotation">Selections, such as those edited by Sarah E. Wiltse for Ginn &amp;
+Co., are better than the complete editions, for many of the
+Grimm tales are coarse and valueless.</p>
+
+<p class="book"><span class="smcap">Blue Fairy Book</span> and <span class="smcap">Green Fairy Book</span>, by <i>Andrew Lang</i>.</p>
+
+<p class="annotation">Besides some of the Grimm tales these books contain folklore
+stories from many nations. Lang has edited other books in this
+series, but two are probably enough.</p>
+
+<p class="book"><span class="smcap">The Adventures of a Brownie</span>, by <i>Dinah Maria (Mulock) Craik</i>.</p>
+
+<p class="annotation">This is a charming little tale, much loved by children.</p>
+
+<p class="book"><span class="smcap">Pinocchio</span>, by <i>C. Collodi</i>.</p>
+
+<p class="annotation">Walter Cramp&#8217;s translation of this little Italian classic will
+be highly appreciated. Ginn and Company.</p>
+
+<p class="book"><span class="smcap">Old Greek Stories</span>, by <i>James Baldwin</i>.</p>
+
+<p class="annotation">American Book Company. This contains the stories of Arachne, the
+Gorgon&#8217;s Head, Prometheus and Theseus.</p>
+
+<p class="book"><span class="smcap">Letters from a Cat</span>, by <i>Helen Hunt Jackson</i>.</p>
+
+<p class="annotation">Amusing letters which a cat writes to its mistress. Helpful in
+teaching kindness to animals.</p>
+
+<p class="book"><span class="smcap">The Book of Joyous Children</span>, by <i>James Whitcomb Riley</i>.</p>
+
+<p class="annotation">Charles Scribner&#8217;s Sons; <i>Child Rhymes</i>, Bobbs-Merrill Co.;
+<i>Child World</i>, Bobbs-Merrill Co. Three books with delightful
+poems for children and about them.</p>
+
+
+<h3 class="section"><a name="Volume_II" id="Volume_II"></a><i>Volume II</i></h3>
+
+<p>While the books mentioned in these lists seem most closely connected to
+the volume to which they are ascribed, yet no hard and fast lines can be
+drawn. Children will read in the second volume of this set before they
+have finished the first, and the books in the lists are suitable
+whenever interest is ripe in the kind of literature which the books
+contain. Several of the titles given in the list for the first volume
+should be considered with the second volume.</p>
+
+<p><span class='pagenum'><a name="Page_456" id="Page_456">[456]</a></span></p>
+
+<p class="book"><span class="smcap">Wonder Book for Boys and Girls</span>, by <i>Nathaniel Hawthorne</i>.</p>
+
+<p class="annotation">This contains many other stories than those given in these
+volumes.</p>
+
+<p class="book"><span class="smcap">Tanglewood Tales</span>, by <i>Nathaniel Hawthorne</i>.</p>
+
+<p class="annotation">A second wonder book of classic myths. Houghton, Mifflin Co. are
+the authorized publishers of the wonder books.</p>
+
+<p class="book"><span class="smcap">The Heroes, or Greek Fairy Tales</span>, by <i>Charles Kingsley</i>.</p>
+
+<p class="annotation">Published by E. P. Dutton &amp; Co., with pictures by Rose Le
+Quesne.</p>
+
+<p class="book"><span class="smcap">Three Fairy Tales</span>, by <i>Jean Ingelow</i>.</p>
+
+<p class="annotation">Illustrated by A. J. Ripley. D. C. Heath &amp; Co.</p>
+
+<p class="book"><span class="smcap">The Story of &AElig;neas</span>, by <i>Michael Clarke</i>.</p>
+
+<p class="annotation">American Book Company. Fine illustrations. This contains the
+story of the <i>Aeneid</i> for young American readers.</p>
+
+<p class="book"><span class="smcap">The Little Lame Prince</span>, <i>by Dinah Maria (Mulock) Craik</i>.</p>
+
+<p class="annotation">D. C. Heath &amp; Co. An allegorical fairy tale of great beauty,
+teaching the lesson of patience and true manhood.</p>
+
+<p class="book"><span class="smcap">Little Mr. Thimblefinger and His Queer Country</span>, by <i>Joel Chandler
+Harris</i>.</p>
+
+<p class="annotation">Illustrations by Oliver Herford. Houghton, Mifflin Co.</p>
+
+<p class="book"><span class="smcap">Mr. Rabbit at Home</span>, by <i>Joel Chandler Harris</i>.</p>
+
+<p class="annotation">A sequel to <i>Little Mr. Thimblefinger</i>.</p>
+
+<p class="book"><span class="smcap">Nonsense Songs and Stories</span>, by <i>Edward Lear</i>.</p>
+
+<p class="annotation">F. Warne &amp; Co.</p>
+
+<p class="book"><span class="smcap">Complete Poetical Works</span> of <i>Henry Wadsworth Longfellow</i>.</p>
+
+<p class="annotation">This is one of the books that every family ought to own, there
+is so much in it for every age. Besides the lyrics children love
+so well, there are <i>Hiawatha</i>, <i>Evangeline</i>, <i>Miles Standish</i>
+and other poems, which belong to children as well as to the
+adults. The Cambridge edition published by Houghton, Mifflin Co.
+is a cheap, serviceable book, though the print is necessarily
+rather small.</p>
+
+<p class="book"><span class="smcap">The Wonderful Chair and the Tales It Told</span>, by <i>Frances R.
+Browne</i>.</p>
+
+<p class="annotation">D. C. Heath &amp; Co.</p>
+
+<p class="book"><span class="smcap">The Blue Bird for Children</span>, by <i>Maurice Maeterlinck</i>.</p>
+
+<p class="annotation">The story of the play, beautifully told. Silver, Burdett &amp; Co.</p>
+
+<p class="book"><span class="smcap">The Jungle Book</span>, by <i>Rudyard Kipling</i>.</p>
+
+<p class="annotation">The hero is a child brought up among the wolves. A delightful
+story to create interest in wild animals. The Century Company.</p>
+
+<p class="book"><span class="smcap">The Second Jungle Book</span>, by <i>Rudyard Kipling</i>.</p>
+
+<p class="annotation">The Century Company.</p>
+
+<p class="book"><span class="smcap">Just So Stories</span>, by <i>Rudyard Kipling</i>.</p>
+
+<p class="book"><span class="smcap">Wild Animals I Have Known</span>, by <i>Ernest Thompson Seton</i>.</p>
+
+<p class="annotation">A delightful series of stories full of human interest.</p>
+
+<p><span class='pagenum'><a name="Page_457" id="Page_457">[457]</a></span></p>
+
+
+<h3 class="section"><a name="Volume_III" id="Volume_III"></a><i>Volume III</i></h3>
+
+<p>This volume contains selections from several books which it is felt will
+be read in their entirety by most children. They are:</p>
+
+<p class="book"><span class="smcap">Alice&#8217;s Adventures in Wonderland</span> and <span class="smcap">Through the Looking-Glass</span>.</p>
+
+<p class="annotation">Two modern fairy tales by Lewis Carroll (Charles Lutwidge
+Dodgson). The amusing pictures are by Sir John Tenniel. The
+Macmillan Company. These fantastic stories delight everyone who
+reads them.</p>
+
+<p class="book"><span class="smcap">Robinson Crusoe</span>, by <i>Daniel Defoe</i>.</p>
+
+<p class="annotation">There are many editions of this old and popular story for boys,
+from an abbreviated form in words of one syllable to the
+original work in full. W. H. Lambert has edited a school edition
+in excellent manner for Ginn &amp; Co.</p>
+
+<p class="book"><span class="smcap">The Swiss Family Robinson</span>, by <i>Johann Rudolph Wyss</i>.</p>
+
+<p class="annotation">Though not of such literary merit as <i>Robinson Crusoe</i>, it is
+similar in plot and usually more popular. Ginn &amp; Co. publish a
+good, cheap edition, edited by J. H. Stickney.</p>
+
+<p class="book"><span class="smcap">Arabian Nights&#8217; Entertainment.</span></p>
+
+<p class="annotation">The complete editions are not suitable for children to read, but
+the edition edited by Andrew Lang is excellent. Several
+schoolbook houses publish good selections, including the most
+popular tales.</p>
+
+<p>Besides the books mentioned in the lists for Volumes I and II, the
+following might be suggested here:</p>
+
+<p class="book"><span class="smcap">The Complete Poetical Works</span> of <i>John Greenleaf Whittier</i>.</p>
+
+<p class="annotation">Houghton, Mifflin Company&#8217;s Cambridge edition is perhaps the
+best. Whittier did not write as much for children as Longfellow
+did, but his <i>Snow-Bound</i> is a classic that every child will
+love if he is helped a little in reading it. Other poems will
+appeal to the older members of the family.</p>
+
+<p class="book"><span class="smcap">The Book of Legends Told Over Again</span>, by <i>Horace E. Scudder</i>.</p>
+
+<p class="annotation">Houghton, Mifflin Co. <i>The Flying Dutchman</i>, <i>St. Christopher</i>,
+<i>William Tell</i>, and <i>The Wandering Jew</i> are some of the names.</p>
+
+<p class="book"><span class="smcap">The Adventures of Ulysses</span>, by <i>Charles Lamb</i>.</p>
+
+<p class="annotation">D. C. Heath &amp; Co.</p>
+
+<p class="book"><span class="smcap">Norse Stories Re-Told from the Sagas</span>, by <i>Hamilton Wright Mabie</i>.</p>
+
+<p class="annotation">Rand, McNally &amp; Co.</p>
+
+<p class="book"><span class="smcap">The Biography of a Grizzly</span>, by <i>Ernest Thompson Seton</i>.</p>
+
+<p class="annotation">The Century Company.</p>
+
+<p><span class='pagenum'><a name="Page_458" id="Page_458">[458]</a></span></p>
+
+<p class="book"><span class="smcap">Some Merry Adventures of Robin Hood.</span></p>
+
+<p class="annotation">Written and illustrated by Howard Pyle. Charles Scribner&#8217;s Sons.</p>
+
+<p class="book"><span class="smcap">The Story of Roland</span>, by <i>James Baldwin</i>.</p>
+
+<p class="annotation">Illustrated by R. B. Birch. Charles Scribner&#8217;s Sons.</p>
+
+<p class="book"><span class="smcap">The Story of Siegfried</span>, by <i>James Baldwin</i>.</p>
+
+<p class="annotation">Illustrated by Howard Pyle. Charles Scribner&#8217;s Sons.</p>
+
+
+<h3 class="section"><a name="Volume_IV" id="Volume_IV"></a><i>Volume IV</i></h3>
+
+<p class="book"><span class="smcap">Story of the Cid.</span></p>
+
+<p class="annotation">Retold by Calvin Dill Wilson. Lathrop, Lee and Shepard.</p>
+
+<p class="book"><span class="smcap">Old Indian Legends.</span></p>
+
+<p class="annotation">Retold graphically by Zitkala S&auml;, one of the tribe of the
+Dakotahs, and illustrated by Angel de Cora
+(Hin-ook-Mahiroi-Kilinaka), the Indian artist. Ginn &amp; Co.</p>
+
+<p class="book"><span class="smcap">Indian Boyhood</span>, by <i>Charles Eastman</i>, a Sioux Indian.</p>
+
+<p class="annotation">Full of the manners and customs of the Indians, and containing
+as well some good stories of adventure. Little, Brown &amp; Co.</p>
+
+<p class="book"><span class="smcap">Grandfather&#8217;s Chair</span>, by <i>Nathaniel Hawthorne</i>.</p>
+
+<p class="annotation">Houghton, Mifflin Co. This book contains, besides the stories
+printed in this set, many other interesting historical tales.</p>
+
+<p class="book"><span class="smcap">The Boys of &#8217;76</span>, by <i>Charles Carleton Coffin</i>.</p>
+
+<p class="annotation">Harper and Bros. A fine book that will interest any child in the
+story of the Revolution. There are other books in a similar vein
+by the same author.</p>
+
+<p class="book"><span class="smcap">The Story of the Greeks</span>,<br />
+<span class="smcap">The Story of the Romans</span>, and<br />
+<span class="smcap">The Story of the English</span></p>
+
+<p class="annotation">are three good books by H. A. Guerber, which will help to create
+an interest in the history of those peoples and at the same time
+give information valuable in reading literature. All are
+published for school use by the American Book Company.</p>
+
+<p class="book"><span class="smcap">Child&#8217;s History of England</span>, by <i>Charles Dickens</i>.</p>
+
+<p class="annotation">This book is always interesting to children, and is such good
+reading that we need not feel afraid of Dickens&#8217; inexactness and
+apparent prejudices. Read it as literature, not so much as
+history.</p>
+
+<p class="book"><span class="smcap">Birds and Bees, Sharp Eyes and Other Papers</span>, by <i>John Burroughs</i>.</p>
+
+<p class="annotation">Houghton, Mifflin Co. Though this may seem rather hard reading
+to some, it is delightful literature, and full of good lessons
+in observation for children. Other books by the same author are
+equally entertaining. An excellent book to read to children.</p>
+
+<p class="book"><span class="smcap">Indian Days of the Long Ago</span>, by <i>E. S. Curtis</i>.</p>
+
+<p class="annotation">World Book Co.</p>
+
+<p class="book"><span class="smcap">The Magic Forest</span>, by <i>Stewart Edward White</i>.</p>
+
+<p class="annotation">Macmillan Co.</p>
+
+<p><span class='pagenum'><a name="Page_459" id="Page_459">[459]</a></span></p>
+
+<p class="book"><span class="smcap">The World of the Great Forest</span>, by <i>Paul Du Chaillu</i>.</p>
+
+<p class="annotation">Harper and Bros. An interesting account of animal life, not
+without some literary merit. Other books by the same author will
+delight the adventurous.</p>
+
+<p class="book"><span class="smcap">Sharp Eyes</span>, and<br />
+<span class="smcap">My Studio Neighbors</span></p>
+
+<p class="annotation">are two beautiful books, illustrated by the author, William
+Hamilton Gibson. Harper and Bros. They are as interesting and as
+charmingly written as any of the multitudinous nature books.</p>
+
+
+<h3 class="section"><a name="Volume_V" id="Volume_V"></a><i>Volume V</i></h3>
+
+<p class="book"><span class="smcap">The Boys&#8217; King Arthur</span>, edited by <i>Sidney Lanier</i>.</p>
+
+<p class="annotation">Illustrated by Alfred Kappes. Charles Scribner&#8217;s Sons.</p>
+
+<p class="book"><span class="smcap">The Vision of Sir Launfal</span>, by <i>James Russell Lowell</i>.</p>
+
+<p class="annotation">One of the finest poems in the language. Best read in connection
+with the stories of King Arthur. Houghton, Mifflin Co.</p>
+
+<p class="book"><span class="smcap">The Boys&#8217; Froissart.</span></p>
+
+<p class="annotation">The chronicles retold in simple English by Sidney Lanier.
+Scribners.</p>
+
+<p class="book"><span class="smcap">Travels of Marco Polo</span>, abridged by <i>Thomas W. Knox</i>.</p>
+
+<p class="annotation">The touch of fiction does not injure these old tales.</p>
+
+<p class="book"><span class="smcap">Little Smoke</span>, by <i>William Osborn</i>.</p>
+
+<p class="annotation">An exciting story of Sioux life.</p>
+
+<p class="book"><span class="smcap">Ten Big Indians</span>, by <i>Mary Hazelton Wade</i>.</p>
+
+<p class="annotation">W. A. Wilde &amp; Co. An interesting introduction to Indian history.</p>
+
+<p class="book"><span class="smcap">Hans Brinker; or The Silver Skates</span>, by <i>Mary Mapes Dodge</i>.</p>
+
+<p class="annotation">A delightful story of child life in Holland. A valuable picture
+of manners and customs.</p>
+
+<p class="book"><span class="smcap">The Hoosier School Boy</span>, by <i>Edward Eggleston</i>.</p>
+
+<p class="annotation">Charles Scribner&#8217;s Sons. An interesting story of pioneer times.</p>
+
+<p class="book"><span class="smcap">The Peterkin Papers</span>, by <i>Lucretia Peabody Hale</i>.</p>
+
+<p class="annotation">Houghton, Mifflin Co. One of the few good humorous stories for
+children.</p>
+
+<p class="book"><span class="smcap">Toby Tyler, Or Ten Weeks With a Circus</span>, and<br />
+<span class="smcap">Mr. Stubbs&#8217;s Brother</span></p>
+
+<p class="annotation">are two wholesome stories full of humor and pathos. Harper and
+Bros.</p>
+
+<p class="book"><span class="smcap">The Story of a N&uuml;rnberg Stove</span>, by <i>Louise De la Ram&eacute;e (Ouida)</i>.</p>
+
+<p class="annotation">Educational Publishing Company.</p>
+
+<p class="book"><span class="smcap">Betty Leicester</span>, by <i>Sarah Orne Jewett</i>.</p>
+
+<p class="annotation">A fine story for girls. Houghton, Mifflin Co.</p>
+
+<p class="book"><span class="smcap">The Birds&#8217; Christmas Carol</span>, by <i>Kate Douglas Wiggin (Riggs)</i>.</p>
+
+<p class="annotation">Houghton, Mifflin Co. A charming story which will delight
+everybody. By the same author, <i>The Story of Patsy</i>, <i>Timothy&#8217;s
+Quest</i> and <i>Rebecca of Sunnybrook Farm</i> are all wholesome and
+entertaining.</p>
+
+<p><span class='pagenum'><a name="Page_460" id="Page_460">[460]</a></span></p>
+
+<p class="book"><span class="smcap">Rebecca of Sunnybrook Farm</span>, by <i>Kate Douglas Wiggin</i>.</p>
+
+<p class="annotation">Houghton, Mifflin Co.</p>
+
+<p class="book"><span class="smcap">The Prince and the Pauper, A Tale for Young People of All Ages</span>,</p>
+
+<p class="annotation">by <i>Mark Twain (Samuel Langhorne Clemens)</i>. Harper and Bros. The
+story relates to England in the sixteenth century.</p>
+
+<p class="book"><span class="smcap">The Man Without a Country</span>, by <i>Edward Everett Hale</i>.</p>
+
+<p class="annotation">Little, Brown &amp; Co. The style and language are mature, but the
+story is one of the best lessons in patriotism ever written.</p>
+
+
+<h3 class="section"><a name="Volume_VI" id="Volume_VI"></a><i>Volume VI</i></h3>
+
+<p class="book"><span class="smcap">Tales of a Grandfather</span>, by <i>Sir Walter Scott</i>.</p>
+
+<p class="annotation">An abridged edition, published by Ginn &amp; Co., contains the best
+tales, but many children will like them all.</p>
+
+<p class="book"><span class="smcap">The Autobiography of Benjamin Franklin.</span></p>
+
+<p class="annotation">An excellent book for young people on account of its interest
+and its clear literary style. An edition by Houghton, Mifflin
+Co., contains a sketch of Franklin&#8217;s life subsequent to the time
+when his autobiography ends.</p>
+
+<p class="book"><span class="smcap">Lays of Ancient Rome</span>, by <i>Thomas Babington Macaulay</i>.</p>
+
+<p class="annotation">Inspiring tales in verse such as children love to hear.
+<i>Horatius</i> is among them.</p>
+
+<p class="book"><span class="smcap">Ivanhoe</span>, by <i>Sir Walter Scott</i>.</p>
+
+<p class="annotation">Houghton, Mifflin Co. publish a cheap school edition.</p>
+
+<p class="book"><span class="smcap">The Talisman</span>, by <i>Sir Walter Scott</i>.</p>
+
+<p class="book"><span class="smcap">Scottish Chiefs</span>, by <i>Jane Porter</i>.</p>
+
+<p class="annotation">This is one of the stories that young people enjoyed years ago.
+It helps to the reading of Scottish history, and is a good type
+of the romantic novel.</p>
+
+<p class="book"><span class="smcap">Enoch Arden</span>, by <i>Alfred Tennyson</i>.</p>
+
+<p class="book"><span class="smcap">Idyls of the King</span>, by <i>Alfred Tennyson</i>.</p>
+
+<p class="book"><span class="smcap">The Complete Poetical Works</span> of <i>Oliver Wendell Holmes</i>.</p>
+
+<p class="annotation">Cambridge edition of Houghton, Mifflin Co. <i>The Grandmother&#8217;s
+Story of Bunker Hill</i>, <i>A Ballad of the Boston Tea Party</i>, <i>Ode
+for Washington&#8217;s Birthday</i>, <i>Old Ironsides</i>, <i>Lexington</i> and
+others have historical value. The humorous poems like <i>The
+One-Hoss Shay</i>, <i>How the Old Horse Won the Bet</i>, and such
+beautiful poems as <i>The Chambered Nautilus</i> and <i>The Last Leaf</i>
+always appeal to young folks.</p>
+
+<p class="book"><span class="smcap">The Spy</span>, by <i>James Fenimore Cooper</i>.</p>
+
+<p class="annotation">This is a thrilling story of the Revolution.</p>
+
+<p class="book"><span class="smcap">The Pilot</span>, by <i>James Fenimore Cooper</i>.</p>
+
+<p class="annotation">This also is a story of the Revolution, and it has Paul Jones as
+its hero.</p>
+
+<p class="book"><span class="smcap">Men of Iron</span>, by <i>Howard Pyle</i>.</p>
+
+<p class="annotation">Harper and Bros. The &#8220;men of iron&#8221; are Henry IV of England and
+the men of his court.</p>
+
+<p class="book"><span class="smcap">The Story of a Bad Boy</span>, by <i>Thomas Bailey Aldrich</i>.</p>
+
+<p class="annotation">Houghton, Mifflin Co. An amusing and frank story of New England
+boy life.</p>
+
+<p><span class='pagenum'><a name="Page_461" id="Page_461">[461]</a></span></p>
+
+
+<h3 class="section"><a name="Volume_VII" id="Volume_VII"></a><i>Volume VII</i></h3>
+
+<p class="book"><span class="smcap">The Cricket on the Hearth</span>, by <i>Charles Dickens</i>.</p>
+
+<p class="annotation">This is one of the Christmas stories, and is written in the best
+vein of the fascinating author.</p>
+
+<p class="book"><span class="smcap">David Copperfield</span>, by <i>Charles Dickens</i>.</p>
+
+<p class="annotation">This is usually considered the masterpiece of the author.</p>
+
+<p class="book"><span class="smcap">A Tale of Two Cities</span>, by <i>Charles Dickens</i>.</p>
+
+<p class="annotation">A thrilling story of the French Revolution, rather full of
+terrible happenings, and rather mature.</p>
+
+<p class="book"><span class="smcap">The Lady of the Lake</span>, and<br />
+<span class="smcap">Marmion</span>, by <i>Sir Walter Scott</i>,</p>
+
+<p class="annotation">the two best of his longer poems, rarely fail to interest young
+people.</p>
+
+<p class="book"><span class="smcap">Tales from Shakespeare</span>, by <i>Charles and Mary Lamb</i>.</p>
+
+<p class="book"><span class="smcap">The Tempest</span>,<br />
+<span class="smcap">A Midsummer Night&#8217;s Dream</span>, and<br />
+<span class="smcap">The Merchant of Venice</span>,</p>
+
+<p class="annotation">are the three Shakespearean plays that first interest children.
+Care should be taken in the selection of the edition, as none of
+the plays in their original form are suitable for children.
+School editions with notes are excellent. <i>The Tempest</i> is
+printed in Volume VIII of this set, and is deferred to that
+point on account of the very full notes and comments that
+accompany it. The play itself may be read quite early, and
+children should be encouraged to try their skill on Shakespeare
+as soon as they show signs of interest.</p>
+
+<p class="book"><span class="smcap">Undine</span>, by <i>Baron de la Motte Fouqu&eacute;</i>,</p>
+
+<p class="annotation">is a beautiful fairy tale from the German, with interest for
+older children than those who read Andersen and Grimm.</p>
+
+<p class="book"><span class="smcap">Plutarch&#8217;s Lives.</span></p>
+
+<p class="annotation">White&#8217;s <i>Boys&#8217; and Girls&#8217; Plutarch</i> is recommended. The lives of
+Brutus, Julius C&aelig;sar, Themistocles, Pericles and Alexander are
+among the more interesting.</p>
+
+<p class="book"><span class="smcap">The Burning of Rome</span>, by <i>A. J. Church</i>,</p>
+
+<p class="annotation">is a thrilling story of that event.</p>
+
+<p class="book"><span class="smcap">Cuore</span>, by <i>Edmondo De Amicis</i>.</p>
+
+<p class="annotation">The journal of an Italian schoolboy. Useful and moral, but not
+always interesting to American boys.</p>
+
+<p class="book"><span class="smcap">In His Name</span>, by <i>Edward Everett Hale</i>.</p>
+
+<p class="annotation">A tale of religious persecution.</p>
+
+<p class="book"><span class="smcap">The Peasant and the Prince</span>, by <i>Harriet Martineau</i>.</p>
+
+<p class="annotation">An intensely interesting picture of France just before the
+Revolution.</p>
+
+<p class="book"><span class="smcap">Picciola</span>, by <i>X. B. Santine</i>.</p>
+
+<p class="annotation">A touching story whose scene is laid in France in the time of
+Napoleon.</p>
+
+<p class="book"><span class="smcap">Life of Daniel Boone</span>, by <i>J. and J. C. Abbott</i>.</p>
+
+<p class="book"><span class="smcap">The Iliad</span>, <i>Bryant&#8217;s</i> translation.</p>
+
+<p><span class='pagenum'><a name="Page_462" id="Page_462">[462]</a></span></p>
+
+
+<h3 class="section"><a name="Classified_Lists" id="Classified_Lists"></a><i>Classified Lists</i></h3>
+
+<p>When boys and girls can read the first seven volumes of this set
+intelligently and with pleasure they are thinking for themselves. Their
+tastes are forming rapidly, and they have learned how to read nearly
+everything that comes to them. They know how to use reference books, and
+can &#8220;make out the meaning&#8221; of difficult passages. They are reading for
+information and culture. What they lack is experience in life, and so
+they are unable to interpret what they read as fully as can those who
+have lived longer, seen more of the world, enjoyed more, suffered more.
+Where they are liable to fail and go astray is in the lack of judgment.
+They know right and wrong, but they cannot always see the difference.
+They are apt to be misled by their feelings and to be ruled by their
+emotions.</p>
+
+<p>The studies and selections of the last three volumes are varied and
+highly suggestive. They will open new lines of thought and prompt to
+wider reading in many directions. The contents vary in difficulty as in
+character, but are not graded in a strict sense of the term. They are
+meant for independent readers, readers who are governed by mood or
+purpose and no longer rely upon outside guidance.</p>
+
+<p>Accordingly, lists of books suitable for readers of these volumes will
+cover every department of literature and lead into the reading favored
+by adults. The majority of these lists deal with literature. They
+contain the names of those books which are distinctly helpful, and from
+which young <span class='pagenum'><a name="Page_463" id="Page_463">[463]</a></span>readers may derive nothing to corrupt taste or give false
+impressions of life. They are the standard books of the language. The
+lists might have been longer; they do contain, however, the names of
+those best books that every cultured person should know. For convenience
+in reference the arrangement is the alphabetical order of authors&#8217;
+names.</p>
+
+
+<h4 class="volume"><a name="Fiction_XX" id="Fiction_XX"></a>Fiction</h4>
+
+<div class="classified"><p><span class="smcap">Ainsworth, William Harrison</span>: <i>The Tower of London</i>, the story of
+Lady Jane Grey, and the plots and intrigues that centered about
+her.</p>
+
+<p><span class="smcap">Alcott, Louisa M.</span>: <i>Little Men</i> and <i>Little Women</i>, two interesting
+and thoroughly wholesome books for boys and girls.</p>
+
+<p><span class="smcap">Austen, Jane</span>: <i>Pride and Prejudice</i>, an old-fashioned story,
+interesting, but liable to be called dull by those who read only
+the lively stories of the day.</p>
+
+<p><span class="smcap">Blackmore, R. D.</span>: <i>Lorna Doone</i>, a delightful romance, the scene of
+which is laid in Exmoor, England, in the beginning of the
+eighteenth century.</p>
+
+<p><span class="smcap">Bulwer-Lytton, Sir Edward</span>: <i>The Last Days of Pompeii</i>, the author&#8217;s
+greatest novel; <i>The Last of the Barons</i>, the story of the Earl
+of Warwick; <i>Harold, The Last of the Saxons</i>, a tale of the
+Norman Conquest of England.</p>
+
+<p><span class="smcap">Doyle, A. Conan</span>: <i>The White Company</i>, an exciting fourteenth
+century story.</p>
+
+<p><span class="smcap">Eliot, George</span>: <i>Silas Marner</i>, an intensely human story, a heart
+history; <i>Romola</i>, a thrilling story of Florence in the days of
+Savonarola, a study in the degeneration of character that comes
+from doing only the agreeable things in life.</p>
+
+<p><span class="smcap">Goldsmith, Oliver</span>: <i>The Vicar of Wakefield</i>, an amusing and at
+times pathetic picture of English country life in the eighteenth
+century.</p>
+
+<p><span class="smcap">Hawthorne, Nathaniel</span>: <i>The Scarlet Letter</i>, a tale of sin and its
+punishment in Puritan New England; <i>The Marble Faun</i>, an Italian
+story full of the art and culture of Rome.</p>
+
+<p><span class="smcap">Hugo, Victor</span>: <i>Les Miserables</i>, one of the greatest novels of the
+world, but its digressions and its philosophy make it difficult
+reading for the young. Interesting abridgements of it may be had
+from the schoolbook houses.</p>
+
+<p><span class="smcap">Saint Pierre, Bernardin De</span>: <i>Paul and Virginia</i>, a pretty love
+story from the French.</p>
+
+<p><span class="smcap">Scott, Sir Walter</span>: <i>Kenilworth</i>, a tale of the days of Queen
+Elizabeth; <i>Old Mortality</i>, a story of the Covenanters; <i>Guy
+Mannering</i>, an eighteenth century tale, with Meg Merrilies,
+Dominic Sampson and others of Scott&#8217;s most famous characters;
+<i>The <span class='pagenum'><a name="Page_464" id="Page_464">[464]</a></span>Heart of Midlothian</i>, a tale of sin and its punishment,
+with a wonderful picture of a sister&#8217;s love and devotion.</p>
+
+<p><span class="smcap">Stowe, Harriet Beecher</span>: <i>Uncle Tom&#8217;s Cabin</i>, an interesting story,
+but like most books written for partisan purposes, its influence
+is not now wholesome.</p>
+
+<p><span class="smcap">Thackeray, William Makepeace</span>: <i>Henry Esmond</i>, <i>Pendennis</i> and <i>The
+Newcomes</i> may be read in the order named. <i>Vanity Fair</i> is
+better appreciated by adults.</p>
+
+<p><span class="smcap">Twain, Mark</span>: <i>Tom Sawyer</i> and <i>Huckleberry Finn</i>, two stories whose
+fun every boy will appreciate.</p>
+
+<p><span class="smcap">Wallace, Lew</span>: <i>Ben Hur, a Tale of the Christ</i>. An admirable
+historical novel.</p></div>
+
+
+<h4 class="volume"><a name="Poetry_and_Drama" id="Poetry_and_Drama"></a>Poetry and Drama</h4>
+
+<div class="classified"><p><span class="smcap">Browning, Robert</span>: Besides the poems given in these books, <i>The Lost
+Leader</i> and <i>Rabbi Ben Ezra</i> are enjoyed by boys and girls.</p>
+
+<p><span class="smcap">Bryant, William Cullen</span>: <i>The Poetical Works</i> (Household Edition),
+D. Appleton &amp; Co. <i>The Song of Marion&#8217;s Men</i>, <i>The Green
+Mountain Boys</i>, <i>Thanatopsis</i>, <i>Sella</i>, <i>The Death of the
+Flowers</i>, <i>The Planting of the Apple Tree</i> and <i>Robert of
+Lincoln</i> are among his best poems.</p>
+
+<p><span class="smcap">Shakespeare, William</span>: <i>Julius C&aelig;sar and Coriolanus</i>, two plays
+based on Roman history and excellent for reading purposes;
+<i>Richard II</i> (1398-1399), <i>Henry IV</i> (1402-1413), <i>Henry V</i>
+(1414-1420), <i>Henry VI</i> (1422-1471), <i>Richard III</i> (1471-1485),
+all based on English history; <i>As You Like It</i>, a great comedy;
+<i>Hamlet</i> and <i>King Lear</i>, perhaps the two greatest tragedies.
+All these are excellent reading, especially in such an edition
+as the <i>Temple Classics</i>. Other plays may well be read, but
+everyone should know the foregoing list.</p></div>
+
+
+<h4 class="volume"><a name="Essays_XX" id="Essays_XX"></a>Essays</h4>
+
+<div class="classified"><p><span class="smcap">Emerson, Ralph Waldo</span>: <i>The American Scholar</i>, <i>Self-Reliance</i>,
+<i>Culture</i> and <i>Behavior</i> may be read with profit by the young,
+even if they do not fully understand the philosophy.</p>
+
+<p><span class="smcap">Hale, Edward Everett</span>: <i>American Essays</i> and <i>English Essays</i>, two
+books edited by Hale. They contain selections from the writings
+of George William Curtis, Ralph Waldo Emerson, Washington
+Irving, James Russell Lowell, Addison, Goldsmith, Lamb and
+Thackeray.</p>
+
+<p><span class="smcap">Holmes, Oliver Wendell</span>: <i>The Autocrat of the Breakfast Table</i>, a
+charming series of talks which embody the best of Holmes&#8217;s wit,
+wisdom and philosophy. One of those things everybody must read.</p>
+
+<p><span class="smcap">Irving, Washington</span>: <i>The Sketch Book</i> contains such perfect stories
+as <i>Rip Van Winkle</i> and <i>The Legend of Sleepy Hollow</i>, as well
+as a number of fine essays for later reading.</p>
+
+<p><span class="smcap">Roosevelt, Theodore</span>: <i>American Ideals and Other Essays</i>. Putnam.</p></div><p><span class='pagenum'><a name="Page_465" id="Page_465">[465]</a></span></p>
+
+<div class="blockquot"><p><span class="smcap">Ruskin, John</span>: <i>Sesame and Lilies</i>. In spite of its seeming
+difficulty, this book contains some of the most inspiring words
+ever spoken on books and reading.</p>
+
+<p><span class="smcap">Warner, Charles Dudley</span>: <i>A-Hunting of the Deer and Other Essays</i>, a
+delightful little collection that young people will enjoy and
+that has fine literary qualities. Houghton, Mifflin Co.</p></div>
+
+
+<h4 class="volume"><a name="Nature" id="Nature"></a>Nature</h4>
+
+<div class="classified"><p><span class="smcap">Thoreau, Henry David</span>: <i>Walden</i>, a vivid book of outdoor life. Such
+also are <i>A Week on the Concord and Merrimac Rivers</i> and
+<i>Excursions in Field and Forest</i>.</p></div>
+
+
+<h4 class="volume"><a name="Biography" id="Biography"></a>Biography</h4>
+
+<div class="classified"><p><span class="smcap">Fabre, Jean-Henri</span>: <i>Our Humble Helpers</i>, familiar talks on the
+domestic animals. The Century Co.</p>
+
+<p><span class="smcap">Boswell, James</span>: <i>Life of Samuel Johnson</i>. The first great
+biography, and still the most remarkable in its intimacy. Not of
+general interest to young people.</p>
+
+<p><span class="smcap">Brooks, Eldridge Streeter</span>: <i>Historic Girls</i>. G. P. Putnam&#8217;s Sons.</p>
+
+<p><span class="smcap">Brooks, Noah</span>: <i>Life of Abraham Lincoln</i>. G. P. Putnam&#8217;s Sons.</p>
+
+<p><span class="smcap">Burroughs, John</span>: <i>John James Audubon</i>. Small, Maynard &amp; Co.</p>
+
+<p><span class="smcap">Golding, Vautier</span>: <i>The Story of Henry M. Stanley</i>. E. P. Dutton &amp;
+Co.</p>
+
+<p><span class="smcap">Harrison, Frederick</span>: <i>Oliver Cromwell</i>. Macmillan.</p>
+
+<p><span class="smcap">Irving, Washington</span>: <i>Washington</i>, and <i>Mahomet</i>.</p>
+
+<p><span class="smcap">Lodge, Henry Cabot</span>: <i>Alexander Hamilton</i>. Houghton, Mifflin Co.</p>
+
+<p><span class="smcap">Nicolay, John G.</span>: <i>Boys&#8217; Life of Abraham Lincoln</i>.</p>
+
+<p><span class="smcap">Ober, Frederick O.</span>: <i>Pizarro</i>. Harper.</p>
+
+<p><span class="smcap">Riis, Jacob A.</span>: <i>The Making of an American</i>. Macmillan.</p>
+
+<p><span class="smcap">Schurz, Carl</span>: <i>Life of Henry Clay</i>. Houghton, Mifflin Co.</p>
+
+<p><span class="smcap">Scudder, Horace Elisha</span>: <i>George Washington</i>. Houghton, Mifflin Co.</p>
+
+<p><span class="smcap">Trent, W. P.</span>: <i>Robert E. Lee</i>.</p>
+
+<p><span class="smcap">Wister, Owen</span>: <i>U. S. Grant</i>. Beacon Biography.</p></div>
+
+
+<h4 class="volume"><a name="History" id="History"></a>History</h4>
+
+<div class="classified"><p><span class="smcap">Bancroft, George</span>: <i>History of the United States</i> (to the
+inauguration of Washington). A voluminous history with
+interesting passages, but tedious to young readers.</p>
+
+<p><span class="smcap">Draper, Andrew Sloan</span>: <i>The Rescue of Cuba</i>. Silver, Burdett &amp; Co.</p>
+
+<p><span class="smcap">Fiske, John</span>: <i>The War of Independence</i>. Houghton, Mifflin Co.</p>
+
+<p><span class="smcap">Lodge, Henry Cabot</span>, and <span class="smcap">Roosevelt, Theodore</span>: <i>Hero Tales from
+American History</i>. The Century Company.</p>
+
+<p><span class="smcap">Motley, John Lothrop</span>: <i>The Rise of the Dutch Republic</i>. This, with
+other histories by the same writer, is a long and brilliant
+account, full of interest to the older youths who have a taste
+for history.</p></div>
+
+<p><span class='pagenum'><a name="Page_466" id="Page_466">[466]</a></span></p>
+
+<div class="classified"><p><span class="smcap">Parkman, Francis</span>: <i>La Salle and the Northwest</i>, <i>The Conspiracy of
+Pontiac</i>, and <i>Montcalm and Wolfe</i> are three histories of a
+brilliant series on the French explorations and colonizations in
+the Northwest. Parkman is one of our finest historical writers,
+and his graphic style has given many a young man a deep interest
+in history.</p>
+
+<p><span class="smcap">Prescott, William Hickling</span>: <i>The Conquest of Mexico</i> and <i>The
+Conquest of Peru</i> are two interesting histories of the longer
+type, written in an interesting style that many youths will
+enjoy. Prescott&#8217;s work lies with the Spanish, as Motley&#8217;s with
+the Dutch and Parkman&#8217;s with the French.</p>
+
+<p><span class="smcap">Roosevelt, Theodore</span> (see <span class="smcap">Lodge, Henry Cabot</span>).</p></div>
+
+
+<h4 class="volume"><a name="Travel_and_Geography" id="Travel_and_Geography"></a>Travel and Geography</h4>
+
+<div class="classified"><p><span class="smcap">Butterworth, Hezekiah</span>: <i>Zig-Zag Journeys in Classic Lands</i>. There
+are other interesting Zig-Zag Journeys by the same author.</p>
+
+<p><span class="smcap">Dana, Richard Henry</span>: <i>Two Years Before the Mast</i>.</p>
+
+<p><span class="smcap">Darwin, Charles</span>: <i>Voyage of a Naturalist</i>.</p>
+
+<p><span class="smcap">Du Chaillu, Paul</span>: <i>The Land of the Long Night</i>. A winter journey
+through Northern Europe.</p>
+
+<p><span class="smcap">Ingersoll, Ernest</span>: <i>The Book of the Ocean</i>.</p>
+
+<p><span class="smcap">Jenks, Tudor</span>: <i>The Boy&#8217;s Book of Exploration</i>. Deals principally
+with Africa.</p>
+
+<p><span class="smcap">Knox, Thos.</span>: <i>The Boy Travelers in South America</i>. There are other
+interesting books in the same series.</p>
+
+<p><span class="smcap">Roosevelt, Theodore</span>: <i>Stories of the Great West</i>. Century Co.</p>
+
+<p><span class="smcap">Stanley, Henry M.</span>: <i>In Darkest Africa</i>.</p>
+
+<p><span class="smcap">Stockton, Frank Richard</span>: <i>Personally Conducted</i>. Interesting
+descriptions of places in Europe.</p>
+
+<p><span class="smcap">Taylor, Bayard</span>: <i>Views Afoot</i>.</p>
+
+<p><span class="smcap">Twain, Mark</span> (Samuel Langhorne Clemens): <i>Innocents Abroad</i>. An
+amusing account of European travel with good descriptions.</p>
+
+<p><span class="smcap">Warner, Charles Dudley</span>: <i>My Winter on the Nile</i>.</p></div>
+
+
+<h4 class="volume"><a name="Miscellaneous" id="Miscellaneous"></a>Miscellaneous</h4>
+
+<p>The books in the following list have not been selected because of their
+literary qualities, but because they contain things that are of interest
+and value to young people. It is thought that parents may wish some
+information concerning such books as are mentioned, and those given in
+the list can be relied upon as being interesting, instructive and not
+expensive. The arrangement is by title.</p>
+
+<p><span class='pagenum'><a name="Page_467" id="Page_467">[467]</a></span></p>
+
+<div class="classified"><p><span class="smcap">American Boys&#8217; Handy Book of Camp Lore and Woodcraft</span>, by <i>Daniel
+Cortes Beard</i>. Tells how to fish, hunt, camp, and how to make a
+great variety of things.</p>
+
+<p><span class="smcap">American Girls&#8217; Handy Book</span>, by <i>Adelia B. Beard</i>. Directions for
+making and doing. A companion to <i>American Boys&#8217; Handy Book</i>.</p>
+
+<p><span class="smcap">American Girls&#8217; Home Book of Work and Play</span>, by <i>Helen Campbell</i>.
+Outdoor and indoor games and amusements, Christmas gifts,
+cooking, etc.</p>
+
+<p><span class="smcap">Among the Law Makers</span>, by <i>Edmund Alton Bailey</i>. Deals with the
+national Congress, largely the recollections of a former page.</p>
+
+<p><span class="smcap">Beginner&#8217;s Garden Book, The</span>, by <i>Allen French</i>.</p>
+
+<p><span class="smcap">Boys&#8217; Book of Inventions, The</span>, by <i>Ray Stannard Baker</i>.
+Descriptions of our latest inventions.</p>
+
+<p><span class="smcap">Boys&#8217; Second Book of Inventions, The</span>, by <i>Ray Stannard Baker</i>.</p>
+
+<p><span class="smcap">Boy Scouts&#8217; Book of Stories</span>, Edited by <i>Franklin K. Mathiews</i>.</p>
+
+<p><span class="smcap">Careers of Danger and Daring</span>, by <i>Cleveland Moffett</i>. Deals with
+the dangerous occupations of man, steeple-climbing, fire
+service, ballooning, etc.</p>
+
+<p><span class="smcap">Century Book for Young Americans, The</span>, by <i>Eldridge Streeter
+Brooks</i>. Deals with Washington and the government of the United
+States.</p>
+
+<p><span class="smcap">Complete Housekeeper</span>, by <i>Emily Holt</i>.</p>
+
+<p><span class="smcap">Electric Toy-making for Amateurs</span>, by <i>T. O&#8217;Connor Sloane</i>. A
+practical book, interesting to boys.</p>
+
+<p><span class="smcap">Experimental Science</span>, by <i>G. M. Hopkins</i>. A large and rather
+expensive book on experimental physics.</p>
+
+<p><span class="smcap">Flame, Electricity and the Camera.</span> An account of man&#8217;s progress
+from the first kindling of fire to the present time.</p>
+
+<p><span class="smcap">Garden Making</span>, by <i>Liberty Hyde Bailey</i>. A practical book for
+school and house.</p>
+
+<p><span class="smcap">Handycraft for Handy Girls</span>, by <i>A. Neely Hall</i> and <i>Dorothy
+Perkins</i>. Practical plans for work and play.</p>
+
+<p><span class="smcap">Harper&#8217;s Indoor Book for Boys</span>, and <span class="smcap">Harper&#8217;s Outdoor Book for Boys</span>,
+by <i>J. H. Adams</i>. Practical directions for work and play.</p>
+
+<p><span class="smcap">Mary Frances Sewing-Book</span>, by <i>Jane Eyre Foyer</i>.</p>
+
+<p><span class="smcap">Outlines of the Earth&#8217;s History</span>, by <i>N. S. Shaler</i>. A popular book
+on physiography.</p>
+
+<p><span class="smcap">Practical Track and Field Athletics</span>, by <i>John Graham</i> and <i>Ellery
+H. Clark</i>.</p>
+
+<p><span class="smcap">Rules of Order</span> (Pocket Manual), by <i>General Henry M. Roberts</i>.
+Deals with rules of practice in deliberating assemblies.</p>
+
+<p><span class="smcap">Young People&#8217;s Story of Art</span>, by <i>Ida Prentice Whitcomb</i>.</p>
+
+<p><span class="smcap">Young American</span>, by <i>Harry Pratt Judson</i>. An outline of our system
+of government.</p>
+
+<p><span class="smcap">With Men Who Do Things</span>, by <i>A. Russell Bond</i>. &#8220;Scientific American&#8221;
+Series.</p></div>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_468" id="Page_468">[468]</a></span></p>
+
+<p><span class='pagenum'><a name="Page_469" id="Page_469"><br />[469]</a></span></p>
+
+<h2 class="chapterhead"><a name="HANDY_TABLE_OF_ENGLISH_WRITERS" id="HANDY_TABLE_OF_ENGLISH_WRITERS"></a>HANDY TABLE OF ENGLISH WRITERS</h2>
+
+<p>A. <span class="smcap">Period of Preparation.</span> From Caedmon&#8217;s <i>Paraphrase</i>, (670),
+    to the death of Chaucer (1400).</p>
+<ol class="outline">
+  <li>I. Prior to Chaucer&#8217;s birth (1340?).</li>
+  <li class="level2"><i>Beowulf.</i></li>
+  <li class="level2">Caedmon, ?-680.</li>
+  <li class="level2">Bede, 673-735.</li>
+
+  <li class="level1">II. During Chaucer&#8217;s life.</li>
+  <li class="level2">Sir John Mandeville, 1300-1372.</li>
+  <li class="level2">John Wyclif, 1324-1384.</li>
+  <li class="level2">William Langland, <i>Piers Plowman</i>, 1332-?.</li>
+  <li class="level2">CHAUCER, 1340?-1400.</li>
+</ol>
+
+<p>B. <span class="smcap">Period of Accomplishment.</span> From the death of Chaucer to present time.</p>
+
+<ol class="outline">
+  <li>I. The Period of Italian Influence. From the death of Chaucer to the
+Restoration of Charles II (1660).</li>
+  <li class="level2">1. The Age of Reaction. From the death of Chaucer to the
+Accession of Queen Elizabeth (1558).</li>
+  <li class="level3">Malory, <i>Morte d&#8217;Arthur</i>.</li>
+  <li class="level3">William Tyndale, 1449-1536.</li>
+  <li class="level2">2. The Age of Elizabeth. From 1558 to 1603,
+the Accession of James I.</li>
+  <li class="level3">John Lyly, 1554?-1606.</li>
+  <li class="level3">FRANCIS BACON, 1561-1626.</li>
+  <li class="level3">Sir Philip Sidney, 1554-1586.</li>
+  <li class="level3">Sir Walter Raleigh, 1552-1618.</li>
+  <li class="level3"><span class='pagenum'><a name="Page_470" id="Page_470">[470]</a></span>EDMUND SPENSER, 1552-1599.</li>
+  <li class="level3">Christopher Marlowe, 1564-1593.</li>
+  <li class="level3">WILLIAM SHAKESPEARE, 1564-1616.</li>
+  <li class="level3">Ben Jonson, 1573-1637.</li>
+  <li class="level3">Francis Beaumont, 1584-1616.</li>
+  <li class="level3">John Fletcher, 1579-1625.</li>
+
+  <li class="level2">3. The Puritan Age. From the Accession of James I to the
+Restoration of Charles II (1660).</li>
+  <li class="level3">Izaak Walton, 1593-1683.</li>
+  <li class="level3">Jeremy Taylor, 1613-1667.</li>
+  <li class="level3">Sir Thomas Browne, 1605-1682.</li>
+  <li class="level3">John Bunyan, 1628-1688.</li>
+  <li class="level3">JOHN MILTON, 1608-1674.</li>
+  <li class="level3">Robert Herrick, 1591-1674.</li>
+
+  <li class="level1">II. The Period of French Influence. From the Restoration of Charles
+II to the death of Pope (1744).</li>
+  <li class="level2">1. Age of the Restoration. From the Restoration of Charles II
+to the Accession of Queen Anne (1702).</li>
+  <li class="level3">Samuel Butler, 1612-1680.</li>
+  <li class="level3">JOHN DRYDEN, 1631-1700.</li>
+  <li class="level3">John Locke, 1632-1704.</li>
+  <li class="level3">Samuel Pepys, 1633-1703.</li>
+  <li class="level3">Sir Isaac Newton, 1642-1727.</li>
+  <li class="level2">2. The Age of Queen Anne. From the Accession of Queen Anne to
+the death of Pope.</li>
+  <li class="level3">Jonathan Swift, 1667-1745.</li>
+  <li class="level3">Daniel De Foe, 1661?-1731.</li>
+  <li class="level3">Richard Steele, 1672-1729.</li>
+  <li class="level3">JOSEPH ADDISON, 1662-1745.</li>
+  <li class="level3">ALEXANDER POPE, 1688-1744.</li>
+
+  <li class="level1"><span class='pagenum'><a name="Page_471" id="Page_471">[471]</a></span>III. The Modern English Period. From the death of Pope to the present time.</li>
+  <li class="level2">1. The Beginnings. From the death of Pope to 1780.</li>
+  <li class="level3">Samuel Richardson, 1689-1761.</li>
+  <li class="level3">Henry Fielding, 1707-1754.</li>
+  <li class="level3">Dr. Samuel Johnson, 1709-1784.</li>
+  <li class="level3">David Hume, 1711-1776.</li>
+  <li class="level3">Laurence Sterne, 1713-1768.</li>
+  <li class="level3">Thomas Gray, 1716-1771.</li>
+  <li class="level3">Tobias George Smollett, 1721-1771.</li>
+  <li class="level3">OLIVER GOLDSMITH, 1728-1774.</li>
+  <li class="level3">Edmund Burke, 1729-1797.</li>
+  <li class="level3">Edward Gibbon, 1737-1794.</li>
+  <li class="level2">2. The Romantic School. From 1780 to 1837,
+the Accession of Queen Victoria.</li>
+  <li class="level3">William Cowper, 1731-1800.</li>
+  <li class="level3">Robert Burns, 1759-1796.</li>
+  <li class="level3">WILLIAM WORDSWORTH, 1770-1850.</li>
+  <li class="level3">SIR WALTER SCOTT, 1771-1832.</li>
+  <li class="level3">Samuel Taylor Coleridge, 1772-1834.</li>
+  <li class="level3">Robert Southey, 1774-1843.</li>
+  <li class="level3">Charles Lamb, 1775-1834.</li>
+  <li class="level3">Lord Byron, 1788-1824.</li>
+  <li class="level3">Percy Bysshe Shelley, 1792-1822.</li>
+  <li class="level3">John Keats, 1795-1821.</li>
+  <li class="level2">3. The Victorian Age. From the Accession of Victoria to the
+present time.</li>
+  <li class="level3">Thomas Carlyle, 1795-1881.</li>
+  <li class="level3">Thomas Macaulay, 1800-1859.</li>
+  <li class="level3">Elizabeth Barrett Browning, 1806-1861.</li>
+  <li class="level3">ALFRED TENNYSON, 1809-1892.</li>
+  <li class="level3"><span class='pagenum'><a name="Page_472" id="Page_472">[472]</a></span>William Makepeace Thackeray, 1811-1863.</li>
+  <li class="level3">Charles Dickens, 1812-1870.</li>
+  <li class="level3">Robert Browning, 1812-1889.</li>
+  <li class="level3">John Ruskin, 1819-1900.</li>
+  <li class="level3">GEORGE ELIOT, 1819-1880.</li>
+  <li class="level3">Matthew Arnold, 1822-1888.</li>
+  <li class="level3">Robert Louis Stevenson, 1850-1894.</li>
+</ol>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_473" id="Page_473">[473]</a></span></p>
+
+<h2 class="chapterhead"><a name="HANDY_TABLE_OF_AMERICAN_WRITERS" id="HANDY_TABLE_OF_AMERICAN_WRITERS"></a>HANDY TABLE OF AMERICAN WRITERS</h2>
+
+<ol class="outline">
+  <li>A. The Colonial Period. The seventeenth and eighteenth century writers.</li>
+  <li class="level3">Anne Bradstreet, 1612-1672.</li>
+  <li class="level3">Cotton Mather, 1663-1728.</li>
+  <li class="level3">BENJAMIN FRANKLIN, 1706-1790.</li>
+  <li class="level1">B. The National Period. The nineteenth century writers.</li>
+  <li class="level2">I. The Earlier Group.</li>
+  <li class="level3">William Ellery Channing, 1780-1842.</li>
+  <li class="level3">WASHINGTON IRVING, 1783-1859.</li>
+  <li class="level3">James Fenimore Cooper, 1789-1851.</li>
+  <li class="level3">William Cullen Bryant, 1794-1878.</li>
+  <li class="level3">William Hickling Prescott, 1796-1859.</li>
+  <li class="level3">Edgar Allan Poe, 1809-1849.</li>
+  <li class="level2">II. The Civil War Group.</li>
+  <li class="level3">George Bancroft, 1800-1891.</li>
+  <li class="level3">RALPH WALDO EMERSON, 1803-1882.</li>
+  <li class="level3">NATHANIEL HAWTHORNE, 1804-1864.</li>
+  <li class="level3">HENRY WADSWORTH LONGFELLOW, 1807-1882.</li>
+  <li class="level3">JOHN GREENLEAF WHITTIER, 1807-1892.</li>
+  <li class="level3">OLIVER WENDELL HOLMES, 1809-1894.</li>
+  <li class="level3">John Lothrop Motley, 1814-1877.</li>
+  <li class="level3"><span class='pagenum'><a name="Page_474" id="Page_474">[474]</a></span>Henry David Thoreau, 1817-1862.</li>
+  <li class="level3">JAMES RUSSELL LOWELL, 1819-1891.</li>
+  <li class="level3">Francis Parkman, 1823-1893.</li>
+  <li class="level2">III. Later Writers.</li>
+  <li class="level3">Walt Whitman, 1819-1892.</li>
+  <li class="level3">Richard Henry Stoddard, 1825-1903.</li>
+  <li class="level3">Bayard Taylor, 1825-1878.</li>
+  <li class="level3">Edmund Clarence Stedman, 1833-1908.</li>
+  <li class="level3">Mark Twain, 1835-1910.</li>
+  <li class="level3">Eugene Field, 1850-1895.</li>
+</ol>
+
+
+
+<hr class="storybreak" />
+<p><span class='pagenum'><a name="Page_475" id="Page_475">[475]</a></span></p>
+
+<h2 class="chapterhead"><a name="GENERAL_INDEX" id="GENERAL_INDEX"></a><b>GENERAL INDEX</b></h2>
+
+
+<p class="indexletter">A</p>
+
+<ul class="index">
+  <li><i>Abou Ben Adhem</i>: IX, 11.</li>
+  <li><a name="Abraham_Lincoln" id="Abraham_Lincoln"></a><i>Abraham Lincoln</i>: IX, 324.</li>
+  <li><span class="smcap">Addison, Joseph.</span></li>
+  <li class="level2">Selections: <i>The Vision of Mirza</i>: IX, 285.</li>
+  <li class="level3"><i>Sir Roger de Coverley</i>: IX, 371.</li>
+  <li><a name="Adventure" id="Adventure"></a><span class="smcap">Adventure.</span></li>
+  <li class="level2"><i>Robinson Crusoe</i>: III, 45.</li>
+  <li class="level2"><i>The Swiss Family Robinson</i>: III, 99.</li>
+  <li class="level2"><i>The Escape from Prison</i>: IV, 130.</li>
+  <li class="level2"><i>The Sunken Treasure</i>: IV, 199.</li>
+  <li class="level2"><i>The Arickara Indians</i>: IV, 472.</li>
+  <li class="level2"><i>Gulliver&#8217;s Travels</i>: V, 6.</li>
+  <li class="level2"><i>Reminiscences of a Pioneer</i>: V, 340.</li>
+  <li class="level2"><i>The Buccaneers</i>: V, 359.</li>
+  <li class="level2"><i>Captain Morgan at Maracaibo</i>: V, 365.</li>
+  <li class="level2"><i>The Lion and the Missionary</i>: VI, 93.</li>
+  <li class="level2"><i>The Shipwreck</i>: VI, 371.</li>
+  <li class="level2"><i>Elephant Hunting</i>: VI, 385.</li>
+  <li class="level2"><i>An Exciting Canoe Race</i>: VII, 79.</li>
+  <li class="level2"><i>The Buffalo</i>: VII, 96.</li>
+  <li class="level2"><i>A Gorilla Hunt</i>: VII, 247.</li>
+  <li class="level2"><i>The Recovery of the Hispaniola</i>: VII, 352.</li>
+  <li class="level2"><i>Ringrose and His Buccaneers</i>: VIII, 1.</li>
+  <li class="level2"><i>David Crockett in the Creek War</i>: VIII, 37.</li>
+  <li class="level2"><i>A Descent into the Maelstrom</i>: VIII, 95.</li>
+  <li class="level2"><i>How They Took the Gold-Train</i>: VIII, 180.</li>
+  <li class="level2"><i>Ascent of the Jungfrau</i>: IX, 1.</li>
+  <li class="level2"><i>The Gold-Bug</i>: IX, 232.</li>
+  <li class="level2"><i>Modestine</i>: IX, 403.</li>
+  <li><span class="smcap">&AElig;sop.</span></li>
+  <li class="level2">Biography: II, 1.</li>
+  <li><i>Afterwhile</i>: II, 123.</li>
+  <li><i>Aladdin, The Story of.</i> See <a href="#Story_of_Aladdin"><i>Story of Aladdin</i></a>.</li>
+  <li><span class="smcap">Alexander, Cecil Frances.</span></li>
+  <li class="level2">Selection: <i>The Burial of Moses</i>: IV, 266.</li>
+  <li><i>Alfred the Great</i>: IV, 260.</li>
+  <li><i>Alhambra, The</i>: VIII, 153.</li>
+  <li><span class="smcap">Allen, Grant.</span></li>
+  <li class="level2">Selection: <i>A Bed of Nettles</i>: VIII, 209.</li>
+  <li><span class="smcap">Allingham, William.</span></li>
+  <li class="level2">Selections: <i>Fairies, The</i>: I, 405.</li>
+  <li class="level3"><i>Four Ducks on a Pond</i>: VI, 98.</li>
+  <li class="level3"><i>Leprecaun, The</i>: III, 33.</li>
+  <li><span class="smcap">Allston, Washington.</span></li>
+  <li class="level2">Selection: <i>Boyhood</i>: VI, 122.</li>
+  <li><i>America</i>: VIII, 60.</li>
+  <li><i>American Flag, The</i>: V, 396.</li>
+  <li><i>American Writers, Handy Table of</i>: <a href="#Page_473">X, 473</a>.</li>
+  <li><i>Ancient Mariner, The Rime of the.</i> See <a href="#Rime_of_the_Ancient_Mariner_The"><i>Rime of the Ancient Mariner, The</i></a>.</li>
+  <li><span class="smcap">Andersen, Hans Christian.</span></li>
+  <li class="level2">Biography: II, 81.</li>
+  <li class="level2">Selections: <i>Darning-Needle, The</i>: II, 463.</li>
+  <li class="level3"><i>Fir Tree, The</i>: II, 68.</li>
+  <li class="level3"><i>Flax, The</i>: I, 378.</li>
+  <li class="level3"><i>Hardy Tin Soldier, The</i>: I, 148.</li>
+  <li class="level3"><i>Holger Danske</i>: II, 377.</li>
+  <li class="level3"><i>Pea Blossom, The</i>: I, 205.</li>
+  <li class="level3"><i>Snow Queen, The</i>: II, 124.</li>
+  <li class="level3">&#8220;<i>Something</i>:&#8221; I, 395.</li>
+  <li class="level3"><i>Ugly Duckling, The</i>: I, 414.</li>
+  <li class="level3"><i>What the Old Man Does Is Always Right</i>: II, 387.</li>
+  <li><i>Annabel Lee</i>: VII, 341.</li>
+  <li><i>Annie Laurie</i>: VI, 119.</li>
+  <li><i>Apostrophe</i>: <a href="#Page_266">X, 266</a>.</li>
+  <li><span class='pagenum'><a name="Page_476" id="Page_476">[476]</a></span><i>Arabian Nights.</i></li>
+  <li class="level2">Selections: <i>Falcon and the Partridge, The</i>: II, 6.</li>
+  <li class="level3"><i>Second Voyage of Sinbad the Sailor, The</i>: III, 340.</li>
+  <li class="level3"><i>Sparrow and the Eagle, The</i>: II, 8.</li>
+  <li class="level3"><a name="Story_of_Aladdin" id="Story_of_Aladdin"></a><i>Story of Aladdin, The</i>: III, 288.</li>
+  <li><span class="smcap">Archibald, Mrs.</span></li>
+  <li class="level2">Selection: <i>John&#8217;s Pumpkin</i>: III, 1.</li>
+  <li><i>Arickara Indians, The</i>: IV, 472.</li>
+  <li><span class="smcap">Arnold, Matthew.</span></li>
+  <li class="level2">Selections: <i>Forsaken Merman, The</i>: VII, 180.</li>
+  <li class="level3"><i>Sohrab and Rustum</i>: VI, 173.</li>
+  <li><a name="Arthur_King" id="Arthur_King"></a><i>Arthur, King</i>: V, 113.</li>
+  <li><span class="smcap">Arton, Bernard.</span></li>
+  <li class="level2">Selection: <i>Bruce and the Spider</i>: V, 314.</li>
+  <li><i>Ascent of the Jungfrau</i>: IX, 1.</li>
+  <li><i>Ass in the Lion&#8217;s Skin, The</i>: I, 65.</li>
+  <li><i>Atalanta&#8217;s Race</i>: I, 386.</li>
+  <li><i>Attack on the Castle, The</i>: IV, 322.</li>
+  <li><i>At the Seaside</i>: I, 129.</li>
+  <li><i>Auld Lang Syne</i>: VI, 228.</li>
+  <li><i>Autumn Fires</i>: I, 394.</li>
+  <li><i>Away</i>: IV, 460.</li>
+  <li><span class="smcap">Aytoun, William E.</span></li>
+  <li class="level2">Selection: <i>The Heart of Bruce</i>: V, 316.</li>
+</ul>
+
+
+<p class="indexletter">B</p>
+
+<ul class="index">
+  <li><i>Baby, The</i>: II, 11.</li>
+  <li><span class="smcap">Bacon, Sir Francis.</span></li>
+  <li class="level2">Biography: IX, 395.</li>
+  <li class="level2">Selections: <i>Of Expence</i>: IX, 397.</li>
+  <li class="level3"><i>Of Studies</i>: IX, 400.</li>
+  <li><span class="smcap">Baker, Sir Samuel W.</span></li>
+  <li class="level2">Selection: <i>The Escape from Prison</i>: IV, 130.</li>
+  <li><i>Bald Knight, The</i>: I, 385.</li>
+  <li><i>Balin and Balan</i>: V, 130.</li>
+  <li><i>Ballad of Agincourt, The</i>: V. 95.</li>
+  <li><a name="Ballads" id="Ballads"></a><span class="smcap">Ballads.</span></li>
+  <li class="level2"><i>Lochinvar</i>: III, 432.</li>
+  <li class="level2"><i>Robin Hood</i>: III, 436.</li>
+  <li class="level2"><i>Robin Hood and Little John</i>: III, 437.</li>
+  <li class="level2"><i>Robin Hood and the Stranger</i>: III, 444.</li>
+  <li class="level2"><i>Robin Hood and the Widow&#8217;s Three Sons</i>: III, 449.</li>
+  <li class="level2"><i>Robin Hood and Allin a Dale</i>: III, 454.</li>
+  <li class="level2"><i>The Wreck of the Hesperus</i>: IV, 89.</li>
+  <li class="level2"><i>Chevy-Chase</i>: IV, 312.</li>
+  <li class="level2"><i>The Ballad of Agincourt</i>: V, 95.</li>
+  <li class="level2"><i>The Heart of Bruce</i>: V, 316.</li>
+  <li class="level2"><i>The Inchcape Rock</i>: V, 465.</li>
+  <li class="level2"><i>Lord Ullin&#8217;s Daughter</i>: VI, 23.</li>
+  <li class="level2"><i>Herv&eacute; Riel</i>: VIII, 168.</li>
+  <li><i>Bannockburn</i>: VII, 15.</li>
+  <li><i>Barbara Frietchie</i>: III, 347.</li>
+  <li><i>Barefoot Boy, The</i>: IV, 3.</li>
+  <li><i>Baron Munchausen.</i> See <a href="#Munchausen_Baron"><i>Munchausen, Baron</i></a>.</li>
+  <li><i>Bat and the Two Weasels, The</i>: I, 154.</li>
+  <li><i>Battle Hymn of the Republic</i>: V, 399.</li>
+  <li><i>Battle of Cressy, The</i>: IX, 161.</li>
+  <li><i>Battle of Hastings, The</i>: IX, 330.</li>
+  <li><i>Battle of Ivry</i>: VIII, 76.</li>
+  <li><i>Battle of Saratoga, The</i>: IX, 176.</li>
+  <li><i>Battle of Thermopyl&aelig;, The</i>: VIII, 81.</li>
+  <li><i>Battle of Trafalgar, The</i>: VIII, 284.</li>
+  <li><i>Battle of Waterloo, The</i>: VIII, 176.</li>
+  <li><i>Baucis and Philemon</i>: I, 431.</li>
+  <li><i>Beauty and the Beast</i>: I, 318.</li>
+  <li><i>Bed in Summer</i>: I, 173.</li>
+  <li><i>Bed of Nettles, A</i>: VIII, 209.</li>
+  <li><span class="smcap">Beers, Mrs. Ethel Lynn.</span></li>
+  <li class="level2">Selection: <i>The Picket Guard</i>: VII, 177.</li>
+  <li><span class="smcap">Belt, Thomas.</span></li>
+  <li class="level2">Selections: <i>Some Clever Monkeys</i>: VI, 402.</li>
+  <li class="level3"><i>Trees and Ants That Help Each Other</i>: VII, 306.</li>
+  <li><i>Beowulf and Grendel</i>: III, 350.</li>
+  <li><i>Bernardo del Carpio</i>: IV, 270.</li>
+  <li><i>Beth Gelert</i>: III, 42.</li>
+  <li><i>Better Than Gold</i>: IV, 1.</li>
+  <li><span class='pagenum'><a name="Page_477" id="Page_477">[477]</a></span><span class="smcap">Biography.</span></li>
+  <li class="level2"><i>Robert Louis Stevenson</i>: I, 128.</li>
+  <li class="level2"><i>Eugene Field</i>: I, 242.</li>
+  <li class="level2"><i>&AElig;sop</i>: II, 1.</li>
+  <li class="level2"><i>Hans Christian Andersen</i>: II, 81.</li>
+  <li class="level2"><i>Henry Wadsworth Longfellow</i>: IV, 62.</li>
+  <li class="level2"><i>Alice Cary</i>: IV, 116.</li>
+  <li class="level2"><i>Ph&oelig;be Cary</i>: IV, 116.</li>
+  <li class="level2"><i>Nathaniel Hawthorne</i>: IV, 180.</li>
+  <li class="level2"><i>Alfred the Great</i>: IV, 260.</li>
+  <li class="level2"><i>John Bunyan</i>: IV, 417.</li>
+  <li class="level2"><i>Jonathan Swift</i>: V, 1.</li>
+  <li class="level2"><i>Sir Walter Scott</i>: VI, 26.</li>
+  <li class="level2"><i>Matthew Arnold</i>: VI, 204.</li>
+  <li class="level2"><i>John Howard Payne</i>: VI, 221.</li>
+  <li class="level2"><i>Charles Dickens</i>: VI, 232.</li>
+  <li class="level2"><i>Thomas Gray</i>: VI, 369.</li>
+  <li class="level2"><i>George Rogers Clark</i>: VI, 422.</li>
+  <li class="level2"><i>Queen Victoria</i>: VII, 152.</li>
+  <li class="level2"><i>William Cowper</i>: VII, 331.</li>
+  <li class="level2"><i>John Greenleaf Whittier</i>: VII, 381.</li>
+  <li class="level2"><i>William Cullen Bryant</i>: VII, 391.</li>
+  <li class="level2"><i>Oliver Wendell Holmes</i>: VII, 398.</li>
+  <li class="level2"><i>James Russell Lowell</i>: VII, 411.</li>
+  <li class="level2"><i>Elizabeth Barrett Browning</i>: VII, 419.</li>
+  <li class="level2"><i>David Crockett</i>: VIII, 29.</li>
+  <li class="level2"><i>P&egrave;re Marquette</i>: VIII, 121.</li>
+  <li class="level2"><i>Washington Irving</i>: VIII, 216.</li>
+  <li class="level2"><i>Charles Lamb</i>: VIII, 328.</li>
+  <li class="level2"><i>Mary Lamb</i>: VIII, 328.</li>
+  <li class="level2"><i>William Shakespeare</i>: VIII, 468.</li>
+  <li class="level2"><i>Florence Nightingale</i>: IX, 13.</li>
+  <li class="level2"><i>Julius Caesar</i>: IX, 155.</li>
+  <li class="level2"><i>Geoffrey Chaucer</i>: IX, 201.</li>
+  <li class="level2"><i>Samuel Johnson</i>: IX, 216.</li>
+  <li class="level2"><i>Sir Francis Bacon</i>: IX, 395.</li>
+  <li class="level2"><i>John Keats</i>: IX, 457.</li>
+  <li class="level2">See <a href="#Legendary_Heroes"><span class="smcap">Legendary Heroes</span></a>; <a href="#History2"><span class="smcap">History</span></a>.</li>
+  <li><span class="smcap">Bj&ouml;rnson, Bj&ouml;rnstjerne.</span></li>
+  <li class="level2">Selection: <i>The Tree</i>: I, 301.</li>
+  <li><i>Black Hawk Tragedy, The</i>: VII, 58.</li>
+  <li><span class="smcap">Blake, William.</span></li>
+  <li class="level2">Selection: <i>Infant Joy</i>: II, 10.</li>
+  <li><i>Blind Lassie, The</i>: VI, 120.</li>
+  <li><i>Block City</i>: I, 196.</li>
+  <li><i>Bluebeard</i>: II, 22.</li>
+  <li><i>Boat Song</i>: VII, 17.</li>
+  <li><i>Book Lists, Supplementary</i>: <a href="#Page_451">X, 451</a>.</li>
+  <li><i>Boston Massacre, The</i>: IV, 217.</li>
+  <li><span class="smcap">Boswell, James.</span></li>
+  <li class="level2">Selection: From <i>The Life of Johnson</i>: IX, 216.</li>
+  <li><i>Boy and the Nettle, The</i>: I, 65.</li>
+  <li><i>Boyhood</i>: VI, 122.</li>
+  <li><i>Boys and the Frogs, The</i>: I, 63.</li>
+  <li><i>Braddock&#8217;s Defeat</i>: V, 379.</li>
+  <li><span class="smcap">Branch, Mary Bolles.</span></li>
+  <li class="level2">Selection: <i>The Petrified Fern</i>, VII, 77.</li>
+  <li><i>Breathes There the Man</i>: VII, 151.</li>
+  <li><i>Brook, The.</i> See <a href="#Song_of_the_Brook"><i>Song of the Brook</i></a>.</li>
+  <li><i>Brother and Sister, The</i>: I, 410.</li>
+  <li><span class="smcap">Brown, John, M. D.</span></li>
+  <li class="level2">Selection: <i>Rab and His Friends</i>: VI, 99.</li>
+  <li><span class="smcap">Browning, Elizabeth Barrett.</span></li>
+  <li class="level2">Biography: VII, 419.</li>
+  <li class="level2">Selections: <i>Child&#8217;s Thought of God, A</i>: VII, 418.</li>
+  <li class="level3"><i>Romance of the Swan&#8217;s Nest, The</i>: VIII, 315.</li>
+  <li><span class="smcap">Browning, Robert.</span></li>
+  <li class="level2">Selections: <i>Herv&eacute; Riel</i>: VIII, 168.</li>
+  <li class="level3"><i>How They Brought the Good News from Ghent to Aix</i>: V, 335.</li>
+  <li class="level3"><i>Incident of the French Camp</i>: IV, 174.</li>
+  <li class="level3"><i>Pied Piper of Hamelin, The</i>: III, 384.</li>
+  <li class="level3"><i>Pippa Passes</i>: IX, 293.</li>
+  <li><i>Brown Thrush, The</i>: I, 147.</li>
+  <li><i>Bruce, Robert, The Rise of.</i> See <a href="#Rise_of_Robert_Bruce_The"><i>Rise of Robert Bruce, The</i></a>.</li>
+  <li><i>Bruce and the Spider</i>: V, 314.</li>
+  <li><i>Brute Neighbors</i>: VII, 260.</li>
+  <li><span class="smcap">Bryant, William Cullen.</span></li>
+  <li class="level2">Biography: VII, 391.</li>
+  <li class="level2">Selections: <i>Robert of Lincoln</i>: IX, 444.</li>
+  <li class="level3"><i>To a Waterfowl</i>: VII, 395.</li>
+  <li class="level3"><i>To the Fringed Gentian</i>: VII, 4.</li>
+  <li><span class='pagenum'><a name="Page_478" id="Page_478">[478]</a></span><i>Buccaneers, The</i>: V, 359.</li>
+  <li><i>Buffalo, The</i>: VII, 96.</li>
+  <li><i>Bugle Song, The</i>: VI, 133.</li>
+  <li><span class="smcap">Bunyan, John.</span></li>
+  <li class="level2">Biography: IV, 417.</li>
+  <li class="level2">Selection: <i>The Pilgrim&#8217;s Progress</i>: IV, 423.</li>
+  <li><i>Burial of Moses</i>: IV, 266.</li>
+  <li><span class="smcap">Burns, Robert.</span></li>
+  <li class="level2">Selections: <i>Auld Lang Syne</i>: VI, 228.</li>
+  <li class="level3"><i>Bannockburn</i>: VII, 15.</li>
+  <li class="level3"><i>Cotter&#8217;s Saturday Night, The</i>: VIII, 319.</li>
+  <li class="level3"><i>For A&#8217; That and A&#8217; That</i>: VII, 149.</li>
+  <li class="level3"><i>To a Mountain Daisy</i>: VII, 8.</li>
+  <li class="level3"><i>To a Mouse</i>: VII, 5.</li>
+  <li><span class="smcap">Byron, George Gordon, Lord.</span></li>
+  <li class="level2">Selections: <i>Battle of Waterloo, The</i>: VIII, 176.</li>
+  <li class="level3"><i>Destruction of Sennacherib, The</i>: VI, 141.</li>
+  <li class="level3"><i>Vision of Belshazzar, The</i>: VI, 153.</li>
+  <li class="level3"><i>Call to Arms, A</i>: IX, 475.</li>
+</ul>
+
+
+<p class="indexletter">C</p>
+
+<ul class="index">
+  <li><span class="smcap">Campbell, Thomas.</span></li>
+  <li class="level2">Selections: <i>Lord Ullin&#8217;s Daughter</i>: VI, 23.</li>
+  <li class="level3"><i>Rainbow, The</i>: VI, 91.</li>
+  <li class="level3"><i>Soldier&#8217;s Dream, The</i>: VII, 170.</li>
+  <li><i>Captain Morgan at Maracaibo</i>: V, 365.</li>
+  <li><i>Capture of Vincennes, The</i>: VI, 428.</li>
+  <li><span class="smcap">Carroll, Lewis.</span></li>
+  <li class="level2">Selections: <i>Mock Turtle&#8217;s Story, The</i>: III, 3.</li>
+  <li class="level3"><i>Queen Alice</i>: III, 23.</li>
+  <li class="level3"><i>Walrus and the Carpenter, The</i>: III, 36.</li>
+  <li><span class="smcap">Cary, Alice.</span></li>
+  <li class="level2">Biography: IV, 116.</li>
+  <li class="level2">Selection: <i>Pictures of Memory</i>: IV, 127.</li>
+  <li><span class="smcap">Cary, Phoebe.</span></li>
+  <li class="level2">Biography: IV, 116.</li>
+  <li class="level2">Selection: <i>Nearer Home</i>: IV, 126.</li>
+  <li><i>Casabianca</i>: VIII, 313.</li>
+  <li><i>Cat and the Chestnuts, The</i>: I, 142.</li>
+  <li><span class="smcap">Cervantes.</span> (Miguel de Cervantes Saavedra.)</li>
+  <li class="level2">Selection: <i>Don Quixote</i>: VII, 431.</li>
+  <li><i>Charge of the Light Brigade, The</i>: VII, 147.</li>
+  <li><i>Chambered Nautilus, The</i>: IX, 454.</li>
+  <li><i>Character, Influence of Reading in Formation of</i>: <a href="#Page_88">X, 88</a>.</li>
+  <li><span class="smcap">Character</span>, <i>Selections in</i> Journeys <i>Teaching Valuable
+    Lessons in</i> (see also <a href="#CHAPTER_V">Chapter V, page 85, Volume X</a>):</li>
+  <li class="level2"><i>Wisdom, Ignorance</i>:&mdash;</li>
+  <li class="level3"><i>The Ass in the Lion&#8217;s Skin</i>: I, 65.</li>
+  <li class="level3"><i>The Fox and the Stork</i>: I, 73.</li>
+  <li class="level3"><i>The Fox and the Grapes</i>: I, 135.</li>
+  <li class="level3"><i>The Bat and the Two Weasels</i>: I, 154.</li>
+  <li class="level3"><i>The Horse and the Stag</i>: I, 388.</li>
+  <li class="level3"><i>The Fox, the Wolf and the Horse</i>: I, 377.</li>
+  <li class="level3"><i>The Bold Knight</i>: I, 385.</li>
+  <li class="level3"><i>The Wolf and the Lamb</i>: I, 455.</li>
+  <li class="level3"><i>Minerva and the Owl</i>: II, 7.</li>
+  <li class="level3"><i>The Country Squire</i>: VI, 474.</li>
+  <li class="level2"><i>Attention to Little Things</i>:&mdash;</li>
+  <li class="level3"><i>The Lion and the Mouse</i>: I, 75.</li>
+  <li class="level3"><i>The Reaper and the Flowers</i>: I, 410.</li>
+  <li class="level3"><i>The Daffodils</i>: VII, 1.</li>
+  <li class="level3"><i>The Petrified Fern</i>: VII, 77.</li>
+  <li class="level2"><i>Promptness, Industry, Perseverance</i>:&mdash;</li>
+  <li class="level3"><i>Time to Rise</i>: I, 340.</li>
+  <li class="level3"><i>The Hare and the Tortoise</i>: I, 71.</li>
+  <li class="level3"><i>The Lark and Her Young Ones</i>: I, 131.</li>
+  <li class="level3"><i>Industry and Sloth</i>: I, 300.</li>
+  <li class="level3"><i>Whittington and His Cat</i>: I, 442.</li>
+  <li class="level3"><i>Tom, the Water Baby</i>: II, 215.</li>
+  <li class="level3"><i>The Village Blacksmith</i>: IV, 86.</li>
+  <li class="level3"><i>Bruce and the Spider</i>: V, 314.</li>
+  <li class="level2"><span class='pagenum'><a name="Page_479" id="Page_479">[479]</a></span><i>Independence, Equality of Man</i>:&mdash;</li>
+  <li class="level3"><i>The Village Blacksmith</i>: IV, 86.</li>
+  <li class="level3"><i>For A&#8217; That and A&#8217; That</i>: VII, 149.</li>
+  <li class="level2"><i>Courage and Bravery</i>:&mdash;</li>
+  <li class="level3"><i>The Boy and the Nettle</i>: I, 65.</li>
+  <li class="level3"><i>The Mice and the Cat</i>: I, 197.</li>
+  <li class="level3"><i>Roland at Roncesvalles</i>: III, 460.</li>
+  <li class="level3"><i>Cid Campeador</i>: IV, 9.</li>
+  <li class="level3"><i>Ulysses</i>: IV, 398.</li>
+  <li class="level3"><i>Horatius</i>: VI, 1.</li>
+  <li class="level2"><i>Evil of Conceit</i>:&mdash;</li>
+  <li class="level3"><i>The Gnat and the Bull</i>: I, 70.</li>
+  <li class="level3"><i>The Cock and the Horses</i>: I, 146.</li>
+  <li class="level3"><i>The Pea Blossom</i>: I, 205.</li>
+  <li class="level3"><i>The Sparrow and the Eagle</i>: II, 8.</li>
+  <li class="level3"><i>The Milkmaid</i>: II, 374.</li>
+  <li class="level2"><i>Flattery as a Vice</i>:&mdash;</li>
+  <li class="level3"><i>The Fox and the Crow</i>: I, 64.</li>
+  <li class="level3"><i>The Spider and the Fly</i>: III, 19.</li>
+  <li class="level2"><i>Love of Home and Family</i>:&mdash;</li>
+  <li class="level3"><i>The Rock-a-By Lady</i>: I, 94.</li>
+  <li class="level3"><i>Little Birdie</i>: I, 142.</li>
+  <li class="level3"><i>Sleep, Baby, Sleep</i>: I, 204.</li>
+  <li class="level3"><i>Old Gaelic Lullaby</i>: I, 203.</li>
+  <li class="level3"><i>Lady Button-Eyes</i>: I, 366.</li>
+  <li class="level3"><i>The First Snowfall</i>: II, 403.</li>
+  <li class="level3"><i>Rain on the Roof</i>: IV, 7.</li>
+  <li class="level3"><i>Pictures of Memory</i>: IV, 127.</li>
+  <li class="level3"><i>Bernardo del Carpio</i>: IV, 270.</li>
+  <li class="level3"><i>Rab and His Friends</i>: VI, 99.</li>
+  <li class="level3"><i>Childhood</i>: VI, 124.</li>
+  <li class="level3"><i>Home, Sweet Home</i>: VI, 221.</li>
+  <li class="level3"><i>Home They Brought Her Warrior Dead</i>: VI, 231.</li>
+  <li class="level3"><i>A Christmas Carol</i>: VI, 244.</li>
+  <li class="level3"><i>To My Infant Son</i>: VI, 478.</li>
+  <li class="level3"><i>The Old Oaken Bucket</i>: VII, 11.</li>
+  <li class="level3"><i>My Old Kentucky Home</i>: VII, 179.</li>
+  <li class="level3"><i>The Forsaken Merman</i>: VII, 180.</li>
+  <li class="level3"><i>Tom and Maggie Tulliver</i>: VII, 186.</li>
+  <li class="level3"><i>The Family of Michael Arout</i>: VII, 314.</li>
+  <li class="level3"><i>My Mother&#8217;s Picture</i>: VII, 335.</li>
+  <li class="level3"><i>Snowbound</i> (Extract from): VII, 388.</li>
+  <li class="level3"><i>The Cotter&#8217;s Saturday Night</i>: VIII, 319.</li>
+  <li class="level3"><i>Dream Children</i>: VIII, 335.</li>
+  <li class="level2"><i>Honesty and Truthfulness</i>:&mdash;</li>
+  <li class="level3"><i>The Shepherd Boy and the Wolves</i>: I, 92.</li>
+  <li class="level3"><i>The Falcon and the Partridge</i>: II, 6.</li>
+  <li class="level3"><i>The Pied Piper of Hamelin</i>: III, 384.</li>
+  <li class="level3"><i>The Cubes of Truth</i>: VII, 406.</li>
+  <li class="level2"><i>Friendliness, Kindness, Consideration of Others</i>:&mdash;</li>
+  <li class="level3"><i>The Two Travelers</i>: I, 109.</li>
+  <li class="level3"><i>Cinderella</i>: I, 224.</li>
+  <li class="level3"><i>Baucis and Philemon</i>: I, 431.</li>
+  <li class="level3"><i>The Snow Queen</i>: II, 124.</li>
+  <li class="level3"><i>The King of the Golden River</i>: II, 405.</li>
+  <li class="level3"><i>Auld Lang Syne</i>: VI, 228.</li>
+  <li class="level3"><i>A Christmas Carol</i>: VI, 244.</li>
+  <li class="level3"><i>Florence Nightingale</i>: IX, 13.</li>
+  <li class="level2"><i>Generosity</i>:&mdash;</li>
+  <li class="level3"><i>The Two Travelers</i>: I, 109.</li>
+  <li class="level3"><i>The Two Travelers and the Oyster</i>: I, 111.</li>
+  <li class="level3"><i>The Cat and the Chestnuts</i>: I, 142.</li>
+  <li class="level3"><i>Baucis and Philemon</i>: I, 431.</li>
+  <li class="level2"><i>Kindness to Animals</i>:&mdash;</li>
+  <li class="level3"><i>The Boys and the Frogs</i>: I, 63.</li>
+  <li class="level3"><i>The Brown Thrush</i>: I, 147.</li>
+  <li class="level3"><i>Mercy to Animals</i>: I, 413.</li>
+  <li class="level3"><i>The Ugly Duckling</i>: I, 414.</li>
+  <li class="level3"><i>Tom, the Water Baby</i>: II, 215.</li>
+  <li class="level3"><i>Who Stole the Bird&#8217;s Nest?</i>: II, 399.</li>
+  <li class="level3"><i>A Dog of Flanders</i>: IV, 93.</li>
+  <li class="level3"><i>Rab and His Friends</i>: VI, 99.</li>
+  <li class="level3"><i>The Rime of the Ancient Mariner</i>: VII, 29.</li>
+  <li class="level2"><i>Patience and Gentleness</i>:&mdash;</li>
+  <li class="level3"><i>The Wind and the Sun</i>: I, 95.</li>
+  <li class="level3"><i>Cinderella</i>: I, 224.</li>
+  <li class="level3"><i>Rab and His Friends</i>: VI, 99.</li>
+  <li class="level2"><i>Faithfulness</i>:&mdash;</li>
+  <li class="level3">&#8220;<i>Something</i>&#8221;: I, 395.</li>
+  <li class="level3"><i>Whittington and His Cat</i>: I, 442.</li>
+  <li class="level3"><i>The Mirror of Matsuyana</i>: II, 36.</li>
+  <li class="level3"><span class='pagenum'><a name="Page_480" id="Page_480">[480]</a></span><i>The Snow Queen</i>: II, 124.</li>
+  <li class="level3"><i>Casabianca</i>: VIII, 313.</li>
+  <li class="level2"><i>Envy and Covetousness as Evils</i>:&mdash;</li>
+  <li class="level3"><i>The Dog and His Shadow</i>: I, 63.</li>
+  <li class="level3"><i>The Frog Who Wished to Be as Big as an Ox</i>: I, 66.</li>
+  <li class="level3"><i>The Golden Touch</i>: II, 43.</li>
+  <li class="level2"><i>Contentment, Hopefulness</i>:&mdash;</li>
+  <li class="level3"><i>The Town Mouse and the Country Mouse</i>: I, 199.</li>
+  <li class="level3"><i>The Pea Blossom</i>: I, 205.</li>
+  <li class="level3"><i>The Flax</i>: I, 378.</li>
+  <li class="level3"><i>The Discontented Stonecutter</i>: II, 12.</li>
+  <li class="level3"><i>The Fir Tree</i>: II, 68.</li>
+  <li class="level3"><i>The Blind Lassie</i>: VI, 120.</li>
+  <li class="level3"><i>Pippa Passes</i>: IX, 293.</li>
+  <li class="level2"><i>Patriotism&mdash;Love of Country</i>:&mdash;</li>
+  <li class="level3"><i>Holger Danske</i>: II, 377.</li>
+  <li class="level3"><i>Incident of the French Camp</i>: IV, 174.</li>
+  <li class="level3"><i>The American Flag</i>: V, 396.</li>
+  <li class="level3"><i>Battle Hymn of the Republic</i>: V, 399.</li>
+  <li class="level3"><i>Stonewall Jackson&#8217;s Way</i>: V, 400.</li>
+  <li class="level3"><i>Horatius</i>: VI, 1.</li>
+  <li class="level3"><i>Bannockburn</i>: VII, 15.</li>
+  <li class="level3"><i>Breathes There the Man</i>: VII, 151.</li>
+  <li class="level3"><i>How Sleep the Brave</i>: VII, 151.</li>
+  <li class="level3"><i>Make Way for Liberty</i>: VII, 172.</li>
+  <li class="level3"><i>The Old Continentals</i>: VII, 175.</li>
+  <li class="level3"><i>America</i>: VIII, 60.</li>
+  <li class="level3"><i>The Battle of Thermopylae</i>: VIII, 81.</li>
+  <li class="level3"><i>The Fall of the Alamo</i>: VIII, 141.</li>
+  <li class="level3"><i>Herv&eacute; Riel</i>: VIII, 168.</li>
+  <li class="level3"><i>The Battle of Trafalgar</i>: VIII, 284.</li>
+  <li class="level3"><i>The Gettysburg Address</i>: IX, 321.</li>
+  <li class="level2"><i>Religious Feeling&mdash;Devotion to God</i>:&mdash;</li>
+  <li class="level3"><i>A Thought</i>: I, 66.</li>
+  <li class="level3"><i>The First Snowfall</i>: II, 403.</li>
+  <li class="level3"><i>Nearer Home</i>: IV, 126.</li>
+  <li class="level3"><i>Stonewall Jackson&#8217;s Way</i>: V, 400.</li>
+  <li class="level3"><i>The Rainbow</i>: VI, 91.</li>
+  <li class="level3"><i>A Child&#8217;s Thought of God</i>: VII, 418.</li>
+  <li><i>Character, The Building of</i>: <a href="#Page_85">X, 85</a>.</li>
+  <li><i>Chaucer, Geoffrey</i>: IX, 201.</li>
+  <li><i>Chevy-Chase</i>: IV, 312.</li>
+  <li><span class="smcap">Child, L. Maria.</span></li>
+  <li class="level2">Selection: <i>Who Stole the Bird&#8217;s Nest?</i>: II, 399.</li>
+  <li><i>Childhood</i>: VI, 124.</li>
+  <li><i>Children&#8217;s Books of the Past, Some.</i> See <a href="#Some_Childrens_Books_of_the_Past"><i>Some Children&#8217;s Books of the Past</i></a>.</li>
+  <li><i>Child&#8217;s Thought of God, A</i>: VII, 418.</li>
+  <li><i>Child&#8217;s World, The</i>: II, 66.</li>
+  <li><i>Chimera, The</i>: II, 173.</li>
+  <li><i>Christmas Carol, A</i>: VI, 244.</li>
+  <li><i>Christmas in Old Time</i>: VI, 356.</li>
+  <li><i>Cid Campeador</i>: IV, 9.</li>
+  <li><i>Cinderella</i>: I, 224.</li>
+  <li><span class="smcap">Clark, George Rogers.</span></li>
+  <li class="level2">Biography: VI, 422.</li>
+  <li class="level2">Selection: <i>The Capture of Vincennes</i>: VI, 428.</li>
+  <li><i>Classification of Masterpieces, Graphic</i>: <a href="#Page_12">X, 12</a>.</li>
+  <li><span class="smcap">Cleveland, Henry R.</span></li>
+  <li class="level2">Selection: <i>Henry Hudson&#8217;s Fourth Voyage</i>: V, 254.</li>
+  <li><i>Close Reading or Study</i>: <a href="#Page_224">X, 224</a>.</li>
+  <li><i>Cloud, The</i>: VII, 257.</li>
+  <li><i>Cock and the Horses, The</i>: I, 146.</li>
+  <li><span class="smcap">Coe, Edwin D.</span></li>
+  <li class="level2">Selections: <i>Black Hawk Tragedy, The</i>: VII, 58.</li>
+  <li class="level3"><i>Reminiscences of a Pioneer</i>: V, 340.</li>
+  <li><span class="smcap">Coleridge, Samuel Taylor.</span></li>
+  <li class="level2">Selection: <i>The Rime of the Ancient Mariner</i>: VII, 29.</li>
+  <li><span class="smcap">Collins, William.</span></li>
+  <li class="level2">Selection: <i>How Sleep the Brave</i>: VII, 151.</li>
+  <li><span class='pagenum'><a name="Page_481" id="Page_481">[481]</a></span><i>Comic Songs, On.</i> See <a href="#On_Comic_Songs"><i>On Comic Songs</i></a>.</li>
+  <li><i>Contrast, A</i>: II, 42.</li>
+  <li><span class="smcap">Cooper, James Fenimore.</span></li>
+  <li class="level2">Selection: <i>An Exciting Canoe Race</i>: VII, 79.</li>
+  <li><i>Correlation of</i> Journeys <i>with the School</i>: <a href="#Page_345">X, 345</a>.</li>
+  <li class="level2"><i>Reading</i>: <a href="#Page_315">X, 315</a>, <a href="#Page_348">348</a>.</li>
+  <li class="level2"><i>Language</i>: <a href="#Page_345">X, 345</a>, <a href="#Page_349">349</a>.</li>
+  <li class="level2"><i>Nature Study</i>: <a href="#Page_380">X, 380</a>.</li>
+  <li class="level2"><i>Geography and History</i>: <a href="#Page_400">X, 400</a>.</li>
+  <li class="level2"><i>High School</i>: <a href="#Page_425">X, 425</a>.</li>
+  <li><i>Cort&eacute;s, The Retreat of.</i> See <a href="#Retreat_of_Cortes_The"><i>Retreat of Cort&eacute;s, The</i></a>.</li>
+  <li><i>Cotters Saturday Night, The</i>: VIII, 319.</li>
+  <li><i>Country Squire, The</i>: VI, 474.</li>
+  <li><i>Cow, The</i>: I, 106.</li>
+  <li><span class="smcap">Cowper, William.</span></li>
+  <li class="level2">Biography: VII, 331.</li>
+  <li class="level2">Selections: <i>Mercy to Animals</i>: I, 413.</li>
+  <li class="level3"><i>My Mother&#8217;s Picture</i>: VII, 335.</li>
+  <li><span class="smcap">Creasy, E. S.</span></li>
+  <li class="level2">Selections: <i>Battle of Hastings, The</i>: IX, 330.</li>
+  <li class="level3"><i>Battle of Saratoga, The</i>: IX, 176.</li>
+  <li><i>Creation, Stories of the.</i> See <a href="#Stories_of_the_Creation"><i>Stories of the Creation</i></a>.</li>
+  <li><span class="smcap">Crockett, David.</span></li>
+  <li class="level2">Biography: VIII, 29.</li>
+  <li class="level2">Selections: <i>David Crockett in the Creek War</i>: VIII, 37.</li>
+  <li class="level3"><i>Fiddling Parson, The</i>: V, 440.</li>
+  <li class="level3"><i>Knock-Out, The</i>: VI, 471.</li>
+  <li><i>Cubes of Truth, The</i>: VII, 406.</li>
+  <li><span class="smcap">Cumming, Roualeyn Gordon.</span></li>
+  <li class="level2">Selection: <i>Elephant Hunting</i>: VI, 385.</li>
+  <li><i>Cupid and Psyche</i>: III, 365.</li>
+</ul>
+
+<p class="indexletter">D</p>
+
+<ul class="index">
+  <li><i>Daffodils, The</i>: VII, 1.</li>
+  <li><i>Darning-Needle, The</i>: II, 463.</li>
+  <li><i>David</i>: IV, 274.</li>
+  <li><i>David Crockett in the Creek War</i>: VIII, 37.</li>
+  <li><i>Death of Balder, The</i>: II, 99.</li>
+  <li><i>Death of C&aelig;sar, The</i>: IX, 126.</li>
+  <li><i>Death of C&aelig;sar, The</i>: IX, 143.</li>
+  <li><i>Death of Hector, The</i>: IV, 364.</li>
+  <li><i>Definition of a Gentleman</i>: IV, 170.</li>
+  <li><span class="smcap">Defoe, Daniel.</span></li>
+  <li class="level2">Selection: <i>Robinson Crusoe</i>: III, 45.</li>
+  <li><span class="smcap">Dekker, Thomas.</span></li>
+  <li class="level2">Selection: <i>Lullaby</i>: I, 96.</li>
+  <li><span class="smcap">De Quincey, Thomas.</span></li>
+  <li class="level2">Selection: <i>Joan of Arc</i>: IV, 225.</li>
+  <li><i>Descent into the Maelstrom, A</i>: VIII, 95.</li>
+  <li><i>Destruction of Sennacherib, The</i>: VI, 141.</li>
+  <li><span class="smcap">Dickens, Charles.</span></li>
+  <li class="level2">Biography: VI, 232.</li>
+  <li class="level2">Selections: <i>Alfred the Great</i>: IV, 260.</li>
+  <li class="level3"><i>Christmas Carol, A</i>: VI, 244.</li>
+  <li class="level3"><i>Pickwick and Sam Weller</i>: IX, 76.</li>
+  <li><span class="smcap">Dimond, William.</span></li>
+  <li class="level2">Selection: <i>The Mariner&#8217;s Dream</i>: III, 95.</li>
+  <li><i>Discontented Stonecutter, The</i>: II, 12.</li>
+  <li><i>Discreet Hans</i>: II, 15.</li>
+  <li><i>Dissensions at King Arthur&#8217;s Court</i>: V, 232.</li>
+  <li><i>Dissertation upon Roast Pig, A</i>: IX, 56.</li>
+  <li><span class="smcap">Dobell, Sydney.</span></li>
+  <li class="level2">Selection: <i>How&#8217;s My Boy?</i>: VII, 169.</li>
+  <li><i>Dog and his Shadow, The</i>: I, 63.</li>
+  <li><i>Dog in the Manger, The</i>: I, 134.</li>
+  <li><i>Dog of Flanders, A</i>: IV, 93.</li>
+  <li><i>Don Quixote</i>: VII, 431.</li>
+  <li><span class="smcap">Douglas, William.</span></li>
+  <li class="level2">Selection: <i>Annie Laurie</i>: VI, 119.</li>
+  <li><span class="smcap">Drake, Joseph Rodman.</span></li>
+  <li class="level2">Selection: <i>The American Flag</i>: V, 396.</li>
+  <li><a name="Drama2" id="Drama2"></a><span class="smcap">Drama.</span></li>
+  <li class="level2"><i>The Tempest</i>: VIII, 364.</li>
+  <li class="level2"><i>The Death of C&aelig;sar</i>: IX, 143.</li>
+  <li><span class='pagenum'><a name="Page_482" id="Page_482">[482]</a></span><i>Drama, Definition and Study of</i>: <a href="#Page_325">X, 325</a>.</li>
+  <li><i>Dramatic Poetry, Definition of</i>: <a href="#Page_339">X, 339</a>.</li>
+  <li><span class="smcap">Drayton, Michael.</span></li>
+  <li class="level2">Selection: <i>The Ballad of Agincourt</i>: V, 95.</li>
+  <li><i>Dream Children: A Revery</i>: VIII, 335.</li>
+  <li><i>Drummer, The</i>: I, 303.</li>
+  <li><span class="smcap">Du Chaillu, Paul.</span></li>
+  <li class="level2">Selection: <i>A Gorilla Hunt</i>: VII, 247.</li>
+  <li><i>Duel, The</i>: I, 384.</li>
+  <li><span class="smcap">Dufferin, Lady.</span></li>
+  <li class="level2">Selection: <i>Katey&#8217;s Letter</i>: IV, 470.</li>
+</ul>
+
+<p class="indexletter">E</p>
+
+<ul class="index">
+  <li><i>Echo</i>: III, 286.</li>
+  <li><i>Education, Forces in</i>: <a href="#Page_3">X, 3</a>.</li>
+  <li><i>Elegy on the Death of a Mad Dog</i>: IV, 57.</li>
+  <li><i>Elegy Written in a Country Churchyard</i>: VI, 360.</li>
+  <li><i>Elephant Hunting</i>: VI, 385.</li>
+  <li><span class="smcap">Eliot, George.</span></li>
+  <li class="level2">Selection: <i>Tom and Maggie Tulliver</i>: VII, 186.</li>
+  <li><i>Emotional Power in Fiction</i>: <a href="#Page_176">X, 176</a>.</li>
+  <li><i>Enchanted Stag, The</i>: I, 341.</li>
+  <li><i>English Robin, The</i>: II, 214.</li>
+  <li><i>English Writers, Handy Table of</i>: <a href="#Page_469">X, 469</a>.</li>
+  <li><i>Epic Poetry, Definition of</i>: <a href="#Page_331">X, 331</a>.</li>
+  <li><i>Escape from Prison, The</i>: IV, 130.</li>
+  <li><i>Essay, Definition and Study of the</i>: <a href="#Page_322">X, 322</a>, <a href="#Page_431">431</a>.</li>
+  <li><span class="smcap">Essays.</span></li>
+  <li class="level2"><i>Some Children&#8217;s Books of the Past</i>: V, 101.</li>
+  <li class="level2"><i>Childhood</i>: VI, 124.</li>
+  <li class="level2"><i>Poor Richard&#8217;s Almanac</i>: VI, 407.</li>
+  <li class="level2"><i>Cubes of Truth</i>: VII, 406.</li>
+  <li class="level2"><i>The Alhambra</i>: VIII, 153.</li>
+  <li class="level2"><i>Dream Children</i>: VIII, 335.</li>
+  <li class="level2"><i>The Impeachment of Warren Hastings</i>: IX, 32.</li>
+  <li class="level2"><i>A Dissertation upon Roast Pig</i>: IX, 56.</li>
+  <li class="level2"><i>The Praise of Chimney Sweepers</i>: IX, 66.</li>
+  <li class="level2"><i>The Vision of Mirza</i>: IX, 285.</li>
+  <li class="level2"><i>Sir Roger de Coverley</i>: IX, 371.</li>
+  <li class="level2"><i>Of Expense</i>: IX, 397.</li>
+  <li class="level2"><i>Of Studies</i>: IX, 400.</li>
+  <li class="level2"><i>Modestine</i>: IX, 403.</li>
+  <li><a name="Esther_The_Story_of" id="Esther_The_Story_of"></a><i>Esther, The Story of</i>: II, 448.</li>
+  <li><i>Exciting Canoe Race, An</i>: VII, 79.</li>
+  <li><i>Expense, Of</i>: IX, 397.</li>
+</ul>
+
+<p class="indexletter">F</p>
+
+<ul class="index">
+  <li><a name="Fables" id="Fables"></a><span class="smcap">Fables.</span></li>
+  <li class="level2"><i>The Boys and the Frogs</i>: I, 63.</li>
+  <li class="level2"><i>The Dog and His Shadow</i>: I, 63.</li>
+  <li class="level2"><i>The Fox and the Crow</i>: I, 64.</li>
+  <li class="level2"><i>The Ass in the Lion&#8217;s Skin</i>: I, 65.</li>
+  <li class="level2"><i>The Boy and the Nettle</i>: I, 65.</li>
+  <li class="level2"><i>The Frog Who Wished to Be as Big as an Ox</i>: I, 66.</li>
+  <li class="level2"><i>The Gnat and the Bull</i>: I, 70.</li>
+  <li class="level2"><i>The Hare and the Tortoise</i>: I, 71.</li>
+  <li class="level2"><i>The Fox and the Stork</i>: I, 73.</li>
+  <li class="level2"><i>The Lion and the Mouse</i>: I, 75.</li>
+  <li class="level2"><i>The Old Man and His Sons</i>: I, 78.</li>
+  <li class="level2"><i>The Shepherd Boy and the Wolves</i>: I, 92.</li>
+  <li class="level2"><i>The Wind and the Sun</i>: I, 95.</li>
+  <li class="level2"><i>The Wolf and the Crane</i>: I, 96.</li>
+  <li class="level2"><i>The Two Travelers</i>: I, 109.</li>
+  <li class="level2"><i>The Two Travelers and the Oyster</i>: I, 111.</li>
+  <li class="level2"><i>The Lark and Her Young Ones</i>: I, 131.</li>
+  <li class="level2"><i>The Goose That Laid the Golden Eggs</i>: I, 173.</li>
+  <li class="level2"><i>The Dog in the Manger</i>: I, 134.</li>
+  <li class="level2"><i>The Fox and the Grapes</i>: I, 135.</li>
+  <li class="level2"><i>The Cat and the Chestnuts</i>: I, 142.</li>
+  <li class="level2"><i>The Cock and the Horses</i>: I, 146.</li>
+  <li class="level2"><i>The Bat and the Two Weasels</i>: I, 154.</li>
+  <li class="level2"><i>The Mice and the Cat</i>: I, 197.</li>
+  <li class="level2"><i>The Town Mouse and the Country Mouse</i>: I, 199.</li>
+  <li class="level2"><i>The Lion, the Fox and the Ass</i>: I, 223.</li>
+  <li class="level2"><span class='pagenum'><a name="Page_483" id="Page_483">[483]</a></span><i>Industry and Sloth</i>: I, 300.</li>
+  <li class="level2"><i>The Horse and the Stag</i>: I, 338.</li>
+  <li class="level2"><i>The Fox, the Wolf and the Horse</i>: I, 377.</li>
+  <li class="level2"><i>The Bald Knight</i>: I, 385.</li>
+  <li class="level2"><i>The Brother and Sister</i>: I, 410.</li>
+  <li class="level2"><i>The Wolf and the Lamb</i>: I, 455.</li>
+  <li class="level2"><i>&AElig;sop</i>: II, 1.</li>
+  <li class="level2"><i>Minerva and the Owl</i>: II, 7.</li>
+  <li class="level2"><i>The Falcon and the Partridge</i>: II, 6.</li>
+  <li class="level2"><i>The Sparrow and the Eagle</i>: II, 8.</li>
+  <li class="level2"><i>The Old Man and Death</i>: II, 9.</li>
+  <li><i>Fairies, The</i>: I, 405.</li>
+  <li><i>Fairies of the Caldon-Low, The</i>: II, 395.</li>
+  <li><i>Fairy Bread</i>: I, 198.</li>
+  <li><a name="Fairy_Lore_and_Folk_Lore" id="Fairy_Lore_and_Folk_Lore"></a><span class="smcap">Fairy Lore and Folk Lore.</span></li>
+  <li class="level2"><i>Little Red Riding Hood</i>: I, 79.</li>
+  <li class="level2"><i>Tom Thumb</i>: I, 84.</li>
+  <li class="level2"><i>The Little Old Woman and Her Pig</i>: I, 97.</li>
+  <li class="level2"><i>Silver-Locks and the Three Bears</i>: I, 101.</li>
+  <li class="level2"><i>The Ladybird and the Fly</i>: I, 107.</li>
+  <li class="level2"><i>Hop-O&#8217;-My-Thumb</i>: I, 112.</li>
+  <li class="level2"><i>The Three Little Pigs</i>: I, 136.</li>
+  <li class="level2"><i>The Hardy Tin Soldier</i>: I, 148.</li>
+  <li class="level2"><i>Jack and the Beanstalk</i>: I, 156.</li>
+  <li class="level2"><i>Jack the Giant-Killer</i>: I, 174.</li>
+  <li class="level2"><i>The Pea Blossom</i>: I, 205.</li>
+  <li class="level2"><i>Hansel and Grethel</i>: I, 210.</li>
+  <li class="level2"><i>Cinderella</i>: I, 224.</li>
+  <li class="level2"><i>The Three Tasks</i>: I, 247.</li>
+  <li class="level2"><i>The Snow Maiden</i>: I, 257.</li>
+  <li class="level2"><i>The Twin Brothers</i>: I, 264.</li>
+  <li class="level2"><i>The Drummer</i>: I, 303.</li>
+  <li class="level2"><i>Beauty and the Beast</i>: I, 318.</li>
+  <li class="level2"><i>The Enchanted Stag</i>: I, 341.</li>
+  <li class="level2"><i>The Golden Bird</i>: I, 352.</li>
+  <li class="level2"><i>The Flax</i>: I, 378.</li>
+  <li class="level2"><i>&#8220;Something</i>&#8221;: I, 395.</li>
+  <li class="level2"><i>The Fairies</i>: I, 405.</li>
+  <li class="level2"><i>The Ugly Duckling</i>: I, 414.</li>
+  <li class="level2"><i>Whittington and His Cat</i>: I, 442.</li>
+  <li class="level2"><i>The Discontented Stonecutter</i>: II, 12.</li>
+  <li class="level2"><i>Discreet Hans</i>: II, 15.</li>
+  <li class="level2"><i>Bluebeard</i>: II, 22.</li>
+  <li class="level2"><i>Rumpelstiltzkin</i>: II, 33.</li>
+  <li class="level2"><i>Mirror of Matsuyana</i>, II, 36.</li>
+  <li class="level2"><i>The Fir Tree</i>: II, 68.</li>
+  <li class="level2"><i>The Snow Queen</i>: II, 124.</li>
+  <li class="level2"><i>Tom, The Water Baby</i>: II, 215.</li>
+  <li class="level2"><i>The Fairies of the Caldon-Low</i>: II, 395.</li>
+  <li class="level2"><i>The Darning-Needle</i>: II, 463.</li>
+  <li class="level2"><i>Why the Sea Is Salt</i>: II, 484.</li>
+  <li class="level2"><i>Origin of the Opal</i>: II, 480.</li>
+  <li class="level2"><i>What the Old Man Does Is Always Right</i>: II, 387.</li>
+  <li class="level2"><i>Holger Danske</i>: II, 377.</li>
+  <li class="level2"><i>The King and the Golden River</i>: II, 405.</li>
+  <li class="level2"><i>The Mock Turtle&#8217;s Story</i>: III, 3.</li>
+  <li class="level2"><i>Queen Alice</i>: III, 23.</li>
+  <li class="level2"><i>The Leprecaun</i>: III, 33.</li>
+  <li class="level2"><i>The Walrus and the Carpenter</i>: III, 36.</li>
+  <li class="level2"><i>The Pied Piper of Hamelin</i>: III, 384.</li>
+  <li class="level2"><i>The Forsaken Merman</i>: VII, 180.</li>
+  <li class="level2">See <a href="#Myths"><span class="smcap">Myths</span></a> and <a href="#Legendary_Heroes"><span class="smcap">Legendary Heroes</span></a>.</li>
+  <li><i>Faithless Sally Brown</i>: III, 92.</li>
+  <li><i>Falcon and the Partridge, The</i>: II, 6.</li>
+  <li><i>Fall of the Alamo, The</i>: VIII, 141.</li>
+  <li><i>Family of Michael Arout, The</i>: VII, 314.</li>
+  <li><i>Farewell, A</i>: III, 22.</li>
+  <li><i>Fate of the Indians, The</i>: IX, 466.</li>
+  <li><i>Father and Son</i>: <a href="#Page_107">X, 107</a>.</li>
+  <li>Fiction. See <a href="#Adventure"><span class="smcap">Adventure</span></a>; <a href="#Fables"><span class="smcap">Fables</span></a>; <a href="#Fairy_Lore_and_Folk_Lore"><span class="smcap">Fairy Lore and Folk Lore</span></a>;
+    <a href="#Narrative_Poems"><span class="smcap">Narrative Poems</span></a>; <a href="#Novels"><span class="smcap">Novels</span></a>; <a href="#Stories"><span class="smcap">Stories</span></a>.</li>
+  <li><i>Fiction, How to Read</i>: <a href="#Page_143">X, 143</a>.</li>
+  <li><i>Fiddling Parson, The</i>: V, 440.</li>
+  <li><span class="smcap">Field, Eugene.</span></li>
+  <li class="level2">Biography: I, 242.</li>
+  <li class="level2">Selections: <i>Duel, The</i>: I, 384.</li>
+  <li class="level3"><i>Lady Button-Eyes</i>: I, 366.</li>
+  <li class="level3"><i>Little Blue Pigeon</i>: I, 133.</li>
+  <li class="level3"><i>Norse Lullaby</i>: I, 246.</li>
+  <li class="level3"><span class='pagenum'><a name="Page_484" id="Page_484">[484]</a></span><i>Rock-a-By-Lady, The</i>: I, 94.</li>
+  <li class="level3"><i>Seein&#8217; Things</i>: I, 240.</li>
+  <li class="level3"><i>Shuffle-Shoon and Amber-Locks</i>: II, 121.</li>
+  <li class="level3"><i>Wynken, Blynken, and Nod</i>: I, 262.</li>
+  <li><i>Figures of Speech</i>: <a href="#Page_256">X, 256</a>.</li>
+  <li><i>First Snowfall, The</i>: II, 403.</li>
+  <li><i>Fir Tree, The</i>: II, 68.</li>
+  <li><i>Flax, The</i>: I, 378.</li>
+  <li><i>Florence Nightingale</i>: IX, 13.</li>
+  <li><span class="smcap">Folk Lore.</span> See <a href="#Fairy_Lore_and_Folk_Lore"><span class="smcap">Fairy Lore and Folk Lore</span></a>.</li>
+  <li><span class="smcap">Follen, Mrs. Eliza Lee.</span></li>
+  <li class="level2">Selection: <i>Stop, Stop, Pretty Water</i>: I, 317.</li>
+  <li><i>Footsteps of Angels</i>: IV, 82.</li>
+  <li><i>For A&#8217; That and A&#8217; That</i>: VII, 149.</li>
+  <li><i>Forces in Education</i>: <a href="#Page_3">X, 3</a>.</li>
+  <li><i>Foreign Children</i>: I, 351.</li>
+  <li><i>Foreign Lands</i>: I, 130.</li>
+  <li><i>Forsaken Merman, The</i>: VII, 180.</li>
+  <li><span class="smcap">Foster, Stephen Collins.</span></li>
+  <li class="level2">Selection: <i>My Old Kentucky Home</i>: VII, 179.</li>
+  <li><i>Four Ducks on a Pond</i>: VI, 98.</li>
+  <li><i>Fox and the Crow, The</i>: I, 64.</li>
+  <li><i>Fox and the Grapes, The</i>: I, 135.</li>
+  <li><i>Fox and the Stork, The</i>: I, 73.</li>
+  <li><i>Fox, the Wolf, and the Horse, The</i>: I, 377.</li>
+  <li><span class="smcap">Franklin, Benjamin.</span></li>
+  <li class="level2">Selections: <i>Braddock&#8217;s Defeat</i>: V, 379.</li>
+  <li class="level3"><i>Poor Richard&#8217;s Almanac</i>: VI, 407.</li>
+  <li><i>Frithiof the Bold</i>: III, 394.</li>
+  <li><i>Frog Who Wished to be as Big as an Ox, The</i>: I, 66.</li>
+  <li><span class="smcap">Froissart, Jean.</span></li>
+  <li class="level2">Selection: <i>The Battle of Cressy</i>: IX, 161.</li>
+  <li><i>From a Railway Carriage</i>: I, 198.</li>
+  <li><span class="smcap">Froude, James Anthony.</span></li>
+  <li class="level2">Selection: <i>Julius C&aelig;sar</i>: IX, 155.</li>
+</ul>
+
+<p class="indexletter">G</p>
+
+<ul class="index">
+  <li><i>Geography, Analysis and Classification of Selections Correlated with</i>: <a href="#Page_402">X, 402</a>.</li>
+  <li><i>Geography, The Teaching of</i>: <a href="#Page_400">X, 400</a>.</li>
+  <li><i>Geraint and Enid</i>: V, 148.</li>
+  <li><i>Gettysburg Address, The</i>: IX, 321.</li>
+  <li><span class="smcap">Gilbert, W. S.</span></li>
+  <li class="level2">Selection: <i>The Yarn of the &#8220;Nancy Bell&#8221;</i>: IV, 466.</li>
+  <li><i>Gnat and the Bull, The</i>: I, 70.</li>
+  <li><i>Gold-Bug, The</i>: IX, 232.</li>
+  <li><i>Golden Bird, The</i>: I, 352.</li>
+  <li><i>Golden Touch, The</i>: II, 43.</li>
+  <li><span class="smcap">Goldsmith, Oliver.</span></li>
+  <li class="level2">Selection: <i>Elegy on the Death of a Mad Dog</i>: IV, 57.</li>
+  <li><i>Goose That Laid the Golden Eggs, The</i>: I, 173.</li>
+  <li><i>Gorilla Hunt, A</i>: VII, 247.</li>
+  <li><i>Governor and the Notary, The</i>: VII, 20.</li>
+  <li><i>Graphic Classification of Masterpieces</i>: <a href="#Page_12">X, 12</a>.</li>
+  <li><span class="smcap">Gray, Thomas.</span></li>
+  <li class="level2">Selection: <i>Elegy Written in a Country Churchyard</i>: VI, 360.</li>
+  <li><span class="smcap">Griffin, Gerald.</span></li>
+  <li class="level2">Selection: <i>Limestone Broth</i>: VI, 467.</li>
+  <li><span class="smcap">Grimm, Jakob and Wilhelm.</span></li>
+  <li class="level2">Selections: <i>Discreet Hans</i>: II, 15.</li>
+  <li class="level3"><i>Drummer, The</i>: I, 303.</li>
+  <li class="level3"><i>Enchanted Stag, The</i>: I, 341.</li>
+  <li class="level3"><i>Golden Bird, The</i>: I, 352.</li>
+  <li class="level3"><i>Hansel and Grethel</i>: I, 210</li>
+  <li class="level3"><i>Ladybird and the Fly, The</i>: I, 107.</li>
+  <li class="level3"><i>Three Tasks, The</i>: I, 247.</li>
+  <li class="level3"><i>Twin Brothers, The</i>: I, 264.</li>
+  <li class="level3"><i>Rumpelstiltzken</i>: II, 33.</li>
+  <li><i>Gulliver&#8217;s Travels</i>: V, 6.</li>
+</ul>
+
+<p class="indexletter">H</p>
+
+<ul class="index">
+  <li><span class="smcap">Halleck, Fitz-Greene.</span></li>
+  <li class="level2">Selection: <i>Marco Bozzaris</i>: VIII, 90.</li>
+  <li><span class='pagenum'><a name="Page_485" id="Page_485">[485]</a></span><i>Handy Tables of American Writers</i>: <a href="#Page_473">X, 473</a>.</li>
+  <li><i>Handy Tables of English Writers</i>: <a href="#Page_469">X, 469</a>.</li>
+  <li><i>Hansel and Grethel</i>: I, 210.</li>
+  <li><i>Hardy Tin Soldier, The</i>: I, 148.</li>
+  <li><i>Hare and the Tortoise, The</i>: I, 71.</li>
+  <li><span class="smcap">Hawthorne, Nathaniel.</span></li>
+  <li class="level2">Biography: IV, 180.</li>
+  <li class="level2">Selections: <i>Boston Massacre, The</i>: IV, 217.</li>
+  <li class="level3"><i>Chimera, The</i>: II, 173.</li>
+  <li class="level3"><i>Golden Touch, The</i>: II, 43.</li>
+  <li class="level3"><i>Hutchinson Mob, The</i>: IV, 208.</li>
+  <li class="level3"><i>Pine-Tree Shillings, The</i>: IV, 192.</li>
+  <li class="level3"><i>Sunken Treasure, The</i>: IV, 199.</li>
+  <li><span class="smcap">Hay, John.</span></li>
+  <li class="level2">Selection: <i>Little Breeches</i>: IV, 462.</li>
+  <li><i>Heart of Bruce, The</i>: V, 316.</li>
+  <li><span class="smcap">Hemans, Felicia Browne.</span></li>
+  <li class="level2">Selections: <i>Bernardo del Carpio</i>: IV, 270.</li>
+  <li class="level3"><i>Casabianca</i>: VIII, 313.</li>
+  <li class="level3"><i>Landing of the Pilgrim Fathers in New England</i>: IV, 197.</li>
+  <li><span class="smcap">Henry, Patrick.</span></li>
+  <li class="level2">Selection: <i>A Call to Arms</i>: IX, 475.</li>
+  <li><span class="smcap">Heroes.</span> See <a href="#Legendary_Heroes"><span class="smcap">Legendary Heroes</span></a>.</li>
+  <li><i>Herv&eacute; Riel</i>: VIII, 168.</li>
+  <li><i>High School, Correlation of</i> Journeys <i>with</i>: <a href="#Page_425">X, 425</a>.</li>
+  <li><a name="History2" id="History2"></a><span class="smcap">History.</span></li>
+  <li class="level2"><i>The Story of Joseph</i>: I, 456.</li>
+  <li class="level2"><i>The Hutchinson Mob</i>: IV, 208.</li>
+  <li class="level2"><i>The Boston Massacre</i>: IV, 217.</li>
+  <li class="level2"><i>Joan of Arc</i>: IV, 226.</li>
+  <li class="level2"><i>Alfred the Great</i>: IV, 260.</li>
+  <li class="level2"><i>Henry Hudson&#8217;s Fourth Voyage</i>: V, 254.</li>
+  <li class="level2"><i>The Arickara Indians</i>: IV, 472.</li>
+  <li class="level2"><i>The Rise of Robert Bruce</i>: V, 278.</li>
+  <li class="level2"><i>The Buccaneers</i>: V, 359.</li>
+  <li class="level2"><i>Captain Morgan at Maracaibo</i>: V, 365.</li>
+  <li class="level2"><i>Braddock&#8217;s Defeat</i>: V, 379.</li>
+  <li class="level2"><i>The Capture of Vincennes</i>: VI, 428.</li>
+  <li class="level2"><i>The Black Hawk Tragedy</i>: VII, 58.</li>
+  <li class="level2"><i>Ringrose and His Buccaneers</i>: VIII, 1.</li>
+  <li class="level2"><i>David Crockett in the Creek War</i>: VIII, 37.</li>
+  <li class="level2"><i>The Retreat of Cort&eacute;s</i>: VIII, 63.</li>
+  <li class="level2"><i>The Battle of Thermopyl&aelig;</i>: VIII, 81.</li>
+  <li class="level2"><i>P&egrave;re Marquette</i>: VIII, 121.</li>
+  <li class="level2"><i>The Fall of the Alamo</i>: VIII, 141.</li>
+  <li class="level2"><i>The Battle of Trafalgar</i>: VIII, 284.</li>
+  <li class="level2"><i>The Impeachment of Warren Hastings</i>: IX, 32.</li>
+  <li class="level2"><i>The Death of C&aelig;sar</i>: IX, 126.</li>
+  <li class="level2"><i>The Death of C&aelig;sar</i>: IX, 143.</li>
+  <li class="level2"><i>The Battle of Cressy</i>: IX, 161.</li>
+  <li class="level2"><i>The Battle of Saratoga</i>: IX, 176.</li>
+  <li class="level2"><i>The Battle of Hastings</i>: IX, 330.</li>
+  <li><i>History, Analysis and Classification of Selections Correlated with</i>: <a href="#Page_403">X, 403-410</a>.</li>
+  <li><i>History, The Teaching of</i>: <a href="#Page_400">X, 400</a>.</li>
+  <li><i>Holger Danske</i>: II, 377.</li>
+  <li><span class="smcap">Holmes, Oliver Wendell.</span></li>
+  <li class="level2">Biography: VII, 398.</li>
+  <li class="level2">Selections: <i>The Cubes of Truth</i>: VII, 406.</li>
+  <li class="level3"><i>The Chambered Nautilus</i>: IX, 454.</li>
+  <li><i>Holy Grail, The</i>: V, 207.</li>
+  <li><i>Home, Sweet Home</i>: VI, 221.</li>
+  <li><i>Home They Brought Her Warrior Dead</i>: VI, 231.</li>
+  <li><span class="smcap">Homer.</span></li>
+  <li class="level2">Selection: <i>The Death of Hector</i>: IV, 364.</li>
+  <li><span class="smcap">Hood, Thomas.</span></li>
+  <li class="level2">Selections: <i>Faithless Sally Brown</i>: III, 92.</li>
+  <li class="level3"><i>To My Infant Son</i>: VI, 478.</li>
+  <li><i>Hop-O&#8217;-My-Thumb</i>: I, 112.</li>
+  <li><i>Horatius</i>: VI, 1.</li>
+  <li><i>Horse and the Stag, The</i>: I, 338.</li>
+  <li><span class="smcap">Howe, Julia Ward.</span></li>
+  <li class="level2">Selection: <i>Battle Hymn of the Republic</i>: V, 399.</li>
+  <li><span class='pagenum'><a name="Page_486" id="Page_486">[486]</a></span><span class="smcap">Howitt, Mary.</span></li>
+  <li class="level2">Selections: <i>Fairies of the Caldon-Low, The</i>: II, 395.</li>
+  <li class="level3"><i>Spider and the Fly, The</i>: III, 19.</li>
+  <li class="level3"><i>Why the Sea Is Salt</i>: II, 484.</li>
+  <li><i>How Sleep the Brave</i>: VII, 151.</li>
+  <li><i>How&#8217;s My Boy?</i>: VII, 169.</li>
+  <li><i>How the Wolf Was Bound</i>: II, 91.</li>
+  <li><i>How They Brought the Good News from Ghent to Aix</i>: V, 335.</li>
+  <li><i>How They Took the Gold-Train</i>: VIII, 180.</li>
+  <li><i>How to Read Aloud</i>: <a href="#Page_311">X, 311</a>.</li>
+  <li><i>How to Read Fiction</i>: <a href="#Page_143">X, 143</a>.</li>
+  <li><i>How to Read Poetry</i>: <a href="#Page_272">X, 272</a>.</li>
+  <li><i>How to Read Stories</i>: <a href="#Page_145">X, 145</a>.</li>
+  <li><i>Hudson&#8217;s Fourth Voyage</i>: V, 254.</li>
+  <li><span class="smcap">Hughes, Thomas.</span></li>
+  <li class="level2">Selection: <i>Tom Brown at Rugby</i>: V, 469.</li>
+  <li><span class="smcap">Humor.</span> See <a href="#Wit_and_Humor"><span class="smcap">Wit and Humor</span></a>.</li>
+  <li><span class="smcap">Hunt, Leigh.</span></li>
+  <li class="level2">Selection: <i>Abou Ben Adhem</i>: IX, 11.</li>
+  <li><i>Hutchinson Mob, The</i>: IV, 208.</li>
+</ul>
+
+
+<p class="indexletter">I</p>
+
+<ul class="index">
+  <li><i>Imitation of Christ</i>: VI, 134.</li>
+  <li><i>Impeachment of Warren Hastings, The</i>: IX, 32.</li>
+  <li><i>Inchcape Rock, The</i>: V, 465.</li>
+  <li><i>Incident of the French Camp</i>: IV, 174.</li>
+  <li><i>Industry and Sloth</i>: I, 300.</li>
+  <li><i>Infant Joy</i>: II, 10.</li>
+  <li><span class="smcap">Ingelow, Jean.</span></li>
+  <li class="level2">Selection: <i>Seven Times One</i>: II, 119.</li>
+  <li><i>Interpretations.</i> See <a href="#Studies"><span class="smcap">Studies</span></a>.</li>
+  <li><i>In Time&#8217;s Swing</i>: II, 481.</li>
+  <li><span class="smcap">Irving, Washington.</span></li>
+  <li class="level2">Biography: VIII, 216.</li>
+  <li class="level2">Selections: <i>Alhambra, The</i>: VIII, 153.</li>
+  <li class="level3"><i>Arickara Indians, The</i>: IV, 472.</li>
+  <li class="level3"><i>Governor and the Notary, The</i>: VII, 20.</li>
+  <li class="level3"><i>Knickerbocker History of New York, The</i>: VIII, 224.</li>
+</ul>
+
+<p class="indexletter">J</p>
+
+<ul class="index">
+  <li><i>Jack and the Beanstalk</i>: I, 156.</li>
+  <li><i>Jack the Giant-Killer</i>: I, 174.</li>
+  <li><span class="smcap">Jerome, Jerome K.</span></li>
+  <li class="level2">Selections: <i>On Comic Songs</i>: V, 455.</li>
+  <li class="level3"><i>We Plan a River Trip</i>: V, 443.</li>
+  <li><i>Joan of Arc</i>: IV, 226.</li>
+  <li><i>Johnson, Samuel, The Life of</i>: IX, 216.</li>
+  <li><i>John&#8217;s Pumpkin</i>: III, 1.</li>
+  <li><a name="Joseph_The_Story_of" id="Joseph_The_Story_of"></a><i>Joseph, The Story of</i>: I, 456.</li>
+  <li><i>Julius C&aelig;sar</i>: IX, 155.</li>
+</ul>
+
+<p class="indexletter">K</p>
+
+<ul class="index">
+  <li><i>Katey&#8217;s Letter</i>: IV, 470.</li>
+  <li><span class="smcap">Keats, John.</span></li>
+  <li class="level2">Biography: IX, 457.</li>
+  <li class="level2">Selection: <i>Ode on a Grecian Urn</i>: IX, 462.</li>
+  <li><i>Keepsake Mill</i>: I, 349.</li>
+  <li><span class="smcap">Kempis, Thomas &agrave;.</span></li>
+  <li class="level2">Selection: From <i>Imitation of Christ</i>: VI, 134.</li>
+  <li><span class="smcap">Key, Francis Scott.</span></li>
+  <li class="level2">Selection: <i>Star-Spangled Banner, The</i>: VII, 167.</li>
+  <li><i>King Arthur.</i> See <a href="#Arthur_King"><i>Arthur, King</i></a>.</li>
+  <li><i>King of the Golden River, The</i>: II, 405.</li>
+  <li><span class="smcap">Kingsley, Charles.</span></li>
+  <li class="level2">Selections: <i>A Farewell</i>: III, 22.</li>
+  <li class="level3"><i>How They Took the Gold-Train</i>: VIII, 180.</li>
+  <li class="level3"><i>Sands of Dee, The</i>: I, 412.</li>
+  <li class="level3"><i>Three Fishers, The</i>: VII, 343.</li>
+  <li class="level3"><i>Tom, the Water Baby</i>: II, 215.</li>
+  <li><span class="smcap">Kinney, Coates.</span></li>
+  <li class="level2">Selection: <i>Rain on the Roof</i>: IV, 7.</li>
+  <li><span class="smcap">Kipling, Rudyard.</span></li>
+  <li class="level2">Selections: <i>Recessional, The</i>: VII, 164.</li>
+  <li class="level3"><i>Salmon Fishing</i>: VII, 285.</li>
+  <li><i>Knickerbocker History of New York, The</i>: VIII, 224.</li>
+  <li><i>Knock-Out, The</i>: VI, 471.</li>
+  <li><span class='pagenum'><a name="Page_487" id="Page_487">[487]</a></span><span class="smcap">Kraut, Mary Hannah.</span></li>
+  <li class="level2">Selection: <i>Little Brown Hands</i>: I, 441.</li>
+  <li><span class="smcap">Krummacher.</span></li>
+  <li class="level2">Selection: <i>The Moss Rose</i>: VI, 98.</li>
+</ul>
+
+<p class="indexletter">L</p>
+
+<ul class="index">
+  <li><i>Ladybird and the Fly, The</i>: I, 107.</li>
+  <li><i>Lady Button-Eyes</i>: I, 366.</li>
+  <li><span class="smcap">Lamb, Charles.</span></li>
+  <li class="level2">Biography: VIII, 328.</li>
+  <li class="level2">Selections: <i>Dissertation upon Roast Pig, A</i>: IX, 56.</li>
+  <li class="level3"><i>Dream Children: A Revery</i>: VIII, 335.</li>
+  <li class="level3"><i>Praise of Chimney Sweepers, The</i>: IX, 66.</li>
+  <li class="level3"><i>Tempest, The</i>: VIII, 348.</li>
+  <li><span class="smcap">Lamb, Mary.</span></li>
+  <li class="level2">Biography: VIII, 328.</li>
+  <li class="level2">Selection: <i>The Tempest</i>: VIII, 348.</li>
+  <li><i>Landing of the Pilgrim Fathers in New England</i>: IV, 197.</li>
+  <li><i>Land of Counterpane, The</i>: I, 144.</li>
+  <li><i>Language, Analysis and Classification of Selections for the Study of</i>: <a href="#Page_354">X, 354</a>, <a href="#Page_378">378</a>.</li>
+  <li><i>Language, Correlation of</i> Journeys <i>with Study of</i>: <a href="#Page_345">X, 345</a>, <a href="#Page_349">349</a>.</li>
+  <li><i>Language, The Teaching of</i>: <a href="#Page_349">X, 349</a>.</li>
+  <li><span class="smcap">Larcom, Lucy.</span></li>
+  <li class="level2">Selections: <i>Brown Thrush, The</i>: I, 147.</li>
+  <li class="level3"><i>In Time&#8217;s Swing</i>: II, 481.</li>
+  <li><i>Lark and Her Young Ones, The</i>: I, 131.</li>
+  <li><span class="smcap">Latto, T. C.</span></li>
+  <li class="level2">Selection: <i>The Blind Lassie</i>: VI, 120.</li>
+  <li><i>Lead, Kindly Light</i>: V, 110.</li>
+  <li><span class="smcap">Lear, Edward.</span></li>
+  <li class="level2">Selection: <i>The Owl and the Pussy-Cat</i>: I, 339.</li>
+  <li><a name="Legendary_Heroes" id="Legendary_Heroes"></a><span class="smcap">Legendary Heroes.</span></li>
+  <li class="level2"><i>Beowulf and Grendel</i>: III, 350.</li>
+  <li class="level2"><i>Frithiof the Bold</i>: III, 394.</li>
+  <li class="level2"><i>The Story of Siegfried</i>: III, 410.</li>
+  <li class="level2"><i>Roland at Roncesvalles</i>: III, 460.</li>
+  <li class="level2"><i>Cid Campeador</i>: IV, 9.</li>
+  <li class="level2"><i>The Death of Hector</i>: IV, 364.</li>
+  <li class="level2"><i>The Wooden Horse</i>: IV, 383.</li>
+  <li class="level2"><i>Ulysses</i>: IV, 398.</li>
+  <li class="level2"><i>King Arthur</i>: V, 113.</li>
+  <li class="level2"><i>Balin and Balan</i>: V, 130.</li>
+  <li class="level2"><i>Geraint and Enid</i>: V, 148.</li>
+  <li class="level2"><i>The Holy Grail</i>: V, 207.</li>
+  <li class="level2"><i>Dissensions at King Arthur&#8217;s Court</i>: V, 232.</li>
+  <li class="level2"><i>The Passing of Arthur</i>: V, 237.</li>
+  <li class="level2"><i>Horatius</i>: VI, 1.</li>
+  <li class="level2"><i>Sohrab and Rustem</i>: VI, 157.</li>
+  <li class="level2"><i>Sohrab and Rustum</i>: VI, 173.</li>
+  <li><i>Leprecaun, The</i>: III. 33.</li>
+  <li><i>Lesson and the Author&#8217;s Purpose, in Fiction, The</i>: <a href="#Page_170">X, 170</a>.</li>
+  <li><i>Let Something Good Be Said</i>: V, 111.</li>
+  <li><i>Life of Samuel Johnson, The</i>: IX, 216.</li>
+  <li><i>Limestone Broth</i>: VI, 467.</li>
+  <li><span class="smcap">Lincoln, Abraham.</span></li>
+  <li class="level2">Selection: <i>The Gettysburg Address</i>: IX, 321.</li>
+  <li><i>Lincoln, Abraham.</i> See <a href="#Abraham_Lincoln"><i>Abraham Lincoln</i></a>.</li>
+  <li><i>Lion and The Missionary, The</i>: VI, 93.</li>
+  <li><i>Lion and the Mouse, The</i>: I, 75.</li>
+  <li><i>Lion, the Fox and the Ass, The</i>: I, 223.</li>
+  <li><i>Literature and Its Forms</i>: <a href="#Page_317">X, 317</a>.</li>
+  <li><i>Literature, Different Kinds of</i>: <a href="#Page_143">X, 143</a>.</li>
+  <li><i>Little Birdie</i>: I, 142.</li>
+  <li><i>Little Blue Pigeon</i>: I, 133.</li>
+  <li><i>Little Breeches</i>: IV, 462.</li>
+  <li><i>Little Brown Hands</i>: I, 441.</li>
+  <li><i>Little Giffin of Tennessee</i>: IV, 461.</li>
+  <li><i>Little Old Woman and Her Pig, The</i>: I, 97.</li>
+  <li><i>Little Red Riding-Hood</i>: I, 79.</li>
+  <li><span class="smcap">Livingstone, David.</span></li>
+  <li class="level2">Selection: <i>The Lion and the Missionary</i>: VI, 93.</li>
+  <li><i>Lochinvar</i>: III, 432.</li>
+  <li><span class='pagenum'><a name="Page_488" id="Page_488">[488]</a></span><span class="smcap">Longfellow, Henry Wadsworth.</span></li>
+  <li class="level2">Biography: IV, 62.</li>
+  <li class="level2">Selections: <i>Footsteps of Angels</i>: IV, 82.</li>
+  <li class="level3"><i>Reaper and the Flowers, The</i>: I, 410.</li>
+  <li class="level3"><i>Skeleton in Armor, The</i>: V, 327.</li>
+  <li class="level3"><i>Village Blacksmith, The</i>: IV, 86.</li>
+  <li class="level3"><i>Wreck of the Hesperus, The</i>: IV, 89.</li>
+  <li><i>Looking Forward</i>: I, 106.</li>
+  <li><i>Lord Ullin&#8217;s Daughter</i>: VI, 23.</li>
+  <li><i>Lost Child, The</i>: VII, 409.</li>
+  <li><span class="smcap">Lover, Samuel.</span></li>
+  <li class="level2">Selection: <i>Widow Machree</i>: VI, 464.</li>
+  <li><span class="smcap">Lowell, James Russell.</span></li>
+  <li class="level2">Biography: VII, 411.</li>
+  <li class="level2">Selections: <i>First Snowfall, The</i>: II, 403.</li>
+  <li class="level3"><i>Lost Child, The</i>: VII, 409.</li>
+  <li class="level3"><i>To H. W. L.</i>: IV, 84.</li>
+  <li><a name="Lullabies" id="Lullabies"></a><span class="smcap">Lullabies.</span></li>
+  <li class="level2"><i>The Rock-a-By Lady</i>: I, 94.</li>
+  <li class="level2"><i>Little Blue Pigeon</i>: I, 133.</li>
+  <li class="level2"><i>Sleep, Baby, Sleep</i>: I, 204.</li>
+  <li class="level2"><i>Old Gaelic Lullaby</i>: I, 203.</li>
+  <li class="level2"><i>Norse Lullaby</i>: I, 246.</li>
+  <li class="level2"><i>Wynken, Blynken, and Nod</i>: I, 262.</li>
+  <li class="level2"><i>Lady Button-Eyes</i>: I, 366.</li>
+  <li class="level2"><i>Lullaby</i>: I, 96, II, 32.</li>
+  <li><i>Lyric Poetry, Definition of</i>: <a href="#Page_333">X, 333</a>.</li>
+  <li><a name="Lyrics" id="Lyrics"></a><span class="smcap">Lyrics.</span></li>
+  <li class="level2"><i>A Thought</i>: I, 66.</li>
+  <li class="level2"><i>The Swing</i>: I, 67.</li>
+  <li class="level2"><i>The Sun&#8217;s Travels</i>: I, 68.</li>
+  <li class="level2"><i>Singing</i>: I, 88.</li>
+  <li class="level2"><i>Looking Forward</i>: I, 106.</li>
+  <li class="level2"><i>The Cow</i>: I, 106.</li>
+  <li class="level2"><i>Rain</i>: I, 110.</li>
+  <li class="level2"><i>System</i>: I, 111.</li>
+  <li class="level2"><i>My Bed Is a Boat</i>: I, 126.</li>
+  <li class="level2"><i>Foreign Lands</i>: I, 130.</li>
+  <li class="level2"><i>At the Seaside</i>: I, 129.</li>
+  <li class="level2"><i>The Land of Counterpane</i>: I, 144.</li>
+  <li class="level2"><i>Bed in Summer</i>: I, 173.</li>
+  <li class="level2"><i>Block City</i>: I, 196.</li>
+  <li class="level2"><i>From a Railway Carriage</i>: I, 198</li>
+  <li class="level2"><i>Fairy Bread</i>: I, 198.</li>
+  <li class="level2"><i>Seein&#8217; Things</i>: I, 240.</li>
+  <li class="level2"><i>Whole Duty of Children</i>: I, 301.</li>
+  <li class="level2"><i>The Tree</i>: I, 301.</li>
+  <li class="level2"><i>Young Night Thought</i>: I, 302.</li>
+  <li class="level2"><i>Where Go the Boats?</i>: I, 256.</li>
+  <li class="level2"><i>Stop, Stop, Pretty Water</i>: I, 317.</li>
+  <li class="level2"><i>Time to Rise</i>: I, 340.</li>
+  <li class="level2"><i>Keepsake Mill</i>: I, 349.</li>
+  <li class="level2"><i>Foreign Children</i>: I, 351.</li>
+  <li class="level2"><i>The Duel</i>: I, 384.</li>
+  <li class="level2"><i>Autumn Fires</i>: I, 394.</li>
+  <li class="level2"><i>The Reaper and the Flowers</i>: I, 410.</li>
+  <li class="level2"><i>The Wind</i>: I, 440.</li>
+  <li class="level2"><i>Little Brown Hands</i>: I, 441.</li>
+  <li class="level2"><i>Infant Joy</i>: II, 10.</li>
+  <li class="level2"><i>The Baby</i>: II, 11.</li>
+  <li class="level2"><i>Poppyland Express</i>: II, 21.</li>
+  <li class="level2"><i>A Contrast</i>: II, 42.</li>
+  <li class="level2"><i>The Child&#8217;s World</i>: II, 66.</li>
+  <li class="level2"><i>Afterwhile</i>: II, 123.</li>
+  <li class="level2"><i>Windy Nights</i>: II, 123.</li>
+  <li class="level2"><i>Shuffle-Shoon and Amber-Locks</i>: II, 121.</li>
+  <li class="level2"><i>Picture-Books in Winter</i>: II, 87.</li>
+  <li class="level2"><i>Seven Times One</i>: II, 119.</li>
+  <li class="level2"><i>The First Snowfall</i>: II, 403.</li>
+  <li class="level2"><i>In Time&#8217;s Swing</i>: II, 481.</li>
+  <li class="level2"><i>A Farewell</i>: III, 22.</li>
+  <li class="level2"><i>Night</i>: III, 431.</li>
+  <li class="level2"><i>Better Than Gold</i>: IV, 1.</li>
+  <li class="level2"><i>The Barefoot Boy</i>: IV, 3.</li>
+  <li class="level2"><i>Rain on the Roof</i>: IV, 7.</li>
+  <li class="level2"><i>Mother&#8217;s Way</i>: IV, 58.</li>
+  <li class="level2"><i>Footsteps of Angels</i>: IV, 82.</li>
+  <li class="level2"><i>The Village Blacksmith</i>: IV, 86.</li>
+  <li class="level2"><i>Pictures of Memory</i>: IV, 127.</li>
+  <li class="level2"><i>Landing of the Pilgrim Fathers in New England</i>: IV, 197.</li>
+  <li class="level2"><i>Away</i>: IV, 460.</li>
+  <li class="level2"><i>Lead, Kindly Light</i>: V, 110.</li>
+  <li class="level2"><i>Let Something Good be Said</i>: V, 111.</li>
+  <li class="level2"><i>Boyhood</i>: VI, 122.</li>
+  <li class="level2"><i>The Rainbow</i>: VI, 91.</li>
+  <li class="level2"><i>Four Ducks on a Pond</i>: VI, 98.</li>
+  <li class="level2"><i>The Blind Lassie</i>: VI, 120.</li>
+  <li class="level2"><span class='pagenum'><a name="Page_489" id="Page_489">[489]</a></span><i>Home They Brought Her Warrior Dead</i>: VI, 231.</li>
+  <li class="level2"><i>Elegy Written in a Country Churchyard</i>: VI, 360.</li>
+  <li class="level2"><i>The Daffodils</i>: VII, 1.</li>
+  <li class="level2"><i>The Recessional</i>: VII, 164.</li>
+  <li class="level2"><i>The Cloud</i>: VII, 257.</li>
+  <li class="level2"><i>My Mother&#8217;s Picture</i>: VII, 335.</li>
+  <li class="level2"><i>Annabel Lee</i>: VII, 341.</li>
+  <li class="level2"><i>The Lost Child</i>: VII, 409.</li>
+  <li class="level2"><i>A Child&#8217;s Thought of God</i>: VII, 418.</li>
+  <li class="level2"><i>Robert of Lincoln</i>: IX, 444.</li>
+  <li class="level2"><i>The Chambered Nautilus</i>: IX, 454.</li>
+</ul>
+
+
+<p class="indexletter">M</p>
+
+<ul class="index">
+  <li><span class="smcap">Macaulay, Thomas Babington.</span></li>
+  <li class="level2"><span class="smcap">Selections</span>: <i>Battle of Ivry</i>: VIII, 76.</li>
+  <li class="level3"><i>Horatius</i>: VI, 1.</li>
+  <li class="level3"><i>Impeachment of Warren Hastings, The</i>: IX, 32.</li>
+  <li><span class="smcap">McCaleb, Anna.</span></li>
+  <li class="level2">Adaptations: <i>Atalanta&#8217;s Race</i>: I, 386.</li>
+  <li class="level3"><i>Baucis and Philemon</i>: I, 431.</li>
+  <li class="level3"><i>Cupid and Psyche</i>: III, 365.</li>
+  <li class="level3"><i>Death of Balder, The</i>: II, 99.</li>
+  <li class="level3"><i>How the Wolf Was Bound</i>: II, 91.</li>
+  <li class="level3"><i>Punishment of Loki, The</i>: II, 111.</li>
+  <li class="level3"><i>Queen of the Underworld, The</i>: II, 468.</li>
+  <li class="level3"><i>Story of Phaethon, The</i>: II, 245.</li>
+  <li class="level3"><i>Wonderful Gifts, The</i>: I, 368.</li>
+  <li class="level2">Selections: <i>Battle of Thermopyl&aelig;, The</i>: VIII, 81.</li>
+  <li class="level3"><i>Browning, Elizabeth Barrett</i>: VII, 419.</li>
+  <li class="level3"><i>Cary, Alice and Ph&oelig;be</i>: IV, 116.</li>
+  <li class="level3"><i>Dickens, Charles</i>: VI, 232.</li>
+  <li class="level3"><i>Nightingale, Florence</i>: IX, 13.</li>
+  <li class="level3"><i>Queen Victoria</i>: VII, 152.</li>
+  <li><span class="smcap">MacDonald, George.</span></li>
+  <li class="level2">Selection: <i>The Baby</i>: II, 11.</li>
+  <li><span class="smcap">McMaster, Guy Humphrey.</span></li>
+  <li class="level2">Selection: <i>The Old Continentals</i>: VII, 175.</li>
+  <li><i>Make Way for Liberty</i>: VII, 172.</li>
+  <li><span class="smcap">Malory, Sir Thomas.</span></li>
+  <li class="level2">Selection: (Abridgment of) <i>The Holy Grail</i>: V, 207.</li>
+  <li><i>Mandeville, The Travels of Sir John</i>: IX, 207.</li>
+  <li><i>Marching Song</i>: I, 155.</li>
+  <li><i>Marco Bozzaris</i>: VIII, 90.</li>
+  <li><i>Mariner&#8217;s Dream, The</i>: III, 95.</li>
+  <li><i>Marquette, P&egrave;re.</i> See <a href="#Pere_Marquette"><i>P&egrave;re Marquette</i></a>.</li>
+  <li><span class="smcap">Marvel, Ik.</span> See <a href="#Mitchell_Donald_G"><span class="smcap">Mitchell, Donald G.</span></a></li>
+  <li><i>Masterpieces, Graphic Classification of</i>: <a href="#Page_12">X, 12</a>.</li>
+  <li><i>Memorizing</i>: <a href="#Page_128">X, 128</a>.</li>
+  <li><i>Mercy to Animals</i>: I, 413.</li>
+  <li><i>Metaphor, The</i>: <a href="#Page_264">X, 264</a>.</li>
+  <li><i>Method and Style of the Authors, in Fiction</i>: <a href="#Page_174">X, 174</a>.</li>
+  <li><i>Metonymy</i>: <a href="#Page_265">X, 265</a>.</li>
+  <li><i>Mice and the Cat, The</i>: I, 197.</li>
+  <li><i>Milkmaid, The</i>: II, 374.</li>
+  <li><i>Minerva and the Owl</i>: II, 7.</li>
+  <li><i>Mirror of Matsuyana, The</i>: II, 36.</li>
+  <li><a name="Mitchell_Donald_G" id="Mitchell_Donald_G"></a><span class="smcap">Mitchell, Donald G.</span></li>
+  <li class="level2">Selection: <i>Childhood</i>: VI, 124.</li>
+  <li><i>Mock Turtle&#8217;s Story, The</i>: III, 3.</li>
+  <li><i>Modern Belle, The</i>: VI, 463.</li>
+  <li><i>Modestine</i>: IX, 403.</li>
+  <li><span class="smcap">Montgomery, James.</span></li>
+  <li class="level2">Selection: <i>Make Way for Liberty</i>: VII, 172.</li>
+  <li><span class="smcap">Moore, Clement C.</span></li>
+  <li class="level2">Selection: <i>A Visit from Saint Nicholas</i>: II, 202.</li>
+  <li><span class="smcap">Moore, Thomas.</span></li>
+  <li class="level2">Selections: <i>Potato, The</i>: II, 467.</li>
+  <li class="level3"><i>Those Evening Bells</i>: VII, 340.</li>
+  <li><i>Moral Instruction</i>: <a href="#Page_126">X, 126</a>.</li>
+  <li><i>Moss Rose, The</i>: VI, 98.</li>
+  <li><i>Mother&#8217;s Way</i>: IV, 58.</li>
+  <li><a name="Munchausen_Baron" id="Munchausen_Baron"></a><i>Munchausen, Baron</i>: V, 403.</li>
+  <li><i>My Bed Is a Boat</i>: I, 126.</li>
+  <li><span class='pagenum'><a name="Page_490" id="Page_490">[490]</a></span><i>My Heart Leaps Up</i>: IV, 2.</li>
+  <li><i>My Mother&#8217;s Picture</i>: VII, 335.</li>
+  <li><i>My Old Kentucky Home</i>: VII, 179.</li>
+  <li><a name="Myths" id="Myths"></a><span class="smcap">Myths.</span></li>
+  <li class="level2"><i>The Wonderful Gifts</i>: I, 368.</li>
+  <li class="level2"><i>Atalanta&#8217;s Race</i>: I, 386.</li>
+  <li class="level2"><i>Baucis and Philemon</i>: I, 431.</li>
+  <li class="level2"><i>The Golden Touch</i>: II, 43.</li>
+  <li class="level2"><i>How the Wolf Was Bound</i>: II, 91.</li>
+  <li class="level2"><i>The Death of Balder</i>: II, 99.</li>
+  <li class="level2"><i>The Punishment of Loki</i>: II, 111.</li>
+  <li class="level2"><i>The Chimera</i>: II, 173.</li>
+  <li class="level2"><i>The Story of Phaethon</i>: II, 206.</li>
+  <li class="level2"><i>The Queen of the Underworld</i>: II, 468.</li>
+  <li class="level2"><i>Cupid and Psyche</i>: III, 365.</li>
+  <li class="level2"><i>Stories of the Creation</i>: IV, 159.</li>
+</ul>
+
+<p class="indexletter">N</p>
+
+<ul class="index">
+  <li><a name="Narrative_Poems" id="Narrative_Poems"></a><span class="smcap">Narrative Poems.</span></li>
+  <li class="level2"><i>The Sands of Dee</i>: I, 412.</li>
+  <li class="level2"><i>A Visit from Saint Nicholas</i>: II, 202.</li>
+  <li class="level2"><i>The Spider and the Fly</i>: III, 19.</li>
+  <li class="level2"><i>Beth Gelert</i>: III, 42.</li>
+  <li class="level2"><i>The Mariner&#8217;s Dream</i>: III, 95.</li>
+  <li class="level2"><i>The Pied Piper of Hamelin</i>: III, 384.</li>
+  <li class="level2"><i>Incident of the French Camp</i>: IV, 174.</li>
+  <li class="level2"><i>Sheridan&#8217;s Ride</i>: IV, 223.</li>
+  <li class="level2"><i>Burial of Moses</i>: IV, 266.</li>
+  <li class="level2"><i>Bernardo del Carpio</i>: IV, 270.</li>
+  <li class="level2"><i>The Death of Hector</i>: IV, 364.</li>
+  <li class="level2"><i>The Wooden Horse</i>: IV, 383.</li>
+  <li class="level2"><i>Little Giffin of Tennessee</i>: IV, 461.</li>
+  <li class="level2"><i>Little Breeches</i>: IV, 462.</li>
+  <li class="level2"><i>Geraint and Enid</i>: V, 148.</li>
+  <li class="level2"><i>The Passing of Arthur</i>: V, 237.</li>
+  <li class="level2"><i>Bruce and the Spider</i>: V, 314.</li>
+  <li class="level2"><i>The Skeleton in Armor</i>: V, 327.</li>
+  <li class="level2"><i>How They Brought the Good News from Ghent to Aix</i>: V, 335.</li>
+  <li class="level2"><i>Horatius</i>: VI, 1.</li>
+  <li class="level2"><i>The Destruction of Sennacherib</i>: VI, 141.</li>
+  <li class="level2"><i>The Vision of Belshazzar</i>: VI, 153.</li>
+  <li class="level2"><i>Sohrab and Rustum</i>: VI, 173.</li>
+  <li class="level2"><i>The Rime of the Ancient Mariner</i>: VII, 29.</li>
+  <li class="level2"><i>How&#8217;s My Boy?</i>: VII, 169.</li>
+  <li class="level2"><i>The Soldier&#8217;s Dream</i>: VII, 170.</li>
+  <li class="level2"><i>The Forsaken Merman</i>: VII, 180.</li>
+  <li class="level2"><i>The Reaper&#8217;s Dream</i>: VII, 345.</li>
+  <li class="level2"><i>Battle of Ivry</i>: VIII, 76.</li>
+  <li class="level2"><i>The Battle of Waterloo</i>: VIII, 176.</li>
+  <li class="level2"><i>Casabianca</i>: VIII, 313.</li>
+  <li class="level2"><i>The Romance of the Swan&#8217;s Nest</i>: VIII, 315.</li>
+  <li class="level2"><i>The Cotter&#8217;s Saturday Night</i>: VIII, 319.</li>
+  <li class="level2"><i>Abou Ben Adhem</i>: IX, 11.</li>
+  <li class="level2"><i>Pippa Passes</i>: IX, 293.</li>
+  <li class="level2">See <a href="#Ballads"><span class="smcap">Ballads</span></a>.</li>
+  <li><span class="smcap">Nature.</span></li>
+  <li class="level2"><i>The Brown Thrush</i>: I, 147.</li>
+  <li class="level2"><i>Mercy to Animals</i>: I, 413.</li>
+  <li class="level2"><i>The English Robin</i>: II, 214.</li>
+  <li class="level2"><i>Who Stole the Bird&#8217;s Nest?</i>: II, 399.</li>
+  <li class="level2"><i>The Lion and the Missionary</i>: VI, 93.</li>
+  <li class="level2"><i>The Moss Rose</i>: VI, 98.</li>
+  <li class="level2"><i>Elephant Hunting</i>: VI, 385.</li>
+  <li class="level2"><i>Some Clever Monkeys</i>: VI, 402.</li>
+  <li class="level2"><i>The Petrified Fern</i>: VII, 77.</li>
+  <li class="level2"><i>The Buffalo</i>: VII, 96.</li>
+  <li class="level2"><i>A Gorilla Hunt</i>: VII, 247.</li>
+  <li class="level2"><i>Brute Neighbors</i>: VII, 260.</li>
+  <li class="level2"><i>The Pond in Winter</i>: VII, 280.</li>
+  <li class="level2"><i>Salmon Fishing</i>: VII, 285.</li>
+  <li class="level2"><i>Winter Animals</i>: VII, 293.</li>
+  <li class="level2"><i>Trees and Ants That Help Each Other</i>: VII, 306.</li>
+  <li class="level2"><i>A Bed of Nettles</i>: VIII, 209.</li>
+  <li class="level2"><i>Owls</i>: IX, 229.</li>
+  <li class="level2"><i>Robert of Lincoln</i>: IX, 444.</li>
+  <li><i>Nature Study</i>: <a href="#Page_380">X, 380</a>.</li>
+  <li><i>Nature Study, Analysis and Classification of Selections related to</i>: <a href="#Page_381">X, 381-393</a>.</li>
+  <li><i>Nearer Home</i>: IV, 126.</li>
+  <li><span class="smcap">Newman, John Henry</span> (Cardinal).</li>
+  <li class="level2">Selections: <i>Definition of a Gentleman</i>: IV, 170.</li>
+  <li class="level3"><i>Lead, Kindly Light</i>: V, 110.</li>
+  <li><i>Night</i>: III, 431.</li>
+  <li><span class='pagenum'><a name="Page_491" id="Page_491">[491]</a></span><span class="smcap">Nightingale, Florence.</span></li>
+  <li class="level2">Biography: IX, 13.</li>
+  <li><i>Norse Lullaby</i>: I, 246.</li>
+  <li><a name="Novels" id="Novels"></a><span class="smcap">Novels</span> (Selections from).</li>
+  <li class="level2"><i>Robinson Crusoe</i>: III, 45.</li>
+  <li class="level2"><i>The Swiss Family Robinson</i>: III, 99.</li>
+  <li class="level2"><i>Cast Up by the Sea</i>:&mdash;</li>
+  <li class="level3"><i>The Escape from Prison</i>: IV, 130.</li>
+  <li class="level2"><i>Fabiola</i>:&mdash;</li>
+  <li class="level3"><i>Pancratius</i>: IV, 245.</li>
+  <li class="level2"><i>Ivanhoe</i>:&mdash;</li>
+  <li class="level3"><i>The Attack on the Castle</i>: IV, 322.</li>
+  <li class="level3"><i>The Tournament</i>: VI, 38.</li>
+  <li class="level2"><i>Tom Brown&#8217;s School Days</i>:&mdash;</li>
+  <li class="level3"><i>Tom Brown at Rugby</i>: V, 469.</li>
+  <li class="level2"><i>An Attic Philosopher in Paris</i>:&mdash;</li>
+  <li class="level3"><i>The Poet and the Peasant</i>: VI, 206.</li>
+  <li class="level3"><i>The Family of Michael Arout</i>: VII, 314.</li>
+  <li class="level2"><i>Kidnapped</i>:&mdash;</li>
+  <li class="level3"><i>The Shipwreck</i>: VI, 371.</li>
+  <li class="level2"><i>The Last of the Mohicans</i>:&mdash;</li>
+  <li class="level3"><i>An Exciting Canoe Race</i>: VII, 79.</li>
+  <li class="level2"><i>The Mill on the Floss</i>:&mdash;</li>
+  <li class="level3"><i>Tom and Maggie Tulliver</i>: VII, 186.</li>
+  <li class="level2"><i>Treasure Island</i>:&mdash;</li>
+  <li class="level3"><i>The Recovery of the Hispaniola</i>: VII, 352.</li>
+  <li class="level2"><i>Don Quixote</i>:&mdash;</li>
+  <li class="level3"><i>Don Quixote Prepares to Set Out on His Adventures</i>: VII, 433.</li>
+  <li class="level3"><i>The Adventure of the Windmills</i>: VII, 438.</li>
+  <li class="level3"><i>Mambrino&#8217;s Helmet</i>: VII, 441.</li>
+  <li class="level3"><i>Don Quixote&#8217;s Encounter with the Lions</i>: VII, 448.</li>
+  <li class="level3"><i>The Adventure of the Enchanted Bark</i>: VII, 459.</li>
+  <li class="level3"><i>The Adventure of the Wooden Horse</i>: VII, 467.</li>
+  <li class="level3"><i>The Story of the Lashes</i>: VII, 480.</li>
+  <li class="level2"><i>Westward Ho!</i>:&mdash;</li>
+  <li class="level3"><i>How They Took the Gold-Train</i>: VIII, 180.</li>
+  <li class="level2"><i>Pickwick Papers</i>:&mdash;</li>
+  <li class="level3"><i>Mr. Pickwick and Sam Weller</i>: IX, 76.</li>
+  <li><span class="smcap">Nursery Rhymes</span>: I, 3.</li>
+  <li><i>Nursery Rhymes, Analysis of</i>: <a href="#Page_18">X, 18</a>.</li>
+</ul>
+
+<p class="indexletter">O</p>
+
+<ul class="index">
+  <li><a name="Odes2" id="Odes2"></a><span class="smcap">Odes.</span></li>
+  <li class="level2"><i>To H. W. L.</i>: IV, 84.</li>
+  <li class="level2"><i>To the Fringed Gentian</i>: VII, 4.</li>
+  <li class="level2"><i>To a Mouse</i>: VII, 5.</li>
+  <li class="level2"><i>To a Mountain Daisy</i>: VII, 8.</li>
+  <li class="level2"><i>Ode to a Skylark</i>: VII, 275.</li>
+  <li class="level2"><i>To a Waterfowl</i>: VII, 395.</li>
+  <li class="level2"><i>Ode on a Grecian Urn</i>: IX, 462.</li>
+  <li><i>Ode on a Grecian Urn</i>: IX, 462.</li>
+  <li><i>Ode to a Skylark</i>: VII, 275.</li>
+  <li><i>Old Continentals, The</i>: VII, 175.</li>
+  <li><i>Old Gaelic Lullaby</i>: I, 203.</li>
+  <li><i>Old Man and Death, The</i>: II, 9.</li>
+  <li><i>Old Man and His Sons, The</i>: I, 78.</li>
+  <li><i>Old Oaken Bucket, The</i>: VII, 11.</li>
+  <li><a name="On_Comic_Songs" id="On_Comic_Songs"></a><i>On Comic Songs</i>: V, 455.</li>
+  <li><i>On the Receipt of My Mother&#8217;s Picture</i>: VII, 331.</li>
+  <li><i>Oration, Definition and Study of</i>: <a href="#Page_324">X, 324</a>.</li>
+  <li><i>Oration, Illustrative Study of &#8220;A Call to Arms,&#8221; as a type of</i>: IX, 481.</li>
+  <li><span class="smcap">Orations.</span></li>
+  <li class="level2"><i>The Gettysburg Address</i>: IX, 321.</li>
+  <li class="level2"><i>Abraham Lincoln</i>: IX, 324.</li>
+  <li class="level2"><i>The Fate of the Indians</i>: IX, 466.</li>
+  <li class="level2"><i>A Call to Arms</i>: IX, 475.</li>
+  <li><i>Origin of the Opal</i>: II, 480.</li>
+  <li><i>Owl and the Pussy-Cat, The</i>: I, 339.</li>
+  <li><i>Owls</i>: IX, 229.</li>
+</ul>
+
+
+<p class="indexletter">P</p>
+
+<ul class="index">
+  <li><span class="smcap">Palmer, J. W.</span></li>
+  <li class="level2">Selection: <i>&#8220;Stonewall&#8221; Jackson&#8217;s Way</i>: V, 400.</li>
+  <li><i>Pancratius</i>: IV, 245.</li>
+  <li><span class='pagenum'><a name="Page_492" id="Page_492">[492]</a></span><span class="smcap">Parkman, Francis.</span></li>
+  <li class="level2">Selection: <i>The Buffalo</i>: VII, 96.</li>
+  <li><i>Passing of Arthur, The</i>: V, 237.</li>
+  <li><a name="Patriotic_Poems" id="Patriotic_Poems"></a><span class="smcap">Patriotic Poems.</span></li>
+  <li class="level2"><i>The American Flag</i>: V, 396.</li>
+  <li class="level2"><i>&#8220;Stonewall&#8221; Jackson&#8217;s Way</i>: V, 400.</li>
+  <li class="level2"><i>Bannockburn</i>: VII, 15.</li>
+  <li class="level2"><i>The Charge of the Light Brigade</i>: VII, 147.</li>
+  <li class="level2"><i>Breathes There the Man</i>: VII, 151.</li>
+  <li class="level2"><i>For A&#8217; That and A&#8217; That</i>: VII, 149.</li>
+  <li class="level2"><i>Make Way for Liberty</i>: VII, 172.</li>
+  <li class="level2"><i>The Old Continentals</i>: VII, 175.</li>
+  <li class="level2"><i>The Picket Guard</i>: VII, 177.</li>
+  <li class="level2"><i>Marco Bozzaris</i>: VIII, 90.</li>
+  <li><span class="smcap">Payne, John Howard.</span></li>
+  <li class="level2">Biography: VI, 221.</li>
+  <li class="level2">Selection: <i>Home, Sweet Home</i>: VI, 224.</li>
+  <li><i>Pea Blossom, The</i>: I, 205.</li>
+  <li><a name="Pere_Marquette" id="Pere_Marquette"></a><i>P&egrave;re Marquette</i>: VIII, 121.</li>
+  <li><span class="smcap">Perrault, Charles.</span></li>
+  <li class="level2">Adaptations from <i>Cinderella</i>: I, 224.</li>
+  <li class="level3"><i>Hop-O&#8217;-My-Thumb</i>: I, 112.</li>
+  <li class="level3"><i>Little Red Riding-Hood</i>: I, 79.</li>
+  <li><i>Personification</i>: <a href="#Page_266">X, 266</a>.</li>
+  <li><i>Persons, in Fiction, Study of</i>: <a href="#Page_156">X, 156</a>.</li>
+  <li><i>Petrified Fern, The</i>: VII, 77.</li>
+  <li><a name="Phaethon_The_Story_of" id="Phaethon_The_Story_of"></a><i>Phaethon, The Story of</i>: II, 206.</li>
+  <li><i>Picket-Guard, The</i>: VII, 177.</li>
+  <li><i>Pickwick and Sam Weller</i>: IX, 76.</li>
+  <li><i>Picture Books in Winter</i>: II, 87.</li>
+  <li><i>Pictures and Their Use</i>: <a href="#Page_36">X, 36</a>.</li>
+  <li><i>Pictures and Their Value in Literature</i>: <a href="#Page_44">X, 44</a>.</li>
+  <li><i>Pictures in</i> Journeys, <i>On the Use of</i>: <a href="#Page_48">X, 48</a>.</li>
+  <li><i>Pictures of Memory</i>: IV, 127.</li>
+  <li><i>Pied Piper of Hamelin, The</i>: III, 384.</li>
+  <li><i>Pilgrim&#8217;s Progress, The</i>: IV, 423.</li>
+  <li><i>Pine-Tree Shillings, The</i>: IV, 192.</li>
+  <li><i>Pippa Passes</i>: IX, 293.</li>
+  <li><i>Plan and Contents of</i> Journeys: <a href="#Page_7">X, 7</a>.</li>
+  <li><i>Plan and Contents of Each Volume</i>: <a href="#Page_24">X, 24</a>.</li>
+  <li><i>Plot, in Fiction, Study of</i>: <a href="#Page_149">X, 149</a>.</li>
+  <li><span class="smcap">Plutarch.</span></li>
+  <li class="level2">Selection: <i>The Death of C&aelig;sar</i>: IX, 126.</li>
+  <li><span class="smcap">Poe, Edgar Allan.</span></li>
+  <li class="level2">Selections: <i>Annabel Lee</i>: VII, 341.</li>
+  <li class="level3"><i>Descent into the Maelstrom, A</i>: VIII, 95.</li>
+  <li class="level3"><i>Gold-Bug, The</i>: IX, 232.</li>
+  <li class="level3"><i>Three Sundays in a Week</i>: VI, 453.</li>
+  <li><i>Poet and the Peasant, The</i>: VI, 206.</li>
+  <li><span class="smcap">Poetry.</span> See <a href="#Ballads"><span class="smcap">Ballads</span></a>; <a href="#Drama2"><span class="smcap">Drama</span></a>; <a href="#Lullabies"><span class="smcap">Lullabies</span></a>; <a href="#Lyrics"><span class="smcap">Lyrics</span></a>;
+    <a href="#Narrative_Poems"><span class="smcap">Narrative Poems</span></a>; <a href="#Odes2"><span class="smcap">Odes</span></a>; <a href="#Patriotic_Poems"><span class="smcap">Patriotic Poems</span></a>; <a href="#Songs2"><span class="smcap">Songs</span></a>; <a href="#Wit_and_Humor"><span class="smcap">Wit and Humor</span></a>.</li>
+  <li><i>Poetry, Kinds of</i>: <a href="#Page_331">X, 331</a>.</li>
+  <li><i>Poetry, Reading</i>: <a href="#Page_272">X, 272</a>.</li>
+  <li><i>Polonius&#8217; Advice</i>: V, 112.</li>
+  <li><i>Pond in Winter, The</i>: VII, 280.</li>
+  <li><i>Poor Richard&#8217;s Almanac</i>: VI, 407.</li>
+  <li><span class="smcap">Pope, Alexander.</span></li>
+  <li class="level2">Selection: <i>The Universal Prayer</i>: IV, 172.</li>
+  <li><i>Poppyland Express, The</i>: II, 21.</li>
+  <li><i>Potato, The</i>: II, 467.</li>
+  <li><i>Praise of Chimney Sweepers, The</i>: IX, 66.</li>
+  <li><span class="smcap">Prescott, William Hickling.</span></li>
+  <li class="level2">Selection: <i>The Retreat of Cort&eacute;s</i>: VIII, 63.</li>
+  <li><span class="smcap">Pronunciation of Proper Names</span>:</li>
+  <li class="level2">Volume I, 487.</li>
+  <li class="level2">Volume II, 491.</li>
+  <li class="level2">Volume III, 487.</li>
+  <li class="level2">Volume IV, 491.</li>
+  <li class="level2">Volume V, 497.</li>
+  <li class="level2">Volume VI, 481.</li>
+  <li class="level2">Volume VII, 485.</li>
+  <li class="level2">Volume VIII, 489.</li>
+  <li class="level2">Volume IX, 489.</li>
+  <li><i>Prose, Kinds of</i>: <a href="#Page_318">X, 318</a>.</li>
+  <li><i>Punishment of Loki, The</i>: II, 111.</li>
+</ul>
+
+
+<p class="indexletter">Q</p>
+
+<ul class="index">
+  <li><i>Queen Alice</i>: III, 23.</li>
+  <li><i>Queen of the Underworld, The</i>: II, 468.</li>
+  <li><span class='pagenum'><a name="Page_493" id="Page_493">[493]</a></span><span class="smcap">Queen Victoria.</span> See <a href="#Victoria_Queen"><span class="smcap">Victoria, Queen</span></a>.</li>
+  <li><i>Quotations, One Hundred Choice</i>: <a href="#Page_131">X, 131</a>.</li>
+</ul>
+
+
+<p class="indexletter">R</p>
+
+<ul class="index">
+  <li><span class="smcap">Ramee, Louise de la.</span></li>
+  <li class="level2">Selection: <i>A Dog of Flanders</i>: IV, 93.</li>
+  <li><i>Rab and His Friends</i>: VI, 99.</li>
+  <li><i>Rain</i>: I, 110.</li>
+  <li><i>Rainbow, The</i>: VI, 91.</li>
+  <li><i>Rain on the Roof</i>: IV, 7.</li>
+  <li><span class="smcap">Rands, W. B.</span></li>
+  <li class="level2">Selection: <i>The Child&#8217;s World</i>: II, 66.</li>
+  <li><span class="smcap">Read, Thomas Buchanan.</span></li>
+  <li class="level2">Selections: <i>Reaper&#8217;s Dream, The</i>: VII, 345.</li>
+  <li class="level3"><i>Sheridan&#8217;s Ride</i>: IV, 223.</li>
+  <li><i>Reading, Correlation of</i> Journeys <i>with Study of</i>: <a href="#Page_345">X, 345</a>.</li>
+  <li><i>Reading Aloud</i>: <a href="#Page_123">X, 123</a>, <a href="#Page_311">311</a>.</li>
+  <li><i>Reading and the Building of Character</i>: <a href="#Page_85">X, 85</a>.</li>
+  <li><i>Reading History</i>: V, 394.</li>
+  <li><i>Reading Poetry</i>: <a href="#Page_272">X, 272</a>.</li>
+  <li><i>Reading Shakespeare</i>: VIII, 346.</li>
+  <li><i>Reading Stories</i>: <a href="#Page_145">X, 145</a>.</li>
+  <li><i>Reaper and the Flowers, The</i>: I, 410.</li>
+  <li><i>Reaper&#8217;s Dream, The</i>: VII, 345.</li>
+  <li><i>Recessional, The</i>: VII, 164.</li>
+  <li><i>Recitations and Special Days in School</i>: <a href="#Page_436">X, 436</a>.</li>
+  <li><i>Recovery of the Hispaniola, The</i>: VII, 352.</li>
+  <li><i>Reminiscences of a Pioneer</i>: V, 340.</li>
+  <li><a name="Retreat_of_Cortes_The" id="Retreat_of_Cortes_The"></a><i>Retreat of Cort&eacute;s, The</i>: VIII, 63.</li>
+  <li><i>Riddles</i>: I, 72, 202, 245.</li>
+  <li><span class="smcap">Riley, James Whitcomb.</span></li>
+  <li class="level2">Selections: <i>Afterwhile</i>: II, 123.</li>
+  <li class="level3"><i>Away</i>: IV, 460.</li>
+  <li class="level3"><i>Let Something Good be Said</i>: V, 111.</li>
+  <li><a name="Rime_of_the_Ancient_Mariner_The" id="Rime_of_the_Ancient_Mariner_The"></a><i>Rime of the Ancient Mariner, The</i>: VII, 29.</li>
+  <li><i>Ringrose and His Buccaneers</i>: VIII, 1.</li>
+  <li><span class="smcap">Ringrose, Basil.</span></li>
+  <li class="level2">Selection: <i>Ringrose and His Buccaneers</i>: VIII, 1.</li>
+  <li><a name="Rise_of_Robert_Bruce_The" id="Rise_of_Robert_Bruce_The"></a><i>Rise of Robert Bruce, The</i>: V, 278.</li>
+  <li><i>Robert of Lincoln</i>: IX, 444.</li>
+  <li><i>Robin Hood</i>: III, 436.</li>
+  <li class="level2"><i>Robin Hood and Little John</i>: III, 437.</li>
+  <li class="level2"><i>Robin Hood and the Stranger</i>: III, 444.</li>
+  <li class="level2"><i>Robin Hood and the Widow&#8217;s Three Sons</i>: III, 449.</li>
+  <li class="level2"><i>Robin Hood and Allin a Dale</i>: III, 454.</li>
+  <li><i>Robinson Crusoe</i>: III, 45.</li>
+  <li><i>Rock-a-by Lady, The</i>: I, 94.</li>
+  <li><i>Roland at Roncesvalles</i>: III, 460.</li>
+  <li><i>Romance of the Swan&#8217;s Nest, The</i>: VIII, 315.</li>
+  <li><span class="smcap">Roosevelt, Theodore.</span></li>
+  <li class="level2">Selection: <i>Abraham Lincoln</i>: IX, 324.</li>
+  <li><i>Rumpelstiltzkin</i>: II, 33.</li>
+  <li><span class="smcap">Ruskin, John.</span></li>
+  <li class="level2">Selection: <i>The King of the Golden River</i>: II, 405.</li>
+  <li><a name="Ruth" id="Ruth"></a><i>Ruth</i>: VI, 143.</li>
+  <li><span class="smcap">Ryan, Father.</span></li>
+  <li class="level2">Selections: <i>Better Than Gold</i>: IV, 1.</li>
+  <li class="level3"><i>Mother&#8217;s Way</i>: IV, 58.</li>
+</ul>
+
+<p class="indexletter">S</p>
+
+<ul class="index">
+  <li><i>Salmon Fishing</i>: VII, 285.</li>
+  <li><i>Sands of Dee, The</i>: I, 412.</li>
+  <li><span class="smcap">Saxe, John Godfrey.</span></li>
+  <li class="level2">Selection: <i>Echo</i>: III, 286.</li>
+  <li><i>Scenes, in Fiction, Study of</i>: <a href="#Page_162">X, 162</a>.</li>
+  <li><span class="smcap">Scott, Sir Walter.</span></li>
+  <li class="level2">Biography: VI, 26.</li>
+  <li class="level2">Selections: <i>Attack on the Castle, The</i>: IV, 322.</li>
+  <li class="level3"><i>Boat Song</i>: VII, 17.</li>
+  <li class="level3"><i>Breathes There the Man</i>: VII, 151.</li>
+  <li class="level3"><i>Christmas in Old Time</i>: VI, 356.</li>
+  <li class="level3"><span class='pagenum'><a name="Page_494" id="Page_494">[494]</a></span><i>Lochinvar</i>: III, 432.</li>
+  <li class="level3"><i>Rise of Robert Bruce, The</i>: V, 278.</li>
+  <li class="level3"><i>Tournament, The</i>: VI, 38.</li>
+  <li><a name="Second_Voyage_of_Sinbad_the_Sailor_The" id="Second_Voyage_of_Sinbad_the_Sailor_The"></a><i>Second Voyage of Sinbad the Sailor, The</i>: III, 340.</li>
+  <li><i>Seein&#8217; Things</i>: I, 240.</li>
+  <li><span class="smcap">Sellon, Grace E.</span></li>
+  <li class="level2">Adaptations: <i>Frithiof the Bold</i>: III, 394.</li>
+  <li class="level3"><i>Pippa Passes</i>: IX, 293.</li>
+  <li class="level3"><i>Snow Maiden, The</i>: I, 257.</li>
+  <li class="level3"><i>Story of Siegfried, The</i>: III, 410.</li>
+  <li class="level2">Selections: <i>Bryant, William Cullen</i>: VII, 391.</li>
+  <li class="level3"><i>Hawthorne, Nathaniel</i>: IV, 180.</li>
+  <li class="level3"><i>Holmes, Oliver Wendell</i>: VII, 398.</li>
+  <li class="level3"><i>Irving, Washington</i>: VIII, 216.</li>
+  <li class="level3"><i>Longfellow, Henry Wadsworth</i>: IV, 62.</li>
+  <li class="level3"><i>Lowell, James Russell</i>: VII, 411.</li>
+  <li class="level3"><i>Scott, Sir Walter</i>: VI, 26.</li>
+  <li class="level3"><i>Some Children&#8217;s Books of the Past</i>: V, 101.</li>
+  <li class="level3"><i>Whittier, John Greenleaf</i>: VII, 381.</li>
+  <li><i>Seven Times One</i>: II, 119.</li>
+  <li><span class="smcap">Shakespeare, William.</span></li>
+  <li class="level2">Biography: VIII, 468.</li>
+  <li class="level2">Selections: <i>Death of C&aelig;sar, The</i>: IX, 143.</li>
+  <li class="level3"><i>Polonius&#8217; Advice</i>: V, 112.</li>
+  <li class="level3"><i>Tempest, The</i>: VIII, 364.</li>
+  <li><span class="smcap">Sheale, Richard.</span></li>
+  <li class="level2">Selection: <i>Chevy-Chase</i>: IV, 312.</li>
+  <li><span class="smcap">Shelley, Percy Bysshe.</span></li>
+  <li class="level2">Selections: <i>Cloud, The</i>: VII, 257.</li>
+  <li class="level3"><i>Ode to a Skylark</i>: VII, 275.</li>
+  <li><i>Shepherd Boy and the Wolves, The</i>: I, 92.</li>
+  <li><i>Sheridan&#8217;s Ride</i>: IV, 223.</li>
+  <li><i>Shipwreck, The</i>: VI, 371.</li>
+  <li><i>Shuffle-Shoon and Amber-Locks</i>: II, 121.</li>
+  <li><a name="Siegfried_The_Story_of" id="Siegfried_The_Story_of"></a><i>Siegfried, The Story of</i>: III, 410.</li>
+  <li><i>Silver-Locks and the Three Bears</i>: I, 101.</li>
+  <li><i>Simile, The</i>: <a href="#Page_263">X, 263</a>.</li>
+  <li><i>Sinbad the Sailor, The Second Voyage of.</i> See <a href="#Second_Voyage_of_Sinbad_the_Sailor_The"><i>Second Voyage of Sinbad the Sailor, The</i></a>.</li>
+  <li><i>Singing</i>: I, 83.</li>
+  <li><i>Sir Roger de Coverley</i>: IX, 371.</li>
+  <li><i>Skeleton in Armor, The</i>: V, 327.</li>
+  <li><i>Sleep, Baby, Sleep</i>: I, 204.</li>
+  <li><span class="smcap">Smith, Samuel Francis.</span></li>
+  <li class="level2">Selection: <i>America</i>: VIII, 60.</li>
+  <li><i>Snow Maiden, The</i>: I, 257.</li>
+  <li><i>Snow Queen, The</i>: II, 124.</li>
+  <li><i>Sohrab and Rustem</i>: VI, 157.</li>
+  <li><i>Sohrab and Rustum</i>: VI, 173.</li>
+  <li><i>Soldier&#8217;s Dream, The</i>: VII, 170.</li>
+  <li><a name="Some_Childrens_Books_of_the_Past" id="Some_Childrens_Books_of_the_Past"></a><i>Some Children&#8217;s Books of the Past</i>: V, 101.</li>
+  <li><i>Some Clever Monkeys</i>: VI, 402.</li>
+  <li><i>&#8220;Something&#8221;</i>: I, 395.</li>
+  <li><a name="Song_of_the_Brook" id="Song_of_the_Brook"></a><i>Song of the Brook</i>: IV, 60.</li>
+  <li><i>Sonnet, Definition of</i>: <a href="#Page_337">X, 337</a>.</li>
+  <li><a name="Songs2" id="Songs2"></a><span class="smcap">Songs.</span></li>
+  <li class="level2"><i>Singing</i>: I, 83.</li>
+  <li class="level2"><i>Little Birdie</i>: I, 142.</li>
+  <li class="level2"><i>Marching Song</i>: I, 155.</li>
+  <li class="level2"><i>The Owl and The Pussy Cat</i>: I, 339.</li>
+  <li class="level2"><i>Song of the Brook</i>: IV, 60.</li>
+  <li class="level2"><i>Nearer Home</i>: IV, 126.</li>
+  <li class="level2"><i>Lead, Kindly Light</i>: V, 110.</li>
+  <li class="level2"><i>Battle Hymn of the Republic</i>: V, 399.</li>
+  <li class="level2"><i>Annie Laurie</i>: VI, 119.</li>
+  <li class="level2"><i>Sweet and Low</i>: VI, 122.</li>
+  <li class="level2"><i>The Bugle Song</i>: VI, 133.</li>
+  <li class="level2"><i>Home, Sweet Home</i>: VI, 221.</li>
+  <li class="level2"><i>Auld Lang Syne</i>: VI, 228.</li>
+  <li class="level2"><i>The Old Oaken Bucket</i>: VII, 11.</li>
+  <li class="level2"><i>Boat Song</i>: VII, 17.</li>
+  <li class="level2"><i>The Star-Spangled Banner</i>: VII, 167.</li>
+  <li class="level2"><i>How Sleep the Brave</i>: VII, 151.</li>
+  <li class="level2"><i>My Old Kentucky Home</i>: VII, 179.</li>
+  <li class="level2"><i>Those Evening Bells</i>: VII, 340.</li>
+  <li class="level2"><i>The Three Fishers</i>: VII, 343.</li>
+  <li class="level2"><i>America</i>: VIII, 60.</li>
+  <li><span class='pagenum'><a name="Page_495" id="Page_495">[495]</a></span><span class="smcap">Southey, Robert.</span></li>
+  <li class="level2">Selections: <i>Battle of Trafalgar, The</i>: VIII, 284.</li>
+  <li class="level3"><i>Inchcape Rock, The</i>: V, 465.</li>
+  <li class="level3"><i>Night</i>: III, 431.</li>
+  <li><span class="smcap">Souvestre, Emile.</span></li>
+  <li class="level2">Selections: <i>Family of Michael Arout, The</i>: VII, 314.</li>
+  <li class="level3"><i>Poet and the Peasant, The</i>: VI, 206.</li>
+  <li><span class="smcap">Sparks, Jared.</span></li>
+  <li class="level2">Selection: <i>P&egrave;re Marquette</i>: VIII, 121.</li>
+  <li><i>Sparrow and the Eagle, The</i>: II, 8.</li>
+  <li><span class="smcap">Spencer, William R.</span></li>
+  <li class="level2">Selection: <i>Beth Gelert</i>: III, 42.</li>
+  <li><i>Spider and the Fly, The</i>: III, 19.</li>
+  <li><span class="smcap">Sprague, Charles.</span></li>
+  <li class="level2">Selection: <i>The Fate of the Indians</i>: IX, 466.</li>
+  <li><i>Star-Spangled Banner, The</i>: VII, 167.</li>
+  <li><span class="smcap">Stark.</span></li>
+  <li class="level2">Selection: <i>The Modern Belle</i>: VI, 463.</li>
+  <li><span class="smcap">Stevenson, Robert Louis.</span></li>
+  <li class="level2">Biography: I, 128.</li>
+  <li class="level2">Selections: <i>At the Seaside</i>: I, 129.</li>
+  <li class="level3"><i>Autumn Fires</i>: I, 394.</li>
+  <li class="level3"><i>Bed in Summer</i>: I, 173.</li>
+  <li class="level3"><i>Block City</i>: I, 196.</li>
+  <li class="level3"><i>Cow, The</i>: I, 106.</li>
+  <li class="level3"><i>Fairy Bread</i>: I, 198.</li>
+  <li class="level3"><i>Foreign Children</i>: I, 351.</li>
+  <li class="level3"><i>Foreign Lands</i>: I, 130.</li>
+  <li class="level3"><i>From a Railway Carriage</i>: I, 198.</li>
+  <li class="level3"><i>Keepsake Mill</i>: I, 349.</li>
+  <li class="level3"><i>Land of Counterpane, The</i>: I, 144.</li>
+  <li class="level3"><i>Looking Forward</i>: I, 106.</li>
+  <li class="level3"><i>Marching Song</i>: I, 155.</li>
+  <li class="level3"><i>Modestine</i>: IX, 403.</li>
+  <li class="level3"><i>My Bed Is a Boat</i>: I, 126.</li>
+  <li class="level3"><i>Picture-Books in Winter</i>: II, 87.</li>
+  <li class="level3"><i>Rain</i>: I, 110.</li>
+  <li class="level3"><i>Recovery of the Hispaniola, The</i>: VII, 352.</li>
+  <li class="level3"><i>Shipwreck, The</i>: VI, 371.</li>
+  <li class="level3"><i>Singing</i>: I, 83.</li>
+  <li class="level3"><i>Sun&#8217;s Travels, The</i>: I, 68.</li>
+  <li class="level3"><i>Swing, The</i>: I, 67.</li>
+  <li class="level3"><i>System</i>: I, 111.</li>
+  <li class="level3"><i>Thought, A</i>: I, 66.</li>
+  <li class="level3"><i>Time to Rise</i>: I, 340.</li>
+  <li class="level3"><i>Where Go the Boats?</i>: I, 256.</li>
+  <li class="level3"><i>Whole Duty of Children</i>: I, 301.</li>
+  <li class="level3"><i>Wind, The</i>: I, 440.</li>
+  <li class="level3"><i>Windy Nights</i>: II, 123.</li>
+  <li class="level3"><i>Young Night Thought</i>: I, 302.</li>
+  <li><i>&#8220;Stonewall&#8221; Jackson&#8217;s Way</i>: V, 400.</li>
+  <li><i>Stop, Stop, Pretty Water</i>: I, 317.</li>
+  <li><a name="Stories" id="Stories"></a><span class="smcap">Stories.</span></li>
+  <li class="level2"><i>A Dog of Flanders</i>: IV, 93.</li>
+  <li class="level2"><i>The Pine-Tree Shillings</i>: IV, 192.</li>
+  <li class="level2"><i>Gulliver&#8217;s Travels</i>: V, 6.</li>
+  <li class="level2"><i>Rab and His Friends</i>: VI, 99.</li>
+  <li class="level2"><i>A Christmas Carol</i>: VI, 244.</li>
+  <li class="level2"><i>Three Sundays in a Week</i>: VI, 453.</li>
+  <li class="level2"><i>The Governor and the Notary</i>: VII, 20.</li>
+  <li class="level2"><i>A Descent into the Maelstrom</i>: VIII, 95.</li>
+  <li class="level2"><i>The Tempest</i>: VIII, 364.</li>
+  <li class="level2"><i>The Gold-Bug</i>: IX, 232.</li>
+  <li class="level2">See <a href="#Adventure"><span class="smcap">Adventure</span></a>; <a href="#Fairy_Lore_and_Folk_Lore"><span class="smcap">Fairy Lore and Folk Lore</span></a>; <a href="#Novels"><span class="smcap">Novels</span></a>.</li>
+  <li><span class="smcap">Stories of Adventure.</span> See <a href="#Adventure"><span class="smcap">Adventure</span></a>.</li>
+  <li><i>Stories, Reading</i>: <a href="#Page_145">X, 145</a>.</li>
+  <li><i>Stories, Telling</i>: <a href="#Page_63">X, 63</a>.</li>
+  <li><a name="Stories_of_the_Creation" id="Stories_of_the_Creation"></a><i>Stories of the Creation</i>: IV, 159.</li>
+  <li><i>Story of Aladdin, or the Wonderful Lamp, The</i>: III, 288.</li>
+  <li><i>Story of Esther, The.</i> See <a href="#Esther_The_Story_of"><i>Esther, The Story of</i></a>.</li>
+  <li><i>Story of Joseph, The.</i> See <a href="#Joseph_The_Story_of"><i>Joseph, The Story of</i></a>.</li>
+  <li><i>Story of Phaethon, The.</i> See <a href="#Phaethon_The_Story_of"><i>Phaethon, The Story of</i></a>.</li>
+  <li><i>Story of Ruth, The.</i> See <a href="#Ruth"><i>Ruth, The Story of</i></a>.</li>
+  <li><i>Story of Siegfried, The.</i> See <a href="#Siegfried_The_Story_of"><i>Siegfried, The Story of</i></a>.</li>
+  <li><i>Studies, Of</i>: IX, 400.</li>
+  <li><span class='pagenum'><a name="Page_496" id="Page_496">[496]</a></span><a name="Studies" id="Studies"></a><span class="smcap">Studies.</span> (The following are selections upon which the studies are
+based. In <a href="#CHAPTER_XIX">chapter XIX</a> of Volume X the more important studies are
+arranged in the order in which the selections appear in the several
+volumes.)</li>
+  <li class="level2"><i>Alfred the Great</i>: IV, 260.</li>
+  <li class="level3">(Study in History&mdash;<a href="#Page_414">X, 414</a>.)</li>
+  <li class="level2"><i>America</i>: VIII, 60.</li>
+  <li class="level2"><i>American Flag, The</i>: V, 396.</li>
+  <li class="level2"><i>Annie Laurie</i>: VI, 119.</li>
+  <li class="level3">(Study in Close Reading&mdash;<a href="#Page_243">X, 243</a>.)</li>
+  <li class="level2"><i>Ballad of Agincourt</i>: V, 95.</li>
+  <li class="level3">(Story Told&mdash;<a href="#Page_74">X, 74</a>.)</li>
+  <li class="level2"><i>Bannockburn</i>: VII, 15.</li>
+  <li class="level2"><i>Barefoot Boy, The</i>: IV, 3.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_286">X, 286</a>.)</li>
+  <li class="level2"><i>Battle of Saratoga</i>: IX, 176.</li>
+  <li class="level3">(Study in History&mdash;<a href="#Page_419">X, 419</a>.)</li>
+  <li class="level2"><i>Boat Song</i>: VII, 17.</li>
+  <li class="level2"><i>Boston Massacre, The</i>: IV, 217.</li>
+  <li class="level3">(Study in Argument&mdash;<a href="#Page_370">X, 370</a>.)</li>
+  <li class="level2"><i>Braddock&#8217;s Defeat</i>: V, 379.</li>
+  <li class="level3">(Study in Close Reading&mdash;<a href="#Page_227">X, 227</a>.)</li>
+  <li class="level2"><i>Brown Thrush, The</i>: I, 147.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_276">X, 276</a>.)</li>
+  <li class="level2"><i>Brute Neighbors</i>: VII, 260.</li>
+  <li class="level3">(Nature Study&mdash;<a href="#Page_383">X, 383</a>.)</li>
+  <li class="level2"><i>Bugle Song, The</i>: VI, 133.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_287">X, 287</a>.)</li>
+  <li class="level2"><i>Call to Arms, A</i>: IX, 475.</li>
+  <li class="level2"><i>Chambered Nautilus, The</i>: IX, 454.</li>
+  <li class="level2"><i>Child&#8217;s World, The</i>: II, 66.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_277">X, 277</a>.)</li>
+  <li class="level2"><i>Christmas Carol, A</i>: VI, 244.</li>
+  <li class="level3">(Study in Scene&mdash;<a href="#Page_168">X, 168</a>.)</li>
+  <li class="level3">(Study of Picture, <i>Bob and Tiny Tim</i>&mdash;<a href="#Page_41">X, 41</a>.)</li>
+  <li class="level2"><i>Christmas in Old Time</i>: VI, 356.</li>
+  <li class="level2"><i>Cid Campeador</i>: IV, 9.</li>
+  <li class="level3">(Study in Exposition&mdash;<a href="#Page_368">X, 368</a>.)</li>
+  <li class="level2"><i>Cinderella</i>: I, 224.</li>
+  <li class="level3">(Character Study&mdash;I, 238.)</li>
+  <li class="level3">(Complete Study&mdash;<a href="#Page_150">X, 150</a>.)</li>
+  <li class="level2"><i>Cloud, The</i>: VII, 257.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_301">X, 301</a>.)</li>
+  <li class="level2"><i>Country Squire, The</i>: VI, 474.</li>
+  <li class="level2"><i>Cubes of Truth, The</i>: VII, 406.</li>
+  <li class="level2"><i>Cupid and Psyche</i>: III, 365.</li>
+  <li class="level2"><i>Daffodils, The</i>: VII, 1.</li>
+  <li class="level2"><i>David Crockett in the Creek War</i>: VIII, 37.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_244">X, 244</a>.)</li>
+  <li class="level2"><i>Death of C&aelig;sar, The</i>: IX, 143.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_253">X, 253</a>.)</li>
+  <li class="level2"><i>Definition of a Gentleman</i>: IV, 170.</li>
+  <li class="level3">(Study in Close Reading&mdash;<a href="#Page_234">X, 234</a>)</li>
+  <li class="level2"><i>Descent into the Maelstrom, A</i>: VIII, 95.</li>
+  <li class="level2"><i>Dog and His Shadow, The</i>: I, 63.</li>
+  <li class="level3">(Study on Scene&mdash;<a href="#Page_164">X, 164</a>.)</li>
+  <li class="level2"><i>Down Tumbled Wheelbarrow</i>: I, 46.</li>
+  <li class="level3">(Study of Picture&mdash;<a href="#Page_58">X, 58</a>.)</li>
+  <li class="level2"><i>Dream Children: A Revery</i>: VIII, 335.</li>
+  <li class="level2"><i>Drummer, The</i>: I, 303.</li>
+  <li class="level3">(Complete Study&mdash;<a href="#Page_193">X, 193</a>.)</li>
+  <li class="level2"><i>Exciting Canoe Race, An</i>: VII, 79.</li>
+  <li class="level3">(Study in Forms of Expression&mdash;<a href="#Page_376">X, 376</a>.)</li>
+  <li class="level2"><i>Expense, Of</i>: IX, 397.</li>
+  <li class="level2"><i>Fairies, The</i>: I, 405.</li>
+  <li class="level2"><i>Fairies of Caldon-Low, The</i>: II, 395.</li>
+  <li class="level3">(Story Told&mdash;<a href="#Page_68">X, 68</a>.)</li>
+  <li class="level2"><i>Faithless Sally Brown</i>: III, 92.</li>
+  <li class="level3">(Study in Close Reading&mdash;<a href="#Page_232">X, 232</a>.)</li>
+  <li class="level2"><i>Fate of the Indians, The</i>: IX, 466.</li>
+  <li class="level2"><i>Fir Tree, The</i>: II, 68.</li>
+  <li class="level3">(Study of Picture, <i>The Swallow and the Stork Came</i>&mdash;<a href="#Page_55">X, 55</a>.)</li>
+  <li class="level3">(Study in The Lesson and the Author&#8217;s Purpose&mdash;<a href="#Page_173">X, 173</a>.)</li>
+  <li class="level2"><i>First Snowfall, The</i>: II, 403.</li>
+  <li class="level3">(Study in Figures&mdash;<a href="#Page_270">X, 270</a>.)</li>
+  <li class="level3">(Complete Study&mdash;<a href="#Page_281">X, 281</a>.)</li>
+  <li class="level2"><i>Forsaken Merman, The</i>: VII, 180.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_295">X, 295</a>.)</li>
+  <li class="level2"><i>Fox and the Crow, The</i>: I, 64.</li>
+  <li class="level3">(Complete Study&mdash;<a href="#Page_187">X, 187</a>.)</li>
+  <li class="level2"><i>Fox and the Stork, The</i>: I, 73.</li>
+  <li class="level3">(Study on Scene&mdash;<a href="#Page_166">X, 166</a>.)</li>
+  <li class="level2"><i>Frithiof the Bold</i>: III, 394.</li>
+  <li class="level2"><span class='pagenum'><a name="Page_497" id="Page_497">[497]</a></span><i>Geraint and Enid</i>: V, 148.</li>
+  <li class="level3">(Study of Picture, <i>Geraint Hears Enid Singing</i>&mdash;<a href="#Page_60">X, 60</a>.)</li>
+  <li class="level2"><i>Gettysburg Address, The</i>: IX, 321.</li>
+  <li class="level2"><i>Gold-Bug, The</i>: IX, 232.</li>
+  <li class="level3">(Study&mdash;IX, 283.)</li>
+  <li class="level2"><i>Golden Touch, The</i>: II, 43.</li>
+  <li class="level2"><i>Gulliver&#8217;s Travels</i>: V, 6.</li>
+  <li class="level3">(Study in Close Reading on <i>Adventures in Lilliput</i>&mdash;<a href="#Page_235">X, 235</a>.)</li>
+  <li class="level2"><i>Hardy Tin Soldier, The</i>: I, 148.</li>
+  <li class="level3">(Character Study&mdash;<a href="#Page_158">X, 158</a>.)</li>
+  <li class="level2"><i>Hare and the Tortoise, The</i>: I, 71.</li>
+  <li class="level3">(Complete Study&mdash;<a href="#Page_185">X, 185</a>.)</li>
+  <li class="level2"><i>Heart of Bruce, The</i>: V, 316.</li>
+  <li class="level3">(Study in Close Reading&mdash;<a href="#Page_238">X, 238</a>.)</li>
+  <li class="level2"><i>Herv&eacute; Riel</i>: VIII, 168.</li>
+  <li class="level3">(Story Told&mdash;<a href="#Page_78">X, 78</a>.)</li>
+  <li class="level2"><i>Holger Danske</i>: II, 377.</li>
+  <li class="level2"><i>How They Brought the Good News from Ghent to Aix</i>: V, 335.</li>
+  <li class="level2"><i>Impeachment of Warren Hastings, The</i>: IX, 32.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_248">X, 248</a>.)</li>
+  <li class="level2"><i>In Time&#8217;s Swing</i>: II, 481.</li>
+  <li class="level2"><i>Incident of the French Camp</i>: IV, 174.</li>
+  <li class="level2"><i>Industry and Sloth</i>: I, 300.</li>
+  <li class="level3">(Study in Close Reading&mdash;<a href="#Page_229">X, 229</a>.)</li>
+  <li class="level2"><i>Jack and The Beanstalk</i>: I, 156.</li>
+  <li class="level3">(Study of Picture&mdash;<a href="#Page_52">X, 52</a>.)</li>
+  <li class="level2"><i>Keepsake Mill</i>: I, 349.</li>
+  <li class="level2"><i>King of The Golden River, The</i>: II, 405.</li>
+  <li class="level3">(Study&mdash;II, 441.)</li>
+  <li class="level3">(Study in Description&mdash;<a href="#Page_366">X, 366</a>.)</li>
+  <li class="level3">(Complete Study&mdash;<a href="#Page_393">X, 393</a>.)</li>
+  <li class="level2"><i>Land of Counterpane</i>: I, 144.</li>
+  <li class="level2"><i>Lead, Kindly Light</i>: V, 110.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_98">X, 98</a>.)</li>
+  <li class="level2"><i>Little Blue Pigeon</i>: I, 133.</li>
+  <li class="level2"><i>Little Giffin of Tennessee</i>: IV, 461.</li>
+  <li class="level3">(Story Told&mdash;<a href="#Page_71">X, 71</a>.)</li>
+  <li class="level2"><i>Lochinvar</i>: III, 432.</li>
+  <li class="level2"><i>Lost Child, The</i>: VII, 409.</li>
+  <li class="level3">(Study in Close Reading&mdash;<a href="#Page_243">X, 243</a>.)</li>
+  <li class="level2"><i>Milkmaid, The</i>: II, 374.</li>
+  <li class="level2"><i>My Bed is My Boat</i>: I, 126.</li>
+  <li class="level3">(Study of Picture&mdash;<a href="#Page_52">X, 52</a>.)</li>
+  <li class="level2"><i>My Mother&#8217;s Picture</i>: VII, 331.</li>
+  <li class="level3">(Study in Description&mdash;<a href="#Page_367">X, 367</a>.)</li>
+  <li class="level2"><i>Ode on a Grecian Urn</i>: IX, 462.</li>
+  <li class="level2"><i>Ode to a Skylark</i>: VII, 275.</li>
+  <li class="level3">(Study in Figures&mdash;<a href="#Page_268">X, 268</a>.)</li>
+  <li class="level3">(Study in Reading Poetry&mdash;<a href="#Page_306">X, 306</a>.)</li>
+  <li class="level2"><i>Old Gaelic Lullaby</i>: I, 203.</li>
+  <li class="level2"><i>Old Oaken Bucket</i>: VII, 11.</li>
+  <li class="level2"><i>Origin of the Opal</i>: II, 480.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_285">X, 285</a>.)</li>
+  <li class="level2"><i>Passing of Arthur, The</i>: V, 237.</li>
+  <li class="level3">(Complete Study&mdash;<a href="#Page_214">X, 214</a>.)</li>
+  <li class="level2"><i>Petrified Fern, The</i>: VII, 77.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_291">X, 291</a>.)</li>
+  <li class="level2"><i>Phaethon, the Story of</i>: II, 206.</li>
+  <li class="level2"><i>Picture Books in Winter</i>: II, 87.</li>
+  <li class="level2"><i>Pippa Passes</i>: IX, 293.</li>
+  <li class="level3">(Study&mdash;IX, 316.)</li>
+  <li class="level2"><i>Pond in Winter, The</i>: VII, 280.</li>
+  <li class="level3">(Nature Study&mdash;<a href="#Page_384">X, 384</a>.)</li>
+  <li class="level2"><i>Poor Richard&#8217;s Almanac</i>: VI, 407.</li>
+  <li class="level3">(Study in Character Building&mdash;<a href="#Page_101">X, 101</a>.)</li>
+  <li class="level2"><i>Potato, The</i>: II, 467.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_285">X, 285</a>.)</li>
+  <li class="level2"><i>Queen of The Underworld, The</i>: II, 468.</li>
+  <li class="level2"><i>Rab and His Friends</i>: VI, 99.</li>
+  <li class="level3">(Study in Emotional Power&mdash;<a href="#Page_177">X, 177</a>.)</li>
+  <li class="level3">(Study in Close Reading&mdash;<a href="#Page_225">X, 225</a>.)</li>
+  <li class="level2"><i>Reading History</i>: V, 394.</li>
+  <li class="level2"><i>Reading Shakespeare</i>: VIII, 346.</li>
+  <li class="level2"><i>Reaper and the Flowers, The</i>: I, 410.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_272">X, 272</a>.)</li>
+  <li class="level2"><i>Reapers Dream, The</i>: VII, 345.</li>
+  <li class="level2"><i>Recessional, The</i>: VII, 164.</li>
+  <li class="level2"><i>Recovery of the Hispaniola, The</i>: VII, 352.</li>
+  <li class="level2"><span class='pagenum'><a name="Page_498" id="Page_498">[498]</a></span><i>Reminiscences of a Pioneer</i>: V, 340.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_119">X, 119</a>.)</li>
+  <li class="level2"><i>Robert of Lincoln</i>: IX, 444.</li>
+  <li class="level2"><i>Robin Hood and the Stranger</i>: III, 444.</li>
+  <li class="level3">(Study in Narration&mdash;<a href="#Page_363">X, 363</a>.)</li>
+  <li class="level2"><i>Robinson Crusoe</i>: III, 45.</li>
+  <li class="level3">(Nature Study&mdash;<a href="#Page_382">X, 382</a>.)</li>
+  <li class="level2"><i>Rock-a-By Lady, The</i>: I, 94.</li>
+  <li class="level2"><i>Seven Times One</i>: II, 119.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_278">X, 278</a>.)</li>
+  <li class="level2"><i>Shuffle-Shoon and Amber-Locks</i>: II, 121.</li>
+  <li class="level3">(Study of Picture&mdash;<a href="#Page_54">X, 54</a>.)</li>
+  <li class="level2"><i>Snow Queen, The</i>: II, 124.</li>
+  <li class="level3">(Study on Plot&mdash;II, 169.)</li>
+  <li class="level2"><i>Some Children&#8217;s Books of the Past</i>: V, 101.</li>
+  <li class="level2"><i>&#8220;Something&#8221;</i>: I, 395.</li>
+  <li class="level2"><i>Sweet and Low</i>: VI, 122.</li>
+  <li class="level2"><i>Swiss Family Robinson</i>: III, 99.</li>
+  <li class="level3">(Nature Study&mdash;<a href="#Page_382">X, 382</a>.)</li>
+  <li class="level2"><i>Tempest, The</i>: VIII, 364.</li>
+  <li class="level3">(Studies for The Tempest&mdash;VIII, 468.)</li>
+  <li class="level2"><i>To H. W. L.</i>: IV, 84.</li>
+  <li class="level2"><i>To My Infant Son</i>: VI, 478.</li>
+  <li class="level2"><i>Tom, the Water Baby</i>: II, 215.</li>
+  <li class="level3">(Study of Picture, <i>Tom and the Dragon Fly</i>&mdash;<a href="#Page_55">X, 55</a>.)</li>
+  <li class="level3">(Study of Story&mdash;<a href="#Page_198">X, 198</a>.)</li>
+  <li class="level3">(Nature Study Lesson&mdash;<a href="#Page_381">X, 381</a>.)</li>
+  <li class="level2"><i>Tom and Maggie Tulliver</i>: VII, 186.</li>
+  <li class="level2"><i>Town Mouse and the Country Mouse, The</i>: I, 199.</li>
+  <li class="level2"><i>Trees and Ants that Help Each Other</i>: VII, 306.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_385">X, 385</a>.)</li>
+  <li class="level2"><i>Twin Brothers, The</i>: I, 264.</li>
+  <li class="level2"><i>Ugly Duckling, The</i>: I, 414.</li>
+  <li class="level2"><i>Village Blacksmith, The</i>: IV, 86.</li>
+  <li class="level2"><i>Vision of Mirza, The</i>: IX, 285.</li>
+  <li class="level3">(Study in Notes.)</li>
+  <li class="level2"><i>Visit from St. Nicholas, A</i>: II, 202.</li>
+  <li class="level3">(Study in Figures&mdash;<a href="#Page_270">X, 270</a>.)</li>
+  <li class="level2"><i>Who Stole the Bird&#8217;s Nest?</i>: II, 399.</li>
+  <li class="level3">(Character Study&mdash;<a href="#Page_95">X, 95</a>.)</li>
+  <li class="level2"><i>Why the Sea Is Salt</i>: II, 484.</li>
+  <li class="level3">(Study in Close Reading&mdash;<a href="#Page_231">X, 231</a>.)</li>
+  <li class="level2"><i>Wind and the Sun, The</i>: I, 95.</li>
+  <li class="level3">(Lesson in Language&mdash;<a href="#Page_357">X, 357</a>.)</li>
+  <li class="level2"><i>Winter Animals</i>: VII, 293.</li>
+  <li class="level3">(Study&mdash;<a href="#Page_384">X, 384</a>.)</li>
+  <li class="level2"><i>Wynken, Blynken, and Nod</i>: I, 262.</li>
+  <li class="level3">(Study of Picture&mdash;<a href="#Page_53">X, 53</a>.)</li>
+  <li><i>Studies for The Tempest</i>: VIII, 468.</li>
+  <li><i>Study, or Close Reading</i>: <a href="#Page_224">X, 224</a>.</li>
+  <li><i>Style and Method of the Author, in Fiction</i>: <a href="#Page_174">X, 174</a>.</li>
+  <li><i>Sunken Treasure, The</i>: IV, 199.</li>
+  <li><i>Sun&#8217;s Travels, The</i>: I, 68.</li>
+  <li><i>Sweet and Low</i>: VI, 122.</li>
+  <li><span class="smcap">Swift, Jonathan.</span></li>
+  <li class="level2">Biography: V, 1.</li>
+  <li class="level2">Selection: <i>Gulliver&#8217;s Travels</i>: V, 6.</li>
+  <li><i>Swing, The</i>: I, 67.</li>
+  <li><i>Swiss Family Robinson, The</i>: III, 99.</li>
+  <li><i>Synecdoche</i>: <a href="#Page_265">X, 265</a>.</li>
+  <li><i>System</i>: I, 111.</li>
+</ul>
+
+<p class="indexletter">T</p>
+
+<ul class="index">
+  <li><span class="smcap">Taylor, Jeffreys.</span></li>
+  <li class="level2">Selection: <i>The Milkmaid</i>: II, 374.</li>
+  <li><i>Telling Stories</i>: <a href="#Page_63">X, 63</a>.</li>
+  <li><i>Tempest, The</i> (A Tale from Shakespeare): VIII, 348.</li>
+  <li><i>Tempest, The</i>: VIII, 364.</li>
+  <li class="level2">Studies for: VIII, 468.</li>
+  <li><span class="smcap">Tennyson, Alfred.</span></li>
+  <li class="level2">Selections: <i>Bugle Song, The</i>: VI, 133.</li>
+  <li class="level3"><i>Charge of the Light Brigade, The</i>: VII, 147.</li>
+  <li class="level3"><i>Geraint and Enid</i>: V, 148.</li>
+  <li class="level3"><i>Home They Brought Her Warrior Dead</i>: VI, 231.</li>
+  <li class="level3"><i>Little Birdie</i>: I, 142.</li>
+  <li class="level3"><i>Passing of Arthur, The</i>: V, 237.</li>
+  <li class="level3"><i>Song of the Brook</i>: IV, 60.</li>
+  <li class="level3"><i>Sweet and Low</i>: VI, 122.</li>
+  <li><span class='pagenum'><a name="Page_499" id="Page_499">[499]</a></span><span class="smcap">Thoreau, Henry David.</span></li>
+  <li class="level2">Selections: <i>Brute Neighbors</i>: VII, 260.</li>
+  <li class="level3"><i>Pond in Winter, The</i>: VII, 280.</li>
+  <li class="level3"><i>Winter Animals</i>: VII, 293.</li>
+  <li><i>Those Evening Bells</i>: VII, 340.</li>
+  <li><i>Thought, A</i>: I, 66.</li>
+  <li><i>Three Fishers, The</i>: VII, 343.</li>
+  <li><i>Three Little Pigs, The</i>: I, 136.</li>
+  <li><i>Three Sundays in a Week</i>: VI, 453.</li>
+  <li><i>Three Tasks, The</i>: I, 247.</li>
+  <li><i>Time to Rise</i>: I, 340.</li>
+  <li><i>To a Mountain Daisy</i>: VII, 8.</li>
+  <li><i>To a Mouse</i>: VII, 5.</li>
+  <li><i>To a Waterfowl</i>: VII, 395.</li>
+  <li><i>To H. W. L.</i>: IV, 84.</li>
+  <li><i>Tom and Maggie Tulliver</i>: VII, 186.</li>
+  <li><i>Tom Brown at Rugby</i>: V, 469.</li>
+  <li><i>Tom, the Water Baby</i>: II, 215.</li>
+  <li><i>Tom Thumb</i>: I, 84.</li>
+  <li><i>To My Infant Son</i>: VI, 478.</li>
+  <li><i>To The Fringed Gentian</i>: VII, 4.</li>
+  <li><i>Tournament, The</i>: VI, 38.</li>
+  <li><i>Town Mouse and the Country Mouse, The</i>: I, 199.</li>
+  <li><i>Travels of Sir John Mandeville, The</i>: IX, 207.</li>
+  <li><i>Tree, The</i>: I, 301.</li>
+  <li><i>Trees and Ants That Help Each Other</i>: VII, 306.</li>
+  <li><i>Twin Brothers, The</i>: I, 264.</li>
+  <li><i>Two Travelers, The</i>: I, 109.</li>
+  <li><i>Two Travelers and the Oyster, The</i>: I, 111.</li>
+  <li><span class="smcap">Tyndall, John.</span></li>
+  <li class="level2">Selection: <i>Ascent of the Jungfrau</i>: IX, 1.</li>
+</ul>
+
+<p class="indexletter">U</p>
+
+<ul class="index">
+  <li><i>Ugly Duckling, The</i>: I, 414.</li>
+  <li><i>Ulysses</i>: IV, 398.</li>
+  <li><i>Universal Prayer, The</i>: IV, 172.</li>
+</ul>
+
+<p class="indexletter">V</p>
+
+<ul class="index">
+  <li><span class="smcap">Vergil.</span></li>
+  <li class="level2">Selection: <i>The Wooden Horse</i>: IV, 383.</li>
+  <li><a name="Victoria_Queen" id="Victoria_Queen"></a><span class="smcap">Victoria, Queen.</span></li>
+  <li class="level2">Biography: VII, 152.</li>
+  <li><i>Village Blacksmith, The</i>: IV, 86.</li>
+  <li><span class="smcap">Villeneuve, Madame.</span></li>
+  <li class="level2"><i>Beauty and the Beast</i> (Adapted): I, 318.</li>
+  <li><i>Vision of Belshazzar, The</i>: VI, 153.</li>
+  <li><i>Vision of Mirza, The</i>: IX, 285.</li>
+  <li><i>Visit from Saint Nicholas, A</i>: II, 202.</li>
+</ul>
+
+<p class="indexletter">W</p>
+
+<ul class="index">
+  <li><i>Walrus and the Carpenter, The</i>: III, 36.</li>
+  <li><span class="smcap">Weir, Harrison.</span></li>
+  <li class="level2">Selection: <i>The English Robin</i>: II, 214.</li>
+  <li><i>We Plan a River Trip</i>: V, 443.</li>
+  <li><i>What the Old Man Does Is Always Right</i>: II, 387.</li>
+  <li><i>Where Go the Boats?</i>: I, 256.</li>
+  <li><span class="smcap">White, Gilbert.</span></li>
+  <li class="level2">Selection: <i>Owls</i>: IX, 229.</li>
+  <li><span class="smcap">Whittier, John Greenleaf.</span></li>
+  <li class="level2">Biography: VII, 381.</li>
+  <li class="level2">Selections: <i>Barbara Frietchie</i>: III, 347.</li>
+  <li class="level3"><i>Barefoot Boy, The</i>: IV, 3.</li>
+  <li><i>Whittington and His Cat</i>: I, 442.</li>
+  <li><i>Whole Duty of Children</i>: I, 301.</li>
+  <li><i>Who Stole the Bird&#8217;s Nest?</i>: II, 399.</li>
+  <li><i>Why the Sea Is Salt</i>: II, 484.</li>
+  <li><i>Widow Machree</i>: VI, 464.</li>
+  <li><i>Wind, The</i>: I, 440.</li>
+  <li><i>Wind and the Sun, The</i>: I, 95.</li>
+  <li><i>Windy Nights</i>: II, 123.</li>
+  <li><i>Winter Animals</i>: VII, 293.</li>
+  <li><span class="smcap">Wiseman, Cardinal.</span></li>
+  <li class="level2">Selection: <i>Pancratius</i>: IV, 245.</li>
+  <li><a name="Wit_and_Humor" id="Wit_and_Humor"></a><span class="smcap">Wit and Humor.</span></li>
+  <li class="level2"><i>Time to Rise</i>: I, 340.</li>
+  <li class="level2"><i>The Cow</i>: I, 106.</li>
+  <li class="level2"><i>System</i>: I, 111.</li>
+  <li class="level2"><i>Rain</i>: I, 110.</li>
+  <li class="level2"><i>Seein&#8217; Things</i>: I, 240.</li>
+  <li class="level2"><i>Whole Duty of Children</i>: I, 301.</li>
+  <li class="level2"><i>The Owl and the Pussy-Cat</i>: I, 339.</li>
+  <li class="level2"><i>The Duel</i>: I, 384.</li>
+  <li class="level2"><i>The Potato</i>: II, 467.</li>
+  <li class="level2"><span class='pagenum'><a name="Page_500" id="Page_500">[500]</a></span><i>The Milkmaid</i>: II, 374.</li>
+  <li class="level2"><i>John&#8217;s Pumpkin</i>: III, 1.</li>
+  <li class="level2"><i>Faithless Sally Brown</i>: III, 92.</li>
+  <li class="level2"><i>Echo</i>: III, 286.</li>
+  <li class="level2"><i>Elegy on the Death of a Mad Dog</i>: IV, 57.</li>
+  <li class="level2"><i>The Yarn of the &#8220;Nancy Bell&#8221;</i>: IV, 466.</li>
+  <li class="level2"><i>Katey&#8217;s Letter</i>: IV, 470.</li>
+  <li class="level2"><i>Baron Munchausen</i>: V, 403.</li>
+  <li class="level2"><i>The Fiddling Parson</i>: V, 440.</li>
+  <li class="level2"><i>We Plan a River Trip</i>: V, 443.</li>
+  <li class="level2"><i>On Comic Songs</i>: V, 455.</li>
+  <li class="level2"><i>The Modern Belle</i>: VI, 463.</li>
+  <li class="level2"><i>Widow Machree</i>: VI, 464.</li>
+  <li class="level2"><i>Limestone Broth</i>: VI, 467.</li>
+  <li class="level2"><i>The Knock-Out</i>: VI, 471.</li>
+  <li class="level2"><i>The Country Squire</i>: VI, 474.</li>
+  <li class="level2"><i>To My Infant Son</i>: VI, 478.</li>
+  <li class="level2"><i>The Knickerbocker History of New York</i>: VIII, 224.</li>
+  <li><i>Wolf and the Crane, The</i>: I, 96.</li>
+  <li><i>Wolf and the Lamb, The</i>: I, 455.</li>
+  <li><i>Wonderful, Gifts, The</i>: I, 368.</li>
+  <li><i>Wooden Horse, The</i>: IV, 383.</li>
+  <li><span class="smcap">Woodworth, Samuel.</span></li>
+  <li class="level2">Selection: <i>the Old Oaken Bucket</i>: VII, 11.</li>
+  <li><span class="smcap">Wordsworth, William.</span></li>
+  <li class="level2">Selection: <i>My Heart Leaps Up</i>: IV, 2.</li>
+  <li class="level3"><i>The Daffodils</i>: VII, 1.</li>
+  <li><i>Wreck of the Hesperus, The</i>: IV, 89.</li>
+  <li><i>Wynken, Blynken, and Nod</i>: I, 262.</li>
+  <li><span class="smcap">Wyss, Johann Rudolph.</span></li>
+  <li class="level2">Selection: <i>The Swiss Family Robinson</i>: III, 99.</li>
+</ul>
+
+<p class="indexletter">Y</p>
+
+<ul class="index">
+  <li><i>Yarn of the &#8220;Nancy Bell,&#8221; The</i>: IV, 466.</li>
+  <li><i>Young Night Thought</i>: I, 302.</li>
+  <li><span class="smcap">Yriarte, Thomas.</span></li>
+  <li class="level2">Selection: <i>The Country Squire</i>: VI, 474.</li>
+</ul>
+
+
+
+<hr class="storybreak" />
+
+<div style="background-color: #EEE; padding: 0.5em 1em 0.5em 1em;">
+<p class="center noindent"><a name="trans_note" id="trans_note"></a><b>Transcriber&rsquo;s&nbsp;Note</b></p>
+
+<p class="noindent">The following typographical errors have been corrected.</p>
+
+<table style="margin-left: 0%;" cellpadding="0" cellspacing="0" summary="typos">
+<tr>
+  <td>Page</td>
+  <td>Error</td>
+</tr>
+<tr>
+  <td>&nbsp;&nbsp;60</td>
+  <td>made clear? changed to made clear?)</td>
+</tr>
+<tr>
+  <td>&nbsp;&nbsp;61</td>
+  <td>After the childen changed to After the children</td>
+</tr>
+<tr>
+  <td>&nbsp;&nbsp;75</td>
+  <td>long been forgotton changed to long been forgotten</td>
+</tr>
+<tr>
+  <td>&nbsp;&nbsp;94</td>
+  <td><i>Something</i>, Volume, I changed to <i>Something</i>, Volume I</td>
+</tr>
+<tr>
+  <td>105</td>
+  <td>Pride breakfasted changed to &#8220;Pride breakfasted</td>
+</tr>
+<tr>
+  <td>121</td>
+  <td>Pere Marquette changed to P&egrave;re Marquette</td>
+</tr>
+<tr>
+  <td>126</td>
+  <td>you select changed to you to select</td>
+</tr>
+<tr>
+  <td>145</td>
+  <td><i>2. Reading Stories</i> changed to 2. <i>Reading Stories</i></td>
+</tr>
+<tr>
+  <td>239</td>
+  <td>hundred years ago. changed to hundred years ago.)</td>
+</tr>
+<tr>
+  <td>239</td>
+  <td>What causes it? changed to What causes it?)</td>
+</tr>
+<tr>
+  <td>242</td>
+  <td>forty-sixth stanza. changed to forty-sixth stanza?</td>
+</tr>
+<tr>
+  <td>294</td>
+  <td>poet when he changed to poet when she</td>
+</tr>
+<tr>
+  <td>303</td>
+  <td>are the genii&#8221; changed to are the &#8220;genii&#8221;</td>
+</tr>
+<tr>
+  <td>303</td>
+  <td>mean: Wherever changed to&nbsp; mean: &#8220;Wherever</td>
+</tr>
+<tr>
+  <td>313</td>
+  <td>person can forciby changed to person can forcibly</td>
+</tr>
+<tr>
+  <td>356</td>
+  <td>Pere Marquette changed to P&egrave;re Marquette</td>
+</tr>
+<tr>
+  <td>363</td>
+  <td>are easily modifed changed to are easily modified</td>
+</tr>
+<tr>
+  <td>363</td>
+  <td>rough and-tumble changed to rough-and-tumble</td>
+</tr>
+<tr>
+  <td>386</td>
+  <td>a. Nursery rhymes: changed to <i>a.</i> Nursery rhymes:</td>
+</tr>
+<tr>
+  <td>390</td>
+  <td>Fox, The Wolf changed to Fox, the Wolf</td>
+</tr>
+<tr>
+  <td>405</td>
+  <td>Pere Marquette changed to P&egrave;re Marquette</td>
+</tr>
+<tr>
+  <td>434</td>
+  <td>of his death. changed to of his death.)</td>
+</tr>
+<tr>
+  <td>452</td>
+  <td>to subject-matter, changed to to subject-matter.</td>
+</tr>
+<tr>
+  <td>473</td>
+  <td>Fennimore changed to Fenimore</td>
+</tr>
+<tr>
+  <td>479</td>
+  <td>The Forsken changed to The Forsaken</td>
+</tr>
+<tr>
+  <td>481</td>
+  <td>Psyche. changed to Psyche:</td>
+</tr>
+<tr>
+  <td>483</td>
+  <td><span class="smcap">Myth and Legendary</span> changed to <span class="smcap">Myth</span> and <span class="smcap">Legendary</span></td>
+</tr>
+<tr>
+  <td>485</td>
+  <td>P&eacute;re Marquette changed to P&egrave;re Marquette</td>
+</tr>
+<tr>
+  <td>489</td>
+  <td><span class="smcap">Selections</span> (under Macaulay) changed to Selections</td>
+</tr>
+<tr>
+  <td>491</td>
+  <td>a Grecian Urn, changed to a Grecian Urn: (twice)</td>
+</tr>
+<tr>
+  <td>491</td>
+  <td>Illustrative Study of &#8220;A Call to Arms,&#8221; as a type of changed to
+     <i>Illustrative Study of &#8220;A Call to Arms,&#8221; as a type of</i></td>
+</tr>
+<tr>
+  <td>492</td>
+  <td><span class="smcap">Drama</span>: changed to <span class="smcap">Drama</span>;</td>
+</tr>
+<tr>
+  <td>493</td>
+  <td><i>Queen Victoria.</i> changed to <span class="smcap">Queen Victoria.</span></td>
+</tr>
+<tr>
+  <td>494</td>
+  <td>of the Past. changed to of the Past:</td>
+</tr>
+</table>
+
+<p class="noindent">Inconsistent spelling and hyphenation:</p>
+
+<p class="noindent">&AElig;sop / Aesop<br />
+archway / arch-way<br />
+C&aelig;sar / Caesar<br />
+clearcut / clear-cut<br />
+Cort&eacute;s / Cortez<br />
+De la Ram&eacute;e / de la Ramee<br />
+highborn / high-born<br />
+lifelike / life-like<br />
+medi&aelig;val / medieval<br />
+Nowadays / Now-a-days<br />
+Ph&oelig;be / Phoebe<br />
+retelling / re-telling<br />
+rewritten / re-written<br />
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+Rumpelstiltzkin / Rumpelstiltzken<br />
+subtitles / sub-titles<br />
+Thermopyl&aelig; / Thermopylae<br />
+today / to-day</p>
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+The Project Gutenberg eBook, Journeys Through Bookland, Vol. 10, by
+Charles Herbert Sylvester
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Journeys Through Bookland, Vol. 10
+       The Guide
+
+
+Author: Charles Herbert Sylvester
+
+
+
+Release Date: March 16, 2008  [eBook #24857]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK JOURNEYS THROUGH BOOKLAND, VOL.
+10***
+
+
+E-text prepared by Juliet Sutherland, Julia Miller, and the Project
+Gutenberg Online Distributed Proofreading Team (https://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 24857-h.htm or 24857-h.zip:
+      (https://www.gutenberg.org/dirs/2/4/8/5/24857/24857-h/24857-h.htm)
+      or
+      (https://www.gutenberg.org/dirs/2/4/8/5/24857/24857-h.zip)
+
+
+Transcriber's note:
+
+      Obvious typographical errors have been corrected. A list of
+      these changes is found at the end of the text. Inconsistencies
+      in spelling and hyphenation have been maintained. A list of
+      inconsistently spelled and hyphenated words is found at the
+      end of the text.
+
+
+
+
+
+JOURNEYS THROUGH BOOKLAND
+
+A New and Original
+Plan for Reading Applied to the
+World's Best Literature
+for Children
+
+by
+
+CHARLES H. SYLVESTER
+
+Author of English and American Literature
+
+VOLUME TEN--THE GUIDE
+
+New Edition
+
+
+For parents, teachers, and all who have
+children under their charge; for adults
+who wish to renew their acquaintance
+with the friends of their youth, or to
+open for the first time the world's great
+treasure house of literature; for youthful
+readers who must study the classics
+
+
+
+
+
+
+
+[Illustration: OLIVER WENDELL HOLMES
+NATHANIEL HAWTHORNE
+HENRY WADSWORTH LONGFELLOW
+WASHINGTON IRVING
+JOHN GREENLEAF WHITTIER
+JAMES RUSSELL LOWELL
+WILLIAM CULLEN BRYANT]
+
+
+
+
+Chicago
+Bellows-Reeve Company
+Publishers
+
+Copyright, 1922
+Bellows-Reeve Company
+
+
+
+
+CONTENTS
+
+
+                                                                  PAGE
+      I. INTRODUCTION                                                1
+
+     II. JOURNEYS THROUGH BOOKLAND--ITS CONTENTS AND PLAN            7
+           The Masterpieces                                          9
+           Arrangement and Grading                                  10
+           The Studies and Helps                                    13
+             Studies                                                15
+             Notes                                                  15
+             Introductory Notes                                     15
+             Biographies                                            16
+             Pronouncing Vocabularies                               16
+             Pictures                                               17
+             Tables of Contents                                     17
+             Index                                                  17
+           The Nursery Rhymes                                       18
+           Discussion of each Volume                                24
+             Volume One                                             24
+             Volume Two                                             26
+             Volume Three                                           28
+             Volume Four                                            29
+             Volume Five                                            29
+             Volume Six                                             30
+             Volume Seven                                           31
+             Volume Eight                                           33
+             Volume Nine                                            34
+             Volume Ten--The Guide                                  35
+
+    III. PICTURES AND THEIR USE                                     36
+           What Should We Notice in a Picture?                      36
+             Line                                                   36
+             Light and Shade                                        37
+             Tone and Color                                         39
+             Composition                                            39
+             Atmosphere and Perspective                             40
+             Application of Principles                              41
+               _Bob and Tiny Tim_                                   41
+           Pictures and Their Value in Literature                   44
+           On the Use of Pictures in _Journeys_                     48
+             _Nursery Rhymes_                                       51
+             _Jack and the Beanstalk_                               52
+             _Nurse Helps Me when I Embark_                         52
+             _Wynken, Blynken, and Nod_                             53
+             _Shuffle-Shoon and Amber-Locks_                        54
+             _Tom and the Dragon Fly_                               55
+             _The Swallow and the Stork Came_                       55
+             _Down Tumbled Wheelbarrow_                             58
+             _Geraint Hears Enid Singing_                           60
+
+     IV. TELLING STORIES                                            63
+             _The Fairies of the Caldon-Low_                        68
+             _Little Giffin of Tennessee_                           71
+             _The Ballad of Agincourt_                              74
+             _Herve Riel_                                           78
+
+      V. READING, AND THE BUILDING OF CHARACTER                     85
+             _Who Stole the Bird's Nest?_                           95
+             _Lead, Kindly Light_                                   98
+             _Poor Richard's Almanac_                              101
+
+     VI. FATHER AND SON                                            107
+
+    VII. MEMORIZING                                                128
+           One Hundred Choice Quotations                           131
+
+   VIII. HOW TO READ FICTION                                       143
+           Different Kinds of Literature                           143
+           Reading Stories                                         145
+             Plot                                                  149
+               _Cinderella_                                        150
+             Persons                                               156
+               _The Hardy Tin Soldier_                             158
+             The Scenes                                            162
+               _The Dog and His Shadow_                            164
+               _The Fox and the Stork_                             166
+               _A Christmas Carol_                                 168
+             The Lesson and the Author's Purpose                   170
+               _The Fir Tree_                                      173
+             The Method and Style of the Author                    174
+             Emotional Power                                       176
+               _Rab and His Friends_                               177
+             General Principles and Reflections                    181
+             Completed Studies                                     185
+               _The Hare and the Tortoise_                         185
+               _The Fox and the Crow_                              187
+               _The Drummer_                                       193
+               _Tom, the Water Baby_                               198
+               _The Passing of Arthur_                             214
+
+     IX. CLOSE READING OR STUDY                                    224
+               _Rab and His Friends_                               225
+               _Braddock's Defeat_                                 227
+               _Industry and Sloth_                                229
+               _Why the Sea is Salt_                               231
+               _Faithless Sally Brown_                             232
+               _The Definition of a Gentleman_                     234
+               _Adventures in Lilliput_                            235
+               _The Heart of Bruce_                                238
+               _Annie Laurie_                                      243
+               _The Lost Child_                                    243
+               _David Crockett in the Creek War_                   244
+               _The Impeachment of Warren Hastings_                248
+               From _The Death of Caesar_                           253
+
+      X. CLOSE READING (Concluded)                                 256
+           The Author                                              257
+           Sentences                                               258
+           Figures of Speech                                       259
+             Allusions                                             259
+             Basis of Figures                                      262
+             Simile                                                263
+             Metaphor                                              264
+             Synecdoche and Metonymy                               265
+             Apostrophe and Personification                        266
+           Studies in Figures                                      268
+               _Ode to a Skylark_                                  268
+               _A Visit from Saint Nicholas_                       270
+               _The First Snowfall_                                270
+
+     XI. READING POETRY                                            272
+               _The Reaper and the Flowers_                        272
+               _The Brown Thrush_                                  276
+               _The Child's World_                                 277
+               _Seven Times One_                                   278
+               _The First Snowfall_                                281
+               _The Potato_                                        285
+               _Origin of the Opal_                                285
+               _The Barefoot Boy_                                  286
+               _The Bugle Song_                                    287
+               _The Petrified Fern_                                291
+               _The Forsaken Merman_                               295
+               _The Cloud_                                         301
+               _Ode to a Skylark_                                  306
+
+    XII. READING ALOUD                                             311
+           Articulation and Enunciation                            311
+           Emphasis and Inflection                                 312
+           Emotional States                                        312
+             Pitch                                                 312
+             Rate or Time                                          313
+             Quality                                               315
+             Force                                                 315
+
+   XIII. LITERATURE AND ITS FORMS                                  317
+           Prose                                                   318
+             Methods of Expression                                 318
+               Narration                                           318
+               Description                                         321
+               Exposition                                          321
+               Argumentation                                       322
+             Forms of Prose                                        322
+               Fiction                                             322
+               Essays                                              322
+               Orations                                            324
+               Drama                                               325
+             Poetry                                                327
+               Structure of Poetry                                 328
+               Rhythm                                              328
+               Rhyme                                               329
+               Alliteration                                        330
+             Kinds of Poetry                                       331
+               Epic                                                331
+               Lyric                                               333
+                 Songs                                             333
+                 Ode                                               335
+                 Elegy                                             335
+                 Sonnet                                            337
+                   _Victor and Vanquished_                         338
+               Dramatic                                            339
+                 Miracle Plays                                     340
+                 Morality Plays                                    340
+                 Masques                                           341
+                 Tragedies and Comedies                            341
+
+    XIV. JOURNEYS IN ITS RELATION TO THE SCHOOL--READING AND
+           LANGUAGE                                                345
+           Reading                                                 348
+           Language                                                349
+           Oral Lessons                                            352
+               _The Wind and the Sun_                              357
+           Written Lessons                                         360
+             Introduction                                          360
+             Literature in Written Lessons                         363
+               Narration                                           363
+                 _Robin Hood and the Stranger_                     363
+               Description                                         365
+                 _The King of the Golden River_                    366
+               Exposition                                          368
+                 _Cid Campeador_                                   368
+               Argument                                            370
+                 _The Boston Massacre_                             370
+               Conclusion                                          376
+                 _An Exciting Canoe Race_                          376
+
+     XV. JOURNEYS IN ITS RELATION TO THE SCHOOL--NATURE STUDY      380
+           Seven Long Selections                                   381
+               _Tom, the Water Baby_                               381
+               _Robinson Crusoe_                                   382
+               _The Swiss Family Robinson_                         382
+               _Brute Neighbors_                                   383
+               _The Pond in Winter_                                384
+               _Winter Animals_                                    384
+               _Trees and Ants that Help Each Other_               385
+           Classified Selections                                   386
+             Flowers and Plant Life                                386
+             Birds                                                 387
+             Four-footed Animals                                   389
+             Reptiles                                              391
+             Insects                                               391
+             Denizens of the Water                                 391
+             Natural Phenomena                                     392
+             Geography in Nature                                   392
+           Complete Study                                          393
+               _The King of the Golden River_                      393
+
+    XVI. JOURNEYS IN ITS RELATION TO THE SCHOOL--GEOGRAPHY AND
+           HISTORY                                                 400
+           Classified References                                   402
+           Model Geography Lesson                                  411
+             The Wind                                              411
+           Model History Lessons                                   413
+             Alfred the Great                                      413
+             Burgoyne's Campaign                                   419
+
+   XVII. JOURNEYS IN ITS RELATION TO THE HIGH SCHOOL               425
+           Classification of Studies                               427
+           Type Studies                                            431
+
+  XVIII. RECITATIONS AND SPECIAL DAYS IN SCHOOL                    436
+           Bird Day                                                437
+           Memorial Day                                            438
+           Christmas                                               438
+           Birthdays                                               438
+           Dramatization                                           439
+           An Old-Fashioned Afternoon                              440
+
+    XIX. HANDY LIST OF THE STUDIES IN JOURNEYS THROUGH BOOKLAND    441
+           Volume One                                              442
+           Volume Two                                              443
+           Volume Three                                            445
+           Volume Four                                             446
+           Volume Five                                             446
+           Volume Six                                              447
+           Volume Seven                                            448
+           Volume Eight                                            449
+           Volume Nine                                             449
+
+     XX. SUPPLEMENTARY BOOK LISTS                                  451
+           For the Separate Volumes                                454
+             Volume One                                            454
+             Volume Two                                            455
+             Volume Three                                          457
+             Volume Four                                           458
+             Volume Five                                           459
+             Volume Six                                            460
+             Volume Seven                                          461
+           Classified Lists                                        462
+             Fiction                                               463
+             Poetry and Drama                                      464
+             Essays                                                464
+             Nature                                                465
+             Biography                                             465
+             History                                               465
+             Travel and Geography                                  466
+           Miscellaneous                                           466
+
+  APPENDIX--
+           Handy Table of English Writers                          469
+           Handy Table of American Writers                         473
+
+  GENERAL INDEX                                                    475
+
+
+
+
+ILLUSTRATIONS
+
+HALFTONE PORTRAITS OF AUTHORS
+
+
+                                                                  PAGE
+  GROUP ONE                                               Frontispiece
+        _Henry Wadsworth Longfellow_
+        _Oliver Wendell Holmes_
+        _Nathaniel Hawthorne_
+        _Washington Irving_
+        _John Greenleaf Whittier_
+        _James Russell Lowell_
+        _William Cullen Bryant_
+
+  GROUP TWO                                                         52
+        _William Shakespeare_
+        _Alfred, Lord Tennyson_
+        _Robert Browning_
+        _Sir Walter Scott_
+        _William Wordsworth_
+        _Geoffrey Chaucer_
+        _Joseph Addison_
+
+  GROUP THREE                                                      100
+        _Cardinal Newman_
+        _Sir Francis Bacon_
+        _Jonathan Swift_
+        _Daniel Defoe_
+        _Cardinal Wiseman_
+        _Cervantes_
+        _Father Ryan_
+
+  GROUP FOUR                                                       148
+        _Julia Ward Howe_
+        _Benjamin Franklin_
+        _Henry David Thoreau_
+        _Patrick Henry_
+        _William H. Prescott_
+        _Francis Parkman_
+        _James Fenimore Cooper_
+
+  GROUP FIVE                                                       198
+        _Edgar Allan Poe_
+        _Donald G. Mitchell_
+        _James Whitcomb Riley_
+        _Thomas Buchanan Read_
+        _Eugene Field_
+        _John Howard Payne_
+        _John G. Saxe_
+
+  GROUP SIX                                                        246
+        _Elizabeth Barrett Browning_
+        _Phoebe Cary_
+        _Alice Cary_
+        _Lucy Larcom_
+        _Felicia Hemans_
+        _George Eliot_
+        _Jean Ingelow_
+
+  GROUP SEVEN                                                      294
+        _Robert Burns_
+        _Robert Southey_
+        _William Cowper_
+        _Lord Byron_
+        _John Keats_
+        _Percy Bysshe Shelley_
+        _Samuel Taylor Coleridge_
+
+  GROUP EIGHT                                                      342
+        _Rudyard Kipling_
+        _Robert Louis Stevenson_
+        _Paul Du Chaillu_
+        _Thomas Hughes_
+        _Hans Christian Andersen_
+        _Jakob Grimm_
+        _Wilhelm Grimm_
+
+  GROUP NINE                                                       400
+        _John Ruskin_
+        _Oliver Goldsmith_
+        _Matthew Arnold_
+        _Thomas Babington Macaulay_
+        _John Bunyan_
+        _Thomas De Quincey_
+        _Charles Lamb_
+
+  GROUP TEN                                                        454
+        _John Tyndall_
+        _Charles Kingsley_
+        _Thomas Moore_
+        _Alexander Pope_
+        _Thomas Campbell_
+        _David Livingstone_
+        _George MacDonald_
+
+
+
+
+CHAPTER I
+
+INTRODUCTION
+
+
+Everyone who associates with children becomes deeply interested in them.
+Their helplessness during their early years appeals warmly to sympathy;
+their acute desire to learn and their responsiveness to suggestion make
+teaching a delight; their loyalty and devotion warm the heart and
+inspire the wish to do the things that count for most. Everything
+combines to increase a sense of responsibility and to make the elders
+active in bringing to bear those influences that make for character,
+power and success.
+
+Every worthy teacher in every school gives more than her salary commands
+and puts heart power into every act. By example and precept the lessons
+are taught and growth follows in response to cultivation. But the
+schools are handicapped by lack of time for much personal care, by lack
+of facilities for the best of instruction and by the multiplicity of
+things that must be done. Under the best conditions a teacher has but a
+small part of a child's time and then instruction must be given usually
+to classes and not to individuals. Outside of school for a considerable
+time each day the child falls under the influence of playmates who may
+or may not be helpful, but the greater part of every twenty-four hours
+belongs to the home.
+
+Parents, guardians, brothers and sisters, servants, consciously or
+unconsciously, wisely or unwisely, are teaching all the time. It is from
+this great complex of influences that every child builds his character
+and lays the foundation of whatever success he afterwards achieves.
+
+Undoubtedly the home is the greatest single influence and that is
+strongest during the early years. Before a boy is seven the elements of
+his character begin to form; by the time he is fourteen his future
+usually can be predicted, and after he is twenty, few real changes are
+brought about in the character of the man. The schools can do little
+more than plant the seeds of culture; in the family must the young
+plants be watered, nourished and trained. Then will the growth be
+symmetrical and beautiful.
+
+When the school and the home work together, when parents and teacher are
+in hearty sympathy, the great work is easily accomplished. But this
+harmony in interest is difficult to secure. In the first place it is not
+possible frequently for parents and teachers to become acquainted;
+usually is it impossible for them to know one another intimately. Here
+there are two forces, each ignorant of the other, but both trying for a
+common end. Again, parents in many, many instances are not acquainted
+with the schools nor with the methods of instruction which are followed
+therein. What is done by one may be undone by the other. If there could
+be a common ground of meeting, much labor would be saved and greater
+harmony of effort established.
+
+When fathers and mothers are willing to take time enough from their
+other duties to show that sympathetic interest in juvenile tasks which
+is the greatest stimulus to intelligent effort, when they wish to know
+what work each child is doing and where in each text book his lessons
+are, when the multiplication table and the story of Cinderella are of as
+much importance as the price of meat or the profit on a yard of silk,
+then will the parents and the teachers come together in whatever field
+appears mutually acceptable.
+
+Everybody reads, and reading is now the greatest single influence upon
+humanity. The day of the orator has passed, the day of print has long
+been upon us. No adult remains long uninfluenced by what he reads
+persistently, and every child receives more impressions from his reading
+than from all other sources put together.
+
+Someone has shown forcibly by a graphic diagram the ideas we are most
+anxious to establish. In this diagram of _Forces in Education_, the
+circle represents the sum total of all those influences which tend to
+make the mind and character of the growing child. That half of the
+circle to the right of the heavy line represents the forces of the
+school; the half to the left, the forces that come into play outside the
+teacher's domain. In school are the various studies taught; reading,
+writing, language, nature, geography, history, arithmetic. Other things
+such as morals, manners, hygiene, etc., come in for their share of force
+in the division "Miscellaneous." Out of school the child's work
+influences him; his playmates affect him more; the example and
+instruction of his parents form his habits, thought and character to a
+still greater extent; but more than any one, as much as the three
+combined, does his home reading shape his destiny.
+
+[Illustration]
+
+That this last statement is no exaggeration is proved by the testimony
+of many a wise and thoughtful man, by the observation of teachers
+everywhere. When a child has learned to read, he possesses the
+instrument of highest culture, but at the same time the instrument of
+greater danger. Bad books or bad methods of reading good books lead the
+reader's mind astray or stimulate a destructive imagination that affects
+character forever; but good books and right methods of reading make the
+soul sensitive to right and wrong, improve the mind, inspire to higher
+ideals and lead to loftier effort.
+
+Here is the one fertile field wherein teacher, parent and every other
+person interested in the welfare of children and youth may meet and work
+together in the noblest cause God ever gave us the grace to see.
+
+"I have a notion," said Benjamin Harrison, "that children are about the
+only people we can do anything for. When we get to be men and women we
+are either spoiled or improved. The work is done." One of the best
+things we can do is to create a taste for good reading and cultivate a
+habit of reading in the right manner. It is an easy and a delightful
+task.
+
+How many parents do it? Let them live with their children in the realm
+the little ones love. Let them read the fairy tales, the myths, the
+stories, the history that childhood appreciates, not in a spirit of
+criticism or in the role of a dictator but as a child of a little larger
+growth, a man or woman with a youthful mind.
+
+How many teachers assist? By so teaching that reading becomes an
+inspiration in itself; that only mastery contents; that beauty, high
+sentiment, lofty ideals may be found and followed; by making the reading
+recitation the one delightful hour of the day.
+
+If any mature person at home can spend each week a few hours in reading
+and talking with the children about what has been read he will be
+surprised to find how lightly the time passes and how quickly his own
+cares and anxieties are dissipated. He will find greater delight than he
+has ever known in the society of his equals; and the younger ones, whose
+minds glow with helpful curiosity and absorbing interest will be kept
+to that extent from the street and its attractions, while at the same
+time they are learning those things that count for most in life's great
+battle.
+
+Let no one feel in the least uncertain of his power to interest and
+delight. Let him have no hesitation in joining in with the children, in
+meeting them on their level and in sharing thought and feeling with
+them. By being a child himself he most easily makes of himself a wise
+and inspiring leader.
+
+
+
+
+CHAPTER II
+
+JOURNEYS THROUGH BOOKLAND--ITS CONTENTS AND PLAN
+
+
+_Journeys Through Bookland_ is what the title signifies, a series of
+excursions into the field of the world's greatest literature.
+Accordingly, the base of the work is laid in those great classics that,
+since first they found expression in words, have been the education and
+inspiration of man. But these excursions are taken hand-in-hand with a
+leader, whose province it is to explain, to interpret, to guide and to
+direct. Suiting his labors to the age and acquirement of the readers he
+helps them all, from the child halting in his early attempts to
+interpret the printed page to the high school or college student who
+wishes to master the innermost secrets of literature. In no small sense
+is this leadership a labor of love, for it follows an experience of
+twenty years of personal instruction in the public schools and among the
+teachers of the country.
+
+_Journeys Through Bookland_ must be considered as a unit; for one plan,
+one purpose, controls from the first page of the first volume to the
+last page of the tenth. The literary selections were not chosen
+haphazard nor were they graded and arranged after any ordinary plan. In
+this respect they differ in character and arrangement from the
+selections in any other work now upon the market.
+
+Moreover, the notes, interpretations, original articles and multifarious
+helps are an integral part and are inseparable. In this respect, again,
+is the work original and unique.
+
+Further, the pictures, of which there are many hundreds, were drawn or
+painted expressly for _Journeys Through Bookland_ and are as much a part
+of the general scheme as any other help to appreciation. Again, the type
+page, the decorations, the paper, binding and endsheets, all combine to
+give an artistic setting to literary masterpieces and a stimulating
+atmosphere for literary study.
+
+The masterpieces which make the field of the _Journeys_ naturally fall
+into three classes. First, there is the literature of culture, those
+things which you and I and everybody must know if we expect to be
+considered educated or to be able to read with intelligence and
+appreciation the current writings of the day. To this class belong all
+those nursery rhymes, lyrics, classic myths, legends and so on to which
+allusion is constantly made and which are themselves the legal tender of
+polite and cultured conversation. Next, there are those selections whose
+power lies in the profound influence they exert upon the unfolding
+character of boy or girl. As a child readeth so is he. Masterpieces of
+this type abound in the books and it is by means of them that the author
+hopes and expects to exert his greatest influence upon his unknown
+friends among the children. The third group consists of the masterpieces
+which lend interest to school work and make it pleasanter, easier and
+more profitable. It is what some may call the practical side of
+literature. It is what, at first, appeals most strongly to those who
+have read little, but which ultimately appears of less value than the
+influence of cultural and character-building literature.
+
+Any treatment of _Journeys_ that is worthy of the name must consider the
+masterpieces themselves in their three great functions, as well as the
+devices by which the selections are made effective.
+
+
+_1. The Masterpieces_
+
+The table of contents at the beginning of each volume shows a wide
+selection of the best things that have ever been written for
+children--not always the new things, but always the best things for the
+purpose. The masterpieces are the tried and true ones that have long
+been popular with children and have formed a large part of the literary
+education of the race.
+
+There are a host of complete masterpieces and many selections from other
+works which are too long to print here or which are otherwise
+unavailable. It has often happened that something written for older
+heads and for serious purposes has in it some of the most charming and
+helpful things for the young. For instance, _Gulliver's Travels_ is a
+political satire, and as such it is long since dead. Yet parts of it
+make the most fascinating reading for children. Moreover, Swift and many
+other great writers defiled their pages with matter which ought to be
+unprintable. To bring together the good things from such writers, to
+reprint them with all the graces of style they originally possessed, and
+yet so carefully to edit them that there can be no suggestion of
+offense, has been the constant aim of the writer.
+
+The books contain, too, many beautiful selections translated from
+foreign languages and made fresh, attractive and inspiring. Many of the
+old fables and folk stories have been rewritten, but others which have
+existed long in good form have been left untouched. In the great
+masterpieces no liberties have been taken with the text without making
+known the fact, and in every case the most reliable edition has been
+followed. It is hoped that children will have nothing to "unlearn" from
+the reading of these books.
+
+There are not a few old things in the set that are really new, because
+they have heretofore been inaccessible to children except in musty books
+not likely to be met.
+
+This is no haphazard collection made hastily, and largely at the
+suggestion of others. Everything in the books has been read and reread
+by the writer. True, he has availed himself of the help of others, and
+to many his obligations are deep and lasting; but in the end the
+responsibility for selection and for the quantity and quality of the
+helps is wholly his.
+
+
+_2. Arrangement and Grading_
+
+The contents of the books have been graded from the nursery rhymes in
+the first volume to the rather difficult selections in the ninth volume.
+In the arrangement, however, not all the simplest reading is in the
+first volume. It might be better understood if we say that one volume
+overlaps another, so that, for instance, the latter part of the first
+volume is more difficult than the first part of the second volume. When
+a child is able to read in the third volume he will find something to
+interest him in all the volumes.
+
+What has been said, however, does not wholly explain the system of
+arrangement. Fiction, poetry, essays, biography, nature-study, science
+and history are all fairly represented in the selections, but no book is
+given over exclusively to any subject. Rather is it so arranged that the
+child who reads by course will traverse nearly every subject in every
+volume, and to him the different subjects will be presented logically in
+the order in which his growing mind demands them. We might say that as
+he reads from volume to volume, he travels in an ever widening and
+rising spiral. The fiction of the first volume consists of fables, fairy
+tales and folk stories; the poetry of nursery rhymes and children's
+verses; the biography of anecdotal sketches of Field and Stevenson; and
+history is suggested in the quaintly written _Story of Joseph_. On a
+subsequent turn of the spiral are found fiction from Scott and Swift;
+poetry from Homer, Vergil, Hay, Gilbert and Tennyson; hero stories from
+Malory; history from Washington Irving.
+
+If, however, some inquiring young person should wish to read all there
+is on history, biography or any other subject, the full index in the
+tenth volume will show him where everything of the nature he wishes is
+to be found.
+
+Another valuable feature of arrangement is the frequent bringing
+together of selections that bear some relation to one another. A simple
+cycle of this sort may be seen where in the eighth volume the account of
+Lord Nelson's great naval victory is followed by _Casabianca_; a better
+one where in the fifth volume there is an account of King Arthur,
+followed by tales of the Round Table Knights from Malory, and _Geraint
+and Enid_ and _The Passing of Arthur_ from Tennyson. By this plan one
+selection serves as the setting for another, and a child often can see
+how the real things of life prove the inspiration for great writers.
+Again, in the fourth volume is _The Pine Tree Shillings_, a New England
+story or tradition for girls; this is followed immediately by _The
+Sunken Treasure_, a vivid story for boys; next comes _The Hutchinson
+Mob_, a semi-historical sketch, followed in turn by _The Boston
+Massacre_, which is pure history. The cycle is completed by _The Landing
+of the Pilgrims_ and _Sheridan's Ride_, two historical poems.
+
+_Graphic Classification of Masterpieces_ on page 14 will show more
+clearly what is meant by the overlapping of subjects. In the column at
+the left are given the names of the subjects under which the selections
+have been classified, running from _Fables_ to _Drama_, and _Studies_,
+the last name including all the varied helps given by the author. Across
+the top of the table the Roman numerals, I to X, indicate the numbers of
+the ten volumes. The shading in the squares shows the relative quantity
+of material. In using the _Classification_, "read across to learn in
+which volume the subjects are treated; read down to find what each
+volume contains." Thus: The first volume contains (reading down), a
+great many fables, many fairy stories and much folk lore, a few myths
+and old stories, a little biography, some biblical or religious
+material, selections that may be classified under the heads of nature,
+humor and poetry; but there is no account of legendary heroes, no travel
+and adventure, no history, nothing of a patriotic nature and no drama.
+On the other hand (reading across), there are many fables in the first
+volume, a few in the second but none thereafter; a few myths and some
+classic literature are found in the first three volumes, more in the
+fourth and fifth, but the number and quantity decrease in the sixth and
+do not appear thereafter; nature work is to be found in all the volumes
+but is strongest in the seventh; drama appears in the eighth and the
+ninth. Biography has a place in all volumes, but is strongest in the
+seventh; while the Studies, appearing in all volumes, reach their
+highest point in the tenth.
+
+
+_3. The Studies and Helps_
+
+As has been said, the chief factors in making _Journeys Through
+Bookland_ unique and of greatest value are the many helps that are given
+the readers, young and old. These helps are varied in character and are
+widely distributed through the volumes. They must be considered one at a
+time by the person who would assist others to use them to the best
+purpose. These helps consist of what are technically known as studies,
+notes, introductory notes, biographies, pronouncing vocabularies,
+pictures, tables of contents and index. The following comments will make
+clear the purpose of each.
+
+  GRAPHIC CLASSIFICATION OF MASTERPIECES
+  --------------------------------------------------------------------
+  |               |    |    |    |    |    |    |    |    |    |     |
+  | Analysis      | I  | II |III | IV | V  | VI |VII |VIII| IX |  X  |
+  |               |    |    |    |    |    |    |    |    |    |     |
+  ----------------+----+----+----+----+----+----+----+----+----+     |
+  |               |++++|----|    |    |    |    |    |    |    |     |
+  | Fables        |++++|----|    |    |    |    |    |    |    |  V  |
+  |               |++++|----|    |    |    |    |    |    |    |  o  |
+  ----------------+----+----+----+----+----+----+----+----+----+  l  |
+  | Fairy Stories |++++|++++|----|    |    |    |    |    |    |  u  |
+  | Folk Lore     |++++|++++|----|    |    |    |    |    |    |  m  |
+  |               |++++|++++|----|    |    |    |    |    |    |  e  |
+  ----------------+----+----+----+----+----+----+----+----+----+     |
+  | Stories Old   |----|----|----|++++|++++|++++|++++|----|----|  X  |
+  | and New       |----|----|----|++++|++++|++++|++++|----|----|     |
+  |               |----|----|----|++++|++++|++++|++++|----|----|  i  |
+  ----------------+----+----+----+----+----+----+----+----+----+  s  |
+  | Myths and     |----|----|----|++++|++++|++++|    |    |    |     |
+  | Classic       |----|----|----|++++|++++|++++|    |    |    |  a  |
+  | Literature    |----|----|----|++++|++++|++++|    |    |    |     |
+  ----------------+----+----+----+----+----+----+----+----+----+  G  |
+  | Legendary     |    |    |----|++++|++++|++++|    |    |    |  u  |
+  | Heroes        |    |    |----|++++|++++|++++|    |    |    |  i  |
+  |               |    |    |----|++++|++++|++++|    |    |    |  d  |
+  ----------------+----+----+----+----+----+----+----+----+----+  e  |
+  |               |----|----|----|----|----|----|++++|++++|----|     |
+  | Biography     |----|----|----|----|----|----|++++|++++|----|  f  |
+  |               |----|----|----|----|----|----|++++|++++|----|  o  |
+  ----------------+----+----+----+----+----+----+----+----+----+  r  |
+  | Travel and    |    |    |    |----|----|----|----|++++|----|     |
+  | Adventure     |    |    |    |----|----|----|----|++++|----|  P  |
+  |               |    |    |    |----|----|----|----|++++|----|  a  |
+  ----------------+----+----+----+----+----+----+----+----+----+  r  |
+  |               |    |    |    |----|----|----|----|++++|++++|  e  |
+  | History       |    |    |    |----|----|----|----|++++|++++|  n  |
+  |               |    |    |    |----|----|----|----|++++|++++|  t  |
+  ----------------+----+----+----+----+----+----+----+----+----+  s, |
+  | Biblical,     |----|----|    |----|----|----|----|    |----|     |
+  | Moral,        |----|----|    |----|----|----|----|    |----|  T  |
+  | Religious     |----|----|    |----|----|----|----|    |----|  e  |
+  ----------------+----+----+----+----+----+----+----+----+----+  a  |
+  |               |    |    |----|----|----|----|----|++++|++++|  c  |
+  | Patriotism    |    |    |----|----|----|----|----|++++|++++|  h  |
+  |               |    |    |----|----|----|----|----|++++|++++|  e  |
+  ----------------+----+----+----+----+----+----+----+----+----+  r  |
+  |               |----|----|----|----|----|----|++++|----|----|  s  |
+  | Nature        |----|----|----|----|----|----|++++|----|----|     |
+  |               |----|----|----|----|----|----|++++|----|----|  a  |
+  ----------------+----+----+----+----+----+----+----+----+----+  n  |
+  |               |----|----|----|----|----|----|----|----|----|  d  |
+  | Humor         |----|----|----|----|----|----|----|----|----|     |
+  |               |----|----|----|----|----|----|----|----|----|  S  |
+  ----------------+----+----+----+----+----+----+----+----+----+  t  |
+  |               |----|----|----|----|----|----|----|----|----|  u  |
+  | Poetry        |----|----|----|----|----|----|----|----|----|  d  |
+  |               |----|----|----|----|----|----|----|----|----|  e  |
+  ----------------+----+----+----+----+----+----+----+----+----+  n  |
+  |               |    |    |    |    |    |    |    |----|----|  t  |
+  | Drama         |    |    |    |    |    |    |    |----|----|  s  |
+  |               |    |    |    |    |    |    |    |----|----|     |
+  ----------------+----+----+----+----+----+----+----+----+----+     |
+  |               |----|----|----|----|----|----|----|----|++++|     |
+  | Studies       |----|----|----|----|----|----|----|----|++++|     |
+  |               |----|----|----|----|----|----|----|----|++++|     |
+  --------------------------------------------------------------------
+
+  Read across to learn in which volumes the subjects are treated;
+  read down to find what each volume contains.
+
+_a. Studies._ Every volume contains a large number of helps of different
+kinds for young people. Usually these are in connection with some
+selection and are adapted to the age of the boy or girl most likely to
+read the piece. As each study is presented in an interesting and
+informal manner and does not cover many points, it is felt that young
+people will enjoy them only less than the masterpieces themselves.
+
+The studies are arranged as systematically as the selections, and are
+graded even more carefully. Their scope and method will be more fully
+explained in subsequent sections of this volume.
+
+_b. Notes._ These consist of explanatory notes, that are placed wherever
+they seem to be needed. They explain words not usually found readily in
+the dictionaries, foreign phrases, and such historical or other
+allusions as are necessary to an understanding of the text by youthful
+readers. These notes are placed at the bottom of the page that needs
+explanation, and so are immediately available. In such a position they
+are more liable to be read than if gathered together at the end of the
+volume. They are neither formal nor pedantic, and are as brief as is
+consistent with clearness. Their purpose is to help the reader, not to
+show the writer's knowledge.
+
+_c. Introductory Notes._ At the heads of selections from longer
+masterpieces are introductory notes which give some little account of
+the larger work and enough of the context so that the selection may not
+seem a fragment. In some instances this note gives the historical
+setting of a masterpiece or tells something of the circumstances under
+which it was written, when those facts help to an appreciation of the
+selection. Sometimes an acquaintance with the personality of an author
+is so necessary to a clear understanding of what he writes that a brief
+sketch of his life or a few anecdotes that show his character are given
+in the note preceding what he has written. These notes are printed in
+the same type as the text, especially in the first four volumes, for
+they are felt to be worthy of equal consideration.
+
+_d. Biographies._ Besides the biographical notes appended to selections,
+there are not a few more pretentious sketches that have been given
+prominent titles in the body of the books. These have been prepared
+expressly for this work, either by the editor or by some one fully
+acquainted with the subject and accustomed to writing for young people.
+These biographies are written from the point of view of young people,
+and contain the things that boys and girls like to know about their
+favorite authors or some of the noble men and women whose lives have
+made this world a better and a happier place in which to live. In the
+earlier volumes they are brief, simple, and largely made up of
+anecdotes; later they are more mature, and show something of the reasons
+that make the lives interesting and valuable material for studies. There
+are, also, in the books a few lengthy extracts from some of the world's
+great biographies. Care has been exercised in the selection of these, so
+that in each case, while the extract is of interest to young people, it
+is also fairly representative of the larger work from which it has been
+taken.
+
+_e. Pronouncing Vocabularies._ Children often find difficulty in
+pronouncing proper names, and not many have at hand any books from which
+they can obtain the information. At the end of every volume is a list of
+the important proper names in that book, and after each name the
+pronunciation is given phonetically, so that no dictionary or other
+reference work is necessary. Since each volume has its own list, it is
+not necessary even to lay down the book in hand and take up the last
+volume.
+
+_f. Pictures._ The illustrations in the several volumes form one great
+feature in the general plan. They alone will do much to interest
+children in the reading, and if attention is called to them they will be
+found to increase in value. The color plates in each volume, the
+numerous fine halftones of special design, and the hundreds of pen and
+ink drawings that illuminate the text have been painted and drawn for
+these books, and will be found nowhere else. More than twenty artists
+have given their skill and enthusiasm to make the books brighter,
+clearer, and more inspiring. The initial letters and the many fine
+decorations also belong exclusively to the set, and combine to give it
+esthetic value. Everything of this nature will command attention and
+hold interest.
+
+_g. Tables of Contents._ Beginning each volume is a table showing the
+contents of the volume and the names of authors. It forms a means of
+ready reference to the larger divisions of the work and is a handy
+supplement to the index.
+
+_h. Index._ At the end of the tenth volume is an index to the whole ten
+volumes. There may be found not only each author and title in
+alphabetical order, but also a complete classification of the
+selections in the set. To find the history in this series, look in the
+index under the title "History." When a topic has as many sub-divisions
+as has "Fiction," for instance, or "Poetry," cross references are given.
+
+
+_4. The Nursery Rhymes_
+
+When a child is taught the little nursery rhymes which to us may seem to
+be meaningless jingles, he is really peeping into the fields of
+literature, taking the first steps in those journeys that will end in
+Shakespeare, Browning and Goethe. When his infantile ear is caught by
+the lively rhythm and the catchy rhymes, he is receiving his first
+lessons in poetry. That the lessons are delightful now he shows by his
+smiles, and in middle life he will appreciate the joy more keenly as he
+teaches the same little rhymes to his own children.
+
+Most children know the rhymes when they come to school and they will
+like to read them there. A child's keenest interest is in the things he
+knows. Later, perhaps in the high school or the grammar grades, he will
+be interested again in learning that the rhymes are not wholly frivolous
+and that there may be reasons why these rhymes should have survived for
+centuries in practically unchanged forms. Some of the facts that may be
+brought out at various times are the following:
+
+I. There is a hidden significance in some of the nursery rhymes. For
+instance:
+
+_a. Daffy-Down-Dilly_ (page 47). In England one of the earliest and most
+common of spring flowers is the daffodil, a bright yellow, lily-like
+blossom, with long, narrow green leaves all growing from the bulb. The
+American child may know them as the big double monstrosities the florist
+sells in the spring, or he may have some single and prettier ones
+growing in his garden. The jonquil and the various kinds of narcissus
+are nearly related white or white and pink flowers. This picture on page
+47 of _Journeys Through Bookland_ shows a few daffodils growing. Miss
+Daffy-Down-Dilly, then, in her yellow petticoat and her green gown, is
+the pretty flower; and the rhyme so understood brings a breath of spring
+with it.
+
+_b. Humpty Dumpty_ (page 55). This is really a riddle of the
+old-fashioned kind. There are many of them in English folk lore. Usually
+a verse was repeated and then a question asked; as, "Who was Humpty
+Dumpty?" The artist has answered the question for us in the picture.
+Possibly many people who learned the rhyme in childhood never thought of
+Humpty as an egg.
+
+What answer would you give to the question, Who was Taffy (page 54)? For
+similar riddles, see _Nancy Netticoat_ (Vol. I, p. 72), _The Andiron_
+(page 245) and _St. Ives_ (page 202).
+
+II. Some were intended to teach certain facts. For instance:
+
+_a._ When children were taught the alphabet as the first step to
+reading, _The Apple Pie_ (page 43) gave the letters in their order,
+including the obsolete "_Ampersand_."
+
+_b._ As children grew a little older and could begin to read what they
+already knew, things in which the same words were many times repeated
+were helpful. Two examples are _The House that Jack Built_ (page 56)
+and _There Is the Key of the Kingdom_ (page 45).
+
+_c._ The numbers from one to twenty were taught by _One, Two_ (page 41).
+
+_d._ The days of the week were taught by _Solomon Grundy_ (page 42),
+which with its amusing provision for repetition is sure to catch the
+fancy of a child and keep his thoughts on the words.
+
+III. Some of them teach kindness to animals:
+
+_a. Dapple Gray_ (page 22).
+
+_b. Ladybird_ (page 12). This is sometimes known as ladybug, and the
+_bug_ is the little, round, reddish beetle whose wings are black dotted.
+It is a pretty, harmless beetle that gardeners like to see around their
+plants. Children repeat the rhyme when they find the beetle in the house
+and always release it to "fly away and save its children."
+
+_c. Poor Robin_ (page 16).
+
+_d._ Old Mother Hubbard's amusing adventures with her dog (page 24)
+leave a very kindly feeling toward both.
+
+IV. Some are philosophical, or inculcate moral precepts or good habits,
+in a simple or amusing way.
+
+_a. Early to Bed_ (page 34).
+
+_b. Little Bo-Peep_ (page 9). Is it not better to let cares and worries
+alone? Why cry about things that are lost?
+
+_c. Three Little Kittens_ (page 13) suggests care for our possessions.
+
+_d. There Was a Man_ (page 60) has the same idea that we often hear
+expressed in the proverb "A hair from the same dog will cure the
+wound."
+
+_e. Rainbow in the Morning_ (page 48) has some real weather wisdom in
+it.
+
+_f. There Was a Jolly Miller_ (page 47), gives a good lesson in
+contentment.
+
+_g. A Diller, A Dollar_ (page 59).
+
+_h. See a Pin_ (page 59) suggests in its harmless superstition a good
+lesson in economy.
+
+_i. Little Boy Blue_ (page 33) makes the lazy boy and the sluggard
+unpopular.
+
+_j. Come, Let's to Bed_ (page 34) ridicules sleepiness, slowness and
+greediness.
+
+V. Mother's loving care, at morning and evening, when dressing and
+undressing the baby or when putting the little folks to bed, has
+prompted several of the rhymes:
+
+_a. This Little Pig_ (page 5) the mother repeats to the baby as she
+counts his little toes.
+
+_b. Pat-a-Cake_ (page 4) is another night or morning rhyme; and here
+mother "marks it with" the initial of _her_ baby's name and puts it in
+the oven for her baby and herself. Another of similar import is: _Up,
+Little Baby_ (page 7).
+
+_c. Diddle, Diddle, Dumpling_ (page 7) has kept many a little boy awake
+till he was safely undressed.
+
+_d._ What an old rhyme must _Bye, Baby Bunting_ be (page 6)! It goes
+back to the days when "father went a-hunting, to get a rabbit skin to
+wrap Baby Bunting in." Some one, more recently, has added the idea of
+_buying_ the rabbit skin.
+
+_e._ The simple little lyric, _Twinkle, Twinkle, Little Star_ (page 44)
+has filled many a childish soul with gentle wonder, and many a
+night-robed lassie has wandered to the window and begged the little
+stars to keep on lighting the weary traveler in the dark.
+
+VI. Some of the rhymes are pure fun, and even as such are worthy of a
+place in any person's memory:
+
+_a. There Was an Old Woman_ (page 36); _Great A_ (page 14); _Jack Be
+Nimble_ (page 28); _To Market, to Market_ (page 6), and _There Was a
+Monkey_ (page 14); _Goosey-Goosey_ (page 21); _Hey, Diddle, Diddle_
+(page 23); _There Was a Rat_ (page 14), and others, belong to this
+category.
+
+_b. Three Blind Mice_ (page 12) is an old-fashioned _Round_. Many a band
+of little folks has been divided into groups and has sung the
+nonsensical rhymes until every boy and girl broke down in laughter. Do
+you poor modern people know how it was done? The school was divided into
+a half-dozen sections. The first section began to sing and when its
+members reached the end of the first line, the second section began; the
+third section began when the second reached the end of the first line,
+and so on till all sections were singing. When any section reached the
+word "As--" they began again at the beginning. The first line was
+chanted in a low, slow monotone, the others were sung as rapidly as
+possible to a rattling little tune on a high pitch. Imagine the noise,
+confusion and laughter. Many a dull afternoon in school has been broken
+up by it, and countless children have returned to their little tasks
+with new enthusiasm. The old things are not always to be scorned.
+
+_c. Old King Cole_ (page 52) is a jolly rhyme, and the illustration is
+one of the finest in the books. Everybody should study it.
+
+VII. Two, at least, of the rhymes are of the "counting out" kind. Often
+children want to determine who is to be "It" in a game of tag, who is to
+be blinded in a game of hide-and-seek, or who takes the disagreeable
+part in some other play. They are lined up and one begins to "count out"
+by repeating a senseless jingle, touching a playmate at each word. The
+one on whom the last word falls is "out," safe from the unpleasant task.
+One at a time they are counted out till only the "It" remains.
+
+_Wire, brier_ and _One-ery, Two-ery_ (page 51) are examples. The artist
+has shown a group being counted out, in her very lifelike picture on
+pages 50 and 51.
+
+VIII. There are some errors in grammar in the rhymes, many words you
+cannot find in a dictionary, and some of the rhymes may seem a little
+coarse and vulgar; but they have lived so long in their present form
+that it seems almost a pity to change them. Encourage the older children
+to find the errors and to criticise and correct as much as they wish.
+Probably they will not like the rhymes in their new form and correct
+dress any better than we would.
+
+IX. There is really a practical value, too, in a knowledge of the
+nursery rhymes. Allusions to them are found in all literature and many a
+sentence is unintelligible to him who does not recognize the nursery
+rhyme alluded to. It would be safe, almost, to say that not a day passes
+in which the daily papers do not contain allusions to some simple little
+lines dear to our childhood. They are not to be sneered at; they are to
+be loved in babyhood and childhood, understood in youth, and treasured
+in middle life and old age.
+
+
+_5. Discussion of Each Volume_
+
+Our _Journeys Through Bookland_ contains a wealth of material and a host
+of studies and helps. It is not an easy matter to get even the plan of
+it into one's mind in a few minutes. The object of this volume is to
+guide the parent, teacher or student and to show as many of the
+important phases of _Journeys_ as is possible. In other chapters we take
+up different methods of reading or show ways in which the books can be
+used to accomplish certain definite purposes, and how to select the
+material needed for any occasion. By means of cross references to the
+other books this volume serves as a key to them all.
+
+_Volume One._ The first sixty pages of this volume are given over to the
+best known of the old nursery rhymes. That they are old is one of their
+great merits. That all cultured people know them is proof of their value
+and interest. The words are old words but the pictures are new. Every
+one was drawn expressly for _Journeys_ and all show the conception of
+artists who have not lost the appreciation of childhood. Little children
+love the rhymes and will learn them and repeat them at sight of the
+pictures long before they can read. Elsewhere in this volume are
+suggestions which show how the rhymes may be used profitably.
+
+_Journeys_ does not pretend to teach reading in the sense in which it is
+understood in the kindergarten and the early primary grades. Rather it
+begins to be of service as a reader only after the child has been
+taught how to read for himself. Children in the third grade will read
+many stories for themselves; from the fourth grade on they are nearly
+all independent readers. Every teacher knows, however, that children
+like to listen to stories which it would be utterly impossible for them
+to read, and that later they best love to read the things which they
+have heard from the lips of parent or teacher. Therefore, the literature
+of the first volume forms a treasure house from which the parent may
+draw many a good story to tell, and where he may find more that will be
+excellent for him to read aloud. The taste for the best literature is
+often formed in early childhood. So no child is too young for _Journeys_
+and no child is too old. The real things we read over and over with
+increasing interest as the years go on. Elsewhere in this volume are
+directions for story-telling, and many especially good selections are
+named. What the parent shall read aloud is best left to him to
+determine; at first he will do well not to read aloud any of the
+comments with which the books are fitted. If he finds that the interest
+warrants it he can use the comments for himself and ask questions that
+will lead to thoughtful consideration of what is being read, even by
+very young children. The only thing necessary is that the reading should
+be taken seriously and that the parent should be as much interested as
+the youthful listener.
+
+There are stories and poems, fairy tales and folk lore, biography in
+simple anecdotes of the great favorites of children and toward the end
+of the volume a few rather difficult selections for older children. In
+this volume as in all of them it is hoped that parents will look over
+the table of contents again and again, select the things that seem best
+and suit them to the occasion. How beautiful the lullabies are for the
+babies, and how much the older boys and girls will enjoy them when read
+at baby's side! When the children are interested in the whimsical rhymes
+of Stevenson, his biography should be read; and Eugene Field's life is
+interesting when his sweet poems are lending their charm to the evening
+by the fireside. Some of the fables contain deep lessons that may be
+absorbed by the older children while the younger ones are interested in
+the story only.
+
+_Volume Two._ The selections in the first part of the second volume are
+intentionally simpler than the last ones in the first volume. It is a
+good thing for a child to handle books, to learn to find what he wants
+in a book the greater part of which is too difficult for him. Oliver
+Wendell Holmes thought it was an excellent thing for himself that he had
+had the opportunity to "tumble around in a library" when he was a
+youngster. Every student who has had the opportunity so to indulge
+himself has felt the same thing. There are so many books published every
+month and so much reading to be done that a discriminating sense must be
+cultivated. No one can read it all or even a small part of it. Older
+people will discriminate by reading what they like. Children must learn
+to handle books and to find out what they are able to read. To put into
+their hands all they can read of the simple things they like is not
+wise. Most children read too much. Fairy stories are all right in their
+way, but to give a child all the fairy tales he can read is a serious
+mistake. Hundreds of pretty, inane, senseless stories in attractive
+bindings with pretty, characterless illustrations tempt the children to
+vitiate their taste in reading, long before they are able by themselves
+to read the best literature.
+
+Because they are valuable, there are fairy stories in _Journeys_;
+because their use may be abused, there are few of them; because
+something else should be read with them, they are not all in one volume
+nor in one place in a volume. The same rule of classification applies to
+other selections than fairy tales.
+
+This is the volume in which the myths appear in the form of simple
+tales: three from the northland, two from Greece. Each story is
+attractive in itself, has some of the interest that surrounds a fairy
+tale and serves as the fore-shadowing of history. That they are
+something more than fairy tales is shown in the comments and elementary
+explanations that accompany them.
+
+Little poems, lullabies, pretty things that children love are dropped
+into the pages here and there. Children seem to fear poetry after they
+have been in school a little while, largely because they have so much
+trouble in reading it aloud under the criticisms of the teacher and
+because the form has made the meaning a little difficult. It is,
+however, a great misfortune if a person grows up without an appreciation
+of poetry when it is so simple a matter to give the young an abiding
+love for it. A little help now and then, a word of appreciation, a
+manifestation of pleasure when reading it and almost without effort the
+child begins to read and love poetry as he does good prose.
+
+The beginnings of nature study appear in the second volume in the form
+of beautiful selections that encourage a love for birds and other
+animals, and _Tom, The Water Baby_, is a delightful story, half fairy
+tale, half natural history romance.
+
+In this volume also is found _The King of the Golden River_, perhaps the
+best fairy story ever written.
+
+_Volume Three._ A glance at the table of contents in the third volume
+will show the general nature of the selections. Fairy stories or tales
+with a highly imaginative basis predominate. There are some that are
+humorous, as for instance the selections from the writings of Lewis
+Carroll, and one or two of the poems.
+
+The long selection from _The Swiss Family Robinson_ is a good
+introduction to nature literature and contains all of the book that is
+worth reading by anyone. The two tales from _The Arabian Nights_ are
+among the best in that collection and are perhaps the ones most
+frequently referred to in general literature and in conversation. The
+story of Beowulf and Grendel is a prose rendering of the oldest poem in
+the English language, and valuable for that reason. While it is rather
+terrifying in some of its details its unreality saves it from harmful
+possibilities. Parents and teachers are inclined rather to overestimate
+the unpleasant consequences of reading terrifying things when they are
+of this character. Few, if any, children will read the story if it
+displeases them and those who do will not retain the disagreeable
+impression it makes for any great length of time.
+
+In this volume we begin our acquaintance with the legendary heroes of
+the great nations. _Frithiof_, _Siegfried_, _Robin Hood_ and _Roland_
+are all in this book, to be followed by _Cid Campeador_ in Volume IV.
+
+_Volume Four._ In this volume, with many fine poems and tales
+interspersed, is found the continuation of the legendary hero stories
+begun in Volume III, also as a natural sequence, a cycle of history that
+begins with a story and ends in a narrative of an actual historical
+occurrence. These may be found in the six selections beginning with _The
+Pine-Tree Shillings_. The article on _Joan of Arc_, the story of
+_Pancratius_ and the account of _Alfred the Great_, though not related
+in any way, yet still serve to carry out the idea that this volume is
+largely an introduction to readings in history.
+
+_The Attack on the Castle_ is a stirring account of a mediaeval battle.
+It prepares the way to the mediaeval spirit made more prominent in the
+next volume. In _The Arickara Indians_ the boys will begin to find the
+interest that the aborigines always have for our youth.
+
+_Volume Five._ The legendary great, the half-historical personages that
+have been for so many centuries the inspiration of youths of many lands
+are found again in this volume in the person of the Greek heroes and, at
+much greater length, in England's famous King Arthur. The story of his
+Round Table and its knights is told in an extremely interesting way. The
+spirit of Sir Thomas Malory is retained in his quaint accounts and
+Tennyson's noble poems show how great a factor the legends of Arthur
+have been in literature. Besides the articles that are instructive there
+are a few that are highly entertaining or merely humorous, for every
+child has a right to read sometimes for amusement only. It will be seen
+that some classes of literature have ceased to appear and that others
+are coming into view. The "spiral arrangement" is nicely illustrated in
+the reappearance of history and the legendary heroes and in the
+disappearance of myths and fairy tales, for which there is, however,
+some compensation in the highly imaginative _Gulliver's Travels_, an
+extract from Dean Swift.
+
+In this volume are also included a little cycle on one of the great
+heroes of the Scotch, Robert Bruce. These carry on the series of
+selections on legendary heroes, begun in Volume Three. These are
+followed by stories of adventure, of frontier life in the Central West,
+tales from the early history of our country. _Reminiscences of a
+Pioneer_, _The Buccaneers_, _Captain Morgan at Maracaibo_, and
+_Braddock's Defeat_ are examples of this kind of literature. These
+selections are authentic accounts from original sources and are among
+those things which boys really like, but which have not heretofore been
+accessible to them. Patriotic Poems, somewhat in the same vein, are
+given where they will be noticed and read.
+
+_Volume Six._ In this volume the series of legendary and semi-historical
+selections is completed. It includes the best of the legends concerning
+the national hero of Persia, also the story of _The Tournament_ from
+_Ivanhoe_, inserted here as a fitting introduction to Scott's novels.
+There are several examples of nature studies in literature and several
+fine stories that have their place in the education of everyone. The
+best of these stories and one of the finest ever written is _Rab and His
+Friend_. A cycle of a religious nature is found in those selections
+which are named _The Imitation of Christ_, _The Destruction of
+Sennacherib, Ruth_, and _The Vision of Belshazzar_.
+
+The longest and best story in this book is _A Christmas Carol_ by
+Charles Dickens. This is a model in construction and furnishes the basis
+for all the studies that would naturally accompany the most elaborate
+piece of fiction.
+
+The sixth volume is one of interest and one that will give plenty of
+opportunity for study to those who have the inclination to follow out
+the suggestions that accompany the selections. Close study should be
+upon those things which are already somewhat familiar. The high school
+student will find his time more profitably spent in working on the
+things in this volume than in poring over the more difficult
+masterpieces that are sometimes prescribed in courses of study. What we
+desire is power to read, understand and appreciate, and that is obtained
+by study upon those things that interest us and about which we know
+enough to enable us to use our minds to best advantage.
+
+_Volume Seven._ On the whole, this is a more mature volume than any that
+has preceded it and yet there are some selections of a simple character
+inserted for the purpose of interesting those who cannot yet read very
+heavy literature. From this point on, however, there is little
+difference in the grade of the volumes. The way in which the literature
+is studied marks the difference in rank. In fact, when a person can read
+intelligently and with appreciation such selections as appear in this
+volume he can read anything that is set before him. There may be some
+things that will require effort and perhaps explanation, but it is
+merely a question of vocabulary and parallel information. Besides the
+stories, there are selections in every department of literature except
+those that have been passed in the progress of the plan of grading. The
+legendary heroes, the myths and the stories of classic literature are no
+longer to be found. In their place are more selections on nature, more
+of biography and history and the real literature of inspiration. Some of
+the last group appear in the form of fine lyrics which everyone loves
+but which are made more attractive and inspiring by proper setting and
+helpful interpretations.
+
+In this volume biography, which has had its share of attention in every
+volume, becomes a strong feature, especially in the fine sketches that
+are given of famous writers. It is a fact that most writers have lived
+so quietly and in such comparative seclusion that their lives are devoid
+of the exciting events that make the liveliest appeal to young people,
+yet every one has done so much for the world and in such varied ways
+that there are things in their lives that interest and enthrall the mind
+if only they are properly presented. Our great American writers have
+been noble men and women and their lives are models worthy of imitation.
+That is the thing for us to glory in and for our young people to know,
+for it is not by any means a universal fact that people who wrote
+inspiring literature have lived inspiring lives. The literature of
+nature is probably stronger in this volume than in any other and the
+selections are of the most absorbing kind. It is not expected to give a
+vast amount of information but to create a love for reading about the
+great facts in nature and an appreciation of the beauties in the
+writings of those who love it. This is the last volume in which there is
+much fiction and it marks the beginnings of the really fine essays which
+form a large part of the succeeding volume. The history is of a higher
+type and includes excerpts from the writings of some of our greatest
+historians.
+
+_Volume Eight._ The notable feature of the eighth volume is the
+selection from the plays of Shakespeare. Nothing is more important in
+the literary education of a child than his proper introduction to the
+greatest of our great writers, and this has been accomplished in the
+following manner. _The Tempest_ was selected as the play, because it is
+simple and lively in its style, appeals to young people and has in it
+just enough of the marvelous, the beautiful and the terrible to make a
+decided impression on one who reads it for the first time. There are
+other plays that are greater but none that may be taught so easily to
+juvenile readers. In this volume there is a brief article on the reading
+of Shakespeare; this is followed by the inimitable tale of _The Tempest_
+by Charles and Mary Lamb; this by the play, _The Tempest_, practically
+as it was written; and this, in turn, by a long series of interesting
+studies on the drama. The whole is attractive from start to finish and
+the studies are certain to lead the reader to think.
+
+The drama, then, is the new feature of the ninth volume, but this is
+also the volume of fine essays, the highest type of prose. The essays
+are best represented by the following titles, all of which may be found
+in the table of contents of the eighth volume: _The Alhambra_ by Irving,
+_A Bed of Nettles_ by Allen, _Dream Children_, by Charles Lamb. These
+titles, too, show how broad is the field covered by the essay and how
+delightful a variety there may be in the one style of composition. The
+departments of Travel and Adventure, Patriotism and History have not
+been neglected. On the whole it is a serious volume, one which will give
+the high school student and the older members of the family a plentiful
+supply of good reading material and a suggestion of study for the
+evenings of many a winter day.
+
+_Volume Nine._ Most of the selections in this volume are rather
+difficult reading for young people but there are helps enough to make
+the task a pleasant one. The series of essays, begun in Volume Eight is
+here continued, with _The Ascent of the Jungfrau_ by Tyndall, _A
+Dissertation upon Roast Pig_ and _The Praise of Chimney Sweepers_ by
+Charles Lamb, and two representative essays by Sir Francis Bacon. The
+studies are of an advanced nature and if carried out as intended will be
+of decided service to high school students. In a few cases the
+selections are simple, like _Robert of Lincoln_, for instance, but the
+studies that accompany it are the more complete. It is hoped by such an
+arrangement to show how inexhaustible a field for study literature
+offers and how many things there are to be known about the least of our
+fine lyrics. _The Ode on a Grecian Urn_ is of a different type. This
+poem makes no direct appeal to sentiment or to the knowledge of the
+average young person, yet by study it is seen to be a lyric of
+exquisite beauty. This volume introduces the writings of several authors
+who have not before appeared because of their slight appeal to young
+people. Among them may be mentioned particularly Addison, Boswell, and
+Bacon. The volume contains also orations that should be studied as
+models, viz: _The Gettysburg Address_, _The Fate of the Indians_ and
+_The Call to Arms_. Each has a series of studies following it. As a
+relief from the serious work of the volume there are included an extract
+from _Pickwick Papers_; that fascinating story, _The Gold-Bug_; and the
+delightful essay, _Modestine_, an extract from _Travels with a Donkey_,
+by Stevenson.
+
+_Volume Ten._ At the end of this volume are given two tables; the first
+arranges the leading English writers chronologically, and the second
+follows a similar plan with the American authors. The index with which
+the book closes is for the entire series and enables the reader to find
+the selections readily, if he knows either the title or the name of the
+author; to find all the selections on any given topic; and to find the
+studies quickly if they are wanted. The index should prove as useful as
+any of the devices with which the books are filled.
+
+
+
+
+CHAPTER III
+
+PICTURES AND THEIR USE
+
+
+_I. What Should We Notice in a Picture?_
+
+In his excellent little book, _How to Judge of a Picture_, Van Dyke
+speaks of the things that constitute a good painting as follows: "First,
+it is good in tone, or possess a uniformity of tone that is refreshing
+to the eye; second, it is good in atmosphere--something you doubtless
+never thought could be expressed with a paint-brush; third, it is well
+composed, and a landscape requires composition as well as a figure
+piece; fourth, 'values' are well maintained, its qualities good, its
+poetic feeling excellent." A second writer has said that beauty is
+manifested in four ways: by line, by light and shade, by color and by
+composition. We will consider these characteristics in order.
+
+_a. Line._ We define the boundaries of objects and limit space by means
+of lines, and the use of lines constitutes drawing in pictures. These
+lines so used may be narrow or broad, straight or curved, perfect or
+broken, and definite or vague and undetermined. Upon their proper use,
+however, depends the beauty of proportion, the strength of personality
+and the impressions of truthfulness and reality. There are few rigid
+lines in nature. What we see is an impression of line, not sharp lines.
+If you look at a book you may see the sharp lines that bound its edges
+but if you move it away a little or put it in shadow its boundaries are
+a little hazy and gradually you lose the impression of the lines that
+bound it and see only a book. A tree has no sharp outline except when it
+stands on a horizon and looks like a silhouette against the light.
+Ordinarily it is a mass of moving light and shade, of color. The leaves
+are not separately limited by lines and yet we know that leaves are
+there. If the artist drew each leaf separately and accurately the
+general effect would be extremely unnatural and instead of a tree we
+should see only the minute carefulness of a painter who had failed.
+Perfect lines, then, are rare in good pictures. The artist does not
+intend to make exact representations of reality but to convey the
+_appearance_ of reality, and just in so far as he succeeds in conveying
+that appearance of reality is he successful. This does not mean that
+good drawing is not necessary in a picture; it merely tells you what
+constitutes good drawing. If the lines of the human figure are perfect
+it is almost certain that the figure will be strained, unnatural and
+without the appearance of life or motion. In a good picture the lines of
+good drawing are present but they are broken, subdued and lead into one
+another as do the lines we see in nature.
+
+_b. Light and Shade._ It is the distribution of light and shadows in a
+picture that gives it the appearance of reality. A mere outline drawing
+is flat and has no semblance of life. The paintings of the ancient
+Egyptians are good examples of pictures that have no light and shade,
+and we all know how flat, stiff and unreal they appear. In pen and ink,
+and charcoal drawings, light is indicated by white and shadow by black,
+but between the two extremes are introduced various shades and tints of
+gray that make the variety of tone in shadows. This varying of the
+strength of shadows is everywhere in nature, though most of us are blind
+to it. In looking at any object for the purpose of distinguishing the
+lights and shades upon it we should half close our eyes and look
+intently at all parts of it. Under an inspection of this sort the
+building which we thought to be all of even light is seen to be dotted
+with patches of shadow of different intensity, showing that there are
+projections where the light from the sun strikes clearly or depressions
+into which it cannot enter so freely. A picture should give the same
+effect, and it is this effect, which includes also the distance from the
+eye as well as the shades from the light source, that we call "values."
+If we look at a tree in the way described we see that it is covered with
+patches of green in light or dark tints and that these color values are
+the lights and shades of which we are speaking. There will be one point
+of highest light and an opposing point of deepest shadow, and upon the
+proper arrangement of these as well as upon the patches of minor
+importance depends the lifelike appearance of the objects in the
+picture. Van Dyke says there are three things concerning light and shade
+that should be looked for in every picture, viz.: that everything, no
+matter how small it be, has its due proportion of light and shade; that
+there be one point of compass from which the light comes; that there be
+a center of light in the picture itself, from which all other lights
+radiate and decrease until they are lost in the color or shadow.
+
+_c. Tone and Color._ The first thing that seizes the eye in a painting
+is color, and the brightest, gayest colors are the ones that are most
+likely to attract. In fact they are the only colors that the
+inexperienced may see, for many a person is blind to the subdued tints
+and shades that are really the most attractive to the trained eye. Good
+coloring, then, does not mean brightness alone. It is the relationship,
+the qualities and the suitableness of colors one to another, whether
+they be in shadow, half-tint or light, that constitute good coloring.
+Brilliant dresses and inharmonious ornaments strike the refined eye with
+displeasure, the wearer is "loud" in her dress. Subdued colors relieved
+here and there with a harmonious dash of brightness show correct taste.
+So in pictures those that have the low or deep tones, that are rich and
+harmonious, are the ones that are most appreciated by the experts, and
+are the ones usually found to have been painted by the masters.
+Nevertheless if high color combines richness and harmony it shows a fine
+skill. Tone has to do with the quantity of color used in the painting,
+and harmony with the qualities of colors. Tone and harmony must combine
+to make perfect coloring.
+
+_d. Composition._ If we study any great poem, drama or novel, one that
+is constructed with a due regard for unity, we find there is one central
+character or idea and that all other persons, all incidents, scenes and
+all the little devices that go to give reality to the conception are
+subordinated to the central person or idea. Unless this is done the
+creation lacks unity and therefore lacks force, beauty and coherence.
+The same facts hold true of a picture. Every good picture is so
+arranged and drawn that the important idea is centralized and the parts
+are unified and harmonized until the whole is single in its effect. This
+is accomplished by what is called in the language of the painter,
+"composition." Important things are recognized and lesser things
+subordinated to give beauty, clearness and brilliancy to the central
+idea. While these facts are most obvious in pictures that contain
+figures, it is no less true in landscapes or other pictures which
+contain no figures. For instance, a moonlight scene on the Hudson would
+have as its central idea the beauty of the light on the water and the
+mountains. To secure this the artist would keep down the lines of the
+mountains, subordinate the details in the foreground and place as the
+central idea in the picture the pale shimmering light from the moon
+whether that body be itself visible or not. Oftentimes in looking at a
+picture it is difficult to tell wherein its excellent composition lies,
+but the absence of strength and unity is unerringly felt.
+
+_e. Atmosphere and Perspective._ We are all familiar with the diminished
+size of objects seen at a distance and realize that the apparent coming
+together of two parallel lines, as those of a railway track, is owing to
+the same cause. We know, too, that this diminishing must be shown in a
+picture or there is no sense of distance for the spectator. What is not
+so clear to us usually, is that there is as great a difference in color
+and the appearance of objects. The diminution of size is linear
+perspective and the change of color due to distance and atmospheric
+conditions is commonly called aerial perspective. The tendency among
+amateurs is to paint a tree green no matter how far away from the
+spectator it is, while a little observation and study would show the
+veriest tyro that the green of a distant tree has faded till to the eye
+it looks a bluish gray. Moreover, outlines have faded and seem to flow
+into those of other objects, and all combine to give to the picture the
+true appearance of distance, which is what the artist seeks and the one
+who looks at the picture has a right to expect.
+
+_f. An Application of the Foregoing Principles._ What has been said on
+this subject of judging a picture may be made clearer by an application
+to one of the pictures in _Journeys_. Let us take, for instance, the
+color plate facing page 304, in Volume VI. It is a reproduction in color
+of the painting in water colors, _Bob and Tiny Tim_, and will show what
+is meant by the comments above almost as well as the original painting
+would have done.
+
+1. Tone and color. Are the colors in the picture bright and gay or are
+they subdued? What are the brightest colors? Are the colors harmonious
+or do they "quarrel" as they come to the eye?
+
+Are the shades of blue and purple and lighter colors in the clothing of
+the various persons glaring or subdued? Do you observe any inharmony
+which offends the eye, or are you pleased with contrasting colors and
+tones? The harmony in color is due to the choice of colors that do not
+contrast too strongly. The artist knew which were complementary colors;
+that is, which, united, form white. Which colors in the picture do you
+think show warmth, and which show cold, as suitable to out-of-door
+scenes? What effect on the rest of the picture does the olive green of
+the interior of the room have? What effect does the gray green of the
+open door have?
+
+2. Light and Shade. Is the picture flat and without appearance of life,
+or do the persons and objects stand out in a life-like manner? Are parts
+of the picture in shade, so that outlines are lost? The artist has shown
+the left of the building in the foreground as in shadow; how is this
+effect produced? Do you observe gradations of tone in the shawl on Tiny
+Tim, which indicate relative light and shadow? Where is the highest
+light in the picture, and where the darkest shadow? Are the lights
+strong as if the sun were shining, or soft and diffused, as is
+noticeable on a snowy winter's day?
+
+3. Line. Although you cannot see Bob's feet in the picture, do you feel
+that his body is well supported? Is his position natural, as of one
+carrying a burden on one shoulder? Are the lines of the figures in the
+foreground clear and distinct? How do they compare with the lines of the
+figures and building across the street? In both cases the artist gives
+us all that is necessary to convey the impression of reality. In the use
+of oils and water colors, sharp lines are avoided. Colors are used so
+that different surfaces and effects flow into one another; the lines are
+concealed and we have the very counterfeit of reality. This constitutes
+good drawing.
+
+4. Composition. What is the central idea of the picture? The artist has
+brought the principal figures into the immediate foreground; do the
+arrangement of color, contrasts of tone values, and the smaller figures
+in the background give life and significance to the figures of Bob and
+Tiny Tim? Would the effectiveness of the picture be greater or less if
+the artist had failed to show the snowy outdoor scene, with its holiday
+spirit? Do you recall the incident in the story portrayed by the
+picture? Are the characteristics of Bob and Tiny Tim, as described by
+Dickens, faithfully followed by the artist? Do their faces show the
+spirit of Christmas? If you had not read the story, would you not feel a
+glow of sympathy for the little boy, and a wish that you could join in
+making a happy holiday for him? Has not the artist succeeded in bringing
+the scene described by the author more vividly and beautifully to us?
+
+5. Atmosphere and Perspective. How far from the figures of Bob and the
+little boy are the people on the sidewalk? How does the artist express
+the idea of relative distance? Are there any lines in the picture which
+help us to determine distance? If the eye follows the lines of the cross
+pieces on the door, will they not come together if extended far enough
+to the left? Of course the buildings across the street are not very far
+away, but their outlines are a little hazy. Does this haziness help to
+give the effect of distance? Do you think the door was really a
+gray-green? Has the artist used this tone to show the effect of the
+outdoor light on a gray, or possibly a white door? The building across
+the street, at the left, has yellow and red and purple tones; do you
+think these were the actual colors? If not, why has the artist selected
+these particular shades? Do parts of buildings or other objects in
+shadow take on different shades from parts in bright lights? What
+colors appear most frequently in the picture? Has the artist succeeded
+in giving the picture the atmosphere of Dickens's story?
+
+
+_II. Pictures and Their Value in Literature_
+
+Pictures are in themselves a language--the oldest as well as the most
+universal tongue of the world. The primitive man of all races resorted
+to a picture-writing in his first efforts to transcribe his thoughts and
+emotions into a more lasting form than the oral expression. Our earliest
+authentic history of the customs, beliefs and life of the ancient
+Egyptians, the Babylonians, the Chinese and even our own American
+Indians comes to us from the pictured records they left on stone, wood
+or clay.
+
+In the present age, what child does not yield to the magic rhythm and
+the compelling lilt of the old nursery rhymes! With what added joy does
+he discover that there are pictures for these treasured jingles! And
+long before the printed words can be recognized he enters the alluring
+world of books by "reading" the illustrations. With glowing eyes on the
+picture he repeats the rhyme he had learned from its many demanded
+repetitions.
+
+By giving him simple, clear, realistic conceptions through pictures, we
+influence the child to read eagerly the text, to discover the whole
+story, of which such a fascinating hint is given in the portion
+illustrated. These first pictures must satisfy the child's love of
+action and movement, and portray only the most dramatic scenes, the big
+important facts with all superfluous happenings omitted.
+
+In fables, where the primary purpose is to convey an abstract truth, a
+something bigger and broader than the mere interesting events described,
+the illustrations add much to the meaning and purpose of the text. Here
+the artist shows not only the physical attributes of the real animal,
+but in a subtle way goes a step further and through the features or the
+attitude suggests the characteristics attributed in the fable. Thus
+unconsciously the little reader gets from the picture an increased
+conception of the sly, clever, crafty ways of the fox or the slow,
+plodding, steadfast patience of the tortoise.
+
+As literature develops from the simple nursery rhyme and the brief,
+abrupt fable to the fairy tale with its illusive beauty, so the pictures
+should advance in a parallel and a closely related manner. The
+illustrations now take on a mysterious, unreal, esthetic quality, in
+harmony with the world of fairy lore, and train the imagination as much
+as the direct words of the author. The child realizes that the forest
+scenes which furnish the background for so many of his favorite fairy
+tales have a subtle beauty which has never been seen by him. Gradually
+through such pictures he is led to seek an ideal beauty in the real
+world. He also becomes able not only to appreciate the poetic rendering
+of this expression of the ideal but is capable of forming more varied
+mental images of things about which he reads; to put more of his own
+individuality, his own conceptions, into his mental picture.
+
+The passing ages have so completely revolutionized the customs and ways
+of life that the child of today finds comparatively little in his
+familiar surroundings which he can link with the world of history and
+legend. Literature should be supplemented by pictures to bridge this
+chasm and to bring legendary and historical heroes into the child's own
+world and enable him to follow their thoughts, interpret their emotions
+and appreciate their actions.
+
+The child who sees a picture of court life where the cavalier is attired
+in richly colored velvet, silk, lace, and jewels, and surrounded by the
+luxuries of the court, and compares it with another of the same period
+which portrays a Puritan in his somber-hued, severe suit, stiff linen
+collar and cuffs, broad-brimmed, plain hat and not a single jewel or
+ornament used for mere decorative or esthetic value, realizes the vast
+difference in the types and character of the two men. He is furnished
+with an appropriate mental atmosphere in which to follow their history
+and in which to comprehend the inevitable clash that came between the
+Cavaliers and the Roundheads. He will then eagerly and sympathetically
+follow the Pilgrims in their lonely stay in Holland and in their brave
+struggle in the new country. Here, again, the various pictures portray a
+land and climate as vigorous, uncompromising and stern as the characters
+of the Pilgrims themselves. Then the great forests, the felling of the
+trees, the erection of the log houses and forts, the meeting of Puritans
+with the neighboring Indians, with their curious costumes, homes,
+customs and occupations, introduce other phases of life that put the
+child in a receptive mood for the reading of colonial history, Indian
+legends and stories of pioneer life.
+
+Familiarity with the author's portrait, with pictures of his home or his
+favorite scenes, brings a something of the writer's personality to the
+child. He feels the story is told _more directly to him_. A sympathetic
+bond is established that leads him to a more intimate and a more
+intelligent acquaintance with the author's emotions, thoughts, style and
+purposes as expressed in his works. He reads Thoreau's _Journal_, and
+notes uncomprehendingly, the potent sway of nature over the heart and
+life of the man. It requires the keen vision and the genius of the
+artist to give him a realization of the mesmeric influence nature
+frequently exerts.
+
+If this author's portrait is the work of a great artist it will perform
+a double service. For example, the reproduction of the _Aesop_ of
+Velasquez not only gives the child an idea of the appearance of that
+creator of the wonderful fables, but it also introduces the great
+Spanish artist who has depicted marvelous interpretations of life on
+canvas and has so wonderfully influenced the style and method of the
+work of many of the artists who succeeded him.
+
+The world of literature is filled with poems and stories which emphasize
+abstract truths, teach needed lessons or give universal principles of
+beauty. Many of these have been the subject and the inspiration of
+pictures. And, in the re-telling of the poem or story with brush or pen,
+the artists have added a something of their own individuality and
+character which serves not only to emphasize and perpetuate themselves
+through their pictured translation of these noble thoughts, but also
+makes the principles inculcated by the author become a part of the
+child's moral creed.
+
+All have long realized the value of pictures in connection with stories
+involving scientific knowledge, but the co-operation of the artist with
+the author in presenting literature to children is of equal importance.
+The picture arrests the interest of the child and wins his love for
+books long before he can read; it arouses his desire to master the
+meaning of the printed forms, that he may discover the story for
+himself; it gives him facts regarding unfamiliar things without which
+knowledge the printed symbol means little; it leads him to the discovery
+of unseen beauties in his environment; it develops his imagination; it
+arouses his creative faculties; it aids him to grasp the deepest,
+highest meaning of the world's literature; it opens up the undreamed
+beauties of the vast world of art; it interprets abstract thoughts until
+they become a part of his character, and CHARACTER is the true end of
+all READING and of all EDUCATION.
+
+
+_III. On the Use of the Pictures in "Journeys"_
+
+Children love pictures, and they love to make them. We of riper years
+are inclined to forget how very strong was our pictorial instinct when
+we were young. A little girl may make on a sheet of paper a few
+irregular lines not very well connected, wholly meaningless to us, and
+see in them very plainly every lineament of her favorite doll. She sees
+no lines, no paper, only her own precious doll. A little later she will
+draw pictures to illustrate a story, and while we may see nothing in her
+work, she sees enough to make the story more real, and is in this way
+preparing herself to read more intelligently and with greater
+appreciation as she grows older. We should not laugh at these crude
+drawings, nor try to make them better. They express her ideas in her
+way, and that is enough. On the other hand, we should encourage her to
+try other pictures for other stories till she learns herself to distrust
+her drawings, or finds a way to express herself so that others may
+understand what she thinks and feels.
+
+Pictures mean something, always. In the first place they show to him who
+can read them what some one else has thought and felt. If they are meant
+to illustrate something in literature, they may fail because the artist
+has not caught the spirit of what he is trying to depict, or because he
+lacks in execution. On our side, they may fail because we cannot
+interpret his work, either from lack of understanding or from the
+dullness of our sensibilities. Again, we may object to the artist's
+interpretation of the literature, and his pictures may merely excite our
+opposition. Usually, however, we see through the artist's eyes from a
+new point of view, so that, even if we do not altogether approve what we
+see, we are led to question and find for ourselves something new,
+pleasing and helpful.
+
+Children are harsh critics, not only of pictures but of literature
+itself, and the critical spirit is a good one to cultivate, if it is not
+allowed to fall into captious fault-finding. On the whole, however, it
+is far better to point out the good things in a picture than to call
+attention to poor execution or poor conception. Leave criticism
+generally to those infrequent cases in which the artist has actually
+blundered because he has not read the selection closely or accurately,
+or has been careless in the things he ought to know. For instance, it
+would be absurd to show King Arthur in a modern dress suit, or to put
+fire-arms in the hands of the Indians who met Columbus for the first
+time. But such faults occur infrequently. Usually the pictures are
+careful studies, and give many a hint on costuming, manners and customs,
+as well as on the proper surroundings of the characters.
+
+Some selections are so universal in their nature, so freely applicable
+to all times and places, that the artist may be allowed to delineate any
+people, anywhere, at any time. Nursery rhymes, so often alluded to, lend
+themselves to an endless variety of imaginary people and places. The old
+woman might be living still in her shoe and whipping her children
+soundly, in a twentieth-century wrapper, or clothed in skins she might
+send them supperless to bed in pre-historic ages. Whether Jack and Jill
+wore wooden shoes or patent-leather pumps we shall never really know;
+perhaps their little feet were encased in moccasins, or they may have
+been bare and ornamented with rings: what we do know is that Jack broke
+his crown and Jill came tumbling after.
+
+So we will give the artists all the latitude they wish, as long as they
+keep the facts straight, and we will try to help the children to see
+what the artist saw, and so get clearer visions for themselves.
+
+The pictures in these books are from many artists, all of whom have
+given an interpretation of the selection they were working upon, and
+have given it in such a way as to be helpful and inspiring to their
+youthful readers. Every time the artists have tried to get a child's
+view of things and to draw so that a child will like their work. Their
+enthusiasm has been boundless, and their execution remarkably good. Some
+of their pictures are gay, some are grave, a few sad; some are highly
+imaginative and others very realistic. Not a few are wonderfully
+beautiful. Among so many designs, so many kinds, everyone will find
+something to admire.
+
+Among the many, let us take a few for a brief study to show that they
+may be used with children to make literature clear, to give interest and
+keener appreciation.
+
+The very first picture in Volume One (sub-title, _Nursery Rhymes_, page
+1) is frankly intended as an introduction to the rhymes which follow,
+and is also a good illustration of many of the principles stated in this
+chapter.
+
+The little boy is fond of his playthings and especially of his toy cat,
+but you see he is giving his chief thought just now to the rhymes and
+jingles which his mother is repeating, while the baby is absorbed and
+happy in looking at the pictures. Do you see the sewing-basket with the
+knitting which the mother has laid aside while she devotes an hour to
+play? Do the other books on the table suggest that she sets a value on
+good reading as an important element in the training of children even as
+young as these in the picture? The idea is carried out further in the
+decorations of the draperies around the window. You see there in simple
+outline characters which appear in fuller detail with the rhymes which
+follow in this volume. The color tones are subdued and restful, not loud
+and glaring, but they are so happily blended, or contrasted, that both
+persons and objects are clear and distinct. It tells without words the
+story of happy childhood.
+
+_Jack and the Beanstalk_ (Volume One, page 159) is a picture which will
+repay study. A child's imagination reaches out more or less vaguely,
+though often to his satisfaction, for a visualization of the
+exaggerations of nature which appear in almost all fables and fairy
+tales. Our artist has given this subject a realistic touch, which makes
+Jack's adventure seem almost possible.
+
+Does the beanstalk look natural? Does it look like the beanstalk which
+grows in your garden? Are the bean pods like those you have seen? Is the
+color natural? Does the stalk look strong enough to bear Jack's weight?
+How high up do you think he must go to reach the giant's home? How is
+the impression of height given? Do you see the landscape stretching away
+in the distance? Do the fields and the stream look far away? Do you
+think Jack became frightened or dizzy as he went on--up and up? Doesn't
+the picture help you to understand his courage and determination to
+carry out his purpose?
+
+  [Illustration: ALFRED TENNYSON
+  ROBERT BROWNING
+  WILLIAM SHAKESPEARE
+  SIR WALTER SCOTT
+  WILLIAM WORDSWORTH
+  GEOFFREY CHAUCER
+  JOSEPH ADDISON]
+
+_Nurse helps me when I embark_ (Volume One page 127) is a fine picture
+for study. Ask questions like the following: What toys do you see in the
+picture? Do boys like toys which suggest adventure? Do you think he
+likes his small boat? Why? Did it suggest to his mind that he would call
+his bed a boat, and sail away in it to dreamland? Is he saying his
+prayer? Will the small candle give light enough? Why does it smoke? What
+kind of a bed is it? What is the canopy over the bed made of?
+Interesting questions may be asked about the poem: What is a prudent
+sailor? What do prudent sailors have to take on board? What is a pier?
+What is the pier beside which the boy finds his vessel fast?
+
+On page 262 of Volume One is printed _Wynken, Blynken, and Nod_, Eugene
+Field's musical lyric for little ones. The attractive picture may be
+looked at before the poem is read. Questions help the children more than
+explanations and comments, particularly where they are logically asked.
+The natural order is to ask about the prominent things first, and then
+about minor details, thus: How many children are there? Where are they?
+What does their boat look like? What is the child nearest the toe of the
+shoes doing? Where are the other two standing? What have they in their
+hands? What are they doing with the net? Are they catching any fish?
+Where is the moon? What can you see in the moon? Is the face laughing?
+Now let us read the poem, and when we have done so, let us see what
+lines in particular the artist was thinking about. Who are the three
+children? "Wynken, Blynken, and Nod." What did they do? "Sailed off in a
+wooden shoe ... into a sea of dew." What did the moon say? "'Where are
+you going and what do you wish?'" What did the children answer? "'We
+have come to fish for the herring fish.'" What kind of nets have they?
+"Nets of silver and gold." What did the old moon do? "The old moon
+laughed and sang a song." What were the herring fish? "The herring fish
+were the little stars." How long did they fish? "All night long their
+nets they threw." Where did they throw their nets? "To the stars in the
+twinkling foam." * * * * Were there really three little children? No.
+How many were there? Only one. Who, then, were Wynken and Blynken? The
+little child's eyes. And who was Nod? His head. What was the wooden shoe
+that sailed the skies? Only a trundle-bed. What then was all this story
+about fishing from a wooden shoe for herring fish with nets of silver
+and gold? Only a wee one's dream. How can you see the "wonderful sights
+that be"? By shutting our eyes while mother sings. Don't you suppose the
+artist shut her eyes when she thought of the picture, and perhaps
+dreamed of the time when she lay in her little bed and her mother sang
+of the wonderful sights that be? Wasn't that just why she made such a
+beautiful picture, and thought even of putting wings to the shoe, so it
+could sail through the sky? After such a talk as that with a little
+child, do you not think, dear parent, that he would come nearer to you,
+and while you read the poem softly and smoothly to him he would learn to
+like its music, and through its refining influence learn to love you a
+little better? When he has grown to manhood, do you not think there will
+come times when his heart will be touched, when he will long for the
+loving arms around him and the sweet mother voice to sing once more of
+the wonderful sights that be? There are holier things to be done for
+children than to feed and clothe them.
+
+In Volume Two, on page 121 may be found the picture _Shuffle-Shoon and
+Amber Locks_. How many persons are shown in the picture? How is the old
+man dressed? In what is he sitting? How is the boy dressed? Where is he
+sitting? Can you sit comfortably that way? What does he hold in his left
+hand? What is the little boy doing? How many blocks are there in his
+building? How many blocks are on the floor? What is the old man placing
+on top of the blocks? What is on the wall back of the chair? Of what is
+the curtain made? Which is Shuffle-Shoon? Why is he called
+Shuffle-Shoon? Why is the boy called Amber-Locks? What is the color of
+amber? Do you think the old man has a kind face? How old do you suppose
+he is? How old is Amber-Locks? Do you like his face?
+
+From Volume Two, page 264, _Tom and The Dragon Fly_: What is the first
+thing you notice when you look at this picture? What is the second
+thing? Where is Tom standing? Where is the dragon-fly? How many wings
+has it? How many legs can you see on the dragon-fly? Does Tom's hair
+look as though he had just come from the water? What is he looking at?
+Does he seem to be afraid, or happy? Can you tell where the surface of
+the water is? Is any part of Tom in the water? Can you see sky or clouds
+in the picture? Does any land show?
+
+From Volume Two, page 69, _The Swallow and the Stork Came_: After a
+picture has been examined, as has been explained, it is sometimes a good
+thing to study the way in which the artist has produced his effects. The
+effects in this picture are remarkably fine and Mr. Rudeen has
+accomplished his purposes very skilfully. What effect is given by the
+mass of white in the center of the picture? Does it help to give
+emphasis to the principal figures? Does the artist use his colors in
+proper tones and shadings? Does he succeed in making the birds seem
+really to fly? Do you see the face in the fir tree? How are the eyes
+indicated? Are the lines and patches that make the face any different
+from those that indicate other leaves on the tree? Why then does it look
+like a face? Does the face have an expression of surprise? If the
+branches and leaves on the left side of the tree were curved downward
+instead of upward, would the expression be changed? Is there any
+indication of feathers on the swallows? How are feathers indicated on
+the stork? The artist drew the original of this picture with pen and
+black ink. The engraver made one plate for this drawing in black, then
+another plate for those portions of the picture which have any shade or
+tone of orange, and still another for the blue tones. The green is
+produced by printing from the orange and the blue inks over the same
+surface. Facing page 82, Volume Two is the portrait of Hans Christian
+Andersen. This was taken from a photograph, and under a microscope it
+can be seen that the ink is put on in fine dots. The border was drawn
+with pen and ink. The original photograph of Andersen was photographed
+through a screen and reduced to the size you see it. The pictures in the
+book are printed from the metal plates which put the ink on the paper in
+little dots. These prints are called _halftones_: the pen and ink
+drawings in the texts are called _zinc etchings_. The original of the
+colored frontispiece of the same volume was a water-color painting by
+Mr. Henderson. This was reduced in size by photography and four plates
+were made, one showing all the black, and another all the red, a third
+all the blue and a fourth all the yellow in the original. Then the paper
+was run through the press four times, each time with the color of ink
+for which each plate was etched. By printing one color over another this
+way, the different shades were made. No better way is known for
+reproducing colored pictures. The border was drawn with pen and ink. The
+title page was drawn with pen and ink and a zinc etching made by
+photographic process, from which an electrotype plate was made. The end
+sheets are decorated by a zinc etching reduced from a large drawing made
+by Mr. Mitchell. The title and ornaments on the back of the books are
+made from strong brass dies that were engraved from drawings made by
+special artists. Gold leaf is laid over the section to be lettered and
+the dies are pressed upon it with such force as to fasten the gold upon
+the cover. Then the parts of the gold leaf that have not been pressed
+into the cover are brushed away and the design is perfect.
+
+To learn what a picture really contains, to appreciate its purpose and
+merit, we should study it systematically. The following topics suggest
+themselves:
+
+  1. The general view.
+  2. The details.
+  3. The center of interest.
+  4. The purpose.
+  5. The artists' conception and its appropriateness.
+  6. Elements of beauty.
+
+As in other cases, the best way to explain a method is to apply it.
+Accordingly, let us study by this method the picture _Down Tumbled
+Wheelbarrow_, on page 46 of Volume One.
+
+1. _The general view._ Here is a picture of a man wheeling his wife
+through a London street, and the breaking down of his wheelbarrow.
+
+2. _The details._ The man, and his wife sitting in the wheelbarrow; the
+cobbled street, the sidewalk, the houses on one side of the street, the
+arch-way with the house above it, and the street showing through the
+arch-way; the man in the distance. A shop in the middle ground, with
+fruit and vegetables displayed outside the window. The man with the
+wheelbarrow is dressed in the fashion of the past, with tall hat, blue
+cut-a-way long-tailed coat, black breeches and blue stockings, white
+vest and white gloves. His neckerchief and shoes are orange color. His
+wife is also fashionably gowned. Her bonnet has blue and orange
+feathers, she has an embroidered shawl of orange color, with a blue
+overdress and a gray skirt; her blue parasol is in the air, dropped in
+the shock of the breaking of the wheelbarrow. Her arms are extended in
+effort to save herself. The wheel is bent under the barrow.
+
+3. _The center of interest._ The center of interest of most pictures is
+found near the center of the picture. It is plainly so in this picture;
+the man with the wheelbarrow, and his bride engage our attention, while
+secondarily we note the rough cobbled pavement and the narrow street.
+
+4. _The purpose._ The artist's intention is to show the dramatic moment
+when the wheelbarrow broke, and the bride got the fall.
+
+5. _The artist's conception and its appropriateness._ In choosing the
+line "Down Tumbled Wheelbarrow," the artist selected the moment which
+was the climax of the adventure, and in so doing he shows the shock of
+surprise and alarm in the attitude and expression of both bride and
+groom as contrasted with their very fine holiday costumes, which show
+how much care they had given to their preparation for their wedding
+journey. The artist has not overlooked the opportunity to show us a
+typical London street of the olden time, narrow and paved with cobble
+stones. The arch-way gives us the assurance that the street was very
+narrow, so that the wheelbarrow had to go over the rough cobbles. The
+conception seems appropriate and true to the story in the simple rhyme.
+
+6. _Elements of beauty._ There are two main elements in this picture,
+which contribute to the pleasure it gives us, aside from the story it
+tells. In the composition of the picture, the artist has placed the main
+figures in the foreground and drawn them in full detail. Note the
+contrast of the masses of black with the open spaces of white and light
+shadings. The walls of the houses are indicated by few lines which are
+sufficient but which do not draw the eye from the center. The rough
+street is skillfully indicated by a few deftly drawn round cobbles,
+leaving the larger white space to give air and light to the central
+figures. The treatment of color is the second element of beauty to be
+noticed. Not all the picture is colored; in this class of illustration,
+the white spaces have the effect of giving background to the colors, and
+bringing out their best values.
+
+Another profitable study can be made on the full-page illustration that
+appears on page 159, in Volume Five. Questions best induce interest in a
+picture, but the questions should be asked systematically. The following
+is a model on the picture named above, _Geraint hears Enid singing_.
+
+1. _General view._ How many men are in the picture? What do they appear
+to be doing? What is the building at the right?
+
+2. _Details._ Who is the man on horse-back? How is he dressed? What is
+hanging from a chain on his breast? What is he looking at? What is the
+expression on his face? What is the color of his horse? Have you ever
+seen a bridle and a harness like these in the picture? Do you think the
+man loved his horse and took good care of him? Who is the man standing
+beside the horse? How would you describe his garments? What has he in
+his right hand? What is its use, and what does it signify? What does the
+gesture with his left hand indicate? What do you think of the building
+on the right? Is it new or old? What seems to be growing on the walls?
+What does this mean? What seems to be growing up between the stones of
+the pavement?
+
+3. _The center of interest._ Are the men talking together? If so, why
+are they not looking at each other? Does the attitude and expression of
+the man on the horse suggest an interesting topic? (Tell the story in
+part, and read the lines covering this episode, page 156. Is the center
+of interest now made clear?)
+
+4. _Purpose._ What did the artist mean to do by means of this picture?
+Did he select an important and interesting event in the story?
+
+5. _Conception and appropriateness._ Has the artist followed the text
+truthfully in his conception? Do you think there is a dramatic interest
+in this scene, which made it appropriate for illustration? Would it have
+been as effective without the old man in the picture? Why? Does the man
+on the horse show his character in his bearing? Has the artist succeeded
+in portraying the old man in the character described in the text? Does
+the picture please you? Do you think it is a success?
+
+6. _Elements of beauty._ Do you like the soft, even tones of the
+picture, the heavy touches of the pen in the main figures and the light
+touches in the background? Is the day bright or gloomy? Is the effect of
+light on the wall, balcony and doorway pleasing? From what direction
+does the light come? How does the artist indicate surfaces in shadow?
+Does the outline of the castle through the arch add interest and beauty
+to the picture?
+
+After the children have been taught to observe properly, you have in the
+pictures numberless interesting subjects for language exercises. A good,
+clear-cut description of a picture is worth reading, and to write one
+means thought and study. The exercise may be varied by asking the child
+to describe the picture before he has any knowledge of the subject and
+then asking him to call his imagination into play and write a story to
+fit the picture. Later you may read him the story the artist meant to
+illustrate.
+
+       *       *       *       *       *
+
+Besides the color plates and halftones which are found in their proper
+places in the several volumes, the following pen and ink drawings are
+good examples of the kind of pictures that best repay study:
+
+  Volume I,    page  22.
+  Volume I,    page  30.
+  Volume I,    page  35.
+  Volume I,    page  67.
+  Volume I,    page 159.
+  Volume I,    page 203.
+  Volume I,    page 375.
+  Volume I,    page 391.
+  Volume II,   page 111.
+  Volume II,   page 228.
+  Volume II,   page 384.
+  Volume III,  page 141.
+  Volume III,  page 324.
+  Volume IV,   page 452.
+  Volume V,    page  97.
+  Volume V,    page 253.
+  Volume VI,   page 145.
+  Volume VI,   page 361.
+  Volume VII,  page 281.
+  Volume VII,  page 439.
+  Volume VIII, page 160.
+  Volume VIII, page 321.
+  Volume IX,   page 118.
+  Volume IX,   page 248.
+
+
+
+
+CHAPTER IV
+
+TELLING STORIES
+
+
+Before a child can read he develops a passion for stories, and nothing
+delights him more than an interesting tale from the loving lips of
+father or mother. In good kindergartens and primary schools, there are
+teachers who tell stories to the little ones and do it well, but parents
+will not wish to delegate it entirely to teachers, for story-telling is
+the best way of getting at the hearts of children and planting those
+germs which later grow into refined taste in reading as well as ripen
+into real character. On the other hand, the teachers may neglect to tell
+stories to their pupils or are not skilled either in selection or in
+manner of telling. Parents who are interested in the welfare of their
+small boys and girls will wish to know what is being done and how it is
+accomplished, but may have little idea of the material it is wise to use
+or where to find good subjects for their tales.
+
+Proper selection is highly important, for taste and appetite for certain
+kinds of literature may be created long before the child can read for
+himself. Strong-minded, courageous little boys will love to hear of
+giants and ogres, and will revel in adventures that may terrify their
+more delicate sisters. George hates the fierce foes that Jack the
+Giant-Killer meets, and dreams of the time when he can overpower and
+slay his own ogres. Alice listens tremblingly, and when she goes to her
+little bed at night lies in fear and trembling, while hideous faces leer
+at her from out the shadowed recesses. George never wearies of our
+oldest poem, _Beowulf_, while Alice wants only _Cinderella_, or at most
+_Bluebeard_. It is nothing less than cruelty to fill the imaginations of
+sensitive children with deeds of violence and tales of sadness and woe.
+Yet it is no less true that some young folks are the better for their
+giants, their knights and their battles. On the whole, it is wiser to
+keep the giants, the ogres and the suffering people in the background,
+or to dwell upon them only when there seems a demand for them; later,
+lead the young imaginations into the realms of history and real life
+where giants are very real and ogres yet remain to be subdued. Do not
+tell sad or exciting stories in the evening. Keep the quiet, peaceful
+things for bed-time stories.
+
+Here, then, is the great opportunity for the parent. The teacher has
+thirty or more children of as many different temperaments from homes as
+varied in culture as the children are different in appearance, and to
+them she must tell her story as to one. The parent has but his own
+little flock, whom he has known every day of their lives, and whose
+souls are as transparent as glass to his watchful and sympathetic eye.
+How certain may he feel in his selection of material, how powerful in
+his recital!
+
+Perhaps, however, he may find the pleasant task an unaccustomed one, may
+have forgotten what he knew as a boy, and may not know where to turn for
+material. Here these books come to his assistance with material for
+every taste and suited to every occasion. In the beginning of the first
+volume are the nursery rhymes which children have enjoyed for ages,
+which are read, or far better told, to infants who rejoice in the
+pictures. Between the nursery rhymes and the literature that follows is
+quite a gap, intentionally left by the editor. There are no pretty
+little tales in words of one syllable for beginners to read, but there
+are good fables and stories to be told while the children are learning
+to read, and later, to be read by the young people themselves. No parent
+can go astray in selection if he knows his own children.
+
+Do not be afraid to _tell_ the story--reading it aloud will not be half
+so effective. Select a fable or a short story first. Read it carefully,
+and then shut the book and think about it. Be sure you have the plot in
+your mind, make the hero and the other characters seem very real to
+yourself, picture the scenes vividly in your mind's eye, and you are
+ready to begin.
+
+1. _Use Your Own Words._ Simple words, graphic, commonplace words, are
+the best. The older children will be just as much entertained, and the
+younger ones can understand better. On the other hand, do not talk
+_down_ to their level; they will resent the idea and laugh at you. _Keep
+on their level._ That means that you must be sure you know your audience
+before you begin to talk.
+
+2. _Talk Naturally._ Forget that you are telling a story for the effect
+it will produce. Forget yourself. Tell the story as you would tell them
+an incident you have just seen.
+
+3. _Look Your Children in the Eyes._ Find the responsive eyes and get
+your inspiration from them; seek out the dull and uninterested eyes and
+talk to them till they brighten up and respond to your enthusiasm. Let
+every child know that many times you have looked him square in the face
+and make everyone feel you are talking straight at him.
+
+4. _Supply Many Details._ Children love them; their lives are made up of
+little things. Don't think you are ignoring the real story by your
+additions. The details you give are probably the very ones the author of
+the original story intended you to supply from your own imagination as
+you read. Under this head comes the giving of names to characters;
+descriptions of clothes, of facts, of feelings; the addition of new
+incidents.
+
+The recital of a bare plot is not an interesting story. For instance: "A
+boy on his way to school found a yellowbird's nest with four little
+birds in it," is the recitation of a bare plot. Is it interesting? Would
+the story appeal to children? What do you think of the form following?
+
+"John told me an interesting story this morning. As he was coming to
+school today he saw a little yellowbird fly from the bushes by the big
+tree at the corner of Mr. Brown's yard. He parted the leaves and looked
+into the bush, but for quite a while he could see nothing. At last,
+however, he spied a pretty little nest in the fork of a limb and so low
+that he could look right down into it. John must have made some noise,
+because when he looked in he saw four little, wide-open red mouths, and
+that was about all. Of course, there were little half-naked bodies under
+the gaping mouths, but he couldn't see them, for each little bird was
+shaking his head about, stretching it up higher and higher and opening
+his mouth wider and wider. You see, to each little bird a rustling sound
+meant that the mother bird had come back with a bit of tasty breakfast
+in her mouth. When the wee babies found that they had made a mistake
+they closed their mouths, drew down their heads and packed themselves
+away so tightly that I'm sure they can't be cold while their mother is
+away."
+
+5. _Be Intimate and Personal with Your Audience._ Express your opinion
+now and then as your own; interrupt the story occasionally (not often
+enough to spoil the interest) by asking for the ideas of the children.
+Let them guess, sometimes, at the outcome of the story. Make them feel
+that they are an important part of the exercise. Sometimes they will
+help you wonderfully.
+
+6. _Use Direct Discourse Wherever Possible._ Make your characters speak
+in their own words. Say, "John said, 'I saw the nest,'" rather than,
+"John said that he saw the nest."
+
+7. _Keep the Climax Out of Sight as Long as Possible._ Curiosity is a
+large factor in interest, and if the children know "how the story is
+coming out" you are liable to lose their attention. However, you will
+find that some stories will prove such favorites to young children that
+they will call for the tales again and again. Occasionally small
+children are very particular about the way in which a story is
+repeated--there must be no deviations from the way in which it was first
+told. You may congratulate yourself on having told the story well, if
+the children ask for its repetition; and if they criticise your second
+telling you may know you did very well in your first attempt.
+
+8. _Be Enthusiastic; Be Dramatic._ Throw yourself into the tale; _see_
+what you are describing; _feel_ what your characters feel, and _enjoy_
+the story itself. Speak distinctly; use clear, sympathetic tones; speak
+slowly or rapidly as the action demands, and use pauses effectively.
+Don't be in a hurry. See that your face expresses your feelings, that
+your attitudes are easy and your gestures appropriate and graceful. Act
+your part.
+
+9. _Do not Preach._ Tell the story so the moral, if there is any, may be
+seen and felt without your striving to point it out.
+
+10. _Talk the Story Over Freely with Your Children._ Try to get their
+ideas, rather than to give your own. You can tell whether you have
+succeeded and what your faults in narration have been.
+
+
+_The Fairies of the Caldon-Low_
+
+The difference between poetry and prose may be shown in rather a
+startling manner with such a selection as _The Fairies of the
+Caldon-Low_ (Volume II, page 395). Children like Mary Howitt's little
+narrative, but what does it really say? Let us put it in plain prose and
+see!
+
+"Where have you been, Mary?"
+
+"I've been to the top of Caldon-Low to see the midsummer night."
+
+"What did you see?"
+
+"I saw the sunshine come down and the winds blow."
+
+"What did you hear?"
+
+"I heard the water-drops made and the ears of corn fill."
+
+"Tell me everything, Mary, for you must have seen the fairies."
+
+"Then take me on your knee, mother, and listen. Last night a hundred
+fairies danced on lively feet to the merry music of nine harpers, but
+the merriest thing was the sound of the fairy talk."
+
+"What did you hear them say?"
+
+"I'll tell you, but let me do it in my own way. Some rolled water down
+the hill and said, 'this will turn the poor old miller's wheel, and a
+busy man he will be by morning. There has been no rain since the first
+of May, and how the jolly old miller will laugh till the tears fill his
+eyes when he sees the water rise in the milldam.' And some seized the
+winds and put horns to their mouths and blew sharply. 'And there!' said
+they shrilly, 'the merry winds go from every horn to clear the damp
+mildew from the blind old widow's corn. Though she has been blind for a
+long time she'll be merry enough when the corn stands up stiff and
+strong without any mildew!' Then some brought flax seed and flung it
+down, saying, 'by sunrise this will be growing in the weaver's field,
+and how the poor lame fellow will laugh when he sees his vacant field
+filled with blue flax flowers in a single day.' Then a brownie with a
+long beard spoke, 'I have spun all the tow and I want more. I have spun
+a linen sheet for Mary's bed and an apron for her mother.' I couldn't
+help but laugh out loud, and then I was alone. On the top of Caldon-Low,
+the mists were cold and gray and I could see nothing but mossy stones
+lying about me. But as I came down I heard the jolly miller laughing
+and his wheel going merrily. I peeped into the widow's cornfield and,
+sure enough, the golden corn was free from mildew, and at the gate of
+the croft stood the weaver, whose eye told the good news about his flax
+field. Now that's all I heard and all I saw, so please make my bed,
+mother, for I'm as tired as I can be."
+
+Rather a pretty story, even in plain prose, is it not? It is re-written
+just about as it would be told to a little child for the first time, a
+child interested in the good fairies who do good things for the poor and
+the suffering. Then a little later, when the child reads for himself he
+can see how much better Mary Howitt tells the story in verse.
+Nevertheless, some children will prefer it in prose and often may ask to
+have other poems "told in prose." There is no reason for refusing. Story
+first, poem afterward, is a good rule to follow if you want to create a
+taste for poetry. Sometimes just a remark, "Let us see how this sounds
+in poetry," will create enough interest to enable the parent to begin
+reading aloud to an attentive audience. Most children will not learn to
+like poetry if left to their own devices. It must be read aloud to them
+and its beauties pointed out occasionally to create a love for so
+artificial a thing as metrical composition.
+
+Parents will find in the General Index at the end of this volume not
+only reference to the contents of _Journeys_ by title and author, but
+also a classification of subject matter, so that it will be easy to find
+different examples of poetry,--lyric, ballad, sonnet,--and of
+prose,--fiction, adventure, history, etc., offering a wide range of
+selection for story-telling purposes.
+
+
+_Little Giffin of Tennessee_
+
+This little narrative poem (Volume IV, page 461), is intensely dramatic.
+Too abrupt in style for easy reading and filled with words the children
+may not understand, it is not well adapted to the very young. But
+there's a story in it of courage and deep patriotism that will be an
+inspiration to every child who can hear it. What better subject can a
+parent find for his son's encouragement than a tale told in his own
+words or read in the following?
+
+Little Giffin of Tennessee was only a boy, only a boy of sixteen, not
+bigger nor stronger than Charlie, Thomas or George Jones whom you see
+going by to school every day. Yet he wasn't running along bareheaded
+carrying a bat or swinging his books by a strap. Little Giffin was a
+poor wounded soldier boy who had been already in eighteen battles; more
+than one, you see, for every year of his short life.
+
+In the last terrible charge, a grape shot had struck him in the leg and
+arm and torn the flesh from his broken bones. Over him his comrades
+swept up to the face of the enemy's guns, and little Giffin was left to
+fight his battle with cold, and rain and hunger. All night long he lay
+moaning on the ground, and it was late in the forenoon of the next day
+when he was found and taken to the hospital.
+
+There they laid his mangled body among the hundreds of others who had
+met with a fate as hard as his own. It was hours before the surgeons
+could come to him, and then so hurried were they by other calls upon
+them that only a hasty dressing of his poisoned wound was possible.
+
+Some kindly visitors found him there, his fair young face flushed with
+the deadly fever, and begged the surgeons to do something for him.
+
+"We can do nothing," they said. "Our hands are full. His case is
+hopeless. We must help where it will do some good."
+
+"But may we take him with us? May we see what we can do for him? Perhaps
+we can find a doctor who can cure him."
+
+"Take him and welcome," the surgeon replied. "But you can find no doctor
+who can save the dead. Little Giffin can never get well."
+
+But the good people lifted the broken form and carried it out from the
+hospital's deadly air, into the golden sunshine and away to a clean
+little cot in a humble home where a good doctor treated him and a kind
+motherly nurse hung over him and soothed his feverish brain for many a
+weary hour. For days it seemed that every breath would be his last and
+for months his sufferings wrung the hearts of his friends.
+
+But at last there came a day when he could sit up a little, and then for
+weeks he hobbled about, an almost helpless cripple with a rude crutch
+for his only support.
+
+But his new friends had known that he would get well, for even during
+the days of burning fever and the weeks of weary recovery his heart had
+been filled with courage and his steel blue eye had glinted with a
+dauntless spirit that would not die.
+
+The crippled right arm and mangled fingers were slow in healing and
+nearly useless when the wounds were closed and only ugly scars remained.
+In spite of all, though, he learned again to write, and you can imagine
+that the first letter, in its scraggly writing, began, "My Dearest
+Mother," and the next, "Dear Captain."
+
+Mother's answer came first and brought warmth and love to the heart of
+the brave little cripple who dreamed now only of home--home, which he
+had not dared hope to see again. But then the Captain's letter came:
+
+"Dear Giffin:
+
+"Your letter reached me tonight. God bless you, my boy. I thought you
+were gone with the others. Of the eighty-five who made that fatal charge
+only you and I are now alive. They say that Johnston is hard pressed and
+needs every man----"
+
+Little Giffin never finished reading the letter. He was up and ready to
+start away to the front, to his Captain and to Johnston.
+
+"Johnston needs every man," he said, as the first tears he had shed came
+to his brave blue eyes. "He needs every man and I'll be some help. I'll
+write to you, if I'm spared. Good bye. God bless you, kindest of
+friends."
+
+He was gone. Long his friends waited for word from Giffin, little Giffin
+of Tennessee. But there came only the news of a terrible battle with
+Johnston, where indeed every man was needed.
+
+And little Giffin? Little Giffin never wrote.
+
+But I'd rather have one loyal Giffin, in a nameless grave on a southern
+battle field, than all the cowardly men who would fawn around me if I
+were a king.
+
+Now I'll read you a little poem which tells better than I can the story
+of brave little Giffin of Tennessee.
+
+
+_The Ballad of Agincourt_
+
+By telling the story and giving some explanation of difficult terms, we
+are often able to create an interest in poems that would otherwise
+remain unread. The best of old English ballads are so full of martial
+spirit that they may well prove an inspiration to many a boy in these
+days when war has so recently rent the whole world and proved the
+courage of our own young men. Back of the action that brought bloodshed
+and suffering is a spirit of loyalty, a genuine patriotism that is as
+much needed now as when it animated the souls of the British soldiery in
+those days of long ago. It is part of our inheritance, and may not be
+forgotten. It is to be hoped that we may never need it again amid the
+smoke and carnage of the battlefield, or in the silent horror of the
+trenches, but we have each for himself conflicts to wage with foes more
+insidious than the armed forces of rival nations, and we can win them
+only by the same spirit of devotion that brought victory at Agincourt.
+_The Ballad of Agincourt_ (Volume V, page 95), is followed by notes that
+make clear its historical setting, but a few comments may help to a
+better appreciation of the inspirational value of the selection.
+
+It is natural that in verses written about three hundred years ago there
+should be found some crudities in style, some lapses in syntax, and not
+a few words strange to us or having a meaning somewhat different from
+their present significance. Among such lapses in syntax we find the
+slight confusion of tenses in the first stanza, caused in the poet's
+mind by the necessity of making a rhyme for France, though this might
+have been obviated by writing "stands" for "stood" and using the present
+tense throughout. The necessities of rhyme troubled Drayton not a
+little: he must pronounce "Agincourt" as it is written to rhyme with
+"sort," which, by the way, is not a perfect rhyme for "fort" in the
+sixth stanza, and "great" does not rhyme with "seat" nor "feat"; in the
+seventh, "rear," "there" and "were" do not rhyme; other instances are
+easily found. Of words not now familiar, or used in an unfamiliar sense,
+the following are examples: We do not frequently speak of the wind
+"standing" in a certain direction; we do not often "advance" our sails
+nor "prove" our chance; "vaward" and "bilboes" are old words; "ding" in
+the sense used here has long been forgotten; of "archery" except as a
+sport we know nothing; "Spanish yew" is no longer valuable for bows, and
+few can tell how long a "clothyard" (the English ell, 45 inches long)
+is, or whether it differs from any other "yard" as a measure of length.
+
+If the things just mentioned are defects they are of little moment and
+add to the quaintness of the verses without detracting from their force.
+Anyone who reads for inspiration and for his own betterment puts aside
+the critical spirit, places himself in the position of the writer,
+harmonizes thoughts and reads for the message without much concern for
+the medium. But there are force, action, rhythm, clearness and beauty
+in this old ballad. Let us see what we can find without carrying
+analysis to the point where it destroys the spirit. All we need is an
+understanding of the meaning of the sentences and an expressive reading
+aloud. The former, we can supply here, the latter the reader must
+contribute. Poetry must be read aloud to be appreciated by any but those
+who can listen to their thoughts and hear the words their eyes garner
+from the printed page. Such readers are few.
+
+Here is the paraphrase that makes the meaning clear.
+
+With a wind blowing straight for France the English soldiery spread
+their sails to try one more campaign against their ancient enemies.
+Crossing the open sea they landed at the mouth of the Seine river,
+following King Henry and his noble courtiers.
+
+There was fighting all the way, and many a strongly garrisoned fort was
+taken, to the joy of all the English. Every day had its skirmish with
+the French, who stoutly defended the way to Agincourt where lay their
+commander with all his great army of fifty thousand men. Here the
+Frenchman sent to King Henry the sarcastic message: "You are going to
+your doom. Better get your ransom ready before you advance further." To
+this insult the English king made no answer, but an angry smile that
+foreshadowed the fall of his vile opponents flashed from his eyes.
+
+Turning to his men, however, the brave king spoke: "Don't be alarmed if
+they do outnumber us ten to one. We have begun nobly. Battles so bravely
+won as these we have fought, have always been lauded to the skies. Your
+fame shall never die. And as for myself, this is my task. I shall not
+ask England to mourn for me nor to praise me. If I am not victor here,
+or if I am slain, never shall she be asked for one penny to redeem me.
+From the great battles of Poitiers and Cressy we learn that when the
+French were the most swollen with pride they fell beneath our swords.
+Our skill is none the less than that of those who fought under our great
+grandsire when he defeated the French and cut their national emblems to
+the ground."
+
+What a battle array it was! The vanguard was led by the dread Duke of
+York; the king himself in the midst of his brave guards sped in the
+center with the main body of the troops, while the valiant rearguard was
+captained by Excester, courageous as any man in the great army.
+
+And now the fight begins! Armour on armour shines; drum now to drum does
+groan,--to hear is wonder; that, with the cries they make, shakes the
+very earth; trumpet to trumpet speaks, thunder to thunder.
+
+From the ambuscade of our hidden forces the noble Erpingham gives the
+signal for the English archers to fire. Now like a storm the
+cloth-yard-long arrows sped by the strong bows of Spanish yew strike the
+French horses, stinging them like serpents through the withers. Every
+bowman stands to his place, not one deserting; every true English heart
+rejoices in the slaughter.
+
+Down go the bows when the arrows are shot, out spring the great swords,
+as the English fly on the French, not one laggard in the company;
+straight from their shoulders spring the blows that cleave the heads of
+the French peasants and drop them in the dust of trampling feet.
+
+Meantime the noble king, brandishing his broad-sword, dashes along the
+French line as though to overwhelm it with his mighty blows, while many
+a wound sheds blood on his arms and many a cruel dint sinks into his
+helmet.
+
+The good duke Glo'ster, next of the royal blood, fights side by side
+with his brave brother, and the youthful Clarence in this almost the
+first of his battles fights as furiously as any experienced knight;
+Warwick wades in blood, and Oxford adds to the cruel slaughter of the
+foe. Suffolk plies his axe manfully while Beaumont, Willoughby, Ferrers
+and Fanhope, names for the English to conjure with, bear themselves as
+bravely.
+
+
+_Herve Riel_
+
+Let us take, as a final example, Browning's poem _Herve Riel_ (Volume
+VIII, page 168). We will set about the preparation of it together. First
+we will read the note and then the poem. * * * It is a stirring thing, a
+noble monument to a noble man. It is worth the telling. We will read
+through it again and mark the passages that contain the incidents that
+make the story, so that we may not have to hesitate for ideas after we
+begin to talk. * * * Really, the plot is more simple than we thought. It
+is merely this: "The French fleet, defeated by the English, arrives off
+the harbor of Saint Halo. They call for pilots, but none will try to
+conduct the big ships through the dangerous channel, and the captains
+decide to wreck and burn their ships, so the English may not capture
+them. Just at this time a simple Breton sailor offers to pilot the
+vessels through, under penalty of death. The commander puts him in
+charge of the fleet and he takes them safely into the harbor. The
+English arrive just too late to do any damage, and the French commander,
+grateful to his deliverer, offers him any reward he may wish. The Breton
+laughs and asks for one day's leave to go and visit his wife who lives
+near by."
+
+Let us consider the persons. Evidently Herve Riel is the only one we
+need mention by name. We could give him a simpler name, but if the story
+is true, everyone ought to remember him. We must try to make him seem
+alive. We must make his deed seem great and must make a point of his
+patriotic devotion and of his beautiful love for his wife.
+
+Now we are ready to talk, as soon as we have thought a little and
+assured ourselves that we are in the right spirit. So, facing our
+audience of small children, we begin:
+
+I've just been reading _Herve Riel_, a story that I like so much I must
+tell it to you. A long time ago, before there was a (name your town),
+really before there was a United States, there was a long war across the
+ocean between the great nations, England and France. There had been a
+bloody battle between their navies, and the French had been beaten.
+Still twenty-two of their ships escaped, sailed to their own country and
+arrived outside the harbor of Saint Malo. But they were not safe, by any
+means. The English were close behind and could soon overtake and capture
+or destroy all the French vessels, and put to death many of their
+crews. Inside the harbor the French knew they would be safe, for no
+English vessel could get through the long, crooked channels without a
+pilot, and no Frenchman would lead the English.
+
+Without even waiting to anchor, the captains made signals for pilots and
+many skilled ones came off to the ships. When the pilots heard that the
+French were crippled and must get into the harbor they laughed at the
+captains.
+
+"Go through there now?" they said. "Why, you can't do it. Don't you see
+it's low tide and the rocks are showing everywhere? The channel is
+crooked and very dangerous at high water and now you could not get your
+smallest ship through safely, let alone such a large ship as the
+_Formidable_ here, with her ninety-two big guns. It can't be done."
+
+Nothing could change the minds of the pilots. They knew their business
+thoroughly. So the captains met to decide what they should do. The
+commander addressed them, saying:
+
+"The English are at our heels. What shall we do? Do you want them to tow
+us all, one behind the other, back to their country to become their
+prizes? Not I. Better run all the ships aground, set fire to them, and
+escape ourselves if we can."
+
+The brave captains all looked at their commander. Every man shut his
+teeth together, set his brows, and with flashing eyes said, "Speak the
+word; we will obey."
+
+But the commander never gave his order! Right into the excited group
+stepped a man; not a captain, not even a second mate; just a plain,
+simple sailor who lived near Saint Malo. He had not even joined the
+fleet of his own will, but had been seized and carried on board long
+before the battle, because the navy was short of sailors. You might
+think he would want revenge for being taken away from his home and his
+fishing. Did he? At first he was too much excited to speak, but in a
+moment he stormed out:
+
+"What's the matter with you pilots? Are you mad, or fools, or cowards,
+or have the English bought you body and soul? Don't talk to me of rock
+and shallow places and crooked channels! Haven't I sailed these waters
+for years, and don't I know every shallow place, every dangerous turn,
+every inch of the way? You cowards! There's a way through, I tell you."
+
+Then Herve Riel turned to the commander and shouted, "Put me in charge
+of this ship, the biggest, this _Formidable_, and I'll steer her
+through. Make the others follow me closely. They'll all come safely in.
+Try me; I'll do it. I haven't much to offer for the chance, but if this
+ship so much as touches her keel on a hidden rock, you may cut off my
+head. Let me try, sir."
+
+The commander replied, "We have not a second to spare. You're admiral
+here! Take the helm and lead us through!"
+
+Herve Riel was as prompt as the commander, and seizing the tiller, he
+soon had the great ship sailing along under perfect control. She went
+into the narrow channel, with the great rocks high on both sides. The
+waves beat up angrily and the breakers threw their spray high over the
+decks. With eyes fixed on the channel and both hands on the helm, he
+guided the staunch vessel on the winding course. Time and again it
+seemed as though she must be wrecked, but just at the moment of greatest
+danger Herve Riel shifted the helm, and the stately ship moved safely
+on. With hearts beating high, the officers watched the wonderful deed,
+and the frightened sailors clung speechless to the rail. Finally,
+between two great rocks that seemed to block the channel completely, the
+ship sailed majestically into the harbor, and Herve Riel had kept his
+promise. Not once had the great _Formidable_ touched her keel to a rock;
+not a scratch, except the battle scars, marred her fair sides.
+
+After her, one by one, came the other ships of the squadron, till all
+were anchored safely in the harbor. Just as the last ship came to
+anchor, the English fleet, coming up in helpless anger, began to throw
+shells across the passage. The French, however, were out of range and
+could laugh at the fruitless attempts of their enemy. With one voice the
+captains and sailors of the rescued fleet shouted, "Herve Riel! Herve
+Riel! Now, let the king of France reward the man who has saved his
+fleet!"
+
+And what of the brave sailor? He stood calm and quiet without a gleam of
+pride in his frank blue eyes. Just the same man as he was before his
+gallant deed, he answered the commander's call and stood before him.
+
+"My friend," began the commander, "I can scarcely speak, but you know
+praise comes from the heart and not from the lips. You have saved the
+fleet from certain destruction and have preserved the lives of many of
+your countrymen. No reward is too great for you. Ask what you will and
+it shall be granted."
+
+Herve Riel's blue eyes danced with merriment as he said, "Now that my
+work is over I would like, if I may have it, one whole day to visit my
+wife, whom I call 'Beautiful Aurora,' and who lives just a little way
+from Saint Malo. That is all I want. May I go?"
+
+You can imagine whether or not his request was granted.
+
+Now, do you know, that brave act was forgotten; Herve Riel was forgotten
+for many centuries. No monument was erected to his memory; there seemed
+nothing to keep the patriotic man alive in the hearts of his countrymen.
+But one day, not so many years ago, Robert Browning, the great English
+poet, heard the story, and he was so moved by the heroic deed and the
+quiet humor of the man, that he wrote a fine, manly poem and called it
+_Herve Riel_, so that it should remain as a monument to the patriotism
+and character of the simple French sailor.
+
+If the children are older and studying history, we would give more of an
+idea of the place, and of the occasion and show what the effect of
+saving the ship really was. The poem is an excellent one, but most
+children do not care for it till they have heard the story and have
+studied the text. Then they are delighted with it and will read it again
+and again. It has been many years since the writer of this first read
+_Herve Riel_, but he has never wearied of it and cannot read it now
+without a thrill of admiration for the hero and for Browning's monument.
+
+When you tell the story, do not try to tell it as this has been told.
+Use _your_ words, select for emphasis the parts that appeal to _you_ and
+give the children just the ideas that _you_ have conceived.
+
+
+Other classics that will make just as good subjects for story telling
+are in every volume of _Journeys_. The following list contains only a
+few of them. By adapting them to the age of the young listeners, almost
+any of them may be made suitable for almost any age:
+
+  Volume I,   page  79. _Little Red Riding Hood._
+  Volume I,   page 101. _Silver Locks and the Three Bears._
+  Volume I,   page 134. _The Dog in the Manger._
+  Volume I,   page 431. _Baucis and Philemon._
+  Volume I,   page 456. _The Story of Joseph._
+  Volume II,  page 111. _The Punishment of Loki._
+  Volume II,  page 448. _The Story of Esther._
+  Volume II,  page 387. _What the Old Man Does Is Always Right._
+  Volume III, page 436. _Robin Hood._
+  Volume IV,  page 192. _The Pine-Tree Shillings._
+  Volume IV,  page 274. _David._
+  Volume IV,  page 383. _The Wooden Horse._
+  Volume V,   page 130. _Balin and Balan._
+  Volume V,   page 237. _The Passing of Arthur._
+  Volume VI,  page 143. _Ruth._
+
+
+
+
+CHAPTER V
+
+READING AND THE BUILDING OF CHARACTER
+
+
+I
+
+The influences which unite to make character are so numerous, subtle and
+complex that it is next to impossible to detect them or to classify them
+in order of importance. Not only is this true of the aggregate, but it
+is true of the individual. It is doubtful if any person in middle life
+can tell just what he is or just how he became himself. He is aware of
+some great influences that have exerted their power over him at certain
+crises in his life, but the little things which, taken together, have
+done more to form and fix his character are often unrecognized or
+undervalued. Fortunately, at this time we need to give attention to only
+one phase of the great question.
+
+Character is the one important thing. Great as is the value of book
+education, of practical power and of good health, still greater is the
+importance of sound, wholesome character; and, consciously or
+unconsciously, intentionally or unintentionally, the teacher and the
+parent are incessantly at work building the characters of the young
+people placed in their charge. Most of us, too, are working toward right
+ends as conscientiously as possible. Yet often we grow faint-hearted, or
+are puzzled to know what we can do to help the children and how we can
+do it most effectively.
+
+That the influence of reading on character is one of the most powerful
+is granted by every high-minded person who has written or spoken upon
+the subject. Really, it is not an influence, but a series of influences,
+wide, complex, far-reaching. The extended range of subjects, the
+infinite variety in style, the unlimited shades in sentiment to be found
+in literature make its presence influential everywhere and always. In
+reading there is comfort for the sorrowing, companionship for the
+lonely, encouragement for the downcast, entertainment for the leisurely,
+inspiration for the sluggish. Gentle, pervasive, almost unnoticed, yet
+stronger than iron bands, is the power of literature over us. We are
+what we read.
+
+If such be the case, then there need be no argument concerning the
+importance of suitable reading matter for the young. To leave a child
+wholly to his own inclinations in reading is as absurd as to send him to
+take honey from a swarm of angry bees and not expect him to be stung.
+Inevitably, he will be injured, and that seriously. To supply him with
+honey, all that he wants, at all times and without exertion to himself,
+is to clog his taste and destroy his appetite. We must see that he is
+led to look for the sweet, taught to recognize it when he finds it, and
+to extract it from the comb. He will enjoy working to get it. On the
+other hand, he must not be sent where his reward is too difficult to
+find and secure, lest he become discouraged and cease to work.
+
+School readers furnish much excellent material for reading; in the
+majority of schools there is furnished more or less of supplementary
+reading which is quite as good as that in the text-books and which will
+have the merit of novelty and exclusiveness. Yet, in spite of this,
+parents and teachers are continually finding themselves at a loss for
+fresh and inspiring things for special occasions. All these may be had
+from _Journeys Through Bookland_ and to assist in finding them and in
+using them after found the following has been written.
+
+
+II
+
+Character is made up of a great variety of traits; some of the mind,
+some of the heart, some of the soul. That is, what we are is composed of
+what we know, what we feel and what we believe. In response to those
+things we act; we govern ourselves in respect to ourselves and in
+respect to others.
+
+The grave responsibility that rests upon parents and teachers is to
+encourage those traits which make for noble manhood and womanhood and to
+correct or eradicate as far as possible those which are bad in
+themselves or which help to neutralize or destroy the good ones.
+
+Much may be accomplished by correct teaching of good principles, but
+human nature is such that people learn even more through indirection
+than through instruction. By means of the study of literature the best
+direct instruction may be given, and wholesome lessons may be taught
+abundantly in that charming way which accomplishes its purpose without a
+recognition on the part of the readers that they are being _taught_. The
+force and persistence of a good lesson of the latter kind cannot be
+estimated. It may be years before it exhausts itself, and its effect may
+be revolutionary.
+
+The wise instructor, though she does not make known all her plans, works
+systematically. That is, having learned that a child is lacking in some
+respect, such as a knowledge of what constitutes good character, or in
+certain desirable traits of character, or possesses some characteristics
+that should be changed, she proceeds slowly and persistently to bring
+about the results she desires.
+
+
+III
+
+In _Journeys Through Bookland_ the mother will find much to assist her.
+The influence of nearly all the selections will be for the betterment of
+character, will tend to make better men and women of the children. But
+when she is looking for some direct help, for something to produce a
+certain definite result, she will study the books carefully and select
+the things which are most effective. To help her in her selection we
+have prepared the following outline. It does not contain everything of
+value, but it is sufficiently comprehensive for its purpose, and will
+save much time for anyone.
+
+Now let us not be unwise in teaching these things. Let us be satisfied
+if we secure the interest of the pupils in the selection and get from
+them the smile of approval, the look of guilt, the slight indication of
+a determination to profit by the lesson. Many times we will refrain from
+comment lest we spoil the effect of something much finer, more inspiring
+than anything we can say ourselves.
+
+The things we have chosen for their direct influence on the growing
+character of children will be grouped by subject in three general
+classes:
+
+A. The selections in this group are calculated to set children to
+thinking properly about some serious subjects. While not as important as
+some others may be in the formation of character, they are yet of no
+small consequence.
+
+1. Wisdom, ignorance, keenness, wit, etc., in some of their many phases
+are shown in the fables and the brief poem listed here:
+
+  _The Ass in the Lion's Skin_, Volume I, page 65.
+  _The Fox and the Stork_, I, 73.
+  _The Fox and the Grapes_, I, 135.
+  _The Bat and the Two Weasels_, I, 154.
+  _The Horse and the Stag_, I, 338.
+  _The Fox, the Wolf and the Horse_, I, 377.
+  _The Bald Knight_, I, 385.
+  _The Wolf and the Lamb_, I, 455.
+  _Minerva and the Owl_, II, 7.
+  _The Country Squire_, VI, 474. (To ridicule ignorance but not the
+  ignorant person is sometimes a valuable means of inciting a love for
+  knowledge.)
+
+
+2. The importance of attention to little things is inculcated in the
+following:
+
+  _The Lion and the Mouse_, Volume I, page 75.
+  _The Reaper and the Flowers_, I, 410.
+  _The Daffodils_, VII, 1.
+  _The Petrified Fern_, VII, 77.
+
+3. The following will help to create habits of promptness, industry and
+perseverance:
+
+  _Time to Rise_, Volume I, page 340.
+  _The Hare and the Tortoise_, I, 71.
+  _The Lark and Her Young Ones_, I, 131.
+  _Industry and Sloth_, I, 300.
+  _Whittington and His Cat_, I, 442.
+  _Tom, the Water Baby_, II, 215.
+  _The Village Blacksmith_, IV, 86.
+  _Bruce and the Spider_, V, 314.
+
+4. These show the sterling worth of independence and the real equality
+of man:
+
+  _The Village Blacksmith_, Volume IV, page 86.
+  _For A' That and A' That_, VII, 149.
+
+5. Courage and bravery are shown to be admirable and cowardice is made
+shameful in these selections:
+
+  _The Boy and the Nettle_, Volume I, page 65.
+  _The Mice and the Cat_, I, 197.
+
+6. The evil of conceit and overweening self-esteem may be shown
+emphatically by the use of such selections as these:
+
+  _The Gnat and the Bull_, Volume I, page 70.
+  _The Cock and the Horses_, I, 146.
+  _The Pea Blossom_, I, 205.
+  _The Sparrow and the Eagle_, II, 8.
+  _The Milkmaid_, II, 374.
+
+7. Flattery as a vice is made to seem unworthy, and its victim
+ridiculous in the two selections following:
+
+  _The Fox and the Crow_, Volume I, page 64.
+  _The Spider and the Fly_, III, 19.
+
+B. Our character is largely made up of our feelings and emotions. Reason
+takes us in hand and tells us right from wrong, but we must feel before
+we can act. To cultivate right feeling, laudable emotions; to make one
+_wish_ to do and hence _will_ to do is perhaps the greatest function of
+real literature, that is the literature of beauty and of inspiration.
+Our collection is rich in this direction and to find material for
+lessons is an easy task. Yet not everyone has the time to find, classify
+and use everything; hence the following lists.
+
+Before giving them, however, a word of caution is necessary. Remember
+that these selections are not all suitable for children of every age.
+Some that will delight the little children and stimulate them to
+enthusiastic efforts to do right, will not appeal to older ones.
+Moreover, the natural bent of a child's mind, the associations he has
+formed, his home surroundings, and his present character will all need
+to be considered before making choice of the subject matter. As for the
+manner of presentation, enough will be found in the studies in _Journeys
+Through Bookland_ and in other parts of this volume safely to guide the
+young and inexperienced.
+
+1. The influences of home and family are the greatest that come into the
+lives of most children. Love of home, of parents, of brothers and
+sisters, of children, are the perfectly natural things of existence. Yet
+often the ties are weak; not infrequently are they broken. Children
+drift away from the restraining and helpful influence of their parents,
+and families disintegrate. The results are bad. By properly teaching
+such selections as the following, much may be done to correct the evil
+and to intensify the highest, holiest emotions of mankind:
+
+  _The Rock-a-by Lady_, Volume I, page 94.
+  _Little Birdie_, I, 142.
+  _Sleep, Baby, Sleep_, I, 204.
+  _Old Gaelic Lullaby_, I, 203.
+  _Lady Button-Eyes_, I, 366.
+  _The First Snowfall_, II, 403.
+  _Rain on the Roof_, IV, 7.
+  _Pictures of Memory_, IV, 127.
+  _Bernardo del Carpio_, IV, 270.
+  _Rab and his Friends_, VI, 99.
+  _Childhood_, VI, 124.
+  _Home, Sweet Home_, VI, 221.
+  _Home They Brought Her Warrior Dead_, VI, 231.
+  _A Christmas Carol_, VI, 244.
+  _To My Infant Son_, VI, 478.
+  _The Old Oaken Bucket_, VII, 11.
+  _My Old Kentucky Home_, VII, 179.
+  _The Forsaken Merman_, VII, 180.
+  _Tom and Maggie Tulliver_, VII, 186.
+  _The Family of Michael Arout_, VII, 314.
+  _On Receipt of My Mother's Picture_, VII, 331.
+  Extract from _Snowbound_, VII, 388.
+  _The Cotter's Saturday Night_, VIII, 319.
+  _Dream Children_, VIII, 335.
+
+2. Honesty and truthfulness are cardinal virtues; they are the
+foundation of every strong character. Teach these selections and note
+their effect:
+
+  _The Shepherd Boy and the Wolves_, Volume I, page 92.
+  _The Falcon and the Partridge_, II, 6.
+  _The Pied Piper of Hamelin_, III, 384.
+  _The Cubes of Truth_, VII, 406.
+
+3. Friendliness, kindness, consideration of others, charity and love are
+a group of strong characteristics which are admirably shown in the
+following:
+
+  _The Two Travelers_, Volume I, page 109.
+  _Cinderella_, I, 224.
+  _Baucis and Philemon_, I, 431.
+  _The Snow Queen_, II, 124.
+  _The King of the Golden River_, II, 405.
+  _Auld Lang Syne_, VI, 228.
+  _A Christmas Carol_, VI, 244.
+  _Florence Nightingale_, IX, 13.
+
+4. Generosity is admirable; selfishness is despicable. Prove the facts
+by these:
+
+  _The Two Travelers_, Volume I, page 109.
+  _The Two Travelers and the Oyster_, I, 111.
+  _The Cat and the Chestnuts_, I, 142.
+  _Baucis and Philemon_, I, 431.
+
+5. Kindness to animals is next to kindness and sympathy for human
+beings. It is best inculcated by teaching the beauty and loveliness of
+animals, their value to man and their dependence upon him. The following
+will help:
+
+  _The Boys and the Frogs_, Volume I, page 63.
+  _The Brown Thrush_, I, 147.
+  _Mercy to Animals_, I, 413.
+  _The Ugly Duckling_, I, 414.
+  _Tom, the Water Baby_, II, 215.
+  _Who Stole the Bird's Nest?_ II, 399.
+  _A Dog of Flanders_, IV, 93.
+  _Rab and His Friends_, VI, 99.
+  _The Rime of the Ancient Mariner_, VII, 29.
+
+6. Patience and gentleness seem charming in these selections:
+
+  _The Wind and the Sun_, Volume I, page 95.
+  _Cinderella_, I, 224.
+  _Rab and His Friends_, VI, 99.
+
+7. Faithfulness is a virtue. We admire it in:
+
+  _Something_, Volume I, page 395.
+  _Whittington and His Cat_, I, 442.
+  _The Mirror of Matsuyana_, II, 36.
+  _The Snow Queen_, II, 124.
+  _Casabianca_, VIII, 313.
+
+8. That envy and covetousness are unpleasing and unprofitable are shown
+by these:
+
+  _The Dog and His Shadow_, Volume I, page 63.
+  _The Frog Who Wished to Be as Big as an Ox_, I, 66.
+  _The Golden Touch_, II, 43.
+
+9. Contentment, peacefulness, hopefulness are made very attractive in
+the following:
+
+  _The Town Mouse and the Country Mouse_, Volume I, page 199.
+  _The Pea Blossom_, I, 205.
+  _The Flax_, I, 378.
+  _The Discontented Stone Cutter_, II, 12.
+  _The Fir Tree_, II, 68.
+  _The Blind Lassie_, VI, 120.
+  _Pippa Passes_, IX, 293.
+
+C. We have grouped together here two classes of selections which
+inculcate patriotism or devotion to one's fatherland and devotion to
+God. How admirable the selections are! You have only to read them to
+see:
+
+1. Patriotism:
+
+  _Holger Danske_, Volume II, 377.
+  _Incident of the French Camp_, IV, 174.
+  _The American Flag_, V, 396.
+  _Battle Hymn of the Republic_, V, 399.
+  _Stonewall Jackson's Way_, V, 400.
+  _Horatius_, VI, 1.
+  _Bannockburn_, VII, 15.
+  _Breathes There The Man_, VII, 151.
+  _How Sleep the Brave_, VII, 151.
+  _Make Way for Liberty_, VII, 172.
+  _The Old Continentals_, VII, 175.
+  _America_, VIII, 60.
+  _The Battle of Thermopylae_, VIII, 81.
+  _The Fall of the Alamo_, VIII, 141.
+  _Herve Riel_, VIII, 168.
+  _The Battle of Trafalgar_, VIII, 284.
+  _The Gettysburg Address_, IX, 321.
+
+2. Suitable selections under this topic are difficult for teachers to
+find, owing to the objection there is against religious teaching in the
+public schools. Parents have greater liberty of selection. The following
+are beautiful and seem wholly unobjectionable:
+
+  _A Thought_, Volume I, page 66.
+  _The First Snowfall_, II, 403.
+  _Nearer Home_, IV, 126.
+  _Stonewall Jackson's Way_, V, 400.
+  _The Rainbow_, VI, 91.
+  _A Child's Thought of God_, VII, 418.
+
+
+_Who Stole the Bird's Nest?_
+
+The obvious purpose of these verses (Volume II, page 399), is to create
+a love for birds by making things appear uncomfortable for the boy who
+steals their nests. Perhaps the lesson is too obvious. The people who
+never steal nests and who always treat birds lovingly will approve of
+the verses, but the boy to be reached is the one who does destroy nests
+and frightens or kills their owners or the boy who is liable to be led
+to do such things. Such a child may have no interest in the verses, may
+laugh at the sentiment, even if he can be induced to read or listen to
+the rhymes. Sometimes interest can be created and good effects produced
+by making prominent every feature except the moral. This can be made
+into a little play or dialogue with the following characters:
+
+  The Yellow-breast
+  The Cow
+  The Dog
+  The Bobolink
+  The Sheep
+  The Crow
+  The Hen
+  A Bird
+  Mary Green
+  Alice Neal
+  The Little Boy
+
+Unfortunately, there is only one boy character and he is any boy, in
+fact almost every boy, at some time in his life. But he is so ashamed
+that he doesn't speak, not even to give his name. Suppose, then, we
+don't mention him at all. Just leave him off the list. If he isn't
+mentioned and is in the audience, he'll remember what he has done and
+feel ashamed and go home and perhaps hide behind the bed and resolve
+never to steal another nest. Yes, we are inclined to agree with you that
+the poem might be better if there were no last stanza. So the little
+drama, in outline, is something like this.
+
+_The Yellow-breast._ Who stole my nest and the four eggs I laid?
+
+_The Cow._ I didn't take your nest. I wouldn't do such a thing. I gave
+you a wisp of hay.
+
+_The Yellow-breast._ Who stole my nest? Bobolink, who do you think stole
+my nest from the plum tree?
+
+_The Dog._ (Interrupting). I didn't; I wouldn't be so mean. I gave my
+hairs to make the nest.
+
+_The Yellow-breast._ Now listen to me. Who stole my nest, Bobolink?
+
+_The Bobolink._ Yes, who stole the Yellow-breast's pretty nest?
+
+_The Sheep._ Not I. I wouldn't treat a bird so. I gave my wool to line
+the nest.
+
+_The Yellow-breast._ Who stole my nest, I say?
+
+_The Bobolink._ Who stole her nest?
+
+_The Crow._ I should like to know the thief. Who was it?
+
+_The Hen._ Don't ask me. The chicks and I each gave a feather and she
+used them. We would be ashamed to intrude on her.
+
+_A Bird._ Let's all make a stir and find out who it is. Then we'll cry
+"For shame!" together.
+
+_Mary Green._ I wouldn't rob a bird. I never heard anything so mean.
+
+_Alice Neal._ It is very cruel. I wonder if the thief knew how sad the
+Yellow-breast would feel.
+
+       *       *       *       *       *
+
+Boys do not steal nests because they are mean and want to give pain.
+They admire the pretty eggs, they like the skilfully built nests, and
+they do not realize that anything suffers real pain. That is a lesson
+they must be taught. Can you teach kindness by cruelty? Is it not rather
+cruel to say right out before Mary Green and Alice Neal and the other
+girls that the boy was so ashamed he hung his head, hid behind the bed
+and wouldn't tell his name?
+
+
+_Lead, Kindly Light_
+
+NOTE.--John Henry Newman, the author of this beautiful poem (Volume V,
+page 110), was born in London in 1801. He entered Oxford before he was
+sixteen and achieved the highest distinction in his college course. He
+entered the Church of England and became noted for his wonderful
+sermons. After some years of prominence in his calling, he was convinced
+that his belief was wrong, and in 1845 he entered the Roman Catholic
+Church. In 1879 he was created cardinal by Pope Leo XIII. but he
+continued to reside in England, where he died in 1890. Besides his great
+influence as a spiritual thinker, Newman's writings and sermons were
+characterized by a forcible and elevated style and by remarkably
+melodious utterance. _Lead, Kindly Light_ shows these traits.
+
+
+Some words and phrases in the hymn may be made clearer by explanation:
+"Kindly Light."--"The light shall shine upon thy ways." (_Job_ xxii,
+28.) "The Lord is my light and my salvation." (_Psalms_ xxvii, 1.) "The
+Lord shall be thine everlasting light, and the days of thy mourning
+shall be ended." (_Isaiah_ lx, 20.)
+
+In the Bible there are many other instances besides those just given in
+which there is a figurative use of the word _light_. It is a natural and
+beautiful figure. A person in doubt intellectually or spiritually looks
+upon himself as in darkness, and light to him is an intellectual or
+spiritual awakening. The light that came to the poet was a _kindly_
+light; it removed his doubts and comforted him.
+
+"_Garish day._" The dazzling or glaring day.
+
+"_Moor and fen._" While these words seem new and unusual to us, we must
+remember that in England they are as common as the terms _marsh_ and
+_swamp_ are with us.
+
+"_Those angel faces smile_," _etc._ The subject of this clause is
+_faces_, and the verb is _smile_.
+
+Children will love this hymn though they cannot appreciate its full
+significance till maturer years have brought with them the deeper
+experiences of life. Still they should know and love the poem and may be
+led to a partial understanding of its beauty in sentiment by means of
+interpretation carried not too far. By comment and reading somewhat in
+the following manner may the most be accomplished:
+
+1. The poet had reached mature years and had felt the oppressing
+influence of questioning and doubt, but had reached a sublime faith in
+the power and love of God. He still feels, however, the need of the
+personal care and guidance of the Almighty, and asks that it may
+continue through life. So we may imagine him in one of those thoughtful
+moments which come to every one, musing thus: Darkness and night
+surround me with their encircling gloom, and I feel that years must pass
+before I reach my heavenly home, so--
+
+    Lead, kindly light, amid the encircling gloom,
+              Lead thou me on;
+    The night is dark, and I am far from home;
+              Lead thou me on;
+
+While he no longer doubts the care and protection of God, yet he feels
+that his own strength is not sufficient; that he may err and stumble in
+the path he has chosen. He does not ask that all should be clear, nor
+that he should see the long course of his life, but is content to pray--
+
+    Keep thou my feet; I do not ask to see
+    The distant scene; one step enough for me.
+
+2. After this invocation and prayer, his thoughts turn back into the
+past, and he remembers that in youth he had not this divine faith, nor
+did he wish to place his reliance in God. He preferred to lay out his
+own course and to plan his life far into the future, without the feeling
+of dependence that now rules him. So he sings:
+
+    I was not ever thus, nor prayed that thou
+              Shouldst lead me on;
+    I loved to choose and see my path, but now
+              Lead thou me on;
+
+He remembers that then he loved display and ostentation and was proud,
+wilful and self-confident; nevertheless, there were times when for a
+moment he feared, but in spite of that timidity, he went on in his
+masterful way:
+
+    I loved the garish day, and, spite of fears,
+    Pride ruled my will:
+
+The thought of his self-complacency, his pride and arrogance brings out
+the plea, the supplication, "remember not past years."
+
+  [Illustration: SIR FRANCIS BACON
+  JONATHAN SWIFT
+  CARDINAL NEWMAN
+  DANIEL DEFOE
+  CARDINAL WISEMAN
+  CERVANTES
+  FATHER RYAN]
+
+3. He remembers that through all his rebellions he has been surrounded
+by the power and goodness of God, who has led him through all his
+devious paths, and the feeling comes that the same protecting influence
+will surround him till doubt is swept aside.
+
+    So long thy power hath blessed me, sure it still
+              Will lead me on
+    O'er moor and fen, o'er crag and torrent, till
+              The night is gone.
+
+He is confident, too, that the same power will lead him through the dark
+night of doubt till the angels of love and faith, in whom he once
+trusted but whom he has doubted for a time, will come about him and
+smile their welcome to the light:
+
+    And with the morn those angel faces smile
+    Which I have loved long since, and lost the while.
+
+
+_Poor Richard's Almanac_
+
+It is doubtful if _Journeys Through Bookland_ contains any other
+selection so full of meat as this extract (Volume VI, page 407) from the
+writings of Benjamin Franklin; in fact, it is so full of wisdom on so
+many homely subjects and contains so much practical advice that no one
+can master it in a single reading.
+
+It is condensed to the utmost limit and every sentence should be weighed
+and considered. The wise maxims and old saws need to be expanded in
+thought, illustrated by example and applied to the reader's personal
+experience.
+
+As a whole it is not particularly attractive to young people, but every
+child can be attracted to parts of it. A little of it to-day, more of
+it next week, a third part some time in the future, and in time the
+whole will be assimilated.
+
+If the truths in this one selection are thoroughly embedded in the mind
+of a boy, if the traits of character here taught are made a part of him,
+he will be a sound man of business, a sensible head of a family and a
+valuable citizen in a community.
+
+_Poor Richard's Almanac_ contains the religion of work, of economy, of
+prosperity. It is a manly doctrine, a clear-cut, respectable philosophy,
+a reasonable rule of business activity. Never more than today were the
+precepts needed. The whole tendency of our modern activities is against
+its precepts. Disaster and ruin may be seen on every hand and traced
+directly to the neglect or violation of those sound principles which the
+wise old Franklin put in such homely words.
+
+These maxims of life and policy are not those which it is the special
+province of the school to teach. They are the elementary law which a boy
+or girl must learn in his home and see exemplified therein if they are
+ever to become a practical part of life's equipment.
+
+The wisdom of the _Almanac_ is the wisdom of practical experience, the
+wisdom of those who have lived and worked, who have lost and won. It
+does not deal with the finer phases of character, but with those
+practical things which lead to a bread-and-butter success.
+
+A boy who knows what _Poor Richard_ teaches and follows his precepts
+will be a business success. If a parent can grind into the character of
+his child these lessons of industry, simplicity, temperance and
+frugality he will have left a legacy more valuable a thousand times than
+the wealth he may have amassed, although that is reckoned by the
+millions.
+
+Because of the extreme condensation of the address by Father Abraham,
+the following outlines have been made to enable a parent to find easily
+what is wanted and to present it attractively. The selection is one of
+those which children will not master by themselves, but one which the
+parent can easily make interesting if he will follow the plans given
+below.
+
+
+Analysis
+
+  I. (Page 409.) Taxes are heavy, but we are taxed:
+    1. Twice as much by our _Idleness_.
+    2. Three times as much by our _Pride_.
+    3. Four times as much by our _Folly_.
+
+  II. _Idleness_ and _Industry_. (pages 409, 411.)
+    1. Time wasted in doing nothing (page 409), _sloth_.
+
+(In this connection see fable, _Industry and Sloth_, Volume I, page 300.
+Consult index in _this_ volume).
+
+    2. Time wasted in _sleep_ (page 410).
+    3. Time wasted in _wishing_ and _hoping_ (page 411).
+    4. Industry lost by putting off till tomorrow (page 412).
+    5. Steadiness in industry wins (page 412).
+
+  III. _Folly._ (pages 414-416).
+    1. Of trusting to others (page 414).
+    2. Of neglect of small matters (page 414).
+    3. Of extravagance and the sensibleness of frugality (page 414).
+    4. Of vice (page 415).
+    5. Of high living (page 415).
+    6. Of purchasing unnecessary things (page 415).
+    7. Of luxury (page 416).
+
+  IV. _Pride._ (page 417).
+    1. Of dress (page 417).
+    2. In table luxuries (page 417).
+    3. Of appearance (page 417).
+
+  V. _The Madness of Debt._ (pages 417-420).
+    1. Brings shame (page 417).
+    2. Causes lying (page 418).
+    3. Destroys virtue (page 418).
+    4. Brings slavery (page 419).
+    5. Prevents success (page 420).
+
+  VI. Ask for the _Blessing of Heaven_ (page 420).
+
+  VII. Accept _Counsel_. Do not wait for _Experience_.
+
+
+Following the arrangement of the analysis above we may group a series of
+typical maxims, each of which can be made the basis of one of those
+little fireside talks which bear so prominent a part in the recollection
+of every man and woman who had the blessing to be brought up in a real
+home where father and mother joined in a sincere effort to bring up
+their children to honest, earnest, successful maturity.
+
+  I. "We are taxed twice as much by our _Idleness_, three times as much
+      by our _Pride_ and four times as much by our _Folly_."
+
+  II. _Idleness and Industry._
+     1. "Sloth, like rust, consumes faster than labor wears; while the
+        used key is always bright."
+     2. "The sleeping fox catches no poultry."
+     3. "He that lives on hope will die fasting."
+     4. "Industry need not wish."
+     5. "Have you somewhat to do tomorrow? Do it today."
+     6. "Three removes are as bad as a fire."
+
+  III. _Folly._
+     1. "If you would have a faithful servant and one that you like,
+        serve yourself."
+     2. "For want of a nail the shoe was lost; for want of a shoe the
+        horse was lost; for want of a horse the rider was lost."
+     3. "A fat kitchen makes a lean will."
+     4. "What maintains one vice would bring up two children."
+     5. "Who dainties love shall beggars prove."
+     6. "At a great pennyworth pause awhile."
+     7. "Silks and satins, scarlets and velvets put out the kitchen
+        fire."
+
+  IV. _Pride._
+     1. "Fond pride of dress is, sure, a very curse.
+         Ere fancy you consult, consult your purse."
+     2. "Pride breakfasted with plenty, dined with poverty and supped
+        with infamy."
+     3. "What is a butterfly? At best
+         He's but a caterpillar drest."
+
+  V. _The Madness of Debt._
+     1. "You will be ashamed to see your creditor."
+     2. "Lying rides upon debt's back."
+     3. "It's hard for an empty bag to stand upright."
+     4. "Creditors have better memories than debtors."
+     5. "Those have short Lent who owe money to be paid at Easter."
+
+  VI. "Job suffered and was afterward prosperous."
+
+  VII. "They that won't be counselled can't be helped."
+       "If you will not hear reason, she'll surely rap your knuckles."
+
+
+
+
+CHAPTER VI
+
+FATHER AND SON
+
+
+Properly enough, the responsibility for health and development of young
+children rests upon the mother, and in most families this care remains
+with her till the children are able to look out for themselves. However,
+upon the father devolves more responsibility than the mere providing for
+the daily need of his children. Especially is it true that the boys of a
+family need the personal influence of the father fully as much as that
+of the mother. However patient, wise and devoted a mother may be, there
+comes a time in every boy's life when he ought to be under the influence
+and subject to the control of a man. _Every boy looks to men for his
+models and for a time follows them blindly, in spite of the most careful
+training a mother can give._ Curiously enough it is often to a man other
+than his father that the boy looks for advice and direction. It is some
+other man who influences his thought and through his thought his actions
+and the development of his character. Even when the relations between
+father and son are of the closest the boy begins to look around him and
+often, for no other reason than the novelty of the influence, he falls
+under the tutelage of another to whom he gives a confidence that his
+father could never secure. As they enter the period of adolescence, boys
+will often talk on many subjects with strangers with a freedom that
+parents, especially fathers, can never hope to see equalled unless the
+most perfect confidence has existed from the earliest childhood. Those
+who have taught for many years and who have had growing boys in their
+charge know how true this fact is and try to make it of service by
+seeing that someone of strong character shall be at hand for the boys to
+lean upon. They are impressionable, these men in embryo, and will go to
+such lengths for persons they happen to admire and who have secured
+their confidence, that those who know tremble when they find evil or
+trifling influences gathering about their charges.
+
+Unfortunately in too many cases the parents fail to realize the
+importance of this change of relationship and allow children to drift
+without any effort to stem the tide that is bearing their progeny away.
+Fathers are particularly blind. One would think that they would remember
+how it was with themselves in their youth and be guided accordingly. But
+as a matter of fact a large majority of the fathers of the land have
+forgotten the perils of their own boyhoods; they look upon their own
+sons as proof against the temptations they weathered, or as being exempt
+because of their better position in life. If these same fathers would
+only consider that the temptations come from within and are inseparable
+from our race and from the age of the children they would regard with
+the greatest concern every influence that is brought to bear upon their
+rapidly developing boys.
+
+This is no light matter we are discussing and is one that ought to be
+considered seriously by every father. Every teacher, every psychologist
+knows that the time comes when a man must lead the changing youth. Who
+shall do it? Obviously the father. No man can put aside his
+responsibilities in this matter nor can he delegate it to the mother.
+She may be the one big factor in the development of her boy's character
+and yet there is one time when all her carefully laid plans may go awry,
+when for a little while her restraining influence is powerless to save.
+No father can, in fairness to the children he has brought into the
+world, say that when he has made the home and furnished it, when he has
+fed and clothed his wife and children he has done all that he ought to
+do. It matters not how difficult a task it has been to find the money to
+support his family, nor how hard he has been obliged to work to get the
+daily bread; it matters not how tired or how much in need of recreation
+he may be when he returns to his home at the close of the day; he finds
+his responsibility always facing him. Do not misunderstand the question,
+nor the purpose of these lines. This is in no sense a criticism nor is
+it a bit of preaching at the hard-working fathers upon whom rest the
+hopes of the race. Every true father is willing to give his life if
+necessary for his offspring and there is no greater devotion in the
+world than that of father to son. But the fact remains that many a busy
+man has been so overburdened with the cares of his everyday life that he
+has had no time to make himself familiar with even the smallest of his
+duties to his family.
+
+Suddenly he becomes conscious that his son is growing away from him,
+that the little things that have bound them together have no longer the
+strength to hold, that they are drifting apart. Perhaps the father never
+has been on intimate terms with his son and has never really known what
+his child was thinking about or what his ideas and ideals really were.
+When this consciousness comes to the father, when he learns that he is
+no longer the one big figure on his son's horizon and that his words
+have ceased to be accepted as final on every question, he is startled
+and seeks strenuously to regain his position. Difficult will it be. To
+regain what has been lost is always difficult; more difficult is it to
+displace an influence that is already established. How many, many times
+there comes to the earnest teachers the anxious parent with the
+oft-repeated statements and questions. "My boy has grown away from me. I
+don't know him any more. What I say no longer has any influence with
+him. I don't know what to do. How can you help me? He thinks more of
+what you say than of what I say and would follow you even if I objected.
+What can I do? What advice can you give?" In many instances it is too
+late and never again can the father recover the influence he has lost.
+
+On the other hand, it is possible in most cases for the father to
+reinstate himself if he proceeds in the right way. That way is never
+through command or restraint or discipline. _By only one process can he
+succeed, and that is by placing himself in the position of the boy,
+learning the boy's tastes and interests and in joining with the boy in
+the things the latter likes._ If there has never been much community of
+thought between the two, the parent may say in substance or show by his
+acts that he has rather neglected the youth because he was too young to
+be in sympathy with a man's work and because it was better for the
+mother to have the care of her son during his boyhood; but that now he
+is old enough to begin to think a man's thoughts and to take an interest
+in a man's occupations. Sometimes if this is followed by a real hearty
+confidence, if the father takes the boy with him on his business trips,
+shows him how the money for the family is made and what are the joys and
+compensations of a busy career, the boy's confidence is won, his
+interest aroused and a frank comradeship established, new bonds are
+created and the father finds a delightful companion, the boy an honored
+friend and a worthy leader. Such fathers have said again and again, "I
+have found a new and trustworthy friend, a helper whose enthusiasm and
+good sense is worth more to me than anything I have had in years; and it
+is _my_ boy who is doing it." Unfortunately, most men fail to realize
+the power of a boy's mind, the helpfulness of his companionship. His
+outlook on life is so fresh and true, his ambition so strong and his
+willingness to be taught so refreshing that intimacy with him makes the
+adult much stronger and better able to master the annoyances of the day,
+and to win the commercial victories upon which subsistence depends.
+
+But at its best this latter-day acquaintanceship is never so strong nor
+so helpful as that which begins when the child is an infant and
+continues through boyhood to the larger youth and manhood. And it is
+easy to win the confidence and respect of the very young, easy to retain
+it when won. Yet many a sincere and anxious man fails utterly to earn
+that sympathetic companionship which any father may have for the asking,
+if the request is made in a way the child can understand and appreciate.
+The foundation of it all is a sympathy in the things that children know
+and love. _A child lives on a plane of his own. You cannot take him very
+far from it nor substitute anything in its place except by the slowest
+and most careful management._ There can be no sympathy, no understanding
+that is not located on the childish plane. The father must come down
+where the child lives, must find his interest in the things that the
+child loves and must be sincere in every manifestation of that interest.
+Right here is where so many fathers fail. They try to interest the child
+in things which the older mind enjoys, and finding themselves unable to
+create the artificial atmosphere give up in discouragement and disgust.
+Such a course is foolish in the extreme. The older person who knows more
+and has had the experiences that are now new to youngsters must go back
+into his memories and join in the little things that make up the big
+complex of a child's world. Unless you become as little children you can
+never enter into the lives of children.
+
+To become young again in a genuine fashion is not permitted to many of
+us and we must accordingly seek some common ground where we can meet the
+children and be as they are in seeming if not in reality. We may not be
+able to play their games with interest and sympathy, or the boys may be
+so skilful that we lose standing rather than gain influence by
+participation. We may not be able to sympathize with the rivalries of
+school or talk intelligently on the sports that make up a large part of
+their daily occupation. Where, then, can we meet them and how shall we
+put ourselves on an equality with them and at the same time preserve our
+leadership?
+
+Such a question is not easy to answer in detail, but many a man has
+found a way and a simple one at that. In the first place, play is part
+of the life of every child and he has as much right to his fun as any
+adult has to the recreation he finds necessary to keep him at the top of
+his working power. _Many a child may properly complain that he has had
+no childhood_, that all the time he was being repressed and never
+allowed to express himself in his own way. He may not realize at the
+time that anything is wrong in the treatment that his father gives him,
+but the time comes when he will know and understand. Right there is a
+fact that every father ought to know and realize so thoroughly that he
+will never lose sight of it. _Yes, some time every boy will know just
+what kind of a father he has had and just how worthy of respect and
+veneration that father has been._ A little boy is credulity itself and
+everything tends to make him believe in his father. But as he grows
+older he will surely know. Woe be it to the parent who when
+disillusionment comes falls below the standard the child has set. Some
+time the boy will know. If he has never had the pleasure that was his
+due, if he has never had the fun in his home that he had a right to
+expect, his estimate of his parent will be appallingly low.
+
+Through play in the home in the evening after the day's work is ended
+has many a father laid the foundation for an influence that controlled
+when other ties seemed strained to the breaking point. It is in this
+playtime that the boy expresses himself most fully. Every animal has its
+playtime, and the most savage of the beasts play with their little ones
+to educate them to succeed in the struggle for existence. If play is a
+natural expression of the child's mind and body, anything that represses
+play is a hindrance to development. In the cheery home where to have fun
+and lots of it is a daily habit every child grows and matures as
+perfectly as a plant where there are just the right amounts of sun and
+moisture and where the soil is perfectly adapted to growth. A little
+less light, a little less moisture, and the plant will wither and fail.
+A little less play and more repression and the child will become morose
+and fail to keep pace with his mates. To repress is so easy, to
+reconstruct so difficult!
+
+After the play comes the work, but the work may be made as interesting
+as the play and may proceed in the same spirit of jollity and freedom
+that marked the time given up wholly to amusement. The work is the
+second factor in the father's influence--something on the plane of the
+child's own mind, not too difficult, not too long continued. Closely
+related, too, it must be with things that the child has done and
+understands. Some phase of school work may need to be carried on by the
+older ones in the family, but the younger boys are free to work with the
+father in anything that will stimulate and inspire. What shall the work
+be? To every one who has had to do with a large number of children the
+answer comes quickly enough. _In reading and conversation will the boy
+and his father come most closely together_, in a field that is
+attractive to both and where it is as easy to find entertainment and
+pleasure as it is to gain information and culture.
+
+Two quotations from men of good judgment come into mind at this point.
+Arthur T. Hadley, recently President of Yale University, has said, "Men
+in every department of practical life, men in commerce, in
+transportation or in manufactures, have told me that what they really
+wanted from our college was men who have this selective power of using
+books efficiently. The beginnings of knowledge are best learned in any
+home fairly well furnished with books." Professor William Mathews has
+added, "It is not the number of books which a young man reads that makes
+him intelligent and well-informed, but the number of well-chosen ones
+that he has mastered so that every valuable thought in them is a
+familiar friend."
+
+In those two quotations the ideas of prime importance to every father
+are, first, that the beginnings of knowledge are best learned in the
+home; and, second, that it is the mastery of what is read that really
+counts. In school a child learns to read; at his home he reads to learn.
+At school he learns how he ought to read; but it is at his home that he
+learns to read in that manner. What a boy does in school is a small part
+of the total amount of his reading, and its influence is small indeed.
+In home reading, then, reading of the right material in the right way,
+is to be found the great influence in education and the great factor in
+the building of character.
+
+If such is the case, what more important work can there be for the
+father than to read with his son, to watch these beginnings of education
+which mean so much more than the mere instruction in school, and to be a
+power in developing that right method of reading which means not only
+the acquisition of knowledge but also the acquirement of power and the
+making of character. The busy man is tired at night and inclined to
+think that he has no time to give to reading with his boys. He may
+think, too, that reading childish stories is beneath his dignity. Such
+is not the case. There is a great abundance of literature that is manly,
+and at the same time interesting to a boy. If the father feels that he
+is past the time when he has any sympathy with the fairy stories and the
+little poems that the infants like, if he thinks the nursery rhymes are
+silly and the fables too old to be true, that is because he has not
+recently read them. Busy men, men of power and influence, like to renew
+their youth by going to the simple things they loved as children, and
+not a few of them find that the years have given them new powers of
+interpretation and that what was to them at one time only an amusing
+tale is now replete with the philosophy of the universe. Yet there may
+be fathers of so practical a mind that works of imagination have no hold
+upon them. To them, however, the world of literature is by no means
+barren. There are history, biography and essays upon a thousand
+subjects, any one of which will interest a boy and at the same time his
+father. Particularly is this true when the reading is aloud and
+interspersed with free conversation upon the subjects that come to the
+surface. If the father can only select the right material and read it
+with his son there is no question whatever about the interest that will
+develop for both. A busy man has little time to select reading; in all
+probability he has not had the experience to enable him to do so wisely,
+for he has been so absorbed in business that he has forgotten what he
+knew best as a boy and is unable to tell just what appealed to him most.
+It may be that he never in his youth had the opportunity to read the
+best of literature and does not know where to turn to find it. He hears
+his little family talking about what they read at school and how they
+ought to read and feels himself behind the times and hesitates to make
+an exhibition of himself before his children. To any father, a
+collection such as that in _Journeys Through Bookland_ is of inestimable
+value. When it is considered that in addition to the literary material
+there are abundant suggestions as to how interest may be created and how
+the reading may be made most profitable, then the set becomes
+indispensable. In other words, _Journeys_ contains the material that
+must be in every family to make it "fairly well furnished with books,"
+and it provides a way of "mastering the books so that every valuable
+thought is a familiar friend."
+
+If fathers could be persuaded to spend one evening with their boys in
+the reading and discussion of some selection in _Journeys_, they would
+not willingly forego the pleasure thereafter. It has happened so many
+times that we know this is not an overstatement. Fathers by the score
+have written us on the subject. One says, "I have solved the problem of
+keeping my boys off the streets, or, rather, _Journeys_ has done it for
+me." "I have never spent a happier evening. The boys staid up with me
+till after their usual bed time and when they had retired, I read on for
+half the night," says another. "I feel young again, and John and I are
+great chums. _Reminiscences of a Pioneer_ kept me telling stories long
+after we had finished reading the sketch." Who are these fathers?
+Clergymen, lawyers, doctors, teachers, we may expect, for they are
+somewhat interested in reading, because of their life work. But they are
+not the most numerous, by any means. Railroad men, manufacturers,
+farmers, men in hundreds of vocations acknowledge the delight of reading
+_Journeys_ with their children. Is there anything finer, more wholesome,
+more inspiring than the thought of fathers and children reading
+together, and together feeling the inspiration that radiates from the
+great masterpieces.
+
+But this chapter is not an argument for the purchase of _Journeys_. That
+you, father of a growing boy, are reading these lines is evidence that
+you have thought well enough of the _Journeys_ idea to place a set of
+books in your family. You have done this because you recognized that in
+this age of specialists, you, a business man, could not be expected to
+select reading matter for your son and assist him in his growth and
+development with the same skill as can those who have devoted many years
+to that special problem. No attempt is made to advise you on the conduct
+of your business or to direct the management and control of your son.
+But a sincere effort has been made to help you to join with your boy in
+that hearty sympathy which will make him happier, better and more of a
+man; which will make you young again and add to your pleasure without
+increasing your burdens. What we want is to make the books most
+effective, to help them be the power for good that we know they can be,
+and more than anything else, to make them a living bond between father
+and son. So let us examine the books together with these thoughts in
+mind and see if we cannot find just the things that will arouse your
+enthusiasm and make you young again, an equal and a friend who can lead
+your boy where you want him to go and where he will gladly follow you.
+
+For instance, there is in the sixth volume that kindly humorous account
+of a boyhood in Wisconsin in the early part of the last century,
+_Reminiscences of a Pioneer_ (Volume V, 340). Every man will be
+interested in it, and he cannot read it aloud to a boy of seven without
+catching the attention of the child. Even a lad of sixteen will get into
+the spirit of the thing, although it may not be the same incidents that
+will attract him. Think of the contrast between that humble log cabin
+with its visiting Indians and the luxurious steam-heated flat of your
+son, or the farm house with all modern conveniences that a friend of
+yours may have in the very region where our little friend was frightened
+more by the strange Dutch immigrants than he was by the red men whom he
+saw every day. Think of a six or seven year old boy that had never seen
+an apple and who could enjoy chokecherries and crab apples, even though
+he couldn't get his face back into line on the same day in which he ate
+them fresh from the tree. Think of offering raw turnips to the guests
+and of people coming twenty miles to get a small piece of salt pork,
+because they were so tired of fresh meat and fish. Think that these
+things happened less than a hundred years ago and within forty miles of
+the now big and flourishing city of Milwaukee. What lessons there are in
+courage, skill, self-reliance and contentment in the lives of these
+early pioneers, especially the devoted mother who kept her yeast alive
+so many years, and stood off the Indians with one hand while she tended
+to her increasing family with the other. Can you imagine a boy who
+wouldn't be interested in the sturdy youngster who earned and refused
+his first quarter of a dollar for paddling a man across the river in a
+heavy dugout? Don't you think your son will have a host of questions to
+ask about it all and that you will be glad to talk to him about the
+Indians he likes to imitate when he plays? Can't you see that reading
+such as this is worth while and that every moment spent in this way is
+an investment for yourself in the boy's confidence and good graces?
+
+Other selections of a somewhat similar nature, all of which will appeal
+to boys at the time when Indians and adventure are of more interest than
+anything else, are the following:
+
+  _The Arickara Indians_, Volume IV, page 472.
+  _The Buccaneers_, Volume V, page 359.
+  _Captain Morgan at Maracaibo_, Volume V, page 365.
+  _Ringrose and His Buccaneers_, Volume VIII, page 1.
+  _David Crockett in the Creek War_, Volume VIII, page 37.
+  _Braddock's Defeat_, Volume V, page 379.
+  _The Capture of Vincennes_, Volume VI, page 428.
+  _The Black Hawk Tragedy_, Volume VII, page 58.
+  _Pere Marquette_, Volume VIII, page 121.
+  _George Rogers Clark_, Volume VI, page 422.
+
+Have no fear that the boy's love for Indians and adventure is a thing to
+suppress. It is an evidence of growth and of development. You know every
+boy lives over in himself the history of his race, and as there was a
+time when the life of mankind was a struggle with physical difficulties
+and personal danger so there is a time when every boy feels within
+himself the admiration for brave deeds and the desire to fight and
+conquer. Your province it is to meet him on that ground, enjoy with him
+the tales of lofty daring and physical prowess, the tales of stirring
+adventure and narrow escapes, and to lead him gently with you into the
+fields of history where achievements in science, commerce and
+engineering take the place of battles with wild animals and wilder
+Indians.
+
+Don't feel that you have not the time to do the things recommended. We
+can always find the time to do the things we like to do, and this means
+of joining in the thoughts of your boy will be one of the things you
+will most enjoy when you have once accustomed yourself to it.
+
+We get out of reading just what we put into it. That is to say, the same
+selection read by different people will have just as many meanings as
+there are people reading it. By assistance, a person may be caused to
+see more in what he reads and in time may approximate the full
+understanding of his teacher. But it is unwise and useless to expect a
+child to read with the same appreciation that an adult has. Accordingly
+the father, if he is wise, will be satisfied when his boy is really
+interested in a thoroughly good selection if he sees at the same time
+that the boy is setting about his interpretation in the right way. To
+illustrate: If you are reading about a storm at sea and you are a
+survivor of a shipwreck in such a storm, your appreciation of the
+description will be infinitely more vivid than that of your son, who has
+not even seen the sea. All that you can do is to give him some idea of
+the power of the waves, make him feel that the sight is a thrilling one
+and that there is imminent danger to life and property in the storm.
+Some time he will have the experience to interpret and then his mind
+will recur to the description and he will understand it somewhat as you
+do now. This brings us to think for a moment on the permanent value of
+all that is read. _The mind holds things in abeyance, brings them out to
+the light now and then, and each time finds them more and more
+intelligible and influential._ Many a maxim learned in youth when an
+understanding of it was impossible becomes a power for good for the
+person in later years when its inner significance appears.
+
+Some poetry will appeal to boys, even though they may look askance at
+most of it. Some lyrics are virile and powerful, well worthy the study
+of the keenest minds. There is an unfounded prejudice against poetry in
+many men because of the fancied puerility of it and its silly sentiment.
+Such a prejudice always disappears if the person reads enough and
+selects the things that are worthy of study. Narrative poems are more
+likely to appeal to men and boys than the lyrics. When the narrative is
+a stirring one and the action dramatic, the poetic form adds decidedly
+to its interest and effectiveness. Take, for instance, that little poem
+by Robert Browning that is known as _Incident of the French Camp_
+(Volume IV, page 174). No man can read it without being stirred by it,
+and its appeal to boys is immediate and strong. But strong as it is, the
+whole influence of it may be intensified if it is discussed in the
+manner indicated on the pages immediately after the poem. What we would
+have you do is to read the little epic with your boy and talk it over
+with him along the lines of the comments given. It will not be necessary
+for you to point the moral. He will see it for himself, but if you can
+show a little enthusiasm and delight in the incident he will go away
+feeling better toward you and will be a convert to poetry, at least to
+some kinds of it. Later in life the lesson will come back to him and he
+will seek for more of the same sort.
+
+There are a great number of poems of similar import in the books. Any
+one of the following will be capital for reading aloud with your boy.
+Try them and be convinced.
+
+  _Beth Gelert_, Volume III, page 42.
+  _Sheridan's Ride_, Volume IV, page 223.
+  _Bernardo Del Carpio_, Volume IV, page 270.
+  _The Wooden Horse_, Volume IV, page 383.
+  _Little Giffin of Tennessee_, Volume IV, page 461.
+  _Bruce and the Spider_, Volume V, page 314.
+  _How They Brought the Good News from Ghent to Aix_, Volume V, page 335.
+  _Sohrab and Rustum_, Volume VI, page 173.
+  _How's My Boy?_ Volume VII, page 169.
+  _The Battle of Ivry_, Volume VIII, page 76.
+  _Herve Riel_, Volume VII, page 168.
+
+Any one of the national anthems or patriotic poems is fine reading and a
+source for many a kindly talk that will tend to make a better citizen of
+your son and perhaps give you a fresher and truer conception of your own
+duties and responsibilities to the government. These you may readily
+find from the index in the tenth volume, under the title, _Patriotic
+Poems_.
+
+For older boys there are plenty of good selections, and the discussion
+of some of them must help to bring nearer to the lad his increasing
+responsibilities. A normal boy of sixteen has a lot of the man in him
+and wants to be treated as a man, at least to have his ideas, hopes and
+ambitions given some consideration. He does not want always to be called
+"Bobby" or "Jimmy" or "Tommy." He likes better to be called "Smith,"
+"Jones," or "Robinson," or whatever his last name is. He is tired of
+being told to do this and that and would like to join in some of the
+family councils and feel that father is beginning to see the man and
+forget the "kid." He will be interested in anything that relates to
+commerce, or manufacture or government if it is presented to him in such
+a way that he can "be somebody" in the discussion.
+
+It is easy to interest boys in speaking, in orations, in debates. In
+_Journeys_ (Volume IX, page 321) is printed the _Gettysburg Address_ by
+Abraham Lincoln. It is the one great, masterly American address, noted
+not only for its perfect construction, but for its sentiment, its power
+and its brevity. In no other great address are all these elements
+combined. Tested by any standard it rings true in thought and is perfect
+in form. It is worth while to commit it to memory, and father and son
+should be equally interested in the task, if it can be called a task.
+Preceding the address is a note giving its historical setting, and
+following it is an analysis of the thought and a series of questions
+tending to give the thought a more personal application. _The Fate of
+the Indians_ and _A Call to Arms_, both in Volume IX, are good orations
+accompanied by studies.
+
+An essay that is in effect almost an oration is the extract from the
+_Impeachment of Warren Hastings_ by Macaulay (Volume IX, page 32), and
+in this volume are studies on that essay (page 248).
+
+_The Boston Massacre_ by Nathaniel Hawthorne is a pleasing bit of
+history which in this volume (page 370) is used as the basis of a study
+in argument. You may prefer to read the studies first and arrange the
+arguments for your sons or for yourself and your boy. It is surprising
+into what different directions the argument will lead you and how many
+interesting questions will arise which will make good subjects for
+discussion. To make conversation worth while there is needed only
+something interesting to talk about. To be a good talker is worth a
+great deal to any young man and there is no better way to give him this
+power than by conversing freely with him while he is young.
+
+Moral instruction is difficult. A thousand little things tend to
+neutralize it and there is an almost universal spirit of opposition to
+moral teaching, on the part of youth. And yet it is easy to give moral
+lessons in an indirect way that shall arouse no opposition and that
+shall be effective for lifetime. _Journeys_ is full of what for lack of
+a better name we call character-building literature. Some of it is
+adapted to boys and girls of a very tender age and more of it to the
+older children. _The Cubes of Truth_ (Volume VI, page 406), by Oliver
+Wendell Holmes, is a beautiful little essay that expresses a great truth
+in a way to impress it indelibly upon the memory of every person who
+reads it. So clear is the language, so clever the idea that the
+selection is read with absorbing interest, and so impressive is the
+lesson that no real attention need be called to it. In reading it the
+beauty of the language and the quaintness of the figure are the real
+subjects of discussion, but all the time the great lesson is making its
+subtle appeal. Cardinal Newman's _Definition of a Gentleman_ (Volume IV,
+page 170) is more obviously a didactic selection, but here again the
+definition is given so clearly and so forcibly that no possible offense
+can be taken and the weight of the statements will produce their effect
+without much comment.
+
+In this connection it should be necessary merely to call attention to
+the chapter on character-building, to be found in this volume. In
+preparing that chapter the writer had in mind children of all ages and
+both sexes, but it will be an easy matter for you to select the things
+which you know will appeal to your son.
+
+In fact, you will find in every chapter of this volume something to help
+you in making your way into the thoughts and the hearts of your family,
+and we know that as the years pass away and manhood comes to your boys
+they will look back upon the hours spent in reading with you as the most
+momentous of their lives. Do you want your son to say in his manhood, "I
+look upon Mr. A or Mr. B as the person who most influenced my life"? Do
+you want him to say, "I might have been a cultured man with a wide range
+of interests if my father had given to me a little of the time he spent
+at his club"? Do you want your boy to think that he was a wanderer from
+home, because he could not find in that home the manly sympathy that his
+soul craved? In many a family there is no trouble in keeping the boys
+off the streets. There is no place half so attractive as the home and
+for them no inclination to seek among others the fun and intellectual
+stimulus they crave as they crave their food.
+
+Usually the reading habit must be formed early or not at all. A man in
+middle life will not acquire the habit easily unless there is some
+stimulus which keeps him reading for a time, in spite of himself. In the
+active minds of his boys he may find just that stimulus, and in his
+declining years when time weighs heavily upon his hands and great
+activities are denied him he will find in his later acquirement an
+unfailing source of enjoyment. In such hours will come to recollection
+the days he spent with his boys and his heart will fill with joy that he
+did not neglect his rich opportunities.
+
+
+
+
+CHAPTER VII
+
+MEMORIZING
+
+
+Whenever children are interested in any selection, it is well to
+encourage them to commit it to memory, if it be brief, or if they find
+in it phrases or sentences which seem to them beautiful or filled with
+meaning. If, however, the young people are driven to memorizing
+selections of any kind, the practice is of little value, and it is
+likely to create a prejudice against the very things for which they
+should feel admiration. By a show of interest, however, the parents may,
+without difficulty, lead the children to learn a great deal of the best
+literature, and thus not only strengthen their knowledge but improve
+their style of writing as well, for unconsciously the young will follow
+the style of those whom they admire. Moreover, it frequently happens
+that some of the inspiring thoughts which children have learned become
+rules of action to them in after life. If the practice is begun early
+enough children will form the habit of learning those things which they
+like, and such a habit is of greatest value. In many schools, during
+certain years, the learning of "memory gems" is a daily practice; it
+should be no less a practice at home.
+
+Some of the many things in these books which may well be learned in
+their entirety are the following:
+
+  Volume I,    page 66.   _A Thought._
+  Volume I,    page 67.   _The Swing._
+  Volume I,    page 83.   _Singing._
+  Volume I,    page 110.  _Rain._
+  Volume I,    page 133.  _Little Blue Pigeon._
+  Volume I,    page 144.  _The Land of Counterpane._
+  Volume I,    page 204.  _Sleep, Baby, Sleep._
+  Volume I,    page 246.  _Norse Lullaby._
+  Volume I,    page 262.  _Wynken, Blynken and Nod._
+  Volume I,    page 339.  _The Owl and the Pussy Cat._
+  Volume I,    page 340.  _Time to Rise._
+  Volume I,    page 410.  _The Reaper and the Flowers._
+  Volume II,   page 11.   _The Baby._
+  Volume II,   page 32.   _Lullaby._
+  Volume II,   page 123.  _Windy Nights._
+  Volume II,   page 121.  _Shuffle-Shoon and Amber-Locks._
+  Volume II,   page 87.   _Picture Books in Winter._
+  Volume II,   page 119.  _Seven Times One._
+  Volume II,   page 403.  _The First Snowfall._
+  Volume II,   page 481.  _In Time's Swing._
+  Volume III,  page 347.  _Barbara Frietchie._
+  Volume IV,   page 82.   _Footsteps of Angels._
+  Volume IV,   page 126.  _Nearer Home._
+  Volume IV,   page 127.  _Pictures of Memory._
+  Volume V,    page 396.  _The American Flag._
+  Volume V,    page 399.  _Battle Hymn of the Republic._
+  Volume VI,   page 119.  _Annie Laurie._
+  Volume VI,   page 122.  _Sweet and Low._
+  Volume VI,   page 133.  _The Bugle Song._
+  Volume VII,  page 1.    _The Daffodils._
+  Volume VII,  page 4.    _To the Fringed Gentian._
+  Volume VII,  page 340.  _Those Evening Bells._
+  Volume VII,  page 395.  _To a Waterfowl._
+
+While usually it is better to allow each person to learn the lines that
+most appeal to him, yet some help should be given children. No two
+people will select all of the same things, though probably all would
+agree on some few things as being of the highest excellence. Some lines
+should be learned because of their beauty in description, others because
+of beauty in phraseology, and still others because of beauty in
+sentiment. Search should be made, too, for those things which are
+inspirational, and which will be strong aids in the building of
+character.
+
+We append a few pages of quotations taken at random from the volumes.
+They will prove handy when the parent or teacher is pressed for time,
+and the references to volume and page will enable the busy person
+readily to find the context, if that seems desirable.
+
+The quotations below are arranged in the order of their appearance in
+_Journeys Through Bookland_. This will enable anyone to locate them
+easily. The lines cover a wide range of thought and will furnish an
+endless variety of material for stories, comment, question and
+conversation. Some of them cannot be appreciated without a knowledge of
+their setting in the original poem or prose selection, while others are
+complete and perfect as they stand.
+
+One of the best ways to teach a poem or selection is to begin by
+creating an interest in a quotation from it. For instance, "Write me as
+one who loves his fellow men," will lead the way to an acquaintance with
+the old favorite _Abou Ben Adhem_. In fact, only after the poem has been
+read and appreciated will a person get the full force of the idea,
+"Write me as one who loves his fellow men."
+
+
+_One Hundred Choice Quotations_
+
+(Volume I)
+
+    Early to bed, and early to rise,
+    Is the way to be healthy, wealthy and wise.             --Page 48.
+
+Had it not been for your buzz I should not even have known you were
+there.                                                      --Page 70.
+
+    The Rock-a-by Lady from Hushaby street,
+    With poppies that hang from her head to her feet.       --Page 94.
+
+    I saw the dimpling river pass
+    And be the sky's blue looking-glass.                   --Page 130.
+
+    In through the window a moonbeam comes,
+    Little gold moonbeam with misty wings.                 --Page 133.
+
+    Oh, the world's running over with joy.                 --Page 147.
+
+The honorable gentleman has not told us who is to hang the bell around
+the Cat's neck.                                            --Page 197.
+
+    Here is the mill with the humming of thunder,
+      Here is the weir with the wonder of foam,
+    Here is the sluice with the race running under--
+      Marvelous places, though handy to home.              --Page 349.
+
+    Then she smooths the eyelids down
+    Over those two eyes of brown--
+    In such soothing, tender wise
+    Cometh Lady Button-Eyes.                               --Page 367.
+
+One must be content with the good one has enjoyed.         --Page 379.
+
+    Oh, not in cruelty, not in wrath,
+      The Reaper came that day;
+    'Twas an angel visited the green earth,
+      And took the flowers away.                           --Page 411.
+
+It matters nothing if one is born in a duck yard, if one can only be
+hatched from a swan's egg.                                 --Page 427.
+
+(Volume II)
+
+Did you ever hear of a bird in a cage, that promised to stay in it?
+                                                             --Page 2.
+
+    The very violets in their bed
+    Fold up their eyelids blue.                             --Page 32.
+
+Rejoice in thy youth, rejoice in thy fresh growth, and in the young life
+that is within thee.                                        --Page 70.
+
+    You are more than the Earth, though you are such a dot--
+    You can love and think, and the Earth cannot.           --Page 67.
+
+    Thank him for his lesson's sake,
+      Thank God's gentle minstrel there,
+    Who, when storms make others quake,
+      Sings of days that brighter were.                    --Page 214.
+
+You must expect to be beat a few times in your life, little man, if you
+live such a life as a man ought to live.                   --Page 242.
+
+Those that wish to be clean, clean they will be.           --Page 247.
+
+Reckon not on your chickens before they are hatched.       --Page 376.
+
+He saw the rocks of the mountain tops all crimson and purple with the
+sunset; and there were bright tongues of fiery cloud burning and
+quivering about them; and the river, brighter than all, fell, in a
+wavering column of pure gold, from precipice to precipice, with the
+double arch of a broad purple rainbow stretched across it, flushing and
+fading alternately in the wreaths of spray.                --Page 420.
+
+(Volume III)
+
+In darkness dissolves the gay frost-work of bliss.          --Page 96.
+
+    Peace and order and beauty draw
+    Round thy symbol of light and law.                     --Page 349.
+
+Lips where smiles went out and in.                         --Page 386.
+
+    All the little boys and girls,
+    With rosy cheeks and flaxen curls,
+    And sparkling eyes and teeth like pearls.              --Page 391.
+
+(Volume IV)
+
+    Prince thou art,--the grown up man
+      Only is republican.                                    --Page 3.
+
+    O'er me, like a regal tent,
+    Cloudy-ribbed, the sunset bent,
+    Purple-curtained, fringed with gold,
+    Looped in many a wind-swung fold.                        --Page 6.
+
+    Now in memory comes my mother,
+      As she was long years agone,
+    To regard the darling dreamers
+      Ere she left them till the dawn.                       --Page 8.
+
+    I chatter over stony ways,
+      In little sharps and trebles,
+    I bubble into eddying bays,
+      I babble on the pebbles.                              --Page 60.
+
+    For men may come and men may go,
+    But I go on forever.                                    --Page 61.
+
+    And looks the whole world in the face,
+    For he owes not any man.                                --Page 86.
+
+    Thus at the flaming forge of life
+      Our fortunes may be wrought;
+    Thus on its sounding anvil shaped
+      Each burning deed and thought.                        --Page 88.
+
+    And when the arrows of sunset
+      Lodged in the tree-tops bright,
+    He fell, in his saint-like beauty,
+      Asleep by the gates of light.                        --Page 129.
+
+    Save me alike from foolish pride,
+      Or impious discontent,
+    Or aught thy wisdom has denied,
+      Or aught thy goodness lent.                          --Page 173.
+
+    And there through the flash of the morning light,
+    A steed as black as the steeds of night,
+    Was seen to pass as with eagle flight.                 --Page 224.
+
+    Noiselessly as the springtime
+      Her crown of verdure weaves,
+    And all the trees on all the hills
+      Open their thousand leaves.                          --Page 267.
+
+    Who dies in youth and vigor, dies the best,
+    Struck through with wounds, all honest, on the breast. --Page 369.
+
+(Volume V)
+
+    I was not ever thus, nor prayed that thou
+        Shouldst lead me on;
+    I loved to choose and see my path, but now
+        Lead thou me on;
+    I loved the garish day, and, spite of fears,
+    Pride ruled my will. Remember not past years.          --Page 111.
+
+    Give every man thy ear, but few thy voice;
+    Take each man's censure, but reserve thy judgment.     --Page 112.
+
+    This above all: to thine own self be true,
+    And it must follow, as the night the day,
+    Thou canst not then be false to any man.               --Page 112.
+
+      the knotted column of his throat,
+    The massive square of his heroic breast,
+    And arms on which the standing muscle sloped,
+    As slopes a wild brook o'er a little stone,
+    Running too vehemently to break it.                    --Page 150.
+
+    Ye think the rustic cackle of your bourg
+    The murmur of the world!                               --Page 156.
+
+    For man is man and master of his fate.                 --Page 158.
+
+    Perseverance gains its meed
+      And Patience wins the race.                          --Page 316.
+
+    Forever float that standard sheet!
+      Where breathes the foe but falls before us,
+    With Freedom's soil beneath our feet,
+      And Freedom's banner streaming o'er us?              --Page 398.
+
+    He has sounded forth the trumpet that shall never call retreat;
+    He is sifting out the hearts of men before his judgment seat;
+    O, be swift, my soul, to answer him! be jubilant, my feet!
+        Our God is marching on.                            --Page 399.
+
+    Silence! ground arms! kneel all! caps off!
+      "Old Blue-Light's" going to pray.
+    Strangle the foe that dares to scoff!
+      Attention! It's his way.                             --Page 401.
+
+(Volume VI)
+
+    To every man upon this earth
+      Death cometh soon or late.
+    And how can man die better
+      Than facing fearful odds,
+    For the ashes of his fathers,
+      And the temples of his gods.                           --Page 8.
+
+    When by my bed I saw my mother kneel,
+        And with her blessing took her nightly kiss;
+        Whatever Time destroys, he cannot this;--
+    E'en now that nameless kiss I feel.                    --Page 122.
+
+    Sweet and low, sweet and low,
+        Wind of the western sea;
+    Low, low, breathe and blow,
+        Wind of the western sea!
+    Over the rolling waters go,
+    Come from the dying moon, and blow,
+        Blow him again to me;
+    While my little one, while my pretty one, sleeps.      --Page 122.
+
+Sublime words make not a man holy and righteous, but it is a virtuous
+life that maketh him dear to God.                          --Page 134.
+
+Who hath a stronger battle than he that useth force to overcome himself?
+This should be our occupation, to overcome ourselves and every day to be
+stronger and somewhat holier.                              --Page 136.
+
+    And the sheen on their spears was like stars on the sea,
+    Where the blue wave rolls nightly on deep Galilee.     --Page 142.
+
+Whither thou goest, I will go; and where thou lodgest, I will lodge; thy
+people shall be my people and thy God my God.              --Page 144.
+
+    For we are all, like swimmers in the sea,
+    Poised on the top of a huge wave of fate,
+    Which hangs uncertain to which side to fall.           --Page 186.
+
+    Mid pleasures and palaces though we may roam,
+    Be it ever so humble, there's no place like home.      --Page 224.
+
+"God bless us every one!" said Tiny Tim.                   --Page 309.
+
+    All hail'd, with uncontroll'd delight
+    And general voice, the happy night,
+    That to the cottage, as the crown,
+    Brought tidings of Salvation down.                     --Page 357.
+
+The short and simple annals of the poor.                   --Page 363.
+
+The paths of glory lead but to the grave.                  --Page 363.
+
+    Full many a gem of purest ray serene
+      The dark unfathomed caves of ocean bear;
+    Full many a flower is born to blush unseen,
+      And waste its sweetness on the desert air.           --Page 365.
+
+    Along the cool, sequestered vale of life
+    They kept the noiseless tenor of their way.            --Page 366.
+
+He gained from Heaven ('twas all he wished) a friend.      --Page 368.
+
+Sloth, like rust, consumes faster than labor wears; while the used key
+is always bright.                                          --Page 410.
+
+He that riseth late must trot all day, and shall scarce overtake his
+business at night; while laziness travels so slowly that poverty soon
+overtakes him.                                             --Page 410.
+
+Have you somewhat to do tomorrow? Do it today.             --Page 412.
+
+For want of a nail the shoe was lost; for want of a shoe the horse was
+lost; and for want of a horse the rider was lost.          --Page 414.
+
+Beware of little expenses; a small leak will sink a great ship.
+                                                           --Page 415.
+
+'Tis foolish to lay out money in the purchase of repentance.
+                                                           --Page 416.
+
+Fools make feasts and wise men eat them.                   --Page 415.
+
+'Tis hard for an empty bag to stand upright!               --Page 418.
+
+Experience keeps a dear school, but fools will learn in no other.
+                                                           --Page 420.
+
+(Volume VII)
+
+        That inward eye
+    Which is the bliss of solitude.                          --Page 1.
+
+    Then doth thy sweet and quiet eye
+    Look through its fringes to the sky.                     --Page 5.
+
+    The bonny lark, companion meet,
+    Bending thee 'mang the dewy weet
+        Wi' spreckled breast,
+    When upward springing, blithe to greet
+        The purpling east.                                   --Page 8.
+
+    He prayeth well, who loveth well
+    Both man and bird and beast.
+    He prayeth best, who loveth best
+    All things both great and small.                        --Page 57.
+
+    The rank is but the guinea's stamp,
+    The man's the gowd for a' that!                        --Page 149.
+
+    By fairy hands their knell is rung,
+    By forms unseen their dirge is sung.                   --Page 151.
+
+    Still stands Thine ancient Sacrifice,
+      An humble and a contrite heart.
+    Lord God of Hosts, be with us yet,
+      Lest we forget--lest we forget!                      --Page 164.
+
+The remarkably adult yet innocent expression of their open and serene
+eyes is very memorable. All intelligence seems reflected in them. They
+suggest not merely the purity of infancy, but a wisdom clarified by
+experience. Such an eye was not born when the bird was, but is coeval
+with the sky it reflects. The woods do not yield such another gem.
+                                                           --Page 263.
+
+    Sound of vernal showers
+          On the twinkling grass,
+    Rain-awakened flowers,
+          All that ever was
+    Joyous, and clear, and fresh, thy music doth surpass.  --Page 278.
+
+Imagine a stream seventy yards broad divided by a pebbly island, running
+over seductive riffles and swirling into deep, quiet pools where the
+good salmon goes to smoke his pipe after his meals.        --Page 287.
+
+I once had a sparrow alight on my shoulder for a moment while I was
+hoeing in a village garden, and I felt that I was more distinguished by
+that circumstance than I should have been by any epaulet I could have
+worn.                                                      --Page 299.
+
+    And while in life's late afternoon
+      Where cool and long the shadows grow,
+    I walk to meet the night that soon
+      Shall shape and darkness overflow,
+    I cannot feel that thou art far,
+      Since near at hand the angels are;
+    And when the sunset gates unbar,
+      Shall I not see thee waiting stand,
+    And, white against the evening star,
+      The welcome of thy beckoning hand?                   --Page 389.
+
+    He who, from zone to zone,
+      Guides through the boundless sky thy certain flight,
+    In the long way that I must tread alone,
+      Will lead my steps aright.                           --Page 397.
+
+(Volume VIII)
+
+    Go tell the Spartans, thou that passeth by,
+    That here, obedient to their laws, we lie.              --Page 90.
+
+    Thermopylae had her messenger of defeat:
+    The Alamo had none.                                    --Page 152.
+
+England expects every man to do his duty.                  --Page 297.
+
+    An' Oh! be sure to fear the Lord alway!
+    An' mind your duty, duly, morn and night!              --Page 322.
+
+They never sought in vain that sought the Lord aright.     --Page 322.
+
+The best acid is assiduity.                                --Page 332.
+
+(Volume IX)
+
+Write me as one who loves his fellow men.                   --Page 11.
+
+    When beggars die, there are no comets seen;
+    The heavens themselves blaze forth the death of princes.
+                                                           --Page 145.
+
+    Cowards die many times before their deaths;
+    The valiant never taste of death but once.             --Page 145.
+
+_Et tu Brute!_ Then fall, Caesar.                           --Page 154.
+
+Surely man is but a shadow, and life a dream.              --Page 286.
+
+All service ranks the same with God.                       --Page 301.
+
+    The year's at the spring,
+    And day's at the morn;
+    Morning's at seven;
+    The hillside's dew-pearled:
+    The lark's on the wing;
+    The snail's on the thorn;
+    God's in his heaven--
+    All's right with the world.                            --Page 303.
+
+    For what are the voices of birds--
+    Ay, and of beasts--but words, our words,
+    Only so much more sweet?                               --Page 314.
+
+    I will pass each, and see their happiness,
+    And envy none--being just as great, no doubt,
+    Useful to men, dear to God as they!                    --Page 317.
+
+
+
+
+CHAPTER VIII
+
+HOW TO READ FICTION
+
+
+1. _Different Kinds of Literature_
+
+If there were but one kind of literature, it would be an easy matter to
+give the few directions that would be necessary to make good readers. In
+reality there are, however, several types, so different in their
+purpose, style and content that the reader must study them in many
+different ways if he would get the varied and inspiring messages. To
+appreciate what this means, let us look over the field.
+
+For our purposes, as has been said, true literature, as distinguished
+from the practical literature of fact, may be grouped under the two
+general heads of poetry and prose. At first thought the difference
+between the two seems wide and unmistakable. Poetry differs from prose
+not only in form, but also in rhythm, music, beauty and sentiment. The
+former is usually more figurative, and aims to stimulate the imagination
+more keenly and to enthral the feelings more completely. Upon a closer
+consideration it is seen that poetry and good prose have much in common,
+and that often it is really but a question of form, for lyric beauty
+glows in the phrases of our finest prose, and both heart and soul are
+moved by its powerful appeals.
+
+There are narratives and arguments in both poetry and prose, and essays
+in the form of both. For this reason our general method of study may be
+the same for both, except when form alone is considered.
+
+The simplest and most universal form of literature is found in the
+catchy little nursery rhymes which the children of the nation learn at
+their cradles from the lips of their elders. In these, if careful search
+be made, may be found most of the elements which in broader and more
+complex forms appear in the favorite selections of maturer years.
+Following the nursery rhymes appear the fables, fairy tales, myths and
+legends that have formed the literature of earlier races and have come
+down to us to be amplified and placed in modern form for the children of
+this age.
+
+It has been said that in every child is seen the history of the race,
+and that from infancy to manhood he typifies every stage of progress the
+race has seen. In early years he loves the fables where animals speak,
+feel and act like human beings; for in former times mankind believed the
+fables to be truth. A child peoples his world with fairies, good and
+bad, and believes in the limitless power of magic. A little later he
+loves the deeds of the legendary heroes and revels in the marvelous acts
+of the more than human beings in whom the ancients believed. Later the
+stirring adventures of the real heroes of discovery and exploration, the
+heroic exploits of warriors on land and sea, and the courageous acts of
+noble men and women in every walk in life appeal to him; while still
+later, real history seizes the imagination of the youth, who now looks
+for the causes of things and learns to trace out their effects. He
+learns to reason and to separate truth from falsehood. Casting aside
+the wild tales of boyhood, he gathers up instead the facts of life and
+experience, and draws his inspiration from the noble works of the
+world's greatest writers.
+
+
+2. _Reading Stories_
+
+In the development of literary taste, fiction plays as prominent a part
+as fact, and to fiction, considered in its broadest sense, every child
+is deeply indebted. Many err in thinking that a stern diet of facts is
+the only nutriment the child mind needs, and still others err only in a
+less degree when they look upon fiction as perhaps a necessary evil, but
+one which must be avoided as much as possible and set aside at the
+earliest possible moment. All fiction has in it some elements of truth,
+and they are the sources of the inspiration which comes to children
+when, in their world of make-believe, they live with their beautiful and
+heroic friends of the story books.
+
+To read fiction properly is to get from it the truth, which, however, is
+often liable to be lost by the reader in the excitement of the tale, or
+to pass undetected in the easy-running sentences. As fictitious
+narratives in prose and poetry in the great majority of cases form the
+larger part of children's reading, it is to them we should turn our
+attention. Before we begin their specific study a few principles claim
+our attention:
+
+Good stories are the most helpful things a child can read.
+
+The more intelligently and sympathetically a story is read, the more
+powerful for good it is.
+
+The imagination of a child is the most powerful agent in the development
+of his mind.
+
+The imagination acts only to combine, enlarge, or diminish ideas that
+enter the mind. It never creates.
+
+On the nature of the ideas presented will depend the character of the
+imagination.
+
+A vivid imagination fed with bad ideas is most destructive to human
+character. Good stories with high ideals can do no harm: but evil
+stories, particularly if attractive and entertaining, will undo the
+careful teaching of years.
+
+As evil must appear in life, it may appear in stories, but it must be
+brought in in such a way that it is known as evil, and children must be
+taught to recognize it as evil.
+
+The motives which govern the words and actions of the persons who appear
+in a well-written story are more easily discerned than the motives which
+actuate the human beings around us. Thus a child who reads intelligently
+is helped to discover in the words and deeds of the people whom he meets
+the elements of real character. A study of the heroes of fiction is a
+study in human life.
+
+Improbable stories and those presenting impossible or unreal things are
+not necessarily bad; in fact they are often good and distinctly
+serviceable. No matter how true they appear to a child, the time comes
+when he rejects them as impossible, although he may always be indebted
+to them for keen pleasure and the awakening of his imagination. Belief
+in the myth of Santa Claus never destroyed a child's love and respect
+for his parents; faith in the unlimited power of good fairies never
+made a child less able to recognize the laws of nature. It is the
+halfway truths that are troublesome; it is the little misrepresentations
+not liable to be detected that may permanently deceive.
+
+To understand the good and the true, to discriminate between the bad and
+the false, to find pleasure that shall awaken, enliven and inspire, to
+arouse curiosity and interest in wider, more thoughtful and helpful
+study, are some of the important aims of story-reading.
+
+Purposeful reading on the part of children may be brought about by
+direct instruction from parent or teacher or it may be acquired by the
+child through his own efforts. Manifestly the former is the really
+efficient way and its efficiency may be increased if it is carried on
+systematically. The following outline will assist those who have
+children in charge to do their part easily and in the best manner.
+
+In reading any story there are several things to be considered if one is
+to get the most out of it. These things are mentioned in natural order
+in the outline, each item of which will be treated at length in the
+pages immediately following.
+
+In reading stories consider:
+
+  Primarily,
+    A. The Plot.
+    B. The Persons.
+    C. The Scenes.
+  Secondarily,
+    D. The Lesson.
+    E. The Author's Purpose.
+    F. The Method and Style of the Author.
+    G. Emotional Power.
+
+In the volumes of _Journeys Through Bookland_, intended as they are for
+reading by children, it was not thought wise to make the studies
+extensive nor to attach much comment to the selections, lest the young
+readers weary of the task or neglect it entirely. In this volume a
+different case confronts us and we put the discussions on a higher
+plane. If these suggestions are used in the instruction of children,
+some care in adaptation will be necessary. The age and sex of the
+children, their advancement in their studies, their surroundings at home
+and in school, will all need to be taken into account in determining
+what selections to use and how far to carry the method. A good general
+principle to follow is to present to the children only so much as will
+hold their interest; present it in the manner that will best retain
+their interest, and change the subject or the method when interest
+flags.
+
+Speaking in general terms, children are most interested in that of which
+they already know something, and prefer to study intensively something
+which is "easy to read." The familiar selections of old readers often
+are found to be alive with interest, if studied by a new method. A
+method is understood most easily when it is applied to a simple subject;
+in this case, to a story in which the youngest children will be
+interested. A word of caution may be worth while: Especially with young
+children,--"Do not let the method be seen; it is the _story_ that is to
+be brought out."
+
+It is evident that the Plot, the Persons and the Scenes of the story
+will interest children of all ages; that all will be benefited by the
+Lesson if it is judiciously presented; but that only the older
+children can be interested to any great extent in the Author's
+Purpose, Method or Style or in the study of the Emotional Power of the
+selection, however much it may be felt.
+
+  [Illustration: BENJAMIN FRANKLIN
+  HENRY DAVID THOREAU
+  JULIA WARD HOWE
+  PATRICK HENRY
+  WILLIAM PRESCOTT
+  FRANCIS PARKMAN
+  JAMES FENIMORE COOPER]
+
+
+A. The Plot
+
+The main line of events leading up to the climax of interest in the
+story may be called the plot.
+
+It is the plot that furnishes excitement, and for perhaps the majority
+of readers constitutes the chief interest. In some stories the plot lies
+upon the surface all the time, and everything is made subservient to the
+purpose of holding interest, keeping up excitement and mystifying the
+reader until the climax is reached. Thrilling detective stories of the
+poorer class, exciting love stories and the cheap juvenile tales of
+Indian fighting, with heroines in dire distress and heroes struggling to
+rescue them, are illustrations of this type. No effort is made by the
+author to make real human beings of his characters, and little or no
+profit comes to the reader, while infinite harm may be done to minds
+craving excitement and finding in it nothing to stimulate an interest in
+better things.
+
+In the better stories of greater writers the plot still plays an
+important part, but while it sustains interest unflaggingly, it carries
+with it other things which are of vastly greater importance. In such
+stories the persons are living, breathing realities, and the reader
+feels that he has added permanently to his list of tried and true
+friends. Tom Brown and Tiny Tim, who live only in stories, are as much
+our friends as Henry Thompson and Rudolph De Peyster who live in the
+next block. The great writer, moreover, takes us with him into new
+places, among new scenes, so that Rugby becomes for a time our own
+school, and from Tim's poor hearth there enters a warm Christmas glow
+into our doubting hearts. Although the plot is important, yet all
+stories that enthral the mind with exciting incidents must be regarded
+with suspicion until they prove their right to be considered real
+literature by furnishing higher interests or greater inspiration.
+
+To analyze the plot of a story, however, is always helpful; to arrange
+the incidents in order, to determine which are necessary to the
+development of the story, and which are merely contributory to the
+general interest, is an interesting and stimulating thing. The plot of
+short stories may quite often be told in few words, and unless very
+complicated, the plot of a novel may be given in a few sentences. In
+some stories, however, the plot is so loosely constructed and of so
+little real importance that it is hardly more than a train of apparently
+equally important incidents. Again, the plot is oftentimes so
+complicated by secondary plots and incidents that even a careful reader
+becomes confused and loses his interest.
+
+Let us consider the plot in such a story as _Cinderella_ (Volume I, page
+224). The main incidents of the plot arrange themselves as follows:
+
+1. Cinderella's mother dies.
+
+2. Her father marries a widow, who has two daughters.
+
+3. The stepmother sends Cinderella to the kitchen to work and to the
+garret to sleep.
+
+4. The king's son gives a great ball to which he invites Cinderella's
+stepsisters.
+
+5. The stepsisters require Cinderella to assist them to dress, and abuse
+her shamefully.
+
+6. The sisters go to the ball, and Cinderella sits by the kitchen fire
+wishing she might accompany them.
+
+7. Her fairy godmother appears and sends her to the ball in fine style.
+
+8. Cinderella, beautiful as a picture, dances with the prince, who falls
+in love with her.
+
+9. The clock strikes twelve, and Cinderella goes back to the kitchen.
+
+10. The stepsisters again mistreat Cinderella.
+
+11. She goes to the ball the second day.
+
+12. She forgets her godmother's warning, and after midnight rushes back
+home, leaving a single slipper behind her.
+
+13. The prince finds the slipper and searches for its owner.
+
+14. The sisters fail in trying on the slipper, which is then fitted to
+Cinderella's foot.
+
+15. The fairy godmother restores to Cinderella the appearance of a
+princess.
+
+16. The prince marries Cinderella, and she forgives her stepsisters.
+
+A summary of these main incidents may be given in a few words, which
+will contain the skeleton of the plot. To say that a certain little girl
+who is shamefully treated by her stepsisters is aided by her fairy
+godmother to attend a ball given by a prince, who finally marries the
+little drudge, is to give the plot and really to tell all that the lax
+and superficial reader gets from the story he peruses.
+
+There are in this little story, however, a large number of minor
+incidents which contribute to the interest, and if sought and placed in
+their relation to the main events will be found to have added materially
+to the charm of the narrative.
+
+For instance, when the fairy godmother sends Cinderella to the ball for
+the first time, children are led to a vivid interest in the event by a
+series of fascinating incidents, as follows:
+
+1. The fairy sends her into the garden for a pumpkin.
+
+2. The godmother, scooping out the inside of the pumpkin, leaves the
+rind, which she taps three times, and immediately it becomes a golden
+coach.
+
+3. The fairy spies six mice alive in a trap.
+
+4. Cinderella lets the mice out gently, and as the fairy touches them
+with her wand, each becomes a fine, dapple-gray horse.
+
+5. Cinderella brings the rats, the largest of which the fairy converts
+into a handsome postilion with a fine pair of whiskers.
+
+6. Cinderella finds the six lizards behind the watering pot, which
+become the six sedate and dignified footmen clothed in livery.
+
+7. Cinderella's rags are changed to wonderful clothing bedecked with
+costly jewels.
+
+8. The beautiful glass slippers are provided.
+
+How real these incidents all seem! What art is shown in bringing in real
+things to give food to the imagination and to stimulate the interest
+that carries the little reader away from herself where she may riot in
+the wonders her active mind can so readily conceive. Some time when she
+has grown much older, and cares have wrinkled her smooth cheeks, she
+may see that the only fairy godmother who can clothe a Cinderella is
+hard work, and that mice become dapple-grays, and footmen are made from
+lizards behind watering pots only when she has earned the right to them
+herself. Just now it is enough for her to see that fairy godmothers come
+to good children only, and that good princes do not care if their wives
+have worked in the cinders, provided they are beautiful in gentleness
+and service to others.
+
+Children like to understand what they read, and are never so happy as
+when talking over their favorite stories with those of their elders who
+have the power to enter sympathetically into the child world. By no
+means do all boys and girls like to be taught; in fact there are not
+many more certain ways of prejudicing a child against anything than by
+making it the subject of a formal lesson. Still, every child loves to
+learn, and is seeking at every moment to add to his information and to
+exercise his mind. Yet he must do it in his own way and with the things
+in which he is interested. If those facts are borne in mind, no parent
+will have difficulty in interesting his child or in leading the juvenile
+mind where it ought to go.
+
+To apply these ideas to teaching the plot of such a story as
+_Cinderella_, let the parent who loves his children, and who wishes to
+be no stranger to their interests, joys and sorrows, seat himself among
+them some time and begin to read to them. Pausing now and then to
+explain some word whose meaning may be obscure to them, or to comment on
+some phase of the story that may be of special interest, let him read
+on to the end without attempting to do much more than to make the story
+a vivid tale where the interest centers in the incident.
+
+When the story has ended, the pleasure has but just begun. Children like
+to ask questions, but they are no less ready to answer them if the
+questions are on things of interest, are related to the things which
+children know and are put in such a way that the genuine interest of the
+questioner is always evident. The I-know-it-all-and-you-know-nothing
+style of questioning; the I'm-the-master-and-you're-the-pupil style; the
+because-I-ask-you-must-answer style are all fatal to interest, and will
+soon prevent that hearty sympathy and living spirit of cooperation that
+the parent wishes to secure.
+
+If we suppose it is _Cinderella_ that has been read, we may begin our
+questioning in this manner:
+
+"That's a good story. I like it, don't you?--It is rather long, though;
+I've almost forgotten how it began.--O, was that the first thing that
+happened?--Was the father a rich man?--Did the story say he was rich or
+did you just think he was?--If he had not married a widow could things
+have happened as they did?--How did the widow and her daughters treat
+Cinderella?--If Cinderella had not been mistreated would her fairy
+godmother have come to her aid?--If the fairy had not appeared could the
+story have been the same?--How did the fairy make the golden
+coach?--Could she have made it out of anything else?--If she had made
+one just as good out of something else, could Cinderella have gone to
+the ball just as well?--If Cinderella went to the ball in good style did
+it matter how she went?--If Cinderella had not gone to the ball, could
+she have met the prince?--Was it as important then that she should have
+a coach made from a pumpkin as that she should go to the ball and meet
+the prince?--Can you think of something else just as necessary to make
+the story come out right as that Cinderella should go to the ball?--Can
+you think of other things that must have happened just as they did to
+make the story come out right and just as it did?--Can you think of some
+things that might have happened differently and still not have hurt the
+story at all?--Let us put together all the things that must have
+happened to make the story right and leave out the things that could be
+changed. Now, what are they?--Now let us find a few things we could
+leave out or change. What are some of them?--If we left them out the
+story would come out the same, but would it be as good, as
+interesting?--Would you like Cinderella as well if these little things
+had been left out?--Would you think as much of the prince if he had
+found Cinderella right away as you do when he has to do so many hard
+things before he finds her?"
+
+Every one must realize the impossibility of providing a scheme of
+questioning that would fit exactly any given case, but will not the
+above suggest a method that may lead to many a happy and profitable
+evening at the family round table? Even if there are older children in
+the group they will renew their interest in the old stories and get more
+good from them when it is seen that father and mother do not deem it
+beneath their dignity, nor outside the range of their interests, to read
+and study a fairy tale.
+
+In _Journeys Through Bookland_ are here and there outlines and questions
+designed to lead the children to see for themselves what it is hoped
+others will take pleasure in showing them. Examples of the selections
+which contain outlines, questions and comments designed to help in the
+study of the plot may be found as follows:
+
+  Volume I,     page 264.  _The Twin Brothers._
+  Volume I,     page 395.  _Something._
+  Volume II,    page 124.  _The Snow Queen._
+  Volume IV,    page 174.  _Incident of the French Camp._
+  Volume VIII,  page 364.  _The Tempest._
+  Volume IX,    page 232.  _The Gold-Bug._
+
+
+B. THE PERSONS
+
+In most stories, be they brief and simple or as long and complicated as
+the two-volume novel, the interest centers in one or more persons whose
+character the reader learns to understand, and whose success or failure,
+joy or grief gives him pleasure or excites his sympathy. All events
+center about the hero or heroes, and while other persons may be
+mentioned, and even win the reader's attention for a time, they finally
+subside into the background and are remembered only as they contribute
+to greater interest in the principal characters.
+
+Every author tries to make his heroes and heroines speak and act like
+real human beings and show their characters by their actions and their
+words. Sometimes, however, he tells the reader just how his people look,
+feel and think, and describes their characters to give an interest in
+what happens to them. A more interesting method and a more artistic one
+is to leave the persons to disclose themselves as the story progresses,
+making them show by the way they act and by what they say under certain
+circumstances the strong and weak qualities in their natures. Nothing is
+more interesting than to watch the development of character in the hero
+of a story, particularly when it is accomplished under conditions which
+are themselves interesting.
+
+In studying the persons in a story, then, the chief things to keep in
+mind are the following:
+
+1. The principal person, or hero--the one, or perhaps the ones, in whose
+fortunes the reader is most vitally interested.
+
+2. The secondary persons who are introduced merely to add variety or to
+throw light upon the character of the hero, or to assist to bring about
+the events which center about him.
+
+3. The appearance, dress and manners of the persons.
+
+4. The ways in which the author makes his persons lifelike and shows the
+reader what they really are.
+
+5. The characters of the persons as they appear or as they are developed
+in the progress of the story. This is the really important part of the
+study, the one which becomes increasingly interesting as readers grow
+older and the stories they study become more and more complex and
+difficult. The study of the characters of Shakespeare's heroes and
+heroines is more than interesting pastime for men and women--it is good,
+hard work.
+
+For a simple example of what is meant, let us undertake briefly the
+study of _The Hardy Tin Soldier_ (Volume I, page 148).
+
+1. The hero is the Hardy Tin Soldier himself.
+
+2. Persons of secondary importance are:
+
+    a. The twenty-four brothers.
+    b. The little boy.
+    c. The Dancing Lady.
+    d. The Goblin.
+    e. The servant-maid.
+    f. The two street boys.
+    g. The Water Rat.
+    h. The fish.
+    i. The cook.
+
+Of these the Dancing Lady is second only to the lame Soldier; the
+Goblin, the two street boys, the little boy and the Water Rat are given
+considerable prominence, while the twenty-four brothers, the
+servant-maid, the fish and the cook are introduced merely to effect a
+certain incident or to give an air of truthfulness to the events. This
+is a fairy tale, and in it we must be faithful to our juvenile friends,
+considering the Goblin, the Water Rat and the fish as real persons, and
+the Tin Soldier as a very human being.
+
+3. In appearance the Tin Soldier was tall and erect, but alas! he had
+only one leg! His uniform was red and blue and very splendid. He carried
+his musket across his shoulder as a marching soldier should, kept his
+eyes straight to the front, and stood very firmly upon his one foot. In
+the fire he lost the tinsel and the color from his uniform, and when the
+Dancer joined him he melted into a little tin heart.
+
+4. While Andersen tells outright some of the characteristics of the
+little Soldier, he leaves others to be inferred from acts. The Soldier
+thinks, and sometimes the reader is told just what he thinks, but never
+once does he speak--to him silence is golden. Yet not once do we miss
+his voice, and it is only when we have finished that we suddenly think
+what a silent little body he is. That is part of the author's art. The
+Soldier never once moves his eyes, or changes his attitude; the author
+never forgets that he is a _tin_ soldier, but makes his every act
+consistent with his stiffness and rigidity. That is more of the author's
+skill. There were other soldiers, twenty-four of them, and all were
+brothers. A less skilful author would have stopped in the telling of the
+fact, but Andersen adds in his whimsical, charming manner, "for they
+were all born of one tin spoon." All the other brothers were perfect;
+our Soldier had but one leg, yet "it was just this soldier who became
+remarkable." Even the missing leg creates an interest, and Andersen uses
+it to center our attention upon his little hero.
+
+5. Andersen tells us the following things about the Tin Soldier's
+character:
+
+a. He stood firmly even with but one leg to balance himself upon.
+
+b. He thought his box was not a place for a lady-wife who lived in a
+castle. This showed his humility.
+
+c. Yet he was very human--"I must make her acquaintance."
+
+d. When he fell from the window, he put his leg straight up, stuck his
+helmet downward and his bayonet between the paving stones.
+
+e. He would not call loudly to the servant-maid because he was in the
+uniform of a soldier.
+
+f. While in the boat rushing down the gutter, he trembled, but he never
+changed countenance, and still looked straight before him.
+
+g. He sighed for the little Lady's company, while passing through the
+drain.
+
+h. He would not answer the Water Rat.
+
+i. He stiffened himself and would not move an eyelid when the paper boat
+sank.
+
+j. He lay unmoved even in the darkness of the fish's body.
+
+k. He was not at all proud when he was rescued.
+
+l. When he saw the Dancer again he very nearly wept tin tears, but he
+thought how improper that would be, and kept them back.
+
+m. He stood firm and shouldered his musket although the fire, or grief,
+made all the colors leave him.
+
+n. When the Dancer joined him in the flames he melted into a
+heart-shaped lump of tin.
+
+What a fine little Tin Soldier he proves to be! Could any one be more
+loyal to his profession? Body erect, eyes to the front, musket
+shouldered, every muscle at attention all the time, no matter if he had
+but one leg to stand upon. He was brave as a lion, although once in the
+presence of the direst danger he trembled a little, but he drove every
+sign of fear from his face and stood his ground manfully. After he had
+once seen the Dancer and realized how similar her trials must be to his,
+how constant he was in his devotion! At his death what could be more
+fitting than to see him melt into a little heart-shaped mass, the
+symbol of his courage and constancy! Why should we call him the _hardy_
+Tin Soldier; would it not have been better if the translator had called
+him the _constant_ Tin Soldier?
+
+Now, when we give the hero of this pretty little story so much
+attention, does it not seem worth while? Will not we, grown men and
+women, find so much in the hero that we may gather our young friends
+about us and lead them to see how admirable a character he has and how
+beautifully Andersen has shown it? If we talk not _to_ the boys and
+girls, but _with_ them, if we invite their questions as to the Tin
+Soldier's character, and by our informal questions lead them to
+appreciate the strength, courage, and devotion of the little toy, will
+they not get some taste for a good story well written, and perhaps,
+learn some little lessons that will help them to be better men and
+women?
+
+_Journeys_ furnishes you with many another fine story, equally
+interesting. There are a number of the tales, too, which may call for
+your own best efforts in the study of character, and from which even you
+may derive some genuine help in the heavy problems life thrusts upon
+you.
+
+In many places, too, the present writer has appended outlines and
+questions which the young people themselves may like to pore over and
+which may assist the inquiring parent even more than the brief study
+above. The following are particularly suggestive:
+
+  Volume I,     page 224.  _Cinderella._
+  Volume IV,    page  93.  _A Dog of Flanders._
+  Volume VIII,  page 335.  _Dream Children._
+  Volume VIII,  page 364.  _The Tempest._
+
+
+C. THE SCENES
+
+One of the benefits of good reading is that it fills the mind with
+beautiful pictures of places that we cannot visit or that live only in
+the eyes of the imagination. A powerful descriptive writer takes his
+reader with him, and by graphic words makes visible and almost real the
+scenes among which they wander. One may sit in the light of his study
+lamp during a black northern winter and read himself away from the chill
+and dreariness into some warm, sunny clime where flowers of new and rare
+forms flaunt their gorgeous colors and perfume the air with strange
+delicious odors; great trees with tufts of far-reaching leaves cast
+their welcome shade, and long vines trail gracefully from their living
+supports. Wonderful birds with brilliant plumage flit about, as through
+the openings in the trees glimpses are given of long waves rolling
+gently upon the glistening beach. It is only necessary to give free rein
+to the imagination and to visualize the scenes that the skilful writer
+describes.
+
+There are people of such literal minds that descriptive writing fails to
+appeal to them. It is their misfortune. To others every word brings a
+picture that appears almost as vivid and as full of detail as those upon
+which the material eye gazes. Like any other power of the mind, this may
+be cultivated, even among the mature. Children are highly gifted with
+this power, to begin with, and only a little training is necessary to
+make them use the faculty freely for their own delight. Suggest to them
+the outlines of a picture, and see how rapidly they will fill in the
+details.
+
+No two can see precisely the same imaginary picture; in fact, no two
+people looking at the same landscape will see precisely the same things,
+and if they are asked to describe what they see, it will appear that
+things which are most vivid to one may have made little impression upon
+the other. It is not to be expected, then, that two children reading a
+description of some scene will get the same picture of it. Each will
+color his own from the previous impressions and experiences he has had.
+Yet to each the picture may be very real and very pleasing. Good
+teachers of reading spend much time and effort in teaching the young to
+visualize the scenes of which they read, not only because of the
+pleasure it will afford the young when they are mature, but because the
+power to see vividly is of greatest assistance in every department of
+study.
+
+In some stories little attention is given to the scene; in fact, the
+persons might appear anywhere and not be in the least affected by their
+surroundings, and the events might have happened in China as well as in
+England. Even then, however, there will be found mention of many things
+that seem to give locality to the story. At the other extreme are
+writers who lose themselves in descriptive flights and pause to describe
+a sunset while the heroine is perishing, and the hero must stand
+helpless until the author has painted the last color in the sky. In the
+best literature for children, description is so mingled with narrative
+that while there are fine pictures to see, they do not fall in the way
+of the events which the young reader follows with such breathless
+interest. In fact, the pictures aid the narrative.
+
+There is of course in every story much descriptive writing that does not
+apply to the scenes among which the plot is laid, yet it is well to make
+a study of description from the scenes, for it is here that the author
+has his greatest opportunity for pictorial writing.
+
+If the story is brief there may be but one scene. Everything may happen
+in one place, and none of the surroundings may change. For instance, in
+the fable of _The Dog and His Shadow_ (Volume I, page 63) there is but
+one incident, which happens in one place. Such a simple story, however,
+furnishes the material for a good picture, and in bringing it out to a
+child who reads or hears the fable for the first time, the parent is
+giving good service that will lead to keener appreciation and higher
+power of interpretation in his child's later years. What can be made out
+of this picture, and how should it be done? Let us see:
+
+The fable is told in simple words, and only plain facts are stated. What
+are the elements of our picture? We can find only six, viz.: a big dog;
+a big piece of meat; day; a river; a narrow bridge; the dog's image. Now
+if we were to draw a picture to illustrate this fable we would begin
+with a general sketch. Should we show a level country, or are there
+hills about? Is it barren and desolate, or are there trees? Are there
+houses near? Where did the dog get his meat? Is it a large river, or
+only a small one? The bridge is narrow; has it a railing along the side?
+Would the dog be liable to see his image if it was a wagon bridge? Was
+it then a mere foot bridge? Would a single plank across a small stream
+answer the purpose? The dog is big; is it a dog that knows and likes the
+water? Would you think it could be a Newfoundland dog? What kind of a
+dog is it? It is day time; is the sun shining? Do you imagine it is
+morning or noon, or that it is toward evening? In making your pictures
+would you draw the trees to show the leaves blown by the wind? If the
+dog sees his image, is the water smooth or rough? Is the stream rapid
+and rough, or smooth and placid?
+
+While such questioning is going on both speaker and listener are seeing
+more clearly every minute. Besides, in order to see accurately they are
+drawing on their own previous knowledge and experience, and are
+reasoning just as truly as though they were solving a problem in
+arithmetic.
+
+In every picture we form in our reading there are certain elements that
+we must accept and include because the writer gives them to us. Other
+elements suggest themselves, and we accept them and put them in place or
+reject them entirely. In the fable just discussed we are told that the
+dog is big, the piece of meat is big, and the bridge is narrow. We may
+not see a small dog with a little piece of meat on a big, wide bridge.
+Houses, trees, sedges on the river bank, children playing by the side of
+the path, spring, summer or autumn foliage, or even snowclad shores with
+black water between--any of these we may put into our picture, for the
+fable is silent on these points. We must be accurate, and the parent can
+do no better service in reading than to make his child see accurately
+whatever he sees at all.
+
+The artist studies the selection he means to illustrate in just this
+way, and then draws his picture. When we see his picture we may accept
+it as good and true to the conditions, or call it poor and inapplicable.
+We should not be hasty, but should try to get his point of view before
+we criticise. If he violates any of the fixed conditions of the story
+his work is bad; if he gives us his interpretation and violates no fixed
+conditions, his work may be good or bad according to the standards we
+set up: are we always certain that our standards are correct?
+
+In the fable _The Fox and the Stork_ (Volume I, page 73) the artist has
+given us two beautiful pictures which in themselves tell almost the
+entire story, and his pictures are almost wholly from his own
+imagination, for there was given him to work with very little more than
+a fox, a stork, a wide dish and a vase. Such a pictorial imagination as
+he possessed is what should be cultivated in children. If they can be
+encouraged to draw what they see, they not only fix their own
+impressions, but they learn to see more vividly and more accurately.
+
+In long stories there are many scenes; it may be that no two incidents
+happen in the same place. In the drama, which contains all the elements
+of the story, the scenes are limited in number, are fixed and unchanging
+and after the reader has arranged his scenery he may give his attention
+exclusively to the dialogue because he knows there will be no change in
+the scene. In the story the reader may need to be constantly alert, as
+when his hero takes a long and perilous journey the scenes may change
+with the quickness of a kaleidoscope, and yet all be important to the
+narrative. The more complex the story, the greater the variety in
+scene, and consequently the greater the opportunities for study. It is
+interesting work for children to pick out the scenes, to count them and
+then to compare them. Some of them are more vividly portrayed than
+others. Why? Some are more important as descriptions, and some because
+of the incidents occurring in them.
+
+Sometimes, especially in speaking of the drama, the word _scene_ is
+applied not only in its literal sense, but also to include not merely
+the place but the incidents that happen in the place, as well.
+
+For instance, we may say, "The quarrel between Brutus and Cassius is a
+wonderful scene in _Julius Caesar_." Again, the word is used sometimes to
+mark the division of a play, as when we speak of the second scene in the
+first act of _Macbeth_. For our purposes, however, in our early reading
+with children, let us use it to signify only the place where events
+happen.
+
+An author may tell us at the beginning of a story that the scene is laid
+in London, or in Calcutta, or in the Black Forest; but unless he employs
+some method of giving a vivid impression of the setting of the story, we
+soon lose sight of locality. Sometimes, of course, it is not necessary
+that we should remember the place--the story moves on independent of
+scene; but other stories depend in part for their interest and even for
+their plot upon their setting. In such cases, the author, by reference
+to the natural features characteristic of a region, or to the peculiar
+traits or mannerisms or turns of speech of his characters, keeps before
+us the place in which the scene is laid. Such peculiarities of a place
+or its inhabitants, when introduced into a story, are given the name of
+local coloring.
+
+In _A Christmas Carol_ (Volume VI, page 244), Dickens meant that we
+should be conscious throughout not only of a Christmas atmosphere, but
+of an _English_ Christmas atmosphere. The references to the Christmas
+feeling are too obvious to require pointing out, but the methods by
+which the author makes us conscious that we are in London do not show so
+clearly at first sight. By a study of the paragraph which begins in the
+middle of page 253, and of the one immediately following it, we may get
+some idea of these methods.
+
+"Meanwhile the _fog_ and darkness thickened so, that the people ran
+about with flaring _links_." A London boy would not need a footnote to
+tell him that the fogs of London are famous; that they are at times so
+thick that all traffic is obliged to cease. Nor would he need to be told
+that links are torches of tow and pitch, which enterprising London boys
+provided themselves with at foggy times, that they might earn money by
+piloting people about. The word _brazier_, too, is in commoner use in
+England than it is in the United States. The _poulterers'_ trade is
+another English touch.
+
+Every one knows that the _Lord Mayor_ is the chief official of the city
+of London, but perhaps we do not all know that _Mansion House_, with its
+great banqueting-hall where the state dinners are held, is the residence
+of the Lord Mayor.
+
+Now-a-days we all know what English _plum pudding_ is--it is served at
+many American tables on Christmas day. But nothing is more
+characteristically English, unless, indeed, it is the _roast beef_, not
+turkey, which the tailor was planning to have for his Christmas dinner.
+
+Probably no one but an English writer, writing of an English subject,
+would refer in Dickens's off-hand manner to Dunstan, the English
+statesman and archbishop who accomplished so much for religion that he
+came to be known as Saint Dunstan.
+
+One of the most characteristically English touches in the two paragraphs
+is the reference to the _carol_ sung by the boy at Scrooge's keyhole.
+Other countries have Christmas carols, but the custom of singing them
+before people's houses is peculiarly common in England. The carol of
+which the first two lines are quoted is perhaps the one most frequently
+sung.
+
+These instances will give some idea of what is meant by local color, and
+of the methods used in securing it. It will be an interesting study to
+find other words and phrases in the remainder of the story which
+strengthen our feeling of the "Englishness" of _A Christmas Carol_.
+
+_Journeys Through Bookland_ furnishes an abundance of good stories of
+fine descriptive power. A few of the best are the following:
+
+  Volume II,  page 405.  _The King of the Golden River._
+  Volume IV,  page 174.  _Incident of the French Camp._
+  Volume IV,  page 322.  _The Attack on the Castle._
+  Volume VI,  page 173.  _Sohrab and Rustum._
+
+
+D AND E. THE LESSON AND THE AUTHOR'S PURPOSE
+
+The stories of the present day are many of them written with the avowed
+purpose of mere entertainment. The author is satisfied if his work
+sells, and cares nothing for the lesson he may teach, although by means
+of false views of life he may do ineffaceable harm to the minds of his
+readers. Many of the popular magazines and other periodicals, not even
+excepting some of those published especially for children, are full of
+light reading which vitiates the taste and may even undermine character
+by its seductive influence. In the effort to be entertaining the recent
+writers for children have only too frequently sacrificed strength and
+virility to a fascinating brilliancy that seizes the imagination of
+youthful readers and gives no material for subsequent growth. The
+earlier writers, those who produced the great classics which still are
+the most inspiring things in our language, were actuated by nobler
+motives. To them literature was not a trade, but a high calling, to
+which the writer came as a priest approaches his altar. Such a writer
+held a high purpose and kept it in view, often giving hours of thought
+and the best of his genius to work that the modern story writer neglects
+entirely or passes over with hasty evasion.
+
+The purpose of the author is always a subject of interesting inquiry,
+and whenever it appears a serious one it is worthy our careful study.
+The novel is often the medium of conveying the results of deep study
+into human character, and a few of the greatest stories have been
+epoch-making in their effect upon the human race.
+
+As the fiction which children read has a profound influence in the
+formation of character, it should always be examined with greatest care
+to see that the author's purpose is a laudable one and that he carries
+it out in such a way that the lesson is wholesome and salutary. Some
+stories may be entertaining merely--they are for the play-spells of the
+imagination; others should be instructive--they are for hours of study
+and reflection; a third class should be invigorating and inspiring, full
+of good lessons of high moral import--they are for times of stress, or
+the still hours when character is made.
+
+If, however, the purpose of the author is too evident, if his lesson is
+too obvious, none are so quick to catch the fact as wide-awake childish
+readers. The author who lugs instruction and information into his
+stories will find the boys and girls skipping all that he values, or
+laying down his books with laughter and derision. The writer who
+moralizes may find his work to be immoral in its effect on his juvenile
+readers, or may see his stories relegated to the overloaded bargain
+counters.
+
+In the same sense, it is often unwise to dwell long upon the moral of a
+story or even to point it out if it be at all evident. There is no phase
+of teaching reading that requires such careful thought or such fine
+discrimination from the parent as that which relates to the lesson of
+the story. It is often better to let the selection do its own work than
+to try to elaborate its purpose. Yet a skilful and sympathetic leader,
+one quick to read the feelings of his young listeners, may often render
+his greatest service in free conversations about what the story teaches.
+It would seem that no one could do this quite as well as the parent who
+has known his boys and girls from infancy and can see in his offspring
+those very traits of character which have been to his own advantage or
+detriment.
+
+More will be accomplished by questioning with occasional comments than
+by preaching, more by showing the help the story gives to the questioner
+than by trying to foist its assistance upon the hearer. "Now there is a
+fine lesson for you, my boy. I want you to remember it," is not half so
+effective as "That idea seems good to me. I've often thought about it
+but never seemed to realize it so much. I shall try to remember it."
+Wouldn't you, dear parent, rather learn _with_ your friend than to have
+him always instructing you? "What do you think of that, John?" is much
+more apt to help the boy than "You must see it this way, John." Are you
+not, dear parent, rather proud of your own judgment, and do you not
+suppose your son has inherited your feeling to some extent at least?
+
+We heard the old fables in our babyhood and read them in Latin as we
+grew older, and we still are fond of them, though the "morals" have long
+since been forgotten. Those wise lessons so graphically presented have
+helped to form our characters, but not through the formal "moral" at the
+end. Beware of "_Haec fabula docet_."[189-1]
+
+As a further suggestion of method we may consider for a few moments that
+beautiful but sad little story of Andersen's, _The Fir Tree_ (Volume II,
+page 68). Every good story is worth reading more than once, and every
+good method of teaching involves more than one reading. In this instance
+as children read or listen, they are first interested in the story as a
+story; that is, in the plot. They enjoy the adventures of the Fir Tree
+and may feel for it in its misfortunes, but their interest is in the
+tale. When they have read to the end, however, they will be interested
+in the appearance of the tree, their hero, and in the other characters
+which give vitality to the story. Then the scenes may be talked over,
+and varied enough they are to excite real interest as the story is read
+now with the definite purpose of seeing the pictures Andersen has
+sketched. With all this in mind the children are ready to think over it
+again and learn the lesson the great prose-poet meant to give. If the
+character of the Fir Tree is well understood, the lesson almost tells
+itself, for ambition, arrogance and discontent are seen as the traits
+that make for unhappiness. The Fir Tree might have been happy many times
+if it had only been content. At the worst it gave happiness to others,
+and therein, perhaps, filled its place in the world. Human beings must
+often find their pleasure in giving happiness to others and must be
+content to know that they are of service to others. Some of the lessons
+of _The Fir Tree_ are rather hard for little folks to understand, and
+there is something in the charming story for those older readers that
+have hearts young enough to see the meaning.
+
+Study the purpose in the following:
+
+  Volume I,   page 414.  _The Ugly Duckling._
+  Volume II,  page 124.  _The Snow Queen._
+
+
+F. THE METHOD AND STYLE OF THE AUTHOR
+
+Small children are not interested in considering the way in which an
+author tells his story, nor the methods he employs to secure attention
+and excite interest. Yet there comes a time when such a study is highly
+pleasing to inquiring youth. It is desirable always that children should
+early begin to appreciate the difference in the way plots are handled,
+to discriminate between a tale that is well told and one that is poorly
+told. At an early age boys delight in stories that are full of the
+excitement of adventure, conflict and mystery. Their craving is natural
+enough and must be satisfied. At such time they will read little or
+nothing else unless they are driven to it, and to compel them to read
+what they do not want is to make them hate reading for the time being
+and perhaps permanently. In time they will outgrow the taste--it is
+nothing to be feared if properly guided. The danger lies in the fact
+that they may find the excitement they wish in stories that are really
+immoral, or that are so poorly written that they destroy all taste for
+fine literature. The right course is to supply plenty of reading in
+which excitement abounds, where Indians stalk the woods, pirates rove
+the seas, and knights fight for their lady-loves, but always in stories
+that are so well told that the taste for good reading is cultivated
+unconsciously as the boy reads. _Treasure Island_ is bloody enough for
+the most exacting boy, and it bears many a reading, for it is so
+charmingly told that long after the cry, "Pieces of eight, pieces of
+eight," has ceased to make the welcome chills run up and down the boy's
+back, he returns to the story for the pleasure he finds in the style of
+Stevenson. In later years the boy will write better and speak better for
+having read the story.
+
+However, the parent may do much to help his child along by calling
+attention to vivid figures of speech, to happy expressions of all kinds,
+and to those graceful touches of humor and pathos that are so
+characteristic of Andersen, Stevenson, Ruskin, Kingsley, and other great
+writers for boys and girls. No child who can read well for himself is
+too young to appreciate a good figure of speech if the comparison is
+based upon something falling within his own experience. Who is so young,
+or so old, for that matter, that he will not thrill a little at
+Longfellow's lines:
+
+    "Silently, one by one, in the infinite meadows of heaven,
+    Blossomed the lovely stars, the forget-me-nots of the angels."
+
+What does the poet say? "The stars appeared in the sky." In saying it
+what does he make us feel? As we repeat the lines we see the immense
+expanse of the heavens, and as we gaze, the sparkling dots of light
+appear silently, slowly, one after another, just as beautiful flowers
+appear as the early morning light gilds the green meadows. We think,
+too, in the poet's fanciful way, that these are no common flowers, but
+exquisite tokens of the loving care the angels have over us, and a
+gentle reminder that always should we trust in them.
+
+Often the highest sentiment is clothed in lines whose figures, most
+beautiful in themselves, exalt the spirit as ordinary expressions could
+never do. At the close of _The Chambered Nautilus_, Oliver Wendell
+Holmes sings:
+
+    "Build thee more stately mansions, O my soul,
+      As the swift seasons roll!
+      Leave thy low-vaulted past!
+    Let each new temple, nobler than the last,
+    Shut thee from Heaven with a dome more vast,
+      Till thou at length art free,
+    Leaving thine outgrown shell by life's unresting sea!"
+
+Is it not well for the parent to lead his child to see such things in
+literature, to search for them, and when they are found to treasure them
+and bring them for mutual enjoyment into the family circle?
+
+
+G. EMOTIONAL POWER
+
+Fiction appeals strongly to feeling and stimulates the growth of that
+series of great emotions that make so large a part of character. It may
+excite ambition and a thirst for power or wealth or give an impulse to
+labor and self-denial; it may teach us sympathy and love for our
+fellow-men, or arouse anger, hatred and defiance; it may give us a
+keener discrimination of right from wrong and lead us far on our search
+for truth, even into the calm of religious beliefs.
+
+We see the play of emotions in the imaginary persons that pass before
+us, and as we learn to love our new friends, their influence passes out
+to us through the words of the gifted author. Bob Cratchit's tender love
+(Volume VI, page 304) makes us more considerate of the sick and
+helpless; Tom Brown's manly defense of his praying schoolboy friend
+(Volume V, page 472) leads us to new respect and admiration for the boy
+who lives up to his principles, and drives us, perhaps, to begin again
+upon the duties we have neglected.
+
+By studying with the children the feelings the characters in a story
+exhibit, the parent may give the best of moral lessons without the
+appearance of so doing and more effectively than by countless reprimands
+and formal orders.
+
+As a suggestion of method we offer an outline based upon _Rab and His
+Friends_ (Volume VI, page 99), one of the most touching stories ever
+written, a series of incidents that appeal to every holy emotion.
+
+Rab, the great mastiff, claims first place in our minds, dog though he
+is; but James and Ailie are such lovable beings that we never can forget
+them.
+
+The story has been read through; we have followed the simple incidents
+to their pathetic climax; we have learned to know Rab by sight and to
+recognize his sterling character; James the honest, tender-hearted
+carrier, and gentle, suffering Ailie, his wife, have taken their places
+among the dear friends our imagination has created; we have noted the
+power of the author, his humor, his scholarly English and his
+sympathetic touch. We may have read the story more than once--at any
+rate we have read portions of it several times, so we can trace the
+emotions that are felt by the noble dog.
+
+Page 100: When the little white bull terrier fastens himself upon Rab's
+throat and the strong muzzle prevents the big fellow from defending
+himself, "his whole frame stiffens with _indignation_ and _surprise_."
+"He looked a statue of _anger_ and _astonishment_."
+
+After Rab had been released from his muzzle and had killed the little
+terrier, "he looked down at his victim _appeased_, _ashamed_ and
+_amazed_."
+
+Page 103: When his master aimed a kick at him, he "drew _cringing_ up"
+and "slunk _dismayed_ under the cart."
+
+When his master spoke kindly, "'Rab, ma man, puir Rabbie,'" "the stump
+of a tail rose up, the ears were cocked, the eyes filled, and were
+comforted"; Rab showed _pride_ and _happiness again_.
+
+Page 104: He was _pleased_ when the medical student scratched his huge
+head, and _anxious_, when no notice was taken of him.
+
+When he first came to the hospital he felt _pride_ and _condescension_,
+"like the Duke of Wellington entering a subdued city."
+
+Page 106: When James handed Ailie from the cart, "Rab looked on
+_concerned_ and _puzzled_."
+
+Page 106: In the consulting room Rab was filled with _suspicion_ and
+_uneasiness_; he was "grim and comic," and eyed all three.
+
+When Ailie was put to bed and Rab was permitted to enter the room he
+"slunk in," _half-ashamed_, but fully _determined_.
+
+Page 107: Rab valued himself highly, but felt no conceit: he "had the
+_dignity_ and _simplicity_ of great size," and the "_gravity_ of all
+great fighters."
+
+Page 109: Rab felt _perplexity_ and _anger_, "forever cocking his ear
+and dropping it as fast," when Ailie entered the operating room.
+
+During the operation he felt _sympathy_ for the suffering of his
+mistress, _anger_ and _revengefulness_ at her tormentors; "his ragged
+ear was up, and importunate; he growled and gave now and then a sharp,
+impatient yelp; he would have liked to have done something to that man."
+
+Afterward in Ailie's room he felt _fear_, _anxiety_ and a _desire to
+help_, and showed "how meek and gentle he could be, occasionally, in his
+sleep, letting us know he was demolishing some adversary."
+
+Page 110: Rab continued to feel a sense of _depression_, _sadness_ and
+_anxiety_; during his walks with the medical student he was "sombre and
+mild; declined doing battle--submitted to sundry indignities."
+
+While Ailie seemed to be recovering Rab felt _kindliness_ and _subdued
+joy_, though _resentment_ lay close beneath the surface; he was
+"reconciled, and even cordial," had "made up his mind that as yet nobody
+required worrying," but was always prepared for it.
+
+Page 111: As Ailie grew worse, _grief_ and _fear_ began to take
+possession of Rab; he "subsided under the table into a dark place, and
+was motionless."
+
+Page 112: When Ailie called in delirium, her strained voice filled Rab
+with _surprise_, _astonishment_ and a sense of _guilt_; he started up
+"surprised, and slinking off as if he were to blame somehow, or had
+been dreaming he heard."
+
+Page 114: At Ailie's death Rab was overwhelmed with _grief_; he licked
+her hand which was hanging down "all over carefully, looked at her, and
+returned to his place under the table."
+
+The dog's feeling of _duty_, _obligation_ and _devotion_ was shown when
+he leaped upon the bottom of the bed "and settled himself, his head and
+eye to the dead face."
+
+Page 115: Rab remained _in statu quo_ till the carrier returned; _love_
+and _devotion_ filled his heart.
+
+Page 115: His _grief_ wholly absorbed him; he did not notice his medical
+friend when the cart left the hospital.
+
+Page 117: After the carrier's death, _grief_ wore down the dog's brave
+spirit; he became _discouraged_, _impatient_, _resentful_; "he was aye
+gur gurrin', and grup gruppin'." Yet he was _faithful_ to his trust, for
+he was only impatient and resentful when a stranger came and interfered
+in the business of the dead carrier.
+
+It is evident that the study of emotions is to a great extent a study of
+character, and that in this instance, we have given a tabulation of
+Rab's traits of character. It is through the showing of his feelings
+that Rab influences us. A little introspection shows that we are feeling
+just what the dog feels, or that some emotion is aroused in us that
+responds to the feeling of the dog. We are not exactly _surprised_ when
+the bulldog grips Rab, but we are _indignant_ that he should have no
+chance to defend himself--we would be among the first to slit the
+muzzle. We may not be pleased that Rab killed the bulldog, but we are
+glad that Rab defended himself. We realize the strength of the mastiff's
+powerful jaws, and are not _amazed_ at what he did--we are now rather
+inclined to feel sympathy for the helpless little terrier.
+
+So we might go on incident by incident and compare our feelings with
+those of Rab, but that would require much space and perhaps it would not
+be of great benefit to the reader, for our feelings may not be his
+feelings, and the things which arouse him may have little effect upon
+another. It is sufficient to call attention to the value of analysis,
+and show that self-study is a valuable adjunct to reading.
+
+It is well that most children are not likely to indulge to any great
+extent in introspection, for too much is injurious. However, it can do
+the young no harm for them to study the feelings of others, and now and
+then examine their own emotions. By so doing, they may learn that some
+reading, which is destructive to peace and productive of unpleasant or
+evil feelings, should be avoided.
+
+
+GENERAL PRINCIPLES AND REFLECTIONS
+
+The studies so far given are comprehensive, and are suited to all forms
+of fictitious narrative. Most of the illustrations have been drawn from
+the simpler tales in the earlier volumes, but the studies are equally
+applicable to the more difficult selections of the later volumes, and
+may be easily adapted by the parent to children of any age. The
+restrictions of space have compelled us to offer but one set of studies
+here, but there are many simpler and many more difficult ones scattered
+through the books where the juvenile readers will find them, and it is
+hoped become interested in them. In another place we have shown parents
+how these may be found easily and used consecutively if they wish so to
+use them.
+
+The studies here given serve to systematize the work and enable parents
+to see the logic of the plans. Children are not interested in the
+studies as such, nor in the plan, and, in fact, are liable to be
+repelled if the machinery of instruction is evident.
+
+Fortunately, children like to read many times the things they enjoy, and
+should always be encouraged to do so. But they are likely to read
+stories over and over again, for the plot only, and to become so
+fascinated by it as never to notice the more valuable and intrinsically
+more interesting things the narrative contains.
+
+Yet every person who reads or tells stories to young children has
+without doubt often noticed how insistent they are upon verbal accuracy.
+The story must be told the third time just as it was the first and
+second times. This means that they are sensitive to the thing as a
+perfect whole, and feel that any change mars the beauty of the story as
+a scratch mars the face of a favorite doll, or a broken seat spoils the
+toy buggy.
+
+There comes a time when, if you give a boy a mechanical toy, he is more
+interested in how it is made than in the running of it. He wants to
+"take to pieces" everything he has. Then he will enjoy analytical work
+on a story if he is led to it intelligently. Then the old stories come
+in for new readings, "to see how they are made," to find something in
+them that he never found before.
+
+The style of reading which a child does when he is "looking for
+something" is very different from his reading when he is absorbed in the
+story. Suppose he is trying to find out what kind of a man is James, in
+_Rab and His Friends_. He forgets for a time the story, and reads
+rapidly along, merely running his eye over the pages, watching intently
+for the word _James_, or the word _carrier_. When either of the words
+appears he stops to read carefully. He may have to go back a few words,
+perhaps to the beginning of a paragraph, all the time with his attention
+fixed exclusively upon what is said about James. When he has read it on
+the first page, he skims along to the next one and stops again. This is
+reading intelligently for a purpose, and is really one of the most
+valuable kinds of reading, the kind he will use most frequently when he
+is a man, the one that will save time for him when in later years he
+most needs it. It is the style of reading, too, that is much neglected
+in the schools.
+
+To analyze the character of the hero of a story is as practical a lesson
+in life as any child can gain. In trying to discern the springs of
+action, in seeing how words and acts show character, and how dress and
+appearance indicate what a person really is, he is learning to
+understand his acquaintances and to judge whether they merit his trust
+and confidence, or are to be regarded with suspicion and disdain. This
+is the practical wisdom without which many a man has found himself the
+victim of misplaced confidence, or allowed himself to be led into
+temptations he could not resist by those who professed friendship for
+him.
+
+Again, when studying the scenes, a child is learning to picture vividly
+and exactly, and is training his mind to close discrimination. He is
+training himself to avoid the mistakes that the careless reader makes.
+Many a man has found himself paying for careless reading, because he did
+not see a thing exactly as it was described to him.
+
+At the risk of repetition we have argued again for the reading of
+stories in the different ways and for the different purposes suggested,
+for we know that the parent who will follow these plans will interest
+his children, will see them improve, and will find them growing nearer
+to him, while he will be more of a companion, less of a ruler. In so
+doing he may forget some of the cares of the day and find himself
+growing younger, more contented and happier as his family reaches the
+age when it can take care of itself. Then, later, when the long years of
+old age have come, it may be that the parents will discover that while
+they read and worked with their children they taught themselves to find
+in reading a solace for their loneliness.
+
+It is scarcely necessary to say that many of these latter comments and
+suggestions are as applicable to reading other kinds of literature as
+they are to the reading of stories, but stories form so large a part of
+a child's reading that it has seemed best to place them in this
+connection. Many essays contain something of narration, and not
+infrequently an incident forms the basis of a beautiful lyric. In print
+these studies may appear formal and forbidding, but where they are
+presented in a conversational manner, they become attractive and
+inspiring.
+
+
+Completed Studies
+
+_The Hare and the Tortoise_
+
+(Volume I, page 71)
+
+A. _The Plot._ The slow Tortoise and the speedy Hare ran a race. The
+Hare, full of conceit, loitered and slept by the way, while the Tortoise
+won in his plodding fashion.
+
+Incidents:
+
+   1. The Hare derides the Tortoise.
+   2. The Tortoise challenges the Hare.
+   3. The Fox becomes judge and holds the stakes.
+   4. The race begins in heat and dust.
+   5. The Hare takes a rest and a nap.
+   6. The Tortoise in comfort passes the Hare.
+   7. The Hare awakes, thinks the Tortoise behind, and stops to eat.
+   8. The Hare discovers that the Tortoise has passed and begins his
+      pursuit.
+   9. The Hare finds the Tortoise at the brook.
+  10. The Fox awards the money to the Tortoise.
+
+B. _The Persons._ There are three characters in the story: the Hare, the
+Tortoise and the Fox.
+
+1. The Hare. He is a small, long-legged animal, who can leap long
+distances and run like the wind. In character he is unkind, impudent,
+proud and lazy.
+
+2. The Tortoise. He is a clumsy, short-legged turtle, who carries a
+heavy box-shell around his body. He cannot jump at all, and he moves
+very slowly, flat on the ground, even his tail dragging in the dust.
+But he is wise, steady, not easily discouraged, and sticks to his task
+till it is done.
+
+3. The Fox. He is a wise old judge, who cannot let the loser go without
+a word of advice.
+
+C. _The Scene._ The race takes place along a dusty road on a hot day.
+There is a big clover patch, where the Hare rests, and at the end of the
+course is a cool and delightful brook or river.
+
+D. _The Author's Purpose and the Lesson._ The author of this old fable
+intended to teach the lesson that he puts into the last sentence,
+"Steady-going wins the race."
+
+E. _The Method and Style of the Author._ His method is to teach a truth
+by means of an interesting story. His style is graphic and dramatic. He
+gives three animals the power to talk, and he makes them talk so that
+they seem almost like real human beings. At any rate, he makes us see
+the character of each very clearly.
+
+F. _Emotions._ We see in the Hare the feelings of conceit, contempt, and
+laziness; of surprise, fear, and excitement; of chagrin and
+disappointment. In the Tortoise we see a little of resentment and some
+self-confidence; then courage, determination, and persistence; at last,
+calm enjoyment and joy at winning. The Fox looks on as we do, and has
+confidence in the Tortoise and a little spice of contempt for the Hare.
+Then he is pleased that the Tortoise should win, and enjoys giving the
+Hare a stinging bit of advice.
+
+G. _Conclusion._ It is because the little fable has so much in it that
+it has lived for centuries, and you have only to speak to any cultivated
+person about the Hare and the Tortoise to remind him that "Steady-going
+wins the race."
+
+The preceding analysis shows what a parent should expect to bring out
+from a little child, reading the fable for the first time, or from an
+older boy or girl making a careful study of fables. In both cases,
+however, the facts should be brought out by questions, with the
+expectation that the juveniles would not express themselves in anything
+like the words given above.
+
+
+_The Fox and the Crow_
+
+(Volume I, page 64)
+
+The following analysis of _The Fox and the Crow_ shows the method as it
+might appear in actual use with small children. It should be remembered,
+however, that no two persons will ask the same questions and that no two
+children will answer them in the same manner. Bring out the thoughts and
+keep the children interested while it is being done. Rapid, clearcut
+questions which do not suggest the answer are the kind to use. Whenever
+there is hesitation or doubt, refer to the story. The story, plus the
+child's imagination and reason, must give the answers. If other facts
+are needed, the questioner should supply them or show where they may be
+learned.
+
+A. _The Plot._
+
+Question. What was the first thing that happened in this little story?
+
+Answer. The Fox saw a Crow fly off with a piece of cheese in its mouth.
+
+Q. What next?
+
+A. The Crow lit on a branch of a tree.
+
+Q. Next?
+
+A. The Fox made up his mind to get the cheese.
+
+Q. What did he do then?
+
+A. He walked to the foot of the tree.
+
+Q. What next did he do?
+
+A. He flattered the Crow and asked her to sing.
+
+Q. What did the Crow do?
+
+A. She cawed and dropped the cheese.
+
+Q. What did the Fox do?
+
+A. He snapped up the cheese and ran off.
+
+Q. Did he do anything more?
+
+A. Yes. He gave the Crow some advice.
+
+Q. Now tell me the story in as few words as possible.
+
+A. A Fox saw a Crow with some cheese in her mouth. He flattered her and
+asked her to sing. When she cawed she dropped the cheese and the Fox ran
+away with it.
+
+B. _The Persons._
+
+Question. Can a Fox talk, or a Crow sing?
+
+Answer. No.
+
+Q. Do they seem like persons in this story?
+
+A. Yes.
+
+Q. Let us think of them as persons, and see what kind of people they
+are. We will talk about the Fox, first. What do you think he looked
+like?
+
+A. Like a saucy little dog with bright eyes, a long sharp nose, and a
+bushy tail.
+
+Q. When he said, "That's for me," what did you learn about him?
+
+A. That he was hungry; that he was greedy; that he meant to get the
+cheese.
+
+Q. When he began to flatter the Crow, what did you think of him?
+
+A. That he was sharp; that he was trying to fool the Crow.
+
+Q. What did you think of him when he said that her voice was finer than
+the voices of the other birds, just as her coat was?
+
+A. He was really flattering. Before, he was telling some truth, for her
+feathers were glossy and her eyes were bright.
+
+Q. Did he really think she could sing?
+
+A. No. He knew she could only caw. He was lying, then.
+
+Q. What did he say after she had dropped the cheese?
+
+A. "That was all I wanted."
+
+Q. And then?
+
+A. "Do not trust flatterers."
+
+Q. Did the Fox mean it?
+
+A. Yes. But he was plaguing her, sneering at her. He wasn't really
+sincere.
+
+Q. Now tell me what you've learned about the Fox.
+
+A. He was a lively animal that looked like a dog, with a long nose and
+bushy tail. He was smart, wise, knew how to flatter and get what he
+wanted. But he was a liar and a mean fellow all around.
+
+Q. Now, let us study the Crow. What did she look like?
+
+A. She was a big black bird with glossy feathers and a bright eye. She
+had a big black bill and black wings.
+
+Q. Did she have a good voice for singing?
+
+A. No. She could only say "caw, caw, caw," in a hoarse, croaking voice.
+
+Q. Where was she?
+
+A. On the limb of a tree.
+
+Q. Could the Fox reach her?
+
+A. No. She was safe.
+
+Q. What did she think of herself?
+
+A. She thought she was pretty and smart and could sing.
+
+Q. What would you say of her manners?
+
+A. She was proud and conceited and foolish, silly.
+
+Q. Now, tell me what you have learned of the Crow.
+
+A. She was a big black bird with glossy feathers and a bright eye. She
+thought she could sing, but she was silly and proud and conceited. She
+was too easily fooled by the lies and flattery of the fox.
+
+C. _The Scene._
+
+Question. Where were the Fox and the Crow?
+
+Answer. Outdoors, somewhere.
+
+Q. Were they near a house?
+
+A. I think so, because the Crow had cheese in her mouth.
+
+Q. Was it a prairie country?
+
+A. Perhaps, but there was one tree near.
+
+Q. Was it day, or night?
+
+A. Daytime, I think. Crows do not hunt at night, but foxes do.
+
+Q. Tell me all you know or can guess about the place where the bird and
+fox were.
+
+A. I think they were on the edge of the woods, not very far away from a
+farmhouse. One tree stood out by itself, and the Crow flew from the
+farmhouse to the lone tree.
+
+D. and E. _The Lesson and the Author's Purpose._
+
+Question. This is an old, old story, and it has been told in many
+languages. We cannot be sure who first wrote it. But what do you suppose
+the writer meant the story to do?
+
+Answer. He meant it to teach a good lesson, I think.
+
+Q. What is the lesson?
+
+A. That foxes are tricky animals; that crows are silly birds; that
+flattery and lying are bad; that it is foolish to trust anyone who
+flatters you.
+
+Q. Does that mean you do not trust people who praise you?
+
+A. Oh, no. Praise is all right. Everybody likes to be praised.
+
+Q. What is the difference between praise and flattery?
+
+A. When a person praises you he tells the truth, and tells it because he
+likes you, and wants to help you; but when he flatters you, he lies and
+deceives you, and does it to fool you, because he wants you to do
+something for him, or to get something you have.
+
+Q. How can we tell whether we are being praised or flattered?
+
+A. We must be sharp and know ourselves and what we really can do. Then
+we will know whether others are speaking the truth about us.
+
+F. _The Method and Style of the Author._
+
+Question. What do you call a story like this?
+
+Answer. A fable.
+
+Q. Why is it a fable?
+
+A. Because it's short; because animals talk and act like human beings;
+because it teaches a good lesson.
+
+Q. Do you call this story "slow"?
+
+A. No. It's a quick, lively one.
+
+Q. What do you think makes it so?
+
+A. There are not too many words; the Fox and the Crow are interesting;
+there is a lot of talking; we can see the Fox and the Crow; they act
+like human beings.
+
+Q. Are there any good sentences you would like to remember?
+
+A. Yes: "Do not trust flatterers."
+
+G. _Emotional Power._
+
+Question. How did the Fox feel when he saw the Crow with the cheese in
+her mouth?
+
+Answer. He was hungry; he wanted the cheese; he made up his mind to get
+it.
+
+Q. How did he feel when he was flattering the Crow?
+
+A. He felt jolly; he thought it was fun to fool the Crow.
+
+Q. How did he feel when he got the cheese?
+
+A. He was pleased; he was happy; he did not pity the Crow; he laughed at
+the Crow when he gave her advice.
+
+Q. How did the Crow feel when she flew off with the cheese?
+
+A. She was happy.
+
+Q. How did she feel while the Fox was flattering her?
+
+A. She was proud and vain and felt sure she could sing.
+
+Q. When she dropped the cheese?
+
+A. She was disappointed; she was sorry she had tried to sing; she knew
+she had been fooled, and was ashamed.
+
+Q. Did she like the advice the Fox gave her?
+
+A. No, but she thought it was good advice.
+
+Q. Do you think the Fox could fool her again?
+
+H. _Conclusion._
+
+Now, read the fable all through just as well as you can. (It is read.)
+Now, Harry, you be the Fox, and read just what he says. Clara, be the
+Crow, and read just what she says. Tom may be the story teller, and read
+just the descriptions. Now, watch your parts so there will be no delay,
+and try to speak just as though you are really what you are
+representing. Tom may read the first paragraph, and the fourth, but may
+omit entirely those words that are not spoken in the other paragraphs.
+Begin, Tom.
+
+
+_The Drummer_
+
+(Volume I, page 303)
+
+The fairy stories of the brothers Grimm are inferior to those of
+Andersen in plot, lesson and style. The plots are more monotonous and
+sometimes unnecessarily coarse and rough; the lessons are more obscure
+and sometimes are of doubtful value; and the style is much less
+forcible, in fact is often labored and inelegant. Yet many of the
+stories are attractive and harmless. They may be used to make the
+transition from fairy tales to more elevated literature. Their very
+imperfections can be utilized to discourage the reading of fairy tales
+and by criticism and gentle ridicule a child can be led away from that
+type of stories which though harmless when read in moderation have been
+made so attractive by modern writers that children fancy them too much
+and cling to them long after they should be reading things of much
+greater value. If children are led to study fairy stories, absurdities
+in them soon become tiresome. Ordinarily they read merely for the
+excitement in the tale, for the effect it has upon their naturally vivid
+imaginations. If they are led to think, to analyze, their intelligence
+will quickly call for something more substantial, more nearly true to
+life.
+
+_The Drummer_ is one of the best of the Grimm stories and yet some of
+their weaknesses are evident. It is inadvisable to talk to small
+children of studying a story. They are always delighted to see their
+parents interested and will be very glad to "talk over" the story. In
+this particular tale there are many points of interest that may be
+brought up by skilful questioning and many places where comments may be
+made, comments that will show the attitude of the adult mind without
+raising opposition on the part of the juvenile reader. Some of the
+subjects suggested by a reading of _The Drummer_ are the following:
+
+I. _Characters._ Taken in the order of their appearance in the story the
+characters are:
+
+  1. The Drummer
+  2. The King's Daughter
+  3. The First Giant
+  4. The Second Giant
+  5. The Third Giant
+  6. The Two Men Quarreling
+  7. The Witch
+  8. The Drummer's Parents
+  9. The Maiden
+
+II. _What the Characters Do._
+
+1. The Drummer finds the piece of cloth, goes to the mountain of glass,
+deceives the two quarreling men, flies to the top of the mountain,
+visits the witch, performs the three tasks, throws the witch in the
+fire, goes to his home, kisses his parents on their right cheeks,
+forgets the princess, gives her jewels away, gets ready to marry the
+maiden, remembers the princess, rewards the maiden and marries the
+princess.
+
+2. The King's Daughter asks for her dress, tells the Drummer where she
+is confined, helps the Drummer in his three tasks, advises the Drummer
+how to destroy the witch, takes the Drummer to his parents, waits in the
+field for the Drummer, sings her song three times, forgives and marries
+the Drummer.
+
+3. The First Giant talks with the Drummer and carries him through the
+woods on his back.
+
+4. The Second Giant carries the Drummer in his button hole.
+
+5. The Third Giant carries the Drummer on his hat.
+
+6. The Two Men quarrel, talk with the Drummer, race to the white staff
+and lose the saddle.
+
+7. The Witch gives the Drummer food and shelter, assigns three tasks,
+requires the log to be brought from the fire, tries to carry off the
+King's Daughter, and dies in the flames.
+
+8. The Drummer's Parents welcome their son, accept the jewels of the
+King's Daughter, build a palace, choose a maiden for their son's wife,
+but receive the princess in her place.
+
+9. The Maiden is willing to marry the Drummer but is satisfied with his
+presents instead.
+
+III. _The Good and the Bad Characters._
+
+1. The Drummer was brave, kind to his parents and loved the princess,
+but he tricked the two quarreling men, and disobeyed and forgot the
+princess.
+
+2. The King's Daughter was always helpful, faithful and lovable.
+
+3, 4 and 5. The Three Giants were usually cruel but were afraid of the
+Drummer and so behaved very well.
+
+6. The Two Men were very unwise to quarrel and perhaps deserved to lose
+their saddle.
+
+7. The Witch was cruel, deceitful and always bad, deserving her awful
+fate.
+
+8. The Drummer's Parents were good people, for they knew nothing of the
+princess when they tried to marry their son to another.
+
+9. The Maiden was a commonplace person who did not really love the
+Drummer.
+
+IV. _The Unreal and Magical Things._
+
+1. There are no glass mountains, but an iceberg resembles one.
+
+2. There never were giants as big as fir trees.
+
+3. There never was a saddle that could itself carry anyone anywhere.
+
+4. There never was an old woman who could enchant a maiden.
+
+5. There never was a magic ring that could grant wishes. Fish never
+jumped from water and sorted themselves, wood never cut itself nor piled
+itself.
+
+6. Never was a princess enchanted into a log and no log ever became a
+king's beautiful daughter.
+
+7. It never made any difference in a young man's fortunes if he did kiss
+his parents on the right instead of the left cheek.
+
+8. No castle such as this was ever built in a day.
+
+V. _Things that Happen in Threes._
+
+How absurd it is that in fairy stories things so often happen in sets of
+three! In this one short story we find:
+
+1. The Drummer saw _three_ pieces of white linen.
+
+2. The Drummer met _three_ giants.
+
+3. The mountain looked as high as if _three_ mountains had been placed
+one upon another.
+
+4. On the plain are _three_ things, an old stone house, a large fish
+pond and a dark, dreary forest.
+
+5. The Witch did not appear till the Drummer had knocked _three_ times.
+
+6. The Drummer wanted _three_ things, admission, food and a night's
+lodging.
+
+7. The Witch assigned _three_ tasks.
+
+8. There were _three_ conditions to the first task, to scoop out the
+water, sort the fish, and finish by night.
+
+9. There were _three_ parts to the second task, to cut the trees, to
+split them into logs and to stack them.
+
+10. The Witch gave the Drummer _three_ tools with which to accomplish
+the second task, an ax, a chopper and a wedge.
+
+11. In the third task there were _three_ steps, to place the wood in a
+heap, to set fire to it and to burn it.
+
+12. The Drummer supposed he had been gone _three_ days but it was
+_three_ years.
+
+13. The wedding was to take place in _three_ days.
+
+14. The princess sang her song _three_ times.
+
+
+_Tom, the Water Baby_
+
+(Volume II, page 215)
+
+"This is all a fairy tale, and only fun and pretense; and therefore, you
+are not to believe a word of it, even if it is true."
+
+But what a wonderful tale it is; so interesting a story, such a mixture
+of fact and fancy, so brimming full of fun and laughter, so touching in
+pathos, and so rife with good lessons. Though "you are not to believe a
+word of it, even if it is true," there is so much truth in it that you
+really cannot keep from believing a great deal of it.
+
+A better comprehension of _Tom, the Water Baby_ among parents will mean
+a greater popularity for it among children. The tale is too long for a
+full interpretation, but we can offer an analysis which will help to
+keep the story in mind, and some illustrations of different meritorious
+features.
+
+  [Illustration: DONALD G. MITCHELL
+  JAMES WHITCOMB RILEY
+  EDGAR ALLAN POE
+  THOMAS BUCHANAN READ
+  EUGENE FIELD
+  JOHN HOWARD PAYNE
+  JOHN G. SAXE]
+
+I. _Analysis._ At first Tom is a real boy, a little grimy, ignorant
+chimney sweep, next a water baby or eft, in which character, under the
+tutelage of the fairies, he gains his education. Briefly at the end he
+is a man, an engineer, but all that is delightfully vague, for he has
+ceased to be the little Tom we like so thoroughly.
+
+_Chapters I and II._
+
+  Tom, the Chimney Sweep,
+    Works for Mr. Grimes;
+    Summoned to sweep the chimney at Hartover Place;
+  Overtakes the poor Irishwoman, who
+    Walks with Tom;
+    Asks about his prayers and makes him sad;
+    Tells about the sea and makes him wish to be clean;
+    Helps him pick flowers;
+    Frightens Grimes for beating Tom,
+    Warns them both to be clean;
+    Promises to see them again;
+    Disappears.
+  Meets the keeper who warns Grimes against poaching;
+  Walks up the avenue;
+  Sees the deer, trees, bees, and makes friends with the keeper;
+  Enters the house and sweeps chimneys;
+  Comes out in a beautiful room and sees the little white lady;
+  Sees himself for the first time and cries;
+  Escapes from the nurse by window and tree;
+  Is chased by everybody;
+  Is lost in the woods;
+  Scales a wall;
+  Is followed by the Irishwoman, who throws the pursuers off the scent;
+  Crosses the river, climbs a mountain;
+  Descends Lewthwaite Crag;
+  Drags himself to the cottage;
+  Begs for water of the dame;
+  Is given milk, and put in an outhouse;
+  Is feverish and out of his mind;
+  Thinks he must be clean;
+  Drags himself to the stream, looks into the clear water, and undresses;
+  Does not see the Irishwoman transform herself to the queen of the
+   fairies;
+  Tumbles himself into the stream;
+  Falls asleep in the water;
+  Is turned into a water-baby by the fairies;
+  Is mourned as dead by the people who find his poor dirty body.
+
+_Chapters III and IV._
+
+  Tom, the Water Baby,
+    Watches the caddis-flies build their homes (page 262) and go into the
+      chrysalis state (page 262);
+    Sees the metamorphosis of the dragon-fly (pages 263-264);
+    Meets and makes friends with the otters (pages 270-274);
+    Travels towards the sea after the storm;
+    Finds the salmon and witnesses the death of Grimes (pages 278-286);
+    Passes the sleeping villages and reaches the sea;
+    Greets the seal and looks for water babies;
+    Plays with the lobsters (pages 292-294);
+    Is caught by Professor Ptthmllnsprts and shown to Ellie, the little
+      white lady, who flies away (pages 296-299). (Can you make out what
+      Kingsley had in mind, by filling in the vowels of the Professor's
+      name?)
+
+_Chapter V._
+
+  Tom, the Water Baby,
+    Has an adventure in the lobster pots (pages 300-303);
+    Joins the water babies;
+    Is met by Mrs. Bedonebyasyoudid, who
+      Examines Tom;
+      Rewards the good children;
+      Punishes those who know no better, viz.:
+        Tom,
+        The doctors,
+        The foolish ladies,
+        The careless nurserymaids,
+        The cruel school teachers,
+      Tells Tom about those who knew better.
+    Sees Mrs. Doasyouwouldbedoneby, who
+      Mothers Tom;
+      Tells him the story.
+
+_Chapter VI._
+
+  Tom, the Water Baby,
+    Steals the candy from the cabinet;
+    Becomes prickly and ugly from sin;
+    Confesses to Mrs. Bedonebyasyoudid;
+    Goes to school to rid himself of his ugliness;
+    Is taught by the beautiful little girl;
+    Gains his own smooth, clean skin;
+    Recognizes the little white lady, Ellie;
+    Learns how to join Ellie in the beautiful place;
+    Loses her by being unkind;
+    Hears the history of the Doasyoulikes;
+
+_Chapter VII._
+
+  Tom, the Water Baby,
+    Starts to go where he does not like, to find Mr. Grimes;
+    Inquires of the King of the Herrings;
+    Visits the last of the Gairfowl on the Allalonestone;
+    Follows Mother Carey's chickens;
+    Struggles with the water dog;
+    Is carried by the mollymocks from Jan Mayen's land to Shiny Wall;
+    Dives under the great white gate that never was opened yet;
+    Reaches Peace-pool with the dog;
+    Finds Mother Carey at work making new creatures from sea water;
+    Is given passport to the Other-End-of-No-where;
+    Goes backward in safety.
+
+_Chapter VIII._
+
+  Tom, the Water Baby,
+    Comes to the place called Stop;
+    Is blown through the Sea;
+    Finds himself in the claws of the bogy;
+    Sees the metals made;
+    Slides down the whirlpool;
+    Swims to the shore of the Other-End-of-No-where;
+    Finds Gotham;
+    Comes to the isle of Tomtoddies;
+    Hears of their great idol, Examination;
+    Gives information to the nimblecomequick turnip;
+    Stumbles over the respectable old stick;
+    Faces Examiner-of-all-Examiners;
+    Arrives at Oldwivesfabledom;
+    Comes to the quiet place called Leaveheavenalone;
+    Sees the prison;
+    Offers the passport to the truncheon;
+    Searches for chimney No. 345;
+    Finds Grimes stuck in the chimney;
+    Tries to light Grimes' pipe and to release him;
+    Learns that the old dame teacher was the mother of Grimes;
+    Sees Grimes' tears effect his release;
+    Recognizes Mrs. Bedonebyasyoudid as the Irishwoman;
+    Hears Grimes sentenced to sweep out Aetna;
+    Is blindfolded and taken up the back stairs;
+    Recognizes St. Brandon's Isle and hears the song;
+    Rejoices with Ellie and goes with her Sundays;
+    Becomes a man of science and knows everything;
+    And, it may be, marries Ellie.
+
+II. _Fact and Fancy._ The story begins with a vivid description of the
+little sweep and his master, and it is not till we have read several
+pages that we have reason to suspect that we are reading a fairy story.
+In fact the "poor Irishwoman" might be a veritable Irishwoman till we
+have read page 247. From this point on, the work of the fairies is seen
+occasionally to the end.
+
+The facts of the natural history are mingled with the fancies of the
+author's brain in the most natural manner. The description of the
+house-building of the caddis larvae (page 262) is accurate enough for a
+scientist, who might, however, be shocked by the whimsical notion of the
+rivalry told in the last sentence of the paragraph. The otters behave
+like otters, the salmon like salmon, the lobster like the lobster he is.
+The dragon "splits" at the call of nature, the ephemerae dance in the
+sunlight, and game-keepers kill poachers in real life as in the story.
+The great auk is extinct and the right whale is still hunted, but
+Peace-pool is as fancifully portrayed as is the creation of world-pap.
+It appears that as Kingsley proceeded with his story he let his
+imagination play more freely and drew farther away from facts as his
+fancies came plentifully. So the story furnishes food for thought by old
+and young, and parts of it can be understood only by those who have had
+considerable study and experience.
+
+III. _Fun and Humor._ A more entertaining story is hard to find. There
+are many amusing situations and funny doings, besides which, Kingsley's
+style of writing abounds in a rich humor that is not always evident to
+the hasty and careless reader. Not a little of the humor is ironical and
+sometimes we are inclined to think that the writer may be having a
+little quiet fun at the expense of his readers.
+
+Children are inclined to read _Tom, the Water Baby_ as they do many
+another tale, for the story only. They want to know what happens to Tom,
+whether or no Grimes is punished, what becomes of Ellie, and how it "all
+comes out." But when attention is called to the fun in the tale children
+will read it more than once, for they like to laugh even better than
+their elders, and curiosity prompts them to watch to "see the joke."
+
+The humorous twist to things begins in the second sentence of the story
+and it does not disappear permanently till the very last sentence of the
+_Moral_. See how it shows in these few extracts: "His master was so
+delighted at his new customer that he knocked Tom down out of hand"
+(page 219).
+
+After Tom's pathetic discovery of his own dirtiness (page 232), comes
+this: "With a noise as of ten thousand tin kettles tied to ten thousand
+mad dogs' tails." Humor and pathos are both strengthened by the violent
+contrast.
+
+On page 232 begins the long humorous paragraph descriptive of the chase
+after Tom.
+
+"The birches birched him as soundly as if he had been a nobleman at
+Eton, and over the face too (which is not fair swishing, as all brave
+boys will agree)" (page 235).
+
+What could you imagine more amusing in its way than the extremely absurd
+"argument" the author makes for the existence of water babies (page
+254): "You never heard of a water baby? Perhaps not. That is the very
+reason why this story was written. There are a great many things in the
+world which you never heard of; and a great many more which nobody ever
+heard of; and a great many things, too, which nobody ever will hear of.
+No water babies, indeed! Why, wise men of old said that everything on
+earth had its double in the water; and you may see that that is, if not
+quite true, still quite as true as most other theories which you are
+likely to hear for many a day. There are land babies, then why not water
+babies? _Are there not water rats, water flies, water crickets, water
+crabs, water tortoises, water scorpions, water tigers and so on without
+end?_ To be sure, there must be water babies. Am I in earnest? Oh dear
+no!"
+
+Read the account of the policemen, beginning on page 306, for an example
+of a broader humor.
+
+Page 347: "And the sun acted policeman, and worked round outside every
+day, peeping just over the top of the icewall, to see that all went
+right; and now and then he played conjuring tricks, or had an exhibition
+of fireworks, to amuse the sea fairies. For he would make himself into
+four or five suns at once, or paint the sky with rings and crosses and
+crescents of white fire and stick himself in the middle of them, and
+wink at the fairies; and I dare say they were very much amused, for
+anything's fun in the country."
+
+Do not think of "skipping" the _Moral_. No more attractive "moral" was
+ever written for fable or fairy tale!
+
+IV. _Pathos._ Tom, the Chimney Sweep is always pathetic. He enlists our
+sympathies wholly from the time we meet him where there was "plenty of
+money for Tom to earn and his master to spend," until he "pulled off all
+his clothes in such haste that he tore some of them, which was easy
+enough with such ragged old things," "put his poor, hot, sore feet into
+the water," "tumbled himself as quick as he could into the clear, cool
+stream" and in two minutes "fell fast asleep, into the quietest,
+sunniest, coziest sleep that he had ever had in his life and--dreamt of
+nothing at all." It is only as Tom the Water Baby that he does not make
+us sad.
+
+Poor little, dirty, ignorant Tom! Little enough to climb up the sooty
+chimney flues; so dirty that he knew not what cleanliness meant; so
+ignorant that he "never had heard of God, or of Christ, except in words
+which you never have heard," and his idea of happiness was to "sit in a
+public house with a quart of beer and a long pipe," to play cards for
+silver money, to "keep a white bull dog with one gray ear, and carry
+her puppies in his pocket just like a man," to have apprentices and to
+bully them, to knock them about and make them carry soot sacks while he
+"rode before them on his donkey, with a pipe in his mouth and a flower
+in his button hole, like a king at the head of his army!" "Yes, when his
+master let him have a pull at the leavings of his beer, Tom was the
+jolliest boy in the whole town."
+
+To him who reads understandingly, there is pathos on nearly every page
+of the first two chapters. Sometimes it is seen in hints and shown by
+indirection but in other instances it is direct, positive, powerful.
+
+Just read (page 231), how Tom learns that he is naught but a "little
+black ape," an "ugly, black, ragged figure with bleared eyes and
+grinning white teeth."
+
+In his terrible race for life he "thought he heard church bells ringing
+a long way off" and thought "where there is a church there will be
+houses and people," and perhaps someone will give him a "bit and a sup."
+So he follows the ringing in his ears till he comes to the top of the
+great crag and sees "a mile off and a thousand feet down" the old dame
+in her garden. We lose our own breath in following him down that awful
+descent, find ourselves panting, and at last, suddenly, "b-e-a-t, beat!"
+After the old dame has given him the old rug and bidden him sleep off
+his weariness, comes the fever with the ringing of the church bells and
+the persistent, agonizing thought, "I must be clean, I must be clean."
+It is this that drives him out to the "clear, clear limestone water,
+with every pebble at the bottom bright and clean" the cool, cool, cool
+water for his weary feet.
+
+Then when it is too late, just to add to the pathos of the sad little
+tale, comes the Squire, conscious of the terrible mistake and ready to
+put Tom in the way of cleanliness, knowledge and happiness; Tom, of whom
+there remained only the husk and shell which made the Squire think the
+poor sweep was drowned.
+
+To close the chapter and the sad part of the story, the dame sings the
+old, old song which the children could not understand but which they
+liked nevertheless, "for it was very sweet and very sad and that was
+enough for them." We know what it means.
+
+    "When all the world is old, lad,
+       And all the trees are brown;
+     And all the sport is stale, lad,
+       And all the wheels run down;
+     Creep home, and take your place there,
+       The spent and maimed among;
+     God grant you find one face there,
+       You loved when all was young."
+
+V. _Beauty. Tom, the Water Baby_ has in it much more of real beauty both
+in sentiment and expression than most prose and more than many a
+charming poem. There is little of ugliness in the story, and what there
+is, is so softened in the way in which it is presented that the
+impression is neither repulsive nor lasting. Kingsley's work is highly
+artistic and this story is real literature.
+
+Some of his descriptions are like beautiful pictures in color. Here is
+one from page 220:
+
+"But soon the road grew white, and the walls likewise; and at the wall's
+foot grew long grass and gay flowers, all drenched with dew; and instead
+of the groaning of the pit engines, they heard the skylark saying his
+matins high up in the air, and the pit bird warbling in the sedges as he
+had warbled all night long."
+
+Beginning at the bottom of the same page (220): "For old Mrs. Earth was
+still fast asleep; and, like many pretty people she looked still
+prettier asleep than awake. The great elm trees in the gold-green
+meadows were fast asleep above, and the cows fast asleep beneath them;
+nay, the few clouds which were about were fast asleep likewise, and so
+tired that they had lain down on the earth to rest, in long white flakes
+and bars, among the stems of the elm trees, and along the tops of the
+alders by the stream, waiting for the sun to bid them rise and go about
+their day's business in the clear blue overhead." Was there ever more
+attractive description of the mist patches that lie across the earth
+waiting for the morning sun to dissipate them?
+
+The poor Irishwoman followed Tom in this manner: "She went along quite
+smoothly and gracefully, while her feet twinkled past each other so fast
+that you could not see which was foremost."
+
+The dragon-fly is described in this way: "It grew strong and firm; the
+most lovely colors began to show on its body--blue and yellow and black,
+spots and bars and rings; out of its back rose four great wings of
+bright brown gauze; and its eyes grew so large that they filled all its
+head and shone like ten thousand diamonds."
+
+This is Mrs. Doasyouwouldbedoneby: "She was a very tall woman, as tall
+as her sister; but instead of being gnarly, and horny, and scaly, and
+prickly, like her, she was the most nice, soft, fat, smooth, pussy,
+cuddly, delicious creature who ever nursed a baby--and all her delight
+was to play with babies--and therefore when the children saw her, they
+naturally caught hold of her, and pulled her till she sat down on a
+stone, and climbed into her lap, and clung round her neck, and caught
+hold of her hands, and then they all put their thumbs into their mouths
+and began cuddling and purring like so many kittens."
+
+And this is a scene in Peace-pool: "There were moths with pink heads and
+wings and opal bodies, that flapped about slowly; moths with brown wings
+that flapped about quickly; yellow shrimps that hopped and skipped most
+quickly of all; and jellies of all the colors in the world that neither
+hopped nor skipped, but only dawdled and yawned."
+
+Here are a few descriptive phrases taken at random: "Two great, grand
+blue eyes, as blue as the sea itself"; "his little whirl-about of a
+head"; "long curls floating behind her like a golden cloud, and long
+robes floating all round her like a silver one"; "came paddling and
+wriggling back to her like so many tadpoles"; "the shadows of the clouds
+ran races over the bright blue sky"; "the river widened to the shining
+sea"; "such enormous trees that the blue sky rested on their heads."
+
+VI. _Good Lessons._ Through all the fun, the burlesque, the amusing
+exaggerations and the bombastic humor runs a scheme of advice and
+instruction. Sometimes it takes the form of a direct caution to the
+reader, again it may be shown by inference, and lastly the events speak
+for themselves and give their own lesson. The author meant to teach
+adults as well as children. The graphic history of the Doasyoulikes is
+rather a clear-cut study in degeneracy for older people, as well as a
+lively warning for youngsters. But what is the author's main theme? Is
+his real text in the advice the poor Irishwoman gives to Grimes and Tom?
+"_Those that wish to be clean, clean they will be; and those that wish
+to be foul, foul they will be. Remember._" (page 225). Perhaps a second
+text or at least a corollary to this is expressed in the name of the
+cuddly lady, Mrs. Doasyouwouldbedoneby. This may mean the same as the
+advice she gives on page 328: "_Those who go there must go first where
+they do not like, and do what they do not like, and help somebody they
+do not like._" Besides these leading ideas there are several others that
+run through the story. Meanness and wickedness are made unattractive and
+bring punishment. The punishment grows logically out of the offense and
+has a direct relation to the misdeed. Persons are not rewarded for their
+good deeds but they are happy in being good. It is not a credit to do
+right, but wrongdoing is discreditable. Little meannesses stand in the
+way of happiness though they may not bring any definite punishments.
+Evil is ugliness, goodness is beauty. Friendship is made attractive and
+filial love is strongly inculcated. The strong appeal made to the
+sympathy of the reader by the very real and very human Tom, the chimney
+sweep, is a strong influence for good, and progress toward character in
+the clever little water baby is a continuous refining influence on the
+reader.
+
+The bits of advice, the little asides, are slipped into the text so
+naturally that they are never repulsive or calculated to raise
+antagonism in the minds of those who naturally dislike advice. Taken
+from the text they seem more formal and less helpful, but here are a few
+of them as illustrations:
+
+"Let well alone, lad, and ill too at times."
+
+"You must expect to be beat a few times in your life, little man, if you
+live such a life as a man ought to live."
+
+"Ah, first thoughts are best, and a body's heart'll guide them right, if
+they will but hearken to it."
+
+"It was not quite well bred, no doubt; but you know, Tom had not
+finished his education yet."
+
+"For salmon, like other true gentlemen, always choose their lady and
+love her, and are true to her, and take care of her, and work for her,
+and fight for her, as every true gentleman ought."
+
+"What has been once can never come over again."
+
+"No more to be bought for money than a good conscience or the Victoria
+cross."
+
+"You see, experience is of very little good unless a man, or a lobster,
+has wit enough to make use of it."
+
+"It is not good for little boys to be told everything, and never to be
+forced to use their own wits."
+
+"And so if you do not know that things are wrong, that is no reason why
+you should not be punished for them; though not as much, my little man
+(and the lady looked very kindly, after all), as if you did know."
+
+"I am quite sure that she knows best. Perhaps she wishes people to learn
+to keep their fingers out of the fire by having them burned."
+
+"I always forgive people the minute they tell me the truth of their own
+accord."
+
+"But even they were no foolisher than some hundred scores of papas and
+mamas; who fetch the rod when they ought to fetch a new toy, and send to
+the dark cupboard instead of to a doctor."
+
+VII. _Life-like Characters._ The great storyteller makes his characters
+seem like human beings. The reader can almost see them; at any rate, he
+feels that he knows them and that they are real, not merely life-like.
+It is hard to understand how the author accomplishes the wonderful feat
+(for it is the most wonderful thing about story writing), and it is much
+more difficult to tell how it is done. One word here, a clear
+descriptive phrase there, and Tom, or the Squire, or the old
+schoolmistress, or Mrs. Bedonebyasyoudid with her awkward name, has
+become so much of a personality that you cannot forget if you would.
+Certainly one of the fine things about _Tom, the Water Baby_ is the
+living reality of its characters, which appeals universally to young and
+old, even in the first reading of the story.
+
+VIII. _The Writer's Art._ It will add something to a child's interest in
+the story if his attention is called to the skilful way in which
+Kingsley handles his plot. It is high _art_ to throw into the early part
+of the story the conversation between the keeper and Grimes. It shows
+that Grimes is a poacher and known to be one. The keeper is inclined to
+wink at the offense, but still he feels that a warning is necessary.
+Nothing more is said about poaching till much later, where Tom, the
+Water Baby, sees Grimes meet a poacher's death.
+
+Again, it is early evident that Grimes has done other wicked things and
+that the poor Irishwoman knows of one at least. She even mentions
+Vendale, but the reader attaches no importance to it. Tom flees to
+Vendale and is pitied and kindly treated by the old Schoolmistress, but
+it is not until Tom finds Grimes suffering his punishment in the chimney
+flues that the reader learns what the poor Irishwoman knew about Grimes,
+and that the schoolmistress was Grimes's poor ill-treated mother.
+
+Once more, Kingsley's art is seen in the selection of incidents and the
+arrangement of influences which bring to Tom the conviction of his
+dirtiness and create in him the overpowering desire to be clean.
+
+But this interpretation of _Tom, the Water Baby_ has already reached the
+limits of space and we must forego the pleasure of pointing out other
+examples of artistic treatment. Probably it is better to leave the story
+to plead its own cause.
+
+
+_The Passing of Arthur_
+
+(Volume V, page 237)
+
+While the outline differs in form from those we have been using, it is a
+helpful variation, and shows that while a narrative poem must be studied
+first in the same manner as a story, there are still other points that
+need careful examination.
+
+Tennyson's _The Passing of Arthur_ is one of the noble things in
+literature, solemn, impressive, inspiring. In order to appreciate a
+careful study of it, one should have read at least those selections
+which appear in the fifth volume, beginning with page 113 and extending
+to page 236. With this preliminary setting there should be no difficulty
+in feeling a sufficient interest in King Arthur to be appreciative of
+Tennyson's work from the very beginning.
+
+a. _Characters._ Three characters appear in this poem, viz: King Arthur;
+Sir Bedivere, the knight first made and last surviving of all those who
+sat about King Arthur's table; Modred, Arthur's traitorous nephew.
+Besides these three human characters, the ghost of Gawain, the three
+queens who came in the barge, and even Excalibur itself are of so much
+interest that they may be considered as almost human.
+
+King Arthur is shown in his old age, when wife and friend are traitor to
+his peace, and all his realm has sunk back into disorder and is rapidly
+approaching extinction.
+
+Bedivere, oldest of the knights, now in the white winter of his age,
+when he himself was really no more than a voice, is supposed to tell the
+story to those with whom he dwelt, new faces, other minds.
+
+Modred is seen retreating league by league before King Arthur. At
+Lyonnesse, after a fierce battle in which confusion reigned and friends
+and foes were shadows in the mist, he meets his king. The false knight
+strikes Arthur hard upon the helmet, and gives the wound that finally
+proves fatal; while the king, with the last stroke of Excalibur, slays
+his traitorous nephew.
+
+The dead Gawain appears, a ghost blown along a wandering wind, and on
+the eve of the battle warns King Arthur of approaching death, but
+intimates that somewhere is an isle of rest for him.
+
+b. _The Incidents._
+   1. Arthur mourns for his departed kingdom.
+
+   2. Gawain warns Arthur of his approaching death; Arthur is depressed
+      by the warning.
+
+   3. Bedivere warns Arthur that he must rise and conquer Modred;
+      Arthur hesitates to make war against his people.
+
+   4. He moves his host to Lyonnesse: the last weird battle is fought.
+
+   5. Arthur thinks himself king only among the dead.
+
+   6. Bedivere professes affection, and calls Arthur's attention to the
+      traitor, Modred.
+
+   7. The king promises one last act of kinghood.
+
+   8. Modred wounds the king; the king kills Modred.
+
+   9. Bedivere carries the wounded Arthur to the ruined chapel.
+
+  10. The dying Arthur directs Bedivere to throw Excalibur into the
+      mere; Bedivere twice deceives Arthur and is twice reproved.
+
+  11. Bedivere throws Excalibur into the mere, and tells King Arthur
+      what happened.
+
+  12. Bedivere bears Arthur to the margin of the mere.
+
+  13. The three black-hooded queens with crowns of gold come in the
+      dusky barge.
+
+  14. Arthur is placed in the barge and speaks his last words to
+      Bedivere; the barge moves swan-like from the brink.
+
+  15. Bedivere watches the speck that bears the king move down the long
+      water opening on the deep.
+
+c. _Scenes._
+   1. Arthur in his tent among the slumbering host.
+
+   2. The march to the sunset bound of Lyonnesse, and the moving
+      pageant to the battlefield.
+
+   3. The dark strait of barren land with the ocean on one side and on
+      the other the great water; the ruined chapel with its broken
+      chancel and broken cross, and, near at hand, the place of tombs
+      with its bones of ancient mighty men; athwart all shines the
+      moon, and over all the chill wind with flakes of foam sings
+      shrilly. Zigzag paths lead around jutting points of rock down to
+      the shining levels of the lake, where the ripple washes softly in
+      the reeds, the wild water laps the crags, and many-knotted
+      water-flags whistle stiff and dry. Frozen hills, barren chasms
+      with icy caves, the bare black cliff and slippery crag wall, and
+      the level lake gleaming in the glories of the winter moon.
+
+d. _Descriptive Passages._ Besides those passages which relate
+especially to the scenes, there are other beautiful and powerful bits of
+description that will well repay examination. For instance:
+
+   1. Of King Arthur's dream the poet says,
+
+      "And fainter onward, like wild birds that change
+       Their season in the night and wail their way
+       From cloud to cloud, down the long wind the dream
+       Shrill'd."
+
+      Note the figure of speech (simile), beginning with the word
+      _like_.
+
+   2. The description of the last, dim, weird battle in the west,
+      beginning at the bottom of page 240 with the line "A death-white
+      mist slept over land and sea," is one of the most stirring things
+      in the poem, and deserves particularly close reading. The
+      pictures are crowded, the figures vivid, the phrases full of
+      force.
+
+   3. Tennyson has used his highest art in the composition, and makes
+      the sound of his lines imitate in no feeble way the noise of
+      battle. For instance:
+
+      "Shocks, and the splintering spear, the hard mail hewn,
+       Shield-breakings, and the clash of brands, the crash
+       Of battle-axes on shatter'd helms, and shrieks
+       After the Christ, of those who falling down
+       Look'd up for heaven, and only saw the mist."
+
+   4. The brilliancy of description corresponds well with the
+      glittering marvel of Excalibur:
+
+      "For all the haft twinkled with diamond sparks,
+       Myriads of topaz-lights, and jacinth-work
+       Of subtlest jewelry."
+
+           ".....the wonder of the hilt,
+       How curiously and strangely chased,"
+
+                                    "The great brand
+       Made lightnings in the splendor of the moon,
+       And flashing round and round, and whirl'd in an arch,
+       Shot like a streamer of the northern morn,
+       Seen where the moving isles of winter shock
+       By night, with noises of the Northern Sea."
+
+   5. King Arthur, as he lay in the barge with his weary head upon the
+      lap of the fairest and tallest of the three queens, is described
+      as follows:
+
+                                              "a brow
+       Striped with dark blood: for all his face was white
+       And colorless, and like the wither'd moon
+       Smote by the fresh beam of the springing east;
+       And all his greaves and cuisses dash'd with drops
+       Of onset; and the light and lustrous curls--
+       That made his forehead like a rising sun
+       High from the dais-throne--were parch'd with dust,
+       Or, clotted into points and hanging loose,
+       Mix'd with the knightly growth that fringed his lips.
+       So like a shatter'd column lay the king;
+       Not like that Arthur, who, with lance in rest,
+       From spur to plume a star of tournament,
+       Shot thro' the lists at Camelot, and charged
+       Before the eyes of ladies and of kings."
+
+_e. Character Study_--King Arthur. The best estimate of King Arthur's
+character is made from his own words and those of Bedivere, not from
+Tennyson's description.
+
+   1. He has been a devout man. He has fought for Christ and searched
+      for Christ and
+
+           "found Him in the shining of the stars,
+       Mark'd Him in the flowering of His fields."
+
+   2. He is now discouraged. He has not found Him in His ways with men,
+      and now it seems to him,
+
+      "As if some lesser god had made the world,
+       But had not force to shape it as he would."
+
+      "My God, thou hast forgotten me in my death."
+
+   3. Yet he is hopeful, and he feels that perchance the world is
+      wholly fair, and that his doubts come because he has not the
+      power to see it as it is, and may not see it to the close.
+
+   4. He desires to be just, and feels that in the coming battle in the
+      west he may not have the right on his side:
+
+                                  "Ill doom is mine
+      To war against my people and my knights.
+      The king who fights his people fights himself."
+
+   5. Yet courage and confidence are not all gone:
+
+      "Yet let us hence, and find or feel a way
+       Thro' this blind haze."
+
+   6. After the battle, he grows more confused:
+
+                          "I know not what I am,
+      Nor whence I am, nor whether I be King.
+      Behold, I seem but King among the dead."
+
+   7. He must be noble, kingly, to have inspired such devotion as
+      Bedivere shows. Hear what the latter says:
+
+                                          "My King,
+      King everywhere! and so the dead have kings,
+      There also will I worship thee as King."
+
+   8. He is a warrior to the last. Listen to his reply to Bedivere:
+
+      "King am I, whatsoever be their cry;
+       And one last act of kinghood shalt thou see
+       Yet, ere I pass."
+
+   9. He is resigned: "Let what will be, be."
+
+  10. He is faithful to the trust imposed upon him when he acquired
+      Excalibur. Three times he sends Bedivere to cast the sword into
+      the mere. The last time he says:
+
+      "But, if thou spare to fling Excalibur,
+       I will arise and slay thee with my hands."
+
+  11. He loves truth and reveres it:
+
+      "This is a shameful thing for men to lie."
+
+  12. Though he appears to fear death, rather is his fear that he shall
+      die before he reaches the water where he expects something.
+
+  13. At the last his philosophy bears him up, though still he calls
+      for devotion from his faithful knight. The whole speech is
+      matchless. Note these fine passages:
+
+      "The old order changeth, yielding place to new,
+       And God fulfils himself in many ways."
+
+                        "And that which I have done
+       May He within himself make pure!"
+
+                  "More things are wrought by prayer
+       Than this world dreams of. Wherefore, let thy voice
+       Rise like a fountain for me night and day."
+
+                      "The whole round earth is everyway
+       Bound by gold chains about the feet of God."
+
+  14. His faith rises triumphant:
+
+                            "I am going a long way ...
+       Where falls not hail, or rain, or any snow,
+       Nor ever wind blows loudly; but it lies
+       Deep-meadow'd, happy, fair with orchard lawns
+       And bowery hollows crown'd with summer sea,
+       Where I will heal me of my grievous wound."
+
+_f. Beauty._ All the elements of poetic beauty join to make _The Passing
+of Arthur_ a masterpiece. Sublime sentiment thrills through the stanzas.
+A stately meter gives a solemn, rhythmic swing to the noble lines.
+Sonorous words add to the grandeur. Apt phrases and beautiful figures of
+speech seize the imagination and enchain the fancy. Rare and choice
+diction gives artistic finish to every sentence.
+
+Most beautiful are such phrases as the following:
+
+    "The phantom circle of a moaning sea."
+
+    "Some whisper of the seething sea."
+
+    "Clothed in white samite, mystic, wonderful."
+
+                               "Let thy voice
+     Rise like a fountain for me night and day."
+
+      "And looking wistfully with wide blue eyes
+     As in a picture."
+
+    "Clothed with his breath."
+
+    "A cry that shiver'd to the tingling stars."
+
+Note how the following phrases give color to the poem:
+
+       "that day when the great light of heaven
+     Burn'd at his lowest in the rolling year."
+
+    "Among the mountains by the winter sea."
+
+                             "The winter moon,
+     Brightening the skirts of a long cloud."
+
+Observe the pictorial power of these quotations:
+
+    "Make broad thy shoulders to receive my weight."
+
+    "Straining his eyes beneath an arch of hand."
+
+    "One black dot against the verge of dawn."
+
+Most forceful are the following phrases:
+
+    "And the days darken round me, and the years,
+     Among new men, strange faces, other minds."
+
+    "From the great deep to the great deep he goes."
+
+    "Authority forgets a dying king."
+
+                                      "An agony
+     Of lamentation, like a wind that shrills
+     All night in a waste land, where no one comes,
+     Or hath come, since the making of the world."
+
+There never was a more beautiful comparison than the following:
+
+            "Like some full-breasted swan
+     That, fluting a wild carol ere her death,
+     Ruffles her pure cold plume, and takes the flood
+     With swarthy webs."
+
+
+FOOTNOTES:
+
+[189-1] _Haec fabula docet_ means _This fable teaches_. It is with these
+words that the "Morals" of the old Latin fables begin.
+
+
+
+
+CHAPTER IX
+
+CLOSE READING OR STUDY
+
+
+It is largely because story reading may so easily become careless
+reading, that prejudice against fiction is found in many minds. In the
+preceding pages there have been suggested many ways by which story
+reading may be made profitable, and yet all these methods may be used
+without calling for that close, intensive reading which we usually call
+study. You may lead a child to read _Rab and His Friends_ for all the
+purposes we have suggested, and yet he may have passed over without
+understanding them many a word, phrase or even sentence. It is possible
+that there are whole paragraphs that convey little meaning to him. This
+is certainly not an unmixed evil, for it is well that a child should not
+exhaust the possibilities of such a masterpiece when he first reads it.
+In fact, it is a good thing for children frequently to read great
+literature even when much of it is quite beyond their comprehension. It
+will pique their curiosity, and some time they will return with wiser
+minds and broader experience to interpret for themselves the things that
+once were obscure. It is no sin for a child sometimes to pass over a
+word he cannot pronounce or does not understand. There could be few more
+certain ways of destroying his taste for reading than to require him to
+stop and find the meaning of every new word he meets. Sometimes the
+meaning will become evident a little later from the context, and in
+other instances he will understand well enough without the troublesome
+word.
+
+What has been said does not signify that the habit of skipping new words
+or of avoiding difficult paragraphs is a good one. It does mean,
+however, that sometimes the practice should be tolerated, and that close
+reading should be required at the proper time and in the proper way. In
+the arithmetic or geography lesson the young must always read very
+closely, and in their perusal of the classics there are many fine
+opportunities for exercises of the same character, that should not be
+neglected. Descriptive passages, arguments, and essays of all kinds
+require to be read with exceeding care, and often there are passages
+even in light fiction that repay this kind of study.
+
+Words and phrases are the subjects of consideration in close reading,
+and the mastery of thought is the object to be attained. The study of
+words may be made very interesting, and gathering the meaning of phrases
+may become a fascinating pastime.
+
+An illustration may prove the case. Take the paragraph from _Rab and His
+Friends_ (Volume VI, page 99) in which death approaches Ailie: "The end
+was drawing on: the golden bowl was breaking; the silver cord was fast
+being loosed--that _animula blandula, vagula, hospes comesque_ was about
+to flee. The body and the soul--companions for sixty years--were being
+sundered and taking leave. She was walking, alone, through the valley of
+the shadow, into which one day we must all enter--and yet she was not
+alone, for we knew whose rod and staff were comforting her."
+
+A cursory reading will suggest to any young person that the paragraph
+says Ailie is going to die, and that she does not fear death; but how
+much more it means to him who can understand it all. _The end was
+drawing on_--Ailie was going to her death. _The golden bowl was
+breaking; the silver cord was fast being loosed._ Turn to your Bible
+(_Ecclesiastes_ xii, 3-7), and read what is said. _That "animula
+blandula, vagula, hospes comesque" was about to flee._ That sweet but
+fleeting life, friend, companion and sojourner with her, was about to
+leave. _She was walking alone through the valley of the shadow._ "Yea,
+though I walk through the valley of the shadow of death, I will fear no
+evil." _Into which one day we must all enter._ May we be equally
+fearless of evil! _She was not alone._ Her God was with her every
+moment, and in her hours of consciousness she knew Him to be present.
+_We knew whose rod and staff were comforting her._ "Thy rod and Thy
+staff they comfort me."
+
+Like the Psalmist of old she leaned upon the arm of her God and as she
+thus approached the dark valley, the light of her faith shone into our
+souls.
+
+The Latin quotation and the allusions to the Bible are skilfully used to
+give solemnity to the idea of death, to show how inevitable it is, and
+how for long ages it has been met with the same serene faith and deep
+religious feeling that made Ailie beautiful in the face of death. Yes,
+there is more in the paragraph than the statement that Ailie was going
+to die and that she was not afraid.
+
+To illustrate a different style of close reading and a method of
+securing it by questioning, we will quote part of a paragraph from
+_Braddock's Defeat_ (Volume V, page 379) by Benjamin Franklin: "Our
+Assembly apprehending, from some information, that he [Braddock] had
+conceived violent prejudices against them, as averse to the service,
+wished me to wait upon him, not as from them, but as postmaster-general,
+under the guise of proposing to settle with him the mode of conducting
+with most celerity and certainty the despatches between him and the
+governors of the several provinces with whom he must necessarily have
+continual correspondence, and of which they proposed to bear the
+expense."
+
+The questions designed to bring out the meaning of the above paragraph,
+to which the answers are usually quite obvious, might be as follows:
+
+Is "our Assembly" the Albany convention mentioned in the note at the
+head of the selection, or is it the Assembly of Franklin's own colony?
+What is the meaning of _apprehending_? Do you like it better than
+_thinking_? What do you suppose was the nature of the "information" the
+Assembly had received? Do you think that someone had told them that
+Braddock was prejudiced, or did they infer it from actions of Braddock
+which had been described to them? Who was averse to it? What is the
+meaning of "wait upon him"? Do we use that phrase frequently now? What
+might we say now? What do you understand by "not as from them"? Can you
+put into that phrase one word that will make its meaning clear? Was
+Franklin then postmaster-general of his colony? Was he ever
+postmaster-general of the United States? What is the meaning of _guise_?
+What is meant by "under the guise"? Does _celerity_ mean more than
+_quickness_? Is there any shade of difference in the meanings of the two
+words? Do you think Franklin used the best word he could find when he
+wrote _celerity_? What are "despatches"? What kind of despatches would
+pass between Braddock and the governors of the different provinces? How
+many different provinces were there for Braddock to help defend? What
+were they? Who proposed to pay the expense? Does _propose_ in this case
+have a different or larger meaning than that in which you are in the
+habit of seeing it used? Of what did they propose to pay the expense?
+
+If a young person can answer all the questions in the preceding
+paragraph, he undoubtedly understands the passage upon which they are
+based. The questioner must watch the answers and be ready to detect
+mistakes. Often the answer shows why the person fails to understand, and
+a different question will then bring out the correct reply. The
+questions always should be so worded that they do not anticipate the
+answer, yet so the person questioned will thoroughly understand what is
+expected. A little help now and then is appreciated by anyone, certainly
+by those who are being led to think.
+
+Carried to excess, close reading is wearisome; and parents, remembering
+this, should be discriminating in their selections for study and not too
+exacting in their requirements. Everything may be lost by dwelling too
+long upon even the most delightful selections. Left to himself, almost
+every child will be fond of _The Village Blacksmith_, but it may be
+read and "studied" till the very thought of it is obnoxious to the young
+reader.
+
+
+_Industry and Sloth_
+
+(Volume I, page 300)
+
+To bring out the thought in this selection, study it as follows:
+
+What is the meaning of _jocosely_? (Flippantly.) What is a court? (A
+place where disputes between persons are settled by a judge, or by a
+judge and jury.) What is a jury? (A company of men, usually six or
+twelve, who hear the evidence and decide on the facts.) What are cases?
+(The dispute or disagreement is called a _case_, when it is brought to
+court to be decided or settled.) What are damsels? (Young girls.) What
+were the names of the young damsels the young man said he saw? Why do
+the words "Industry" and "Sloth" begin with capital letters? (Because
+they are the names of girls.) Were they real girls? What does _industry_
+mean? (Work.) What does _sloth_ mean? (Laziness.) Were these real girls?
+Then what does this mean? (The young man thinks of fondness for work and
+fondness for idleness as though they were girls.) When we write of
+qualities, or feelings, as though they were human beings, the words
+become proper nouns and we begin them with capital letters. Do you know
+what we call this process of lifting something that is lower to the
+level of human beings? No? We call it _personification_. Here industry
+and sloth are personified and made the equals of human beings. What does
+_entreats_ mean? What does _persuades_ mean? (That means _teases_ or
+_begs_.) Which is the stronger word, entreats or persuades? (_Entreats_
+means _begs strongly_; _persuades_ means _begs and makes me believe what
+is said_. I think the latter is really the stronger word.) What does
+_alternately_ mean? (First one and then the other.) What does
+_impartial_ mean? (Fair; without any favoritism.) What does _detained_
+mean? (Kept.) What does _pleadings_ mean? (Where a case is tried in
+court the lawyers on each side try to persuade the court or jury to
+decide in favor of the man [client] who has hired them. The written
+papers and the speeches the lawyers make are called _pleadings_.)
+
+Do you think the young man was really serious? Do you think he really
+tried to decide anything as he lay in bed, or was he just trying to make
+up an excuse for his laziness? Was there any reason why the young man
+should lie in bed? Did he think there was? Could you find any better
+reason than he gave? Do you think he was a bright young man? If you had
+listened to him would you have taken his excuse? Why? Was it really
+truthful? Did you ever lie in bed and think, "Well, I must get up; no,
+I'll lie a little longer. But I must get up. What's the use? But I ought
+to get up. Yes, I really ought to get up," etc., etc., and finally
+discover that you had wasted a great deal of time without really
+intending it? Were Industry and Sloth pleading with you then? Do you
+think that some people waste much time trying to decide useless
+questions? Does it sometimes happen that men and women waste so much
+time in this way that they never accomplish a great deal of anything?
+
+
+_Why the Sea Is Salt_
+
+(Volume II, page 484)
+
+In this pleasing fairy story Mary Howitt has told the tale of the
+curious explanation offered by the peasants of Denmark and Norway for
+the saltness of the sea. It naturally raises in a child's mind the
+question, why is the sea salt? The question can be answered in this
+manner:
+
+The rain falls down in little drops, some of which soak into the ground,
+while others make rivulets that run into brooks that in time join the
+rivers that flow into the sea. Much of the water that soaks into the
+ground finds its way again to the surface in springs that feed the
+brooks and keep them alive when no rain is falling. Of course the sun
+when it shines turns some of the water into vapor that rises again to
+the sky. Sometimes on a cool morning you can see the mist or vapor too
+heavy to rise out of sight and too light to fall as rain. Wherever there
+is water, some of it is rising into the air, especially when the sun
+shines and it is warm and the wind blows. The sea is so big that great
+quantities of vapor are rising from it all the time and being blown over
+the land to be cooled, to gather into rain and to fall again where it
+will refresh the earth and make the plants grow.
+
+So you see water is traveling through the air all the time, up from the
+earth, the streams and the seas, through the air, back to the earth and
+through it into the sea again in a great series of everlasting circuits.
+We are hardly ever conscious of the moisture except when it falls as
+rain or snow and spoils our plans.
+
+When the water is passing through the land it dissolves and gathers up
+various substances, especially salt, which "melts" in water very easily.
+This salt and the other bitter and brackish substances are carried
+little by little, sometimes pausing, but always on and on till they
+reach the sea, beyond which they cannot go, for the sea is in the lowest
+parts of the earth. Now come the sun, the heat and the winds and
+evaporate the water; that is, draw up the vapor to start on its new
+circuit. But, notice this, the vapor that rises is pure water. The salt
+and other substances are left in the sea. At first it was only a little
+that was left, then more, always a little more till the water couldn't
+hold it all and it sank to the bottom and made deposits of salt and
+other things. But the streams always bring more sediment and the heat
+and the winds carry off pure water and leave the rest salty and bitter.
+And that is the real reason why the sea is salt.
+
+
+_Faithless Sally Brown_
+
+(Volume III, page 92)
+
+It is a thankless task to try to explain a joke, but some of the fun in
+these jolly old rhymes depends upon facts that are not generally known
+or that may have been forgotten. A few words here may help to answer
+questions.
+
+Stanza II. "Fetched a walk." This is an application of a nautical term,
+as in "to fetch headway."
+
+"Press Gang." To secure recruits for her navy, England at one time
+permitted her men to be seized and forcibly carried on board ship, where
+they were compelled to perform sailors' duties on long cruises. The
+bands of cruel men who captured the recruits were known as "press
+gangs."
+
+Stanza III. A boatswain is one of the minor officers of a ship. He
+usually has charge of one of the small boats, such as would carry off a
+recruit to the big ship.
+
+Stanza VIII. John Benbow was a famous English Admiral who died in 1702
+from wounds received in a four days' fight with the French fleet in the
+West Indies. His captains refused to obey orders and Benbow was unable
+to win the battle. When his right leg was shot off he refused to go
+below but continued to direct the conflict from the deck. "I had rather
+have lost both legs," he said, "than have seen this dishonor brought on
+the English nation. But, hark ye--if another shot should take me off,
+behave like men and fight it out." Two of his captains were tried,
+convicted and shot. The Admiral himself died after three or four months
+of suffering.
+
+Stanza IX. A tender is a ship that carries supplies or conveys messages
+from one to another of the ships in a squadron.
+
+Stanza XI. "The Virgin and the Scales." The Virgin (Virgo) and the
+Scales (Libra) are two constellations known to the ancients. A person
+born while these constellations were to be seen in the sky (from near
+the end of August to near the end of October) was said to be born under
+them and was believed to have certain characteristics. In the case of
+Sally Brown the stars were cruel. She could not follow her beau, Ben,
+but must walk about raising her voice in wailing.
+
+Stanza XV. "To pipe his eye" is a slang phrase meaning to look sharply.
+
+Stanza XVI. "_All's Well_," the usual cry of a watchman, not the name of
+a song.
+
+"Pigtail" was a kind of chewing tobacco much used by sailors. It was
+twisted in hard rolls.
+
+
+_The Definition of a Gentleman_
+
+(Volume IV, page 170)
+
+There is nothing in _Journeys Through Bookland_ that will better repay
+thought, especially for the boys, than this extract from the writings of
+the great Cardinal Newman. It affords, however, a host of little tests
+of character that everyone can apply to himself; for "gentleman," here,
+is used in its generic sense and applies with equal force to both sexes.
+
+It is not to be read hastily and then laid aside, for no one can get its
+full meaning from a single perusal. Every word is a chapter, every
+sentence a volume. Read properly, each sentence must carry with it a
+personal application, which can be seen as the reader asks, "Is this
+what I am?"
+
+Am I then, one who never gives pain?
+
+Am I mainly occupied in removing the obstacles that hinder the action of
+my friends and acquaintances? Am I the easy chair that gives them bodily
+comfort, the good fire that dispels the cold and makes them comfortable
+and free to act?
+
+Do I try always to make everyone at ease and at home?
+
+Am I
+
+--tender toward the bashful?
+
+--gentle toward those who are cold and reserved?
+
+--merciful to those whose actions draw ridicule upon themselves?
+
+In conversation, do I recollect those to whom I am speaking, avoid
+irritating them, keep myself in the background, talk little myself and
+listen attentively to them?
+
+If I can put to myself each of the tests Cardinal Newman offers in these
+few pages and can feel myself ring true under each, then may I hope to
+call myself a gentleman.
+
+
+_Adventures in Lilliput_
+
+(Volume V, page 8)
+
+In _Gulliver's Travels_ Swift has given us a wonderful work in
+constructive imagination. As has been said elsewhere, the imagination
+works with the ideas which are present in the mind. It creates nothing,
+but it may enlarge, diminish or recombine ideas with an infinity of
+form. In _Adventures in Lilliput_ Swift has used largely the reducing
+power of his imagination. If he has been accurate, he has reduced
+everything in the same proportion. An interesting study of this phase of
+the story may be made by means of questions, which may be answered by
+reading the text, or by reasoning from the facts given.
+
+In the following exercise, questions and comments are combined in such a
+way as to assist a boy or girl to verify or disprove the accuracy of
+Swift's work. A similar exercise, to illustrate the opposite extreme,
+may be based upon _Adventures in Brobdingnag_ (page 54). It is hoped,
+too, that the questions may suggest a method for interpreting other
+selections.
+
+When Gulliver awoke and found himself bound (page 10), he felt something
+alive moving on his body. Bending his eyes downward as much as he could
+he saw it was a human creature not six inches high. We are at liberty to
+suppose that Gulliver was a man of ordinary height, that is to say, not
+six feet high. If the Lilliputian was "not six inches high," what was
+the ratio of height between Gulliver and his miniature captors? If,
+then, Gulliver is twelve times the size of one of his captors, we have a
+standard of comparison.
+
+How long a bow would a man use? How long would be the arrow that fitted
+that bow? How long would the bows and arrows of the Lilliputians be?
+Would an arrow that size, fired with the force a Lilliputian could give,
+"prick like a needle," and if there were many of them would they set a
+man "a-groaning with grief and pain"?
+
+If a man were lying flat on his back could he turn his eyes down so as
+to see a pencil, not six inches high, placed upright on his breast? When
+a man's face was turned two inches to the left, how much of the ground
+would be concealed from his sight by his shoulder?
+
+How far can a man shoot an arrow? How far could a Lilliputian shoot an
+arrow? Would an arrow the size of a Lilliputian's falling from the
+height to which he could shoot it pierce the skin of a man?
+
+How long were the spears of the Lilliputians? Is it reasonable to
+suppose that a leather jerkin would be proof against their spears? How
+tall was the page that held up the train of the "principal person."
+(page 12)?
+
+How many times the height of a Lilliputian was the body of Gulliver as
+he lay on the ground? How many rounds would there be in one of the
+ladders on which they climbed? "Above one hundred inhabitants" mounted
+the ladders and walked toward Gulliver's mouth. They carried baskets
+filled with meat. Would the quantity of meat be too large for Gulliver
+to eat? Would the shoulders, legs and loins of a sheep one-twelfth the
+height of an ordinary one be "smaller than the wings of a lark"? Would
+loaves of bread the "bigness of musket balls" be one-twelfth the size of
+ordinary loaves?
+
+In the case of two vessels of the same proportions, but of different
+heights, do the capacities vary according to the heights, or according
+to the cubes of the heights? If one of our hogsheads contain from one
+hundred to one hundred and forty gallons, how much should a Lilliputian
+hogshead contain to be in proportion?
+
+Is it a fact that being one-twelfth the height of a man a Lilliputian
+should have one-twelfth of a man's strength? If a man is reduced to
+one-twelfth of his height what should his weight be?
+
+When they wished to move Gulliver, five hundred carpenters and engineers
+were set to work to prepare a frame of wood, which was raised three
+inches from the ground, was about seven feet long, four feet wide, and
+moved upon twenty-two wheels. What was the diameter of the wheels that
+would raise the body three inches from the ground? Would it be an easy
+matter to move wheels of that size when they bear a weight such as
+Gulliver's must have been?
+
+Knowing what we know of the Lilliputians could nine hundred of them
+using pulleys with cords "the bigness of pack-thread" lift Gulliver upon
+the engine in less than three hours?
+
+Does Swift keep the correct proportions when he says that Gulliver's
+bullets are about the size of the heads of the Lilliputians? Would "an
+hundred and fifty of their beds sewn together make up the breadth and
+length" of a bed large enough for Gulliver?
+
+How large would a Lilliputian horse be? Does it seem wonderful that
+Gulliver's hat could be brought from the seashore with "only five
+horses"?
+
+It is unnecessary to carry the questioning any further. Anyone who reads
+the stories will find an infinity of questions suggesting themselves to
+him, and he will doubtless get no little pleasure and profit from
+attempting to answer them. As will be seen, some of the questions are
+not simple. If Swift has been wise he has not reduced everything
+arbitrarily on a horizontal scale to one-twelfth of its apparent size,
+capacity, weight, or strength, but has properly apportioned all. The
+reader may find that he will be called upon for some nice
+discrimination, before he can judge correctly as to the accuracy with
+which Swift has used his scale of reduction.
+
+
+_The Heart of Bruce_
+
+(Volume V, page 316)
+
+1. What is meant by "frost lay hoar"? "Hoar" means "white" or "gray."
+(It was early in the morning before the sun had melted the frost.)
+
+2. What kind of armour did they wear? What kind of "ships" rode in the
+bay? (Remember this happened about six hundred years ago.)
+
+3. What caused the foam that was swept away? Why did they gaze back in
+silence?
+
+4. Why does the poet call them _purple_ hues, and why does he say they
+decayed? (Recall the lines: "'Tis distance lends enchantment to the
+view, and clothes the mountain in its azure hue." Did you ever notice
+the purple on distant hills? What causes it?)
+
+5. What is the "battle-van"? (The front rank.)
+
+6. What is a "freit"? (A superstitious notion or an omen as to right or
+wrong. Lord Douglas felt a superstitious dread, a chill of foreboding.)
+
+7. What did Robert say on his dying day?
+
+8. What did Robert want his followers to do with his heart?
+
+9. Who dreamed this dream? What was a Pilgrim? (A pilgrim is a wanderer.
+We think first of the Puritan fathers when we speak of Pilgrims, but the
+Pilgrim who appeared to Lord Douglas was a palmer who showed by his garb
+and his olive branch that he had been to the Holy Land.) See picture,
+page 319.
+
+10. What kind of a Cross did Saint Andrew bear? Who was Saint Andrew?
+(Saint Andrew was one of the twelve apostles, and is believed to have
+suffered martyrdom on a cross shaped something like the letter X, that
+is, one made of two beams of equal length crossing in the middle at an
+angle.)
+
+11. What is a "belted brand"? (A sword fastened to a belt.)
+
+12. What was "Galilee"? What was the "Holy Mount" and why was it so
+called?
+
+13. What is "Scotland's heart"? (The heart of Robert Bruce, so called
+because of the reverence in which he is held by the Scotch.) Where can
+you read about the great angel that calls the dead to rise?
+
+14. What is meant by "mark my rede"? (Listen to my advice or counsel.)
+
+15. What was the prediction the Pilgrim seemed to make to Lord Douglas?
+What did Lord Douglas ask of Sir Simon of the Lee?
+
+16. Why should Scotland's earth be called "kindly"?
+
+17. What does "betide" mean? Tell in your own words what Sir Simon
+replied. ("Whatever happens to me, I'll do as you command.")
+
+18. What does Sir Simon promise?
+
+19. What does "aye" mean? (In this place it means "for a long time.")
+What is meant by on our "lee"? (The wind blew toward Spain, and across
+the course of the ship; hence the coast appeared on the lee side of the
+vessel.) Why should the poet say the coast rose "grimly"?
+
+20. What are "atabals"? (Tabors or kettledrums used by the Moors.)
+
+21. Who asks the question about the Eastern music and the crowd of armed
+men?
+
+22. What was Castile? (A province of Spain.) Who answers the question
+asked in the twenty-first stanza?
+
+23. What is meant by the "Cross in jeopardie"? (The Spaniards were a
+Christian nation fighting under the symbol of the Cross. The Moors were
+the infidels or Moslems whose success would destroy the Christian
+religion in Spain. Their symbol was the crescent.)
+
+24. What does "Have down" mean? (It means "Let us land.")
+
+25. Who speaks in the twenty-fifth stanza?
+
+26. Explain what is said in the twenty-sixth stanza. (Do you come
+because you have promised to fight the pagans or do you come to fight
+for money? Are you French or Burgundians?)
+
+27. What is a "belted peer"?
+
+28. What is the meaning of "died upon the tree"?
+
+29. What is a "weltering wave"? (To "welter" is to tumble over. The
+"weltering wave" is the sea.)
+
+30. Does the word "pilgrim" mean the same here as in the ninth stanza?
+
+31. What King is this who speaks in the thirty-first stanza?
+
+32. What do the words "full well" express?
+
+33. Is the word "amain" in use nowadays? What does it mean?
+
+34. What is a high glance?
+
+35. What does this speech by Douglas show us of his character?
+
+36. What were "cross-bolts"? (Short, blunt arrows fired from the
+cross-bows.)
+
+37. What is a Saracen? (Here the word means merely a Mohammedan hostile
+to the Christians.) What does "rode like corn" mean? (We rode through
+their ranks as we would ride through corn.)
+
+38. What is the meaning of "fain"? (Willing.)
+
+39. What does "fell" mean? (Deadly.)
+
+40. What is meant by "Make in"? (Here it means, "Gather together.")
+
+41. What was the "rain"? What was the "swarm"?
+
+42. What had happened to Saint Claire?
+
+43. What was James's purpose in holding aloft the heart of Bruce?
+
+44. Why did he throw the sacred relic before him? What does "wert wont
+of yore" mean? ("As you used to do.")
+
+45. What is the meaning of "stour"? (Battle or combat.) Why are the
+spears said to come in "shivering"?
+
+46. Who speaks in the forty-sixth stanza?
+
+47. Who replies in the forty-seventh stanza? What does "dree" mean?
+(Suffer, endure.)
+
+48. What does "stark" mean?
+
+49. What is the meaning of "lyart"? (Gray. The word was usually applied
+to a horse.)
+
+50. What is this "heaviest cloud" that is bound for the banks of
+Bothwell?
+
+51. What is this "sorest stroke" that has fallen upon Scotland?
+
+52. What was to be carried back to the ship and laid in hallowed ground
+in Scotland?
+
+53. Who is the "Lord King" referred to in the fifty-third stanza?
+
+54. Does the line "so stately as he lay" seem a natural way of
+expressing the fact?
+
+55. What does the speech of the Spanish King show of his character?
+
+56. Why does the poet say that we steered the ship "heavily"?
+
+57. Does "no welcome greeted our return" mean that none of the Scotch
+met the returning soldiers?
+
+58. What were "Douglas Kirk" and "fair Melrose"? (The church of the
+Douglas clan and the stately abbey of Melrose. The latter may still be
+seen in beautiful ruins in southern Scotland.)
+
+
+_Annie Laurie_
+
+(Volume VI, page 119)
+
+The Scotch dialect in this old favorite is one of its charms, but some
+readers may require explanation of a few of the terms.
+
+"Braes" are hillsides or slopes. "Bonnie" is the Scotch way of spelling
+"bonny," which, here, means "beautiful."
+
+"Fa's" is the Scotch spelling of "falls."
+
+"Gie'd" is Scotch for "gave."
+
+The last line of the first stanza rendered into English would read, "I'd
+lay me down and die."
+
+"Snaw" is "snow."
+
+"Ee" is "eye."
+
+The "gowan" is the mountain daisy of Scotland.
+
+"Fa'" is "fall."
+
+Like many another simple lyric of love and devotion this owes much of
+its popularity to the sweet melody of the music to which it is usually
+sung.
+
+
+_The Lost Child_
+
+(Volume VII, page 409)
+
+1. Where did the poet wander? Is the picture on page 409 a beautiful
+one? Is it your idea of a sunny glade? On what or on whom was the poet
+musing? Where his thoughts pleasant? To what does he liken his
+thoughts? What are guideless thoughts? Do you think his "love" is a
+person, or is it his work, his calling?
+
+2. What chanced to go astray? Did Lowell sometimes fear for the future?
+How does he express the fear? Who brought back the wandering thoughts?
+Where did the thoughts rest? Who had the "snowy arms"? If Lowell feared
+the future at any time, what was it that brought calm to him again?
+
+3. What is the "soft nest"? Who is the "happy one"? Whose hair "shone
+golden in the sun"? How could a thought of fear seem like a "heavenly
+child"? Was it Hope that thus transformed all his thoughts?
+
+4. Upon what did Hope's eyes smile mildly down? What was blessed with so
+deep a love? What clasped the neck of Hope? What was it that fell
+asleep? What was the lost child?
+
+
+_David Crockett in the Creek War_
+
+(Volume VIII, Page 37)
+
+Almost any child who is able to read for himself will know as soon as he
+has read a few sentences from David Crockett's Autobiography that the
+man was uneducated, and wrote in what could not be called "good
+English." However, when the reader has gone a little farther he will
+realize that Crockett shows his own character in his writings, and that
+his language is picturesque and entertaining. Moreover, it is language
+that was characteristic of the early settlers in the region where the
+frontiersman lived, and hence is of some historical interest to us.
+
+No apology is needed for including the selection in these volumes,
+although it has no fine literary merit; for it is the plain, direct
+story of a strong man with a clear brain, who accomplished whatever he
+undertook, whether it was building a home, fighting the Indians, or
+writing a book.
+
+The story will speak for itself, and as it is a truthful account of
+things that actually happened, it will appeal strongly to the
+imagination of all young readers. However, it is worth while to call
+specific attention to some of the faults in style and actual errors in
+grammar, in order that the reader may not be affected unfortunately by
+the language, or be led to approve it as a style to be followed in these
+modern days. This can be done by means of questions, and as an
+illustration of the method we will consider the first four paragraphs of
+the selection, beginning on page 37.
+
+"There had been no war among us for so long that but few who were not
+too old to bear arms knew anything about the business." Does the phrase
+_among us_ mean that the settlers had not fought among themselves, or
+that they had not been in conflict with the Indians? What was Crockett's
+exact meaning? Does he convey it clearly? Does the word _business_ seem
+dignified enough to be applied to war?
+
+"I couldn't fight at all." Does the abbreviation of the words _could
+not_ make Crockett's style dignified or familiar? Do you often see
+similar abbreviations in what is known as "good literature," except as
+they are found in conversation, where the tendency is always to use
+abbreviated forms and familiar terms? Does not the use of such
+abbreviations in this selection make it seem as though Crockett were
+talking to his readers in a free and easy manner, rather than as though
+he were writing a formal book?
+
+"When I heard of the mischief." In the first sentence of this paragraph,
+Crockett speaks of a "most bloody butchery" at Fort Mimms. Now he refers
+to it as _the mischief_. Is the word _mischief_ strong enough?
+
+"In a few days a general meeting of the militia was called." Who were
+the militia? Why could not the militia be sent out as a body instead of
+calling for volunteers? Does he mean the organized militia, or simply
+the able-bodied men in that vicinity?
+
+"Began to beg me not to turn out." Is _turn out_ a slang phrase here, or
+is it a term commonly used in speaking of the assemblage of the militia?
+
+"It was mighty hard to go against her arguments." Does the word _mighty_
+show refinement? What word would be better? Does the phrase _go against_
+look well in a book?
+
+"Told her that if every man would wait till his wife got willing to let
+him go to war, there would be no fighting done until we would all be
+killed in our houses." Is the word _would_ as it appears the first time
+used properly? Is _should_ the right word to use? Is _got willing_
+correct English? Does the word _until_ express the meaning Crockett
+intends to convey? If "there would be no fighting done _until_ they were
+all killed in their houses," could there be any fighting done
+_afterward_? What words should be used in place of _until_? Is the word
+_would_ used properly the second time it appears in the sentence?
+
+  [Illustration: PHOEBE CARY
+  ALICE CARY
+  ELIZABETH BARRETT BROWNING
+  LUCY LARCOM
+  FELICIA HEMANS
+  GEORGE ELIOT
+  JEAN INGELOW]
+
+"Seeing I was bent on it." Can you find authority for using the phrase
+_bent on it_ to mean _determined to do it_?
+
+"The truth is my dander was up and nothing but war should bring it right
+again." What does the dictionary say about the use of the word _dander_?
+Do you suppose it was a common word among Crockett's friends? Is the
+word _should_ properly used in this sentence? Is the proper word
+_would_? Is it a common mistake even now to use _would_ for _should_ and
+_should_ for _would_? How may we know which word to use?
+
+"When the men were paraded, a lawyer by the name of Jones addressed us,
+informing us he wished to raise a company, and that then the men should
+meet and elect their officers." Who were the men that were paraded? Was
+Crockett among them? Whom did Jones address? When Crockett uses the word
+_men_ and the word _us_, twice in the same sentence is his meaning
+perfectly clear?
+
+"I believe I was about the second or third man that stepped out, but on
+marching up and down the regiment a few times we found we had a large
+company." Who were marching up and down? Does this mean that they
+marched up and down in front of the regiment? What was this regiment
+before which they marched up and down? Does _regiment_ here mean the
+same as _militia_ in the paragraph before?
+
+"We received orders to start on the next Monday week." What is the
+meaning of _next Monday week_? If they assembled on Wednesday, how many
+days would elapse before they were to start, and on what day would they
+start?
+
+"Mounted my horse and set sail to join my company." How can a man _set
+sail_ when he is mounted on a _horse_? Is such a mixing of figures
+evidence of good writing?
+
+"All mounted volunteers and all determined to fight, judging from
+myself, for I felt wolfish all over. I verily believe that the whole
+army was of the real grit." Is _felt wolfish all over_ a fine phrase? Is
+it an expressive phrase? What was to be judged from himself--that all
+were determined to fight, or that the whole army was of the real grit?
+Does the fact that Crockett felt wolfish all over show that he was
+determined to fight, or that he had real grit? What is the literal
+meaning of _grit_? What does it mean as Crockett uses it here? Is it
+proper to use the word as Crockett uses it?
+
+Probably it is not worth while to push this critical study any farther.
+It will be seen by this time that Crockett wrote as he talked, and
+accordingly, his story lacks the polish and literary beauties that men
+trained to write could have given it.
+
+
+_The Impeachment of Warren Hastings_
+
+(Volume IX, page 32)
+
+Words are interesting things, and people who have never tried the
+experiment will be surprised to learn how much pleasure there is to be
+found in the use of the dictionary. We consult the dictionary only when
+we wish to know the meaning of a word, or its pronunciation, but there
+are numberless other facts in the volume that are more interesting, if
+not more valuable, than the definitions and marks of pronunciation. In
+the history and derivation of words may be found many interesting and
+surprising facts which, if they are known, give increased force and
+meaning to the words.
+
+There is a great difference among writers in the kinds of words they
+use. Some naturally use simple words of Anglo-Saxon origin, while others
+use longer and more sonorous words which come from the Latin and the
+Greek. It is interesting to take paragraphs from different writers, say,
+for instance, from Hawthorne, Lamb, Longfellow, Tennyson, Macaulay and
+Irving, make a list of the leading words in the paragraphs, and then
+look up their derivations and see how many Anglo-Saxon, how many Latin
+and how many Greek words are found in each paragraph.
+
+It will be seen that it is a characteristic of Macaulay to use numerous
+many-syllabled words, most of which come directly from the Latin. His
+essay on the _Impeachment of Warren Hastings_ shows this trait.
+
+Probably that furnishes as good an illustration as anything in the books
+of the kind of literature from which studies in words may best be made.
+Taking two paragraphs at random, let us look them over and see what
+interesting facts may be gleaned from the dictionary concerning the
+words we find:
+
+"The Opposition was loud and vehement against him. But the Opposition,
+though formidable from the wealth and influence of some of its members,
+and from the admirable talents and eloquence of others, was outnumbered
+in Parliament, and odious throughout the country. Nor, as far as we can
+judge, was the Opposition generally desirous to engage in so serious an
+undertaking as the impeachment of an Indian Governor. Such an
+impeachment must last for years. It must impose on the chiefs of the
+party an immense load of labor. Yet it could scarcely, in any manner,
+affect the event of the great political game. The followers of the
+coalition were therefore more inclined to revile Hastings than to
+prosecute him. But there were two men whose indignation was not to be so
+appeased, Philip Francis and Edmund Burke.
+
+"Francis had recently entered the House of Commons, and had already
+established a character there for industry and ability. He labored
+indeed under one most unfortunate defect, want of fluency. But he
+occasionally expressed himself with a dignity and energy worthy of the
+greatest orators. Before he had been many days in Parliament, he
+incurred the bitter dislike of Pitt, who constantly treated him with as
+much asperity as the laws of debate would allow. Neither lapse of years
+nor change of scene had mitigated the enmities which Francis had brought
+back from the East. After his usual fashion, he mistook his malevolence
+for virtue, nursed it, as preachers tell us we ought to nurse our good
+dispositions, and paraded it, on all occasions, with Pharisaical
+ostentation."
+
+In the two brief paragraphs given, there are, among others, the
+following words of more than passing interest:
+
+1. _Vehement._ This word is derived from two Latin words, meaning _to
+carry_ and _the mind_; hence a vehement speech is one that is supposed
+to carry the mind away by force. We use the word _furious_ when we wish
+to speak of anger or other passions, but the word _vehement_ when we
+speak of zeal, love, expression. In this paragraph the Opposition was
+loud and tried _to carry the minds of others by force_.
+
+2. _Formidable._ Synonyms of _formidable_ are _dreadful_, _terrible_ and
+_shocking_, yet it is rarely the case that two words are exact synonyms.
+In this case, _formidable_ means something that excites fear, but it is
+neither sudden nor violent in its action. A _dreadful_ thing would
+excite fear or dread, and might act violently, but not suddenly. _A
+shocking_ thing would startle us because it was both violent and sudden.
+Does _formidable_ appear to be the right word by which to characterize
+the Opposition?
+
+3. _Influence._ This word is derived from two Latin words which mean
+_flowing over_, and consequently an _influence_ brings about change by
+gradual process. There is no idea of right in the word _influence_ as
+there is in the word _authority_. Does it seem that _influence_ is the
+right word here?
+
+4. _Talents._ The history of this word is an interesting one. In origin
+it is Greek, and there it was the name of a weight, which in silver had
+a certain money value. The same word appearing in Hebrew had a similar
+meaning. A Hebrew talent in silver would be worth something over
+seventeen or nineteen hundred dollars of our money. In the New Testament
+(see _Matthew_ XXV, 14 to 30), Christ utters the parable of the talents.
+We now use the word to mean intellectual ability or capacity, or skill
+in accomplishing things, or some special gift in some art or science. It
+is probable that this figurative meaning of the word has originated from
+the parable, and although many writers have criticised the use of
+_talent_ in our sense, it has become well established in the language.
+
+5. _Odious._ The Latin word from which _odious_ is derived means
+_hatred_. An _odious_ thing is a thing to be _hated_. Our word _odium_
+differs slightly in use from our word _hatred_. We exercise _hatred_,
+but we endure _odium_.
+
+6. _Desire._ The origin of this word is not certain, but it was probably
+derived from the French words which mean literally _from the stars_ or
+_constellations_.
+
+7. _Immense._ This word is derived from two Latin words which mean
+_cannot be measured_.
+
+8. _Coalition._ The two Latin words from which _coalition_ is derived
+mean _to grow with_; consequently, a _coalition_ is a thing composed of
+several elements which have grown together. We should not expect a
+_coalition_ to be suddenly formed; it must come about by process of
+growth.
+
+9. _Appease._ Literally, _appease_ means _to make peace_. It also means
+_to satisfy_, and is derived directly from the Latin. We try to
+_appease_ those who are in passion and try to _calm_ those who are in
+trouble or apprehension. Does Macaulay use the word properly when he
+speaks of _appeasing_ indignation?
+
+10. _Fluency._ The Latin word from which _fluency_ is derived means _to
+flow_. Accordingly, a _fluent_ person is one from whom speech flows
+smoothly and readily. To lack _fluency_ Macaulay considers an
+unfortunate defect in Francis.
+
+11. _Asperity._ The Latin word _asper_ means _rough_ or _harsh_, and was
+applied to things which had a rough surface. Macaulay uses the word as
+we now know it, in the same figurative sense in which we now sometimes
+use the word _roughness_.
+
+12. _Lapse._ This word from the Latin means _sliding_ or _following_. In
+speaking of the _lapse_ of years Macaulay intimates that they gradually
+slid away.
+
+13. _Pharisaical._ The _Pharisees_ were a sect of the Jews who were
+noted for the strict way in which they followed the rites and ceremonies
+that had been handed down to them by tradition, and who believed
+themselves superior in sanctity to the other Jews. They held themselves
+apart and were charged with being hypocrites. The word _Pharisaical_ has
+now come into common English use, and means _hypocritical_.
+
+14. _Ostentation._ This is a Latin word meaning _show_ or _parade_.
+_Ostentation_ and _parade_ both imply effort, but the former refers to
+the intent rather than to the manner. _Ostentation_ may be shown by
+_parade_.
+
+
+From _The Death of Caesar_
+
+(Volume IX, page 143)
+
+As preliminary to the intensive study of the speech alluded to below,
+read to the class or have them read all of the three selections, namely:
+_The Death of Caesar_, from Plutarch (page 126); The _Death of Caesar_,
+from Shakespeare (page 143), and _Julius Caesar_, from Froude (page
+155). As an example of selections worthy of close reading, take the
+speech of Caesar as given on page 153, beginning, "I could be well mov'd,
+if I were as you."
+
+Bring out by questions these facts:
+
+A. _Words._ "Moved"; induced to change my mind.
+
+"Constant"; fixed, unchangeable, immovable.
+
+"Northern star"; the pole star; the north star. To us this star always
+appears fixed in the northern heavens. The other stars and the
+constellations revolve around it; Ursa Major, the Big Dipper, is most
+conspicuous, and by a line through its two front stars we may always
+locate the North Star and, hence, the direction, _north_. Mariners have
+steered by this star for centuries. Many a lost and wandering man has
+found his way to safety by its fixed light.
+
+"Resting"; always stationary.
+
+"Fellow"; equal.
+
+"Firmament"; sky, heavens.
+
+"Painted"; decorated.
+
+"Sparks"; stars.
+
+"Doth"; does.
+
+"Furnished"; filled.
+
+"Apprehensive"; doubtful, filled with forebodings and easily moved.
+
+"Unassailable"; not subject to attack; here the meaning is rather that
+of _unconquerable_.
+
+"Constant"; _insistent_, the first time the word appears; but
+_unchangeable_, the second time.
+
+B. _Phrases._ "Well moved"; easily moved.
+
+"If I were as you"; if I were as you are, or if I were like you.
+
+"Could pray to move"; could try to change the opinion or the
+determination of someone else.
+
+"True-fixed and resting quality"; quality of always remaining true or
+fixed to the one spot in the heavens.
+
+"So in the world"; as all the unnumbered stars shine in the heavens and
+all move but one, thus in the world.
+
+"Holds on his rank unshak'd of motion"; is fixed in his ideas and
+unmoved by prayers and petitions.
+
+"And that I am he"; and I am that one immovable man.
+
+"Let me a little show it"; let me give a little proof.
+
+C. _Sentences._ The first sentence means: If I could beg others to
+change their purposes, I could be induced to change mine; but I am as
+fixed in my conclusions as the north star is fixed in the heavens. The
+second sentence says: As there are unnumbered movable stars in the
+heavens and only one that is fixed, so in the world there are unnumbered
+changeable men and only one who is fixed in his determination; that I am
+the one determined man let me prove a little by saying that, as I was
+persistent in banishing Cimber so will I continue to keep him in
+banishment.
+
+D. _The paragraph._ The whole speech is a refusal on Caesar's part to
+grant the petition of the conspirators who plead that Cimber may be
+brought back from banishment. The words are well calculated to stir up
+resentment and to fix the plotters in their plan to murder Caesar. Even
+Brutus would be convinced by such sentiments that Caesar was a dangerous
+man; if the great Roman thought himself the only man with such
+determination, might he not think himself the one man of the world in
+all respects? The conspirators were looking for an excuse for killing
+Caesar, and they might find it in this speech; Brutus was being led to
+believe that Caesar was too ambitious and here was the final argument to
+convince him.
+
+
+
+
+CHAPTER X
+
+CLOSE READING--(Concluded)
+
+
+_The Author--Figures of Speech_
+
+Real appreciation of literature is dependent on effort, and each
+acquired impression aids all others in proportion to its intensity. We
+can interpret only by what our minds already contain, so that the
+earlier years of one's reading are largely devoted to the acquirement of
+material for future use. In this way the myths and folk stories with
+which children fill their minds become the touchstones that enable them
+in later years to read with interest and judge accurately the literature
+that falls within their reach. The later one begins his reading, the
+more difficult it is for him to master the art. He has not the simplest
+standards of literary judgment nor even the ideas from which such
+standards are to be formed. Elegance of style and skill in the choice of
+words are entirely lost upon him, as is the delicate meaning involved in
+the play of appropriate figures and in the brilliance of the pictures
+limned in colors to which his eye is blind. Such a person can come to
+enjoy the pleasures of literature, but it is by way of a long and
+careful course of study, and it is probable that his appreciation will
+never be as keen as it would have been if he had gathered his literary
+stock in trade at the same time that his senses were first opening to
+the world. Then the skies and the flowers, the song of birds and the
+hum of insects, the quiet reaches of still lakes and the roaring surge,
+gave to him the sensations to which literature appeals.
+
+There is no need for one to feel discouragement when at first he does
+not admire all that the critics say is beautiful, but prefers some of
+the simple things that he knew in his childhood. The critic is right
+from his point of view, but there is merit, too, in the judgment of the
+humble reader. A person would hesitate to say the critic's judgment is
+the higher were it not for the fact that anyone reading carefully will
+find his tastes changing and constantly approximating higher standards.
+Each year brings him nearer to the critic's position and he sees
+excellence and is touched by beauty in selections that before have been
+devoid of any interest. It is to aid this growth in power of
+comprehension, this refinement of taste, that one reads.
+
+_The Author._ When the study relates to a specific selection it is wise
+to create an interest by looking for all the contributory aids that can
+be found. Sometimes a knowledge of the life of the author or of the
+circumstances under which the selection was written will stimulate a
+desire to know what has been said and will moreover assist to make the
+meaning clear and to create the same sentiment that inspired the writer.
+To know that _Snow-Bound_ is a description of Whittier's own home, that
+the people about the fireside are his own parents, brothers, sisters,
+and that he paints them with a loving touch after all but the one
+brother have passed to the other side, is to make the poem appeal to our
+emotions with an intensity which the beautiful lines alone could not
+effect. _Ichabod_ we read once, but when we know the meaning of its
+spiritual name and remember that it is Whittier's indignant rebuke of
+Webster for his vacillating policy in the slavery agitation, we read it
+again with a renewed and more vivid interest. Many things, however, are
+so universal that one cares not whether they were written by a Hindoo or
+an American, whether they are full of personal experience or drawn with
+the fervor of the most ardent imagination. Wordsworth's _Daffodils_
+(Volume VII, page 1) would charm us and our hearts would dance as
+joyfully if we knew nothing of the pensive poet of the English lakes.
+
+_Sentences._ Words alone are not a sufficient possession. They must be
+known in all their relations. A comprehension of the structure of the
+sentence is always necessary. A sentence is a unit of thought, an idea
+reduced to its lowest terms. It may not be necessary that each sentence
+be analyzed strictly by grammatical rules, but it is essential that the
+reader should recognize by study if necessary the subject and the
+predicate and the character and rank of all the modifiers of each. Even
+the practiced reader by unconsciously laying undue prominence upon some
+minor phrase frequently modifies the meaning an author intends to
+convey. This is particularly true in verse, where the poet, hemmed in by
+the rules that govern his meter and his rhyme, varies the natural order
+of the elements of a sentence to bring the accents where they belong or
+to throw the rhyming word to the end of a verse. The grouping of related
+sentences into paragraphs is an aid to the reader and should be noticed
+by him till the habit of expecting a slight change in thought with the
+indentation of a line becomes fixed and automatic.
+
+_Allusions._ But one may have the most perfect knowledge of all the
+words, his comprehension of the meaning of the sentence may be exact and
+full, and yet the special thought which the expression carries may never
+reach his mind. Ruskin writes: "Gather a single blade of grass and
+examine for a minute, quietly, its narrow swordshaped strip of fluted
+green. Nothing, as it seems, there, of notable goodness or beauty. A
+very little strength, and a very little tallness, and a few delicate
+long lines meeting in a point--not a perfect point either, but blunt and
+unfinished, by no means a creditable or apparently much cared for
+example of Nature's workmanship; made, as it seems, only to be trodden
+on today, and tomorrow to be cast into the oven; and a little pale and
+hollow stalk, feeble and flaccid, leading down to the dull brown fibres
+of roots. And yet, think of it well, and judge whether of all the
+gorgeous flowers that beam in summer air, and of all strong and goodly
+trees, pleasant to the eyes and good for food--stately palm and pine,
+strong ash and oak, scented citron burdened vine--there be any by man so
+deeply loved, by God so highly graced as that narrow point of feeble
+green." Words and sentences are all plain and simple and clear. Perhaps
+we pause a moment at "scented citron," for the citron as we know it is a
+vine bearing a melonlike fruit and we are not aware that it is
+especially fragrant. But this is another plant--a tree that bears a
+sweet-scented fruit not unlike the lemon. "Burdened vine" seems a trifle
+obscure--why _burdened vine_? A vine carrying a weight? What weight?
+The ripened clusters of purple fruit bending the swaying vines to the
+warm earth while autumn tints the leaves to harmonious colors. "Burdened
+vine" is a suggestive expression indeed to the person of a little
+imagination who has walked through the long aisles of a thriving
+vineyard. Is the passage now clear to us and perfectly understood? Does
+it convey to us what Ruskin really thought?--"Tomorrow to be cast into
+the oven." What a strange expression! Do we put grass into an oven? How
+came Ruskin to mention such a thing? "To be cast into the oven." We have
+seen "burdened vines" and we understand the "scented citron," but what
+of this grass "cast into the oven"? Back in the mind of the
+artist-critic lie the lessons of his childhood when an ambitious father
+and a strict mother intended him for the church and trained him
+carefully to a close and accurate knowledge of the scriptures. So when
+he writes of the grass of the field he almost unconsciously uses the
+language of the bible: "Wherefore if God so clothe the grass of the
+field which today is and tomorrow is cast into the oven, shall he not
+much more clothe you, O ye of little faith?" We his readers interpret
+his feelings and his meaning in this only as we have learned the same
+lessons.
+
+Examples of such allusions abound throughout literature. In _The Vision
+of Sir Launfal_, Lowell says:
+
+    "Daily, with souls that cringe and plot,
+     We Sinais climb and know it not."
+
+With a knowledge of geography we might locate the mountain and
+understand the sentence, but the tremendous power of the lines can
+never be felt unless we know the story of Moses and so realize that we
+stand every day like the patriarch of old in the very presence of God
+himself.
+
+The mythology of Greece and Rome furnishes to English literature
+allusions so pointed, so vivid, and so full of beautiful suggestion that
+a knowledge of the myths is necessary to any real culture. Modern
+writers do not make such ready use of them as did the older schools, but
+Lowell and Tennyson, Browning and Arnold, and a host of minor writers
+assume that their readers know as their alphabet the stories of
+mythology. In his hymn _On the Morning of Christ's Nativity_, Milton has
+this stanza following one which tells that the shepherds heard the sweet
+music:
+
+    "Nature that heard such sound
+     Beneath the hollow round
+      Of Cynthia's seat the airy region thrilling,
+     Now was almost won
+     To think her part was done,
+      And that her reign had here its last fulfilling;
+     She knew such harmony alone
+     Could hold all Heaven and Earth in happier Union."
+
+How little of intelligent interest attaches to the first three lines if
+one has no knowledge beyond the literal meaning of the phrases! "The
+hollow round of Cynthia's seat" has beauty for that person only who
+knows something of the Ptolemaic system of astronomy and of the
+huntress-queen of Greek mythology.
+
+Allusions lead one to every department of knowledge and are the result
+of the early training and experience of the author. No one needs to be
+told that Milton studied the classics, that Ruskin and Tennyson read the
+bible devotedly, that Shakespeare passed his early life in the country.
+The unconscious trend of their thought as shown by their allusions gives
+that information most distinctly. If a man loves history in his youth
+his writings will be filled with historical allusions; if he is a
+devotee of science one will find the phenomena of nature the source of
+his illustrations. The reader must be ready to understand and interpret
+feelingly these allusions no matter what the particular bent of the
+author. To the student the allusion is often very difficult of
+comprehension, for if it comes in the way of an ingenious paraphrase he
+may pass over it without the slightest recognition. When it is direct, a
+dictionary or other reference book will frequently make it sufficiently
+clear.
+
+_Basis of Figures._ The allusion is but one of many ways in which an
+author varies the literal meaning of his sentences and gives more force
+and beauty to his statements. There are a large number of different
+figures of speech, but such fine distinctions as the rhetoricians make
+are unnecessary for the ordinary student of literature. It is the
+meaning the figures convey that concerns us, for an adept in reading
+always notices the skilful use of figures, and his pleasure is
+heightened by their delicacy and beauty.
+
+In the study of figures one must first carefully determine the basis in
+reality or the literal meaning and then the figurative or applied
+meaning. Browning speaks of
+
+    "--selfish worthless human slugs whose slime
+     Has failed to lubricate their path in life."
+
+Here the reader must see disgusting slugs or snails crawling lazily
+across the ripening apples in the orchard and leaving behind them the
+filthy streak of slime with which they made the way easy for their ugly
+bodies, but in so doing defiled the fruit for human use. So much is the
+basis in fact. Knowing this one can feel the poet's stinging
+denunciation of the one who cast the beautiful girl in the way of the
+heartless Guido instead of "putting a prompt foot on him the worthless
+human slug."
+
+    "To unhusk truth a-hiding in its hulls."
+
+Here Browning has gone to the fields for his figure and we shall see the
+ripened grain, the corn or the wheat, the merry huskers at work upon it,
+turning out the glowing ear from its covering of dim paper wraps; or
+perchance a group of disciples walking with their Master and rubbing the
+hulls from the wheat gathered on the Sabbath day. Whatever the scene
+that comes in mind, one fact there is--underneath the dried and
+worthless hulls lies the living and life-giving grain. So we find truth
+bright and genuine when we have torn from it the coverings with which it
+has been concealed.
+
+Such practice as this in working out elaborately the figure often given
+in barest hint strengthens the imagination and gives to thought the
+versatility that makes reading a delight and an inspiration. Till the
+imagination is furnished material and given freedom, literature is as
+worthless as the husks.
+
+_Simile._ As we learn to know one thing from its likeness to another, it
+is natural that the writer should seek to make impressions vivid by
+comparison with better known things. Sometimes these comparisons are
+expressed in words, and one thing is said to be _like_ another, while at
+other times the comparison is left to be inferred and one thing is said
+_to be_ another. The _simile_ states the likeness. Browning seeks to
+make us see vividly the hideous character of one of his villains and
+says that on his very face you could read his crimes--
+
+    "Large-lettered like Hell's masterpiece of print."
+
+The comparison "like Hell's masterpiece" is a simile.
+
+Study each simile you find, and state the exact meaning of each
+literally. Compare your statement with the figurative one and see if the
+latter is clearer, more forcible, or more beautiful. If any one of the
+similes seems less vivid than your own literal statement, ask yourself
+if the fault is your own in that you are not thoroughly familiar with
+the basis of the figure. It is not necessary that your judgment should
+be unassailable. The value of the proceeding lies in the exercise of
+your attention and reason. Your judgments will improve, your
+appreciation grow keener and more delicate.
+
+_Metaphor:_
+
+                                  "Everywhere
+    I see in the world the intellect of man,
+    That sword, the energy, his subtle spear,
+    The knowledge, which defends him like a shield."
+
+This is another quotation from Browning in which he says intellect is a
+sword and energy a spear, thereby assuming a comparison and using the
+figure _metaphor_, while in the last line he uses the simile "like a
+shield." Ingersoll calls the grave "the windowless palace of rest," and
+Whittier refers to it in a beautiful metaphor as "the low green tent
+whose curtain never outward swings."
+
+_Synecdoche and Metonymy._ Another group of figures consists in naming
+one thing for something else closely associated with it in thought. When
+this relation is that of a part to the whole or of the whole to a part,
+the figure is synecdoche. Thus, when Browning says "pert tongue and idle
+ear consort 'neath the archway" he conveys the idea that idle gossips
+gather beneath the archway and with sharp tongues talk over the failings
+of their neighbors, and he uses synecdoche in making the ear and the
+tongue, parts of the body, signify the person. Our everyday language is
+full of these figures in which a part of an object is named to represent
+the whole. We speak of owning "twenty head of cattle," of hiring "ten
+hands," of seeing "fifteen sails," when we mean that we own twenty
+cattle, that we hire ten men, that we see fifteen boats.
+
+When the relation expressed is that of a sign or symbol and that which
+is signified or symbolized, a cause and its effect, a material and that
+which is made from it, or is some other similar association of ideas,
+the figure is metonymy.
+
+We speak of "the pulpit" when we mean the ministry, the "stage" when we
+mean the theatrical world, and thus use concrete symbols to represent
+abstract ideas. Again, we frequently make use of such an expression as
+"Have you read Pope or Dryden?" when we refer to the works rather than
+to the writer, and thus substitute cause for effect. "Columns of
+glittering steel advanced" contains another form of metonymy, that in
+which a material (steel) is named for that made from it (spears).
+
+Search for examples of these two figures in the selections in _Journeys
+Through Bookland_. Both are elusive, and at first you are apt to pass
+over many without noticing them. As you continue your search and grow
+keen in it you will be surprised to see how common they are, both in
+what you read and in your own speech.
+
+_Apostrophe and Personification._ An address to a person or thing,
+absent or dead, is an _apostrophe_, and when an inanimate object is
+assumed to be alive or an animate object is assumed to be raised to a
+higher plane of existence it is said to be by _personification_.
+Examples of the latter figure are "death's menace," "laugh of morn." In
+the line "Lucidity of soul unlocks the lips" are both metonymy and
+personification. The following is the beginning of a beautiful
+apostrophe:
+
+    "O lyric Love, half angel and half bird,
+     And all a wonder and a wild desire,--
+     Boldest of hearts that ever braved the sun,
+     Took sanctuary within the holier blue,
+     And sang a kindred soul out to his face,
+     Yet human at the red-ripe of the heart
+     When the first summons from the darking earth
+     Reached thee amid thy chambers, blanched their blue
+     And bared them of the glory--to drop down,
+     To toil for man, to suffer or to die,--
+     This is the same voice; can thy soul know change?"
+
+Another fine example is found in Whittier's _Snow-Bound_:
+
+    "O Time and Change!--with hair as gray
+     As was my sire's that winter day,
+     How strange it seems, with so much gone
+     Of life and love, to still live on!
+     Ah, brother! only I and thou
+     Are left all that circle now,--
+     The dear home faces whereupon
+     That fitful firelight paled and shone.
+     Henceforward, listen as we will,
+     The voices of that hearth are still;
+     Look where we may, the wide earth o'er,
+     Those lighted faces smile no more.
+     We tread the path their feet have worn,
+       We sit beneath their orchard trees,
+       We hear, like them, the hum of bees
+     And rustle of the bladed corn;
+     We turn the pages that they read,
+       Their written words we linger o'er,
+     But in the sun they cast no shade,
+     No voice is heard, no sign is made,
+       No step is on the conscious floor."
+
+The following lines are from Lord Byron's _Apostrophe to the Ocean_:
+
+    "Roll on, thou deep and dark blue Ocean--roll!
+     Ten thousand fleets sweep over thee in vain;
+     Man marks the earth with ruin--his control
+     Stops with the shore;--upon the watery plain
+     The wrecks are all thy deed, nor doth remain
+     A shadow of man's ravage, save his own,
+     When, for a moment, like a drop of rain,
+     He sinks into thy depths with bubbling groan,
+     Without a grave, unknelled, uncoffined, and unknown."
+
+       *       *       *       *       *
+
+Children enjoy searching for the different varieties of figures in the
+selections which they read. Not much instruction is needed, and it is
+not necessary that they should know the names of the different figures
+or acquire a great deal of technical knowledge. Yet in helping them to
+recognize figures it is best to proceed in a logical manner, showing,
+one at a time, what the principal figures are, upon what they are based,
+and what they add in vividness and beauty to the language. When one
+figure is understood, help the children to find many good examples in
+other selections, before taking up the second figure.
+
+As a help to parents and children, we give an outline here for a study
+of the figures of speech in Shelley's beautiful _Ode to a Skylark_
+(Volume VII, page 275).
+
+1. SIMILE:
+
+      "From the earth thou springest
+    _Like a cloud of fire_."
+
+    "_Like an unbodied joy_ whose race is just begun."
+
+    "With music _sweet as love_."
+
+    "_Like a star of heaven_
+        In the broad daylight."
+
+2. METAPHOR:
+
+      "From rainbow clouds there flow not
+         Drops so bright to see,
+     As from thy presence _showers a rain of melody_."
+
+    "Or how could thy notes _flow in such a crystal stream_!"
+
+    "In _the golden lightning_
+       Of the sunken sun."
+
+3 and 4. METONYMY AND SYNECDOCHE are nearly related and in this poem the
+examples are numerous. Here are a few:
+
+       "Better than all _treasures_
+     That in books are found."
+
+    "Teach me half the gladness
+       That thy _brain_ must know."
+
+    "Thou art unseen, but yet I hear _thy shrill delight_."
+
+    "The moon _rains out her beams_, and heaven is overflowed."
+
+    "The blue deep thou _wingest_."
+
+5. PERSONIFICATION. In this poem the poet personifies the lark,
+beginning with "Blithe spirit, bird thou never wert," in the first
+stanza and closing with "Teach me half the gladness that thy brain must
+know," in the last stanza.
+
+6. APOSTROPHE. Most odes have in them something of the nature of an
+apostrophe. The _Ode to a Skylark_ begins
+
+    "Hail to thee, blithe spirit!"
+
+Further along in the lyric we find the line,
+
+    "Teach us, bird or sprite."
+
+       *       *       *       *       *
+
+Young children will not appreciate the ode as it deserves; accordingly
+it will be better to use simpler poems for the first lessons. The
+obvious figures may well be shown first, leaving the more finished and
+brilliant ones till the minds of the children become more mature. For
+instance, as the simile is the most obvious of figures and may be found
+in nearly every poem of any length, it is the best with which to begin.
+Notice what a number can be found in _A Visit from Saint Nicholas_
+(Volume II, page 202). Explain those that are used in the description of
+Saint Nicholas:
+
+    "And he looked _like a peddler just opening his pack_."
+
+    "His cheeks were _like roses_, his nose _like a cherry_;
+     His droll little mouth was drawn up _like a bow_,
+     And the beard on his chin was _as white as the snow_."
+
+    "The smoke, it encircled his head _like a wreath_."
+
+    "That shook, when he laughed, _like a bowl full of jelly_."
+
+Encourage the children to find other similes themselves--the
+characteristic _like_ and _as_ will make the task easy.
+
+In _The First Snowfall_ (Volume II, page 403) are a number of metaphors
+which may be easily explained to children. For instance, the following
+will be readily understood:
+
+    "Every pine and fir and hemlock
+     Wore _ermine_ too dear for an earl,
+     And the poorest twig on the elm tree
+     Was ridged inch deep with _pearl_."
+
+    "The stiff rails were softened to _swan's-down_."
+
+
+SUMMARY
+
+We have considered the most common and expressive figures, and if one
+accustoms himself to the recognition of these and an explanation of
+their meaning as has been indicated here, he will soon recognize others
+of more complex type. Mere classification is valueless; our purpose is
+to learn to see and to feel more clearly and more deeply by means of our
+intelligent grasp upon these figurative expressions.
+
+Thought, then, is mastered by attention to the details we have
+discussed, and until we habitually notice these things our reading is
+apt to be slipshod and profitless. It will help us to retain these facts
+in mind if we put them into a systematic outline.
+
+Mastery of thought, which is at the foundation of an appreciation of
+literature, depends upon mastery of--
+
+    I. Words in their special meaning.
+
+   II. Allusions, or references to
+       1. Historical events and personages.
+       2. Literary masterpieces.
+       3. Scientific truths.
+       4. Biblical events and truths.
+       5. Mythological creations.
+
+  III. Figures, of which the more important and common are those--
+       1. Based on comparisons:
+          a. simile.
+          b. metaphor.
+       2. Based on natural associations:
+          a. synecdoche.
+          b. metonymy.
+       3. Of apostrophe.
+       4. Of personification.
+
+   IV. Sentences, the units of thought.
+
+    V. Paragraphs, the collections of related thought units.
+
+
+
+
+CHAPTER XI
+
+READING POETRY
+
+
+Nothing so brings out the music and the structural beauty of poetry as
+reading it aloud, and many who have cared nothing for verse in any of
+its forms learn to love it when they hear it read frequently by a
+sympathetic voice. Children love the nursery rhymes largely because they
+have heard them and have caught the sound and rhythm more than the
+meaning. It is the lively music more than the whimsical meaning that has
+made the rhymes popular. When the time comes that children begin to lose
+their interest and consider poetry beneath them, their flagging
+attention often may be aroused and new interest created by simply
+reading new selections aloud to them and talking with them about the
+meaning and beauties of the poems.
+
+On page 410 of Volume One is Longfellow's exquisite poem, _The Reaper
+and the Flowers_. We can imagine a little family group reading this some
+quiet evening when the lamp throws shadows into the corners and the
+bed-time hour draws near. No one could call the children in on a fine
+summer day, and, when fresh from their play, the blood is bounding
+through their veins, expect them to be touched by delicate sentiment, or
+to appreciate musical numbers. Literature has something for every hour,
+every mood, every circumstance. It may be that there is one little
+vacant chair in this family circle, or that from some neighbor's family
+a child has gone. Fear clutches at the youthful hearts and Grief
+shudders behind each chair. Even the warm bed in the dark room is a
+dread, for we have so surrounded death with mystery and terror that even
+the young are aghast when it is mentioned. But our best-loved poet has a
+cheering message for every one, and into this little group the parent
+brings it. In soft and sympathetic voice he reads aloud, giving the slow
+and gentle music of the lines time to steal into the youthful hearts.
+
+As he reads, he pauses now and then to speak to his little audience,
+watching ever not to be sharp in his questionings or anything but kindly
+in his comments. Something like the following might be the way he brings
+out the meaning:
+
+    "'There is a Reaper, whose name is Death,
+        And, with his sickle keen,
+      He reaps the bearded grain at a breath,
+        And the flowers that grow between.'
+
+"A _Reaper_--a man walking in the grain, cutting it as he goes. Not with
+a machine such as we see on the farm nowadays, but with a short curved
+blade which the poet calls a sickle. It is a _keen_ blade the sickle
+has, and with every stroke ripened grain and all the little flowers that
+have grown up among it fall to the ground. But the poet means more. He
+thinks that the Reaper is Death, that the _bearded grain_ is the men and
+women who have lived to a ripe old age and who are ready to die, ready
+for the rewards of a long and well-spent life. But alas, the _flowers_
+fall with the ripened grain: sometimes little children must die,
+although dearly would we like to keep them with us.
+
+"Then the Reaper speaks: 'Shall I have nothing fair and beautiful, must
+I have nothing but dry and bearded grain? I love these beautiful
+flowers; their fragrance is dear to me. Yet I will give them back again;
+some time you may see them again.'
+
+"So Death looked at the little children with tears filling his kindly
+eyes. As they faded and drooped he kissed them gently and took them
+softly and sorrowfully into his arms. He was gathering these lovely
+innocents to take them to his Lord, where in Paradise they might be
+happy evermore, without any of the privations and sufferings that come
+to every one who grows up.
+
+"As he wept, not for the little children, but for all who stay behind,
+he continued to speak smilingly through his tears to the sorrowing ones
+on earth:
+
+"'Christ needs these dear ones, these flowerets gay: to him they are
+tokens dear of the earth where once he played and sang on the hills of
+Judea. Can you not trust them to him who said, "Suffer little children
+to come unto me, and forbid them not: for of such is the Kingdom of
+God?" Have no fear; I am but moving them into the bright heavenly
+mansions, where they shall rest safely in the bosoms of the saints and
+angels.'
+
+"And the mother, who loved them so, gave up her darling ones, for she
+saw, even through her tears, how happy they must be in their new home.
+
+    "'O not in cruelty, not in wrath,
+       The Reaper came that day;'
+
+it was a young and beautiful Angel, not the hideous Death in black robes
+and hood scarce hiding his bony head, that
+
+    "'visited the green earth,
+    And took the flowers away.'
+
+"Does Death seem so terrible now? Although we must always see the vacant
+chair and know that a loved one has gone forever, can we not realize
+that it is we who suffer, and not the one who has been taken from among
+us? Is it not selfish to grieve?"
+
+Shall we fear Death any more? When the parent has read the poem once
+more from beginning to end in silence, except as the soft words fall
+from his lips, will not the hearers feel inspired to be better and
+nobler boys and girls, men and women? Will darkness have more fear for
+them? Will they not then go to their rooms and lie down peacefully to
+sleep?
+
+There are other poems for other hours. Some day when you wish a bit of
+fun with your children you will find humorous poems in many of the
+books. One is in Volume IV, on page 57. Nearly every stanza contains a
+"joke": a pun, if you please, usually. Perhaps you and your children
+will find them all easily, and perhaps you will not. In the last stanza
+is the "joke" proper, the thing for which the rhymes were written. It is
+an old joke, surely enough, and you have seen others like it; but it is
+funny still and perhaps a little caustic. Not all men whom the world
+calls good are good beneath the surface. Perhaps you know of cases in
+which "the Dog it was that died."
+
+Another humorous poem to use in this connection is _Echo_ (Volume III,
+page 286).
+
+Between the two extremes mentioned above are selections for all moods
+and all kinds of people. The things to be remembered in reading with
+children are, that poetry must be understood to be appreciated; that it
+must be heard until the mind is trained to receive it through the eye
+instead of the ear; that it appeals to the feelings more than to the
+will; that it must be interpreted by the light of experience, and hence
+must be adapted to the age of the reader. A person would not read _The
+Reaper and the Flowers_ at a dancing party, nor _The Elegy on the Death
+of a Mad Dog_ before a funeral.
+
+Below are a few studies more complete and of different types.
+
+
+_The Brown Thrush_
+
+(Volume I, page 147)
+
+We find great charm in this short lyric, for its form is unusual, its
+music joyous and its sentiment fine. Three lines of four feet each, a
+line of three feet, two lines of two feet each, and one line of three
+feet make up each stanza. The accent in each foot is on the last
+syllable, but some of the feet are only two syllables long. It's a merry
+meter. It scarcely can be read without stirring a rollicking melody in
+the ears of the listener. That's the art in the poem. The sentiment is
+as fine as the music. "The world's running over with joy! I'm as happy
+as happy can be." If the little brown thrush keeps singing that song the
+heart of everyone who hears it will overflow with joy. But it would be
+easy, very easy indeed, to stop the joyous song of the thrush by
+meddling with the five pretty eggs, and when the thrush changed his
+happy song to harsh notes of fear and reproach, the light of joy would
+fade from our day as quickly as from his.
+
+
+_The Child's World_
+
+(Volume II, page 66)
+
+The unique measures of this brief poem make a melodious whole that every
+child will appreciate. Unless some care is taken in reading it aloud,
+however, much of its beauty will be lost. This is particularly true of
+the first stanza, from the first and last lines of which a syllable has
+been omitted. The absence of these syllables must be indicated by pauses
+or by giving more time to the word "great" in the first line, and to the
+word "world" in the last line. The idea may be indicated by supposing
+that the word "O" has been omitted from the beginning of the first and
+last line. The first line of the last couplet is peculiar in that every
+one of the four feet contains three syllables with the accent on the
+last. All the other lines consist each of four feet of either two or
+three syllables. Technically the poem is anapestic tetrameter much
+varied by the introduction of iambic feet. (See the studies in meter,
+Volume VII, pages 2 and 13.)
+
+The rhymes are all in couplets and are perfect. The stanzas, like
+paragraphs, indicate changes in thought. Its pleasing unity rests in the
+fact that it is all a child's thoughts about the world. It is logical, a
+real leading up of thought to natural climax. The child begins with
+wonder and a sense of beauty around her. The world is great and wide
+and wonderful and beautiful. She thinks of the sea she has read about
+or seen and thinks of the wonderful water curling up in waves above the
+shore. To her the world is the land with the wonderful growing grass
+upon its broad breast, and this marks the end of her first thought--the
+great world is beautifully dressed.
+
+Next as she sits on the brow of the hill and gazes over the lowland the
+breezes blow her hair about her face and her mind passes to the
+wonderful air that as wind shakes the trees, ripples the water, whirls
+the mills and sings through the trees on the tops of the hills.
+
+Thought wanders on to the nodding wheat, the rivers, cliffs, and
+islands, to the cities and the people everywhere for thousands of miles.
+What is the effect of this vastness on the thought of a child? Can you
+not realize for yourself any clear night that you may gaze at the
+numberless stars in the arching skies? How small, how infinitely little
+are we in all the great universe! Have we the imagination to grasp the
+saving thought that comes so naturally into the clear mind of the child?
+Though I am so small, so insignificant, I can think and love, but the
+wonderful earth can not. A philosophy well worth keeping, is it not?
+
+
+_Seven Times One_
+
+(Volume II, page 119)
+
+Jean Ingelow's poem has in it many things to interest a child, but there
+may be some things that will be clearer for explanation.
+
+Stanza 1. In England the daisy grows wild almost everywhere, a little,
+low plant which produces its heads of white, pink-tipped flowers from a
+rosette of leaves. In the United States we often see daisies in
+cultivation but they are nowhere native. The child is at her seventh
+birthday and has learned her multiplication table, the "sevens".
+Nowadays in our schools the children do not have the drudgery of
+committing the long tables to memory as their grand-parents did. Our
+little friend thinks that as she has lived seven years that makes her
+"seven times one are seven."
+
+Stanza 2. One is so old at seven, so very old--why one can even write a
+letter. But now with the birthday lessons learned she can think of other
+things; for instance there are the lambs who play always, for they have
+no lessons to learn. They are not old and they are "only one times one,"
+not "seven times one," which are seven.
+
+Stanza 3. She has seen the moon when it was full and bright and gave a
+wondrous light, but now it is only a pale crescent in the sky and its
+light is failing. Certainly the moon is failing and not like the child
+improving each day.
+
+Stanza 4. Occasionally the child has done wrong and been punished, and
+perhaps the moon has done something wrong way up there in heaven so that
+God has hidden its face. If that is true she hopes soon God will forgive
+the poor moon and allow it to shine once more with its silver light.
+
+Stanza 5. Isn't "velvet bee" a happy expression? Then the bee gathers
+the yellow pollen from the flowers, mixes and shapes it into little
+pellets and fastens them in golden balls on its thighs to carry into the
+hive where it will serve as "bee bread" to feed the young bees. In the
+wet places grow the marsh marigolds, or cowslips as they are sometimes
+called, bright golden flowers like the buttercups. To the bee and the
+cowslips the little child joyfully cries: "Give me your golden honey to
+hold, for I am seven years old and know what to do with it."
+
+Stanza 6. The columbine is the graceful little flower we so often hear
+called honeysuckle. Five deep curved nectar-bearing tubes project
+backward from the flower itself. By opening the blossom in the right way
+the child of fanciful ideas may see shapes that remind her of turtle
+doves.
+
+The cuckoo-pint (by the way, the _i_ is short as in _pit_) does not grow
+in the United States. It has spotted leaves, large and triangular, and
+the "bell" is an upright green cup in which stands a tall column, the
+"clapper." It is called cuckoo-pint because it blossoms about the time
+the cuckoo returns to England. Our nearest approach to the flower is the
+"Jack-in-the-Pulpit" or Indian Turnip.
+
+It is perfectly safe for the columbine to unfold its wrapper and the
+cuckoo-pint to toll its bell in the presence of a maiden so old. She
+will not destroy them.
+
+Stanza 7. In the United States we have no wild linnet, though we
+sometimes hear song-birds called by that name. The English linnet is a
+little sparrow with striped back and a purple crown and breast. He
+resembles our purple finch and our redpoll. He is one of the famous
+songsters of the English lanes and fields.
+
+No young lady of seven would be so thoughtless as to steal away the
+young linnets, so the old bird may freely point out the nest.
+
+At what time of the year does the little girl's birthday come?
+
+
+_The First Snowfall_
+
+(Volume II, page 403)
+
+A. _The Author._ For a sketch of the life of James Russell Lowell, see
+Volume VII, page 411.
+
+B. _The Meaning._ Words and Phrases:
+
+"Gloaming"; early evening.
+
+"Silence." The snow is called a silence, because it hushes noise, or
+prevents it.
+
+"Pine and fir and hemlock"; three evergreen trees.
+
+"Ermine"; the fur from a northern animal of the same name. It is very
+soft and white. Earls, nobles of rank, wore ermine on their robes to
+show their high birth.
+
+"Pearl"; a white, lustrous jewel, or the beautiful lining of some sea
+shells.
+
+"Carrara"; a town in Italy, whence comes the finest white marble. Here
+Carrara means _costly marble_.
+
+"Swan's down." Swans have fine soft down between their feathers. It
+protects them from cold in winter, and in summer they line their nests
+with it.
+
+"Noiseless work"; covering everything with snow.
+
+"Mound"; grave.
+
+"Auburn"; a beautiful cemetery near Boston.
+
+"Babes in the Wood"; an allusion to the old story of the children who
+were lost in the woods, and whom the robins covered with leaves to
+protect them.
+
+"All-father"; God, the Father of all.
+
+"Leaden"; gray and heavy, lead-colored.
+
+"Arched"; curved.
+
+"Deep-plunged woe"; a sorrow that plunged us deep in misery.
+
+"Eyes that saw not." His eyes were so filled with tears that he could
+not see "Mabel," who is really his daughter Rose.
+
+"_My_ kiss was given to her sister." He was thinking so deeply of his
+lost daughter, that it seemed almost as though he kissed the dead lips.
+
+"Folded close." The soft, downy snow made him think of a soft, warm
+covering for the form of his little one.
+
+C. _Form and Structure._
+
+There are ten stanzas of four verses (lines) each, with the rhymes at
+the ends of the second and fourth verses only. The word _snow_ is used
+four times in rhymes; the words rhyming with it are _crow_, _below_,
+_woe_ and _know_. All the rhymes in the poem are perfect.
+
+The meter is varied iambic trimeter. The first and third lines of each
+stanza have an added unaccented syllable, while the second and fourth
+have just three full feet. Anapestic feet are used freely to improve the
+music; in fact, they are nearly as numerous as the iambic feet.
+
+The scansion of the first stanza may be indicated thus:
+
+    The-snow'|had-be-gun'|in-the-gloam'|ing
+    And-bus'|i-ly-all'|the-night'
+    Had-been-heap'|ing-field'|and-high'|way
+    With-a-si'|lence-deep'|and-white'
+
+The scansion of the sixth stanza may be shown as follows:
+
+    Up-spoke'|our-own'|lit-tle-Ma'|bel
+      Say-ing-Fa'|ther-who-makes'|it-snow'
+    And-I-told'of-the-good'|All-Fa'|ther
+      Who cares'|for-us-here'|be-low'
+
+They are musical stanzas, and the finely chosen words add much to the
+melody.
+
+D. _Sentiment._ Lowell had a little daughter, Blanche, who died shortly
+before this poem was composed, so we may be sure that it was written
+from a full heart. He begins by giving us one of the most beautiful
+pictures of a snow-storm and of a snow-covered world that was ever
+written.
+
+(Compare Lowell's other description of winter to be found in the second
+part of _The Vision of Sir Launfal_ and Whittier's description in
+_Snow-Bound_.)
+
+When he has made us feel the softness, gentleness and beauty of the snow
+and caused us to forget that it is cold and damp, he speaks of himself.
+We can see him sitting by the window looking out upon the beautiful
+pearl-clad world. He brings us right into his own presence and we can
+almost see the flocks of startled brown snowbirds whirling by. Not till
+now, when we are fully in sympathy with him, does he let us know that he
+has met with a deep, heart-breaking loss. Now we know what the soft
+flakes are hiding from sight, and our hearts go out with his.
+
+Then his innocent little daughter comes in with the simple, commonplace
+question which he answers so touchingly. Can you not see him with his
+arm around the child, telling her of the care of the Father who loves
+little children so dearly? Yet his mind cannot free itself wholly from
+his first great sorrow, though he remembers that calmness, resignation,
+and gentle patience fell over his heart as the soft snow falls flake by
+flake from the leaden sky.
+
+To the child, however, he speaks words that she will not fully
+understand until she, too, is grown and has met with sorrow: "It is only
+the merciful Father, darling, who can make fall that gentle comfort that
+heals and hides all suffering."
+
+Once more our hearts are wrung with sympathy when with tear-filled eyes
+he gives the little maiden by his side the kiss that was for the silent
+lips in sweet Auburn. The little one, kissing back, could not know the
+grief of her father's heart or realize that another form than hers was
+clasped in his embrace.
+
+How much better we know the great poet when he tells us his personal
+griefs in so touching a manner! How sweet is the lesson of patience and
+resignation when communicated in such a beautiful poem!
+
+E. _Beauty and Effectiveness in Phrasing._ Where in literature will you
+find more beautiful phrases, more effective figures, than abound in this
+poem? Notice particularly the following, and try to determine why each
+is remarkable:
+
+    "With a silence deep and white."
+
+    "Ermine too dear for an earl."
+
+    "Stiff rails softened to swan's down."
+
+    "The noiseless work of the sky."
+
+                            "the leaden sky
+     That arched o'er our first great sorrow."
+
+    "The scar of our deep-plunged woe."
+
+    "Folded close in deepening snow."
+
+F. _Conclusion._ _The First Snowfall_ is one of the most perfect poems
+in our language. In beauty of composition, of music, of sentiment, and
+in deep religious feeling it can scarcely be excelled. Be guarded how
+you teach it; treat it reverently. Try to cause the children to love it,
+to wish to memorize it. If you see that you are not securing these
+results, leave the poem and take up something else. It is almost a sin
+to spoil it for any person.
+
+
+_The Potato_
+
+(Volume II, page 467)
+
+Thomas Moore's amusing stanza may seem silly to some people, but those
+who have a sense of humor will be delighted with the whimsical
+conception of a potato with so independent a spirit. It usually spoils
+humor to comment upon it. To explain a joke is to kill it. The sense of
+humor is contagious. Children will laugh when older people smile just
+from sympathy. When they ask "what's the joke?" it is time to explain.
+Even then it is best to give merely facts and let the joke make its own
+way. Laughter lightens many a heavy burden, and a sense of humor is a
+saving grace. Cultivate it by indirection.
+
+
+_Origin of the Opal_
+
+(Volume II, page 480)
+
+The opal is a beautiful stone which seen at different angles and in
+different lights seems to glow with various colors. The polished
+surface may seem, as you first look at it, to be only a milky white.
+Turn it a little and it glows a bright flame color with green lights
+round the margin. Turned a little more it shows violet and silver. Other
+shades mingle with these, all coming and going as light and position
+vary. A fine opal is a wonderfully brilliant precious stone.
+
+The idea of the poem, too, is beautiful. Here is a transparent dewdrop;
+in it is the flame of the last ray of sun. As the drop lies in the
+violet it takes that color, and steals from the rose her delicate
+shades. From the sky it draws the blue, from a leaf its green and
+silver. When all these colors have been taken in, the drop is congealed,
+and imprisoned in its heart are the fiery flame, the rich violet, the
+rose tints, the skyey blue, the delicate green and the gleaming silver.
+This is the opal.
+
+
+_The Barefoot Boy_
+
+(Volume IV, page 3)
+
+On page 5 occur the lines,
+
+    "Mine, on bended orchard trees,
+     Apples of Hesperides!"
+
+According to the old Greeks, there lay far to the west, in the ocean, a
+wonderful island where were kept, under the guard of a gruesome dragon,
+the beautiful golden apples which Gaea gave as a wedding present to
+Zeus. The Hesperides were the three daughters of Night, who ruled the
+guardian dragon. These golden apples, then, came to be known as the
+apples of Hesperides. When Hercules in his madness had slain his three
+children he was condemned to do whatever his cousin Eurystheus demanded
+for his purification. His tasks came to be known as the Twelve Labors of
+Hercules, and the eleventh was to obtain the golden apples from the
+Hesperides. He accomplished this task among the others, but the apples
+were subsequently restored. To the barefoot boy the apples of his New
+England tree were as choice as the golden ones of the Greek myth.
+
+Do not fail to see the exquisite picture painted by these beautiful
+descriptive lines on pages 5 and 6.
+
+    "O'er me, like a regal tent,
+     Cloudy-ribbed, the sunset bent,
+     Purple-curtained, fringed with gold,
+     Looped in many a wind-swing fold."
+
+
+_The Bugle Song_
+
+(Volume VI, page 133)
+
+Among the many charming lyrics which Tennyson has written, there are few
+more musical or more delicately beautiful than _The Bugle Song_. It may
+be appreciated better perhaps if we have knowledge of its setting. It
+occurs in _The Princess_, and has no immediate connection with anything
+that precedes or follows.
+
+Three pairs of youthful lovers have been climbing above a lovely glade
+wherein is pitched the tent of the Princess. As they climbed, "Many a
+little hand glanced like a touch of sunshine on the rocks, and many a
+light foot shone like a jewel set in the dark crag." They wound about
+the cliffs, and out and in among the copses, striking off pieces of
+various rocks and chattering over their stony names, until they reached
+the summit and the sun grew broader as he set and threw his rosy light
+upon the heights above the glade. When in this poetic vein Tennyson has
+described the scene, he throws in _The Bugle Song_ without any comment.
+
+We will understand it better if we paraphrase it briefly. Let us imagine
+ourselves standing on some peak and looking over a scene lighted by the
+setting sun.
+
+    "The splendor falls on castle walls
+     And snowy summits old in story."
+
+The light in long quivering beams is thrown across the lakes, and a wild
+cataract, made glorious by the golden light, leaps down a neighboring
+precipice. At this moment, somewhere in the distance we hear a bugle
+which sets wild echoes flying in every direction about us. As these
+echoes die away,
+
+    "O hark, O hear! how thin and clear,
+     And thinner, clearer, farther going,"
+
+there comes reflected to us from cliff and abrupt promontory the faint
+sound of the little horns of Fairyland. To them the purple glens reply
+in echoes gently dying into silence. O love, those echoes die away in
+the rich sky, and faint into nothingness on hill and field and river;
+but echoes of our thoughts, our feelings, of ourselves, roll on from one
+soul to another and grow in power forever and forever.
+
+The music in the lyric is dependent upon the choice of words and the
+arrangement of words. The words are chosen because of their meaning and
+because of the sounds which compose them. They are so arranged that the
+sequence is melodious and that the accents fall where needed to perfect
+the meter. The first three lines are perfectly smooth and regular, but
+the fourth is an abrupt change; "And the wild cataract leaps in glory"
+suggests power and strong interrupted motion. The last two lines of the
+stanza are somewhat irregular in meter, and the double repetition of the
+last word suggests the time elapsing while the echoes are flying back
+and forth between the surrounding cliffs, growing fainter and fainter
+with each repetition. In reading we show this: "Blow, bugle," is the
+original sound; we pause for the echoes to answer, "dying, dying,
+dying."
+
+In the second stanza the poet has selected words in which the vowels
+have thin and delicate sounds:
+
+            "how thin and clear,
+    And thinner, clearer, farther going!"
+
+So soft are the echoes that they suggest to the poet the delicate
+refrain from the musical instruments of fairies, and he describes it in
+the poetic phrase,
+
+    "The horns of Elfland faintly blowing!"
+
+The meter of the last stanza, which is more irregular than the others,
+we can indicate as follows:
+
+      O love'|they die'|in yon'|rich sky'
+        They faint'|on hill'|or field'|or riv'|er:
+      Our ech'|oes roll'|from soul'|to soul',
+        And grow'|for ev'|er and'|for ev'|er
+    Blow, bu'|gle, blow'|--set'|the wild ech'|oes fly'|ing,
+    And an'|swer, ech'|oes, an'|swer, dy'|ing, dy'|ing, dy'|ing.
+
+In the next to the last line there are five feet and one added syllable,
+if we consider that the pause which we naturally make before the word
+_set_ is equivalent to a syllable. In the last line there are six feet
+with an added syllable. This additional foot which appears in the last
+line of every stanza is introduced to imitate the lingering death of the
+echoes.
+
+After this study of the poem it should be read several times aloud in an
+effort to bring out the music; the first stanza in the pitch of ordinary
+conversation, with force in the fourth line and lingering intonations in
+the last line. The pitch of the second stanza should be higher, and it
+will be easily attained because of the predominance of the thin vowels.
+The third stanza calls for a pitch lower than the first and a slowness
+and solemnity of movement quite in contrast to the moderate rate of the
+first and the liveliness and gaiety of the second. It will be seen in
+these readings that there is an overlying melody in the stanzas, quite
+distinct from the rhythm that depends upon the meter, and that in the
+reading the meter naturally falls subservient to the melody of the
+phrases. In fact, in a poem of this kind the meter should be forgotten
+in the reading, which should give itself wholly to bringing out the
+meaning expressively, and to making the voice harmonize with the rich
+music of the lines.
+
+An analysis of _The Bugle Song_ will seem superfluous to the cultivated
+reader, but if these suggestions help the learner to see something new,
+to feel more acutely, to realize beauty more abundantly, their purpose
+is accomplished.
+
+
+_The Petrified Fern_
+
+(Volume VII, page 77)
+
+Some day when you want an interesting and delightful nature lesson that
+is a little out of the ordinary, get, if you can, a fossil fern. If you
+are in the city, doubtless you can get one from the museum, or, better
+yet, you may find that among your pupils there is someone who has such a
+specimen carefully treasured away. In some localities where the
+limestone rock comes to the surface, especially in the coal measures,
+these petrified ferns are very numerous. Show this to the class and get
+them all interested in it.
+
+If you cannot get a specimen to use, you can find a picture in the
+encyclopedia or geology, or you can tell the pupils how in some places
+it is possible to pick up from among the rocks on the surface of the
+ground oblong pieces perhaps a half inch thick, in which, when they are
+split open, you can see the impression of a fern, every vein showing
+plainly and looking as clear in the dull gray as it showed when alive in
+its green dress.
+
+Tell the story of the fern something after this fashion:
+
+"Hundreds and hundreds of years ago, so many years, in fact, that none
+of us can tell how many, somewhere in a valley, there grew a beautiful
+little fern, green and slender. It was as tender and delicate as the
+ones you can find in the woods now, and grew in just such a shady place.
+When the breezes crept down under the trees they waved the fern
+gracefully about so that it gently touched the tall rushes that grew
+above it and cast little shadows on the moss at its feet. Now and then
+a playful sunbeam darted through the crevices in the leaves and found
+the fern, and at night drops of dew stole silently in and made a
+glistening crown upon its head. But there were no children then to find
+it. It was long, long ago, when the earth was young, and nowhere on its
+broad surface was a single human child.
+
+"Out in the silent sea fishes larger than any that can be found now were
+swimming about. Across the plains of the earth animals of wonderful
+shapes and enormous size stalked clumsily and found their way into
+stately forests. No man ever saw growing such trees as waved their giant
+branches over the earth, for then Nature made things on a grander scale
+than she does now. The little fern, however, was wild and simple, and
+lived in its home unnoticed and uncared for by any of the great
+creatures or the mighty trees. Still it grew on modestly in its own
+sweet way, spreading its fronds and becoming more beautiful every day.
+
+"Then suddenly one day the earth heaved up its mighty rocks and threw
+them about in every direction. The strong currents of the ocean broke
+loose and flooded over the land. They drowned the animals, moved the
+plain, tore down the haughty woods and cast the great trunks about like
+straw. They broke the little fern from its slender stalk, and burying it
+deep in soft moist clay, hid it safely away.
+
+"Many, many long centuries have passed since the day the useless little
+fern was lost. Millions of human beings have come upon the earth, have
+lived and been happy, have suffered, passed away, and have been
+forgotten. The soft, moist clay that clasped the fern hardened into rock
+and kept safely in its strong prison the delicate little frond.
+
+"Then one day, not long ago, a thoughtful man studying Nature's secrets
+far and wide found up in a valley where a stream had worn a deep
+fissure, a queer little rock. When he looked at it, he saw running over
+it a strange design, as though some fairy with its magic pencil had
+drawn the outline of a fern with every vein distinct, showing in every
+line the life of the long-lost plant. It was the fern I told you about.
+
+"Isn't it strange that so delicate a thing as a fern could be kept clear
+and fine through all those thousands of years when the earth was
+changing and growing, and then finally be thrown up where a man could
+find it and read its whole history? The poet, Mary Bolles Branch, saw
+the little fern and wrote the beautiful lines which I now want to read
+to you."
+
+(Here read the poem, _The Petrified Fern_, found in _Journeys_, Volume
+VII, page 77.)
+
+There are very few words or expressions in the poem that will require
+any explanation. At the end of the first stanza the phrase "keeping
+holiday" means that as there were no human beings on the earth, there
+was no real work being done.
+
+At the end of the first line in the second stanza the word _main_ is an
+old term that means _ocean_.
+
+The last two lines of the third stanza are meant to show how different
+life has been on the planet since man came. Until he appeared there was
+no real agony; there was pain, for animals can suffer, but it takes a
+mind and soul to know agony. Man cannot live except with suffering and
+at a bitter cost.
+
+Until the last two lines of the fourth stanza are reached the poem is
+merely a beautiful and musical narrative. The last two lines are the
+thought that comes to the poet when she considers the history of the
+little fern. It is thinking such thoughts as this that make the poet
+different from ordinary men. You and I might see the impression of the
+fern and think it beautiful, but its beauty would not suggest to us the
+comforting idea that
+
+    *  *  * "God hides some souls away
+    Sweetly to surprise us, the last day."
+
+Our own poet Longfellow, in _The Builders_, voices a similar thought
+when he says:
+
+    "Nothing useless is, or low;
+       Each thing in its place is best;
+     And what seems but idle show
+       Strengthens and supports the rest."
+
+After you have presented these thoughts, read the poem again to the
+children. Call attention to its musical structure, its simplicity, the
+beauty of its expressions, and then read it a third time. It is one of
+those beautiful things which may well be committed to memory.
+
+It will be found very helpful, too, for the children to write the story
+in prose and try to bring out the meaning. Let them use freely the words
+of the poem, but a different arrangement of words, so that there shall
+be left no trace of rhyme or meter in their prose.
+
+  [Illustration: ROBERT SOUTHEY
+  WILLIAM COWPER
+  ROBERT BURNS
+  LORD BYRON
+  JOHN KEATS
+  PERCY BYSSHE SHELLEY
+  SAMUEL TAYLOR COLERIDGE]
+
+
+_The Forsaken Merman_
+
+(Volume VII, page 180)
+
+One of the satisfactory poems for study in the middle years of school
+life is the one whose name heads this paragraph. It is a great favorite
+with most children who know it, but it has not found its way largely
+into school use. For both of these reasons it is worthy of study.
+
+I. _Preparation and General Plan._ Let the children read in turn, each
+taking one stanza, and if a second reading seems desirable let them
+exchange stanzas so that each will have a part new to himself. Be sure
+to have a final reading, by yourself or by the best reader among the
+children, which shall be continuous and without interruption; otherwise
+the beautiful unity of idea and the relation of the different parts will
+be overlooked.
+
+II. _Words and Phrases and Sentences._ It is well to begin with the
+study sentence by sentence. See that the meaning is clear. The following
+suggestions may be of assistance:
+
+_Page 180, line 6._ "Wild white horses"; the breakers, where the waves
+are beaten into foam and flying spray.
+
+_Line 7._ "Champ"; gnash their bits.
+
+_Page 182, line 4._ "Stream." The ocean currents resemble streams of
+water on land.
+
+_Line 8._ "Mail"; scales. How could the snakes _dry_ their mail?
+
+_Line 10._ "Unshut." Do fish have eyelids? Is a whale a fish? Does a
+whale have eyelids? Do most people think of a whale as a fish?
+
+_Line 18._ "Sate" is an old form for "sat." Can you find other old or
+unusual words or expressions? Why does the poet use them?
+
+_Line 25._ "Merman." The literature of the ancients contained frequent
+allusions to mermaids, who were strange creatures with heads of
+beautiful, long-haired maidens, but with scaly bodies and the tails of
+fish. In pictures they are usually represented as sitting upon reefs
+holding a mirror in one hand and combing their long locks with the
+other. Holmes, in _The Chambered Nautilus_, speaks of the "cold
+sea-maids" who "rise to sun their streaming hair." Mermen were not so
+often spoken of, but there are some allusions to them. In later times
+the mermaids were considered more as fairies, and there were many
+stories of human children being taken to live with the mermaids, and of
+the latter coming upon land to live like men and women. There was, too,
+a belief that sea-folk had no souls, and that a person who went to live
+with them would lose his soul. The beautiful picture on page 181 shows
+the forsaken family.
+
+_Line 10_, from the bottom. "Leaded panes." The small panes of stained
+glass in the church windows are set in narrow leaden frames.
+
+_Page 185, line 4._ "Heaths" and "broom". The English and Scotch
+heathers are little bushy shrubs that cover the hills and fields. They
+bear beautiful little bell-like pink or white flowers. The trailing
+arbutus, the blueberry and the wintergreen are some of our native plants
+belonging to the same family. The broom plant is another low shrub that
+bears rather large yellow blossoms, shaped like the flowers of peas and
+beans. The old-time country-folk used bundles of these shrubs for
+brooms.
+
+_Line 10._ There have been several allusions to tides. If the children
+do not understand the subject, be sure to explain how different a shore
+looks at high and at low tide. The change is most noticeable where the
+water is shallow, for then long stretches of sea-bottom may be uncovered
+at low tide.
+
+III. _The Story._ Bring out by questions these facts which constitute
+the "plot," or incidents:
+
+1. A merman, who has a family of children (five, the artist says, page
+181), has been deserted by his human wife.
+
+2. The father and children are on shore trying to persuade the mother to
+return. The father feels that all must go back.
+
+3. He begs the children to call their mother once more, for he thinks
+that childish voices, wild with pain, may induce her to come.
+
+4. He feels discouraged.
+
+5. He tells how she became alarmed and left them at Easter time to
+return to her church and pray, that she might save the soul she feared
+she was losing.
+
+6. The father and children had come on shore to find their mother. She
+was seen praying in the church, working at her spinning wheel at home,
+happy but apparently not wholly forgetful of her family in the sea, for
+she sighed and dropped a tear as she looked over the sand to the sea.
+
+7. The father feels that his wife is cruel and faithless and that she
+has deserted, forever, himself and his family, the kings of the sea.
+
+IV. _The Characters._ Question the children till they see clearly the
+persons.
+
+1. The principal character is the deserted merman, a king of the sea.
+Ought he to expect his wife to stay with him?
+
+2. The wife, a human being who has loved a merman, and who has a family
+of sea children, but who has suddenly become awakened to the danger to
+her soul. Is she selfish? Ought she to have forsaken her family? Can she
+really be happy away from her husband and family?
+
+3. The children. How many were there? How old were they? Were there both
+boys and girls? Do you think Mr. Reese had a clear idea of the family
+when he drew the picture (page 181)? There must have been at least
+three, for it is said that the mother tended the youngest well; at least
+one girl, for the mother sighed for the strange eyes of a little
+mermaiden.
+
+4. The priest.
+
+V. _Pictures._ Two series of pictures are kept side by side all the
+time; one of the land, and the other of the sea. Try to create a vivid
+scene from each.
+
+_First_, on land: We can see a little town, nestling on the side of a
+bleak, wind-swept hill, an old English town with a white stone wall all
+around it. On the hill, which is too rough to be cultivated, grow great
+fields of heather, studded with the golden blossoms of broom-plant. A
+little gray stone church stands surrounded by its yard, where the
+village dead are buried, for such was the old custom in England. The
+stones are at the head of the graves, and the walls of the church are
+rain- and storm-worn, but bright stained-glass windows in the building
+and flowers and trees among the graves make the place very beautiful.
+Some of the windows are clear, so that you can look through and gaze
+along the aisle bordered by high wooden pews and see the priest reading
+service, and, by one of the stone pillars, the merman's wife, her eyes
+steadily gazing at the bible in her lap. You are privileged, too, to
+peep into one of the thatched cottages, and see the mother turning the
+old-fashioned spinning wheel. From her house there is a wide view down
+the hill, across the bay and out to sea. At high tide the breakers dash
+madly against the shore, but at low tide there is a broad strip of
+silver sand, rocks covered with sea-weed, and in the low places, creeks
+and pools of salt water. Does the artist's picture represent high or low
+tide?
+
+_Second_, at sea: Deep beneath the surface of the water where the waves
+toss and roar, where the surf and spray dash madly about, are great
+caverns strewn with white sand. It is cool down there in the depths, and
+the light filtering through the clear green sea is weak and pale. The
+water streams through caverns, swaying the exquisite sea-weeds that line
+the walls; and outside, round about, whales, sea-snakes and all manner
+of water beasts swim in play or struggle for mastery. In one of the
+caverns stands a great throne of red gold, ornamented with graceful sea
+fringe, pearls and amber. From without one may gaze up to the
+amber-colored ceiling, or down to the pavement of lustrous pearl. It was
+this wondrous palace that the mermaid abandoned for the sake of her
+soul.
+
+VI. _Sentiment._ It is, on the whole, a sad poem, though a few cheering
+thoughts are suggested by it. Without an attempt at classification and
+analysis, here are a few choice ideas taken in order as they occur:
+
+_Page 180._ "Children's voices should be dear to a mother's ear."
+
+_Page 183._ "Long prayers in the world they say."
+
+_Page 183._ "Oh joy, for the blessed light of the sun!"
+
+_Page 185._ The last stanza shows very pleasingly the faithfulness of
+father and children, in contrast to the inconstancy of the mother.
+
+VII. _Beauty._ Besides its sentiment, the poem gives us other beauties
+in great number. Here are some of them:
+
+_a. Unity._ The poem has one idea running through it from beginning to
+end, an idea that is nowhere lacking, though at first it is not seen.
+What is the one idea? Grief, but not bitterness nor anger. Each
+succeeding stanza is seen to add something to this idea, till all our
+sympathies are enlisted for the forsaken children, more than for the
+father who does all the talking.
+
+_b. Meter and Rhyme._ Both meter and rhyme are irregular, but that fact
+gives a pleasing variety to the poem and corresponds to the somewhat
+abrupt changes in the line of thought that at first make the poem rather
+hard to read. The children will be interested in comparing the lengths
+of lines in different stanzas and sometimes in different parts of the
+same stanza. It is easy to pick out the rhymes, to see how often rhymes
+are repeated in a stanza, and whether the lines are in couples or
+alternate.
+
+_c. Phrases._ The following lines are quoted as those perhaps best
+worth study and remembrance. Let the children determine why they were
+selected as beautiful lines; that is, determine in what respect the
+lines are beautiful:
+
+    "Now the wild white horses play,
+     Champ and chafe and toss in the spray."
+
+    "The far-off sound of a silver bell."
+
+    "Where the sea snakes toil and twine,
+     Dry their mail and bask in the brine."
+
+    "A long, long sigh
+     For the cold, strange eyes of a little Mermaiden."
+
+    "A ceiling of amber,
+     A pavement of pearl."
+
+    "Heaths starr'd with broom."
+
+
+_The Cloud_
+
+(Volume VII, page 257)
+
+This lyric has wonderful beauty. It is one of the most musical of poems,
+the ideas are fine and the pictures of surpassing charm. If it lacks the
+high message it is still an inspiration, for beauty is always ennobling
+to the appreciative.
+
+The charm of _The Cloud_ will appeal to children but it may be
+intensified by judicious questioning and comment. As always in trying to
+give appreciation of real literature, the teacher in the home or at the
+school must be certain of his purpose and must never carry the
+instruction too far. He must understand the nature of the reader and
+shape his questions accordingly. It is impossible to print anything that
+will be helpful equally to all or that can be used in its entirety in
+any instance. Do not talk too much about what is evident, and stop at
+the first signs of a dawning distaste.
+
+_First Stanza._ It is the cloud that is speaking, and as every cloud is
+ever changing, the song of the cloud varies with its condition. It is
+now the cloud of the warm summer shower that piles up in snowy billows
+on the horizon and rolls over the laughing face of flowering nature.
+
+How do the flowers show that they are thirsting? Will they look
+different when their thirst is satisfied? Do leaves dream? Leaves, you
+know, are the lungs of plants. May they do more work in the morning, the
+evening and the night, than at midday? May they be said to be sleeping
+at times? Is the shade of the cloud a help to the leaves? Did you ever
+see the leaves of trees turn their glazed upper surfaces toward the
+ground and twist up their under sides toward the sky, begging for
+moisture? Did you ever notice that the buds of most flowers open in the
+night or toward morning? Do the "dews awaken" these? Do clouds cause
+dews?
+
+Strictly speaking, no "dews" fall from clouds; but light mist may do so.
+Who is the mother of the buds? In what way are they "rocked to rest"?
+How does the mother "dance about the sun"? Do you like the sound of the
+line, "I wield the flail of the lashing hail"? There are five "l's" in
+the line and they give it that liquid sound which you like. Did you ever
+see a farmer standing in the midst of a floor covered with stalks of
+grain, beating out the kernels with a flail? What does the word "under"
+mean here? (An adverb, and means _down_ or _into subjection_.) What does
+"it" refer to, in the next to the last line?
+
+_Second stanza._ Who is the pilot of the cloud? Where does he sit? What
+lures the pilot? Who are the "genii"? (A _genius_--plural, _genii_--is a
+good or evil spirit which was supposed by the ancients to guard a man
+and control his destinies. In a sense the spirit of the waters may be
+said to control the lightning.) Who move "in the depths of the purple
+sea"? (The word "dream" would be written "dreams" in prose. The two
+lines mean: "Wherever the lightning thinks the spirit he loves is to be
+found.") Who is dissolving in rains? Is there much lightning while the
+rain is falling or does it usually precede or follow the heaviest part
+of the shower?
+
+_Third Stanza._ "Sanguine" means "blood red"; "rack" or "wrack" is
+broken or floating cloud. What is the "morning star"? What is meant by
+its "shining dead"? What are the "burning plumes" and what the "meteor
+eyes" of the sunrise? What becomes of broken clouds when the sun strikes
+them? What is likened to an eagle that is "alit" on a crag? What is the
+"airy nest" of the cloud? What is a "brooding" dove? Is a dove more
+quiet than other birds? Did you ever see a cloud high in the sky at
+early dawn, at sunset, in the night? Does this stanza make you think of
+what you have seen, make you see it again more vividly?
+
+_Fourth Stanza._ "Orbed" means "round" like the moon. The woof is the
+thread that in weaving is carried by the shuttle through the threads of
+the "warp"--here it means the "filling." The ancients considered Diana,
+goddess of the moon and of hunting, to be a beautiful girl, haughty and
+modest. In pictures she was clothed as a huntress, carried a bow and
+arrows and wore a crescent in her hair. Is the moon's light white? Is
+that phrase a beautiful one which speaks of the moon as "with white
+fire laden"? What is the position of the cloud in this stanza? Is it
+between the moon and the earth? Is the cloud the "fleece-like floor" of
+the sky? If so, when the cloud speaks of its "tent's thin roof," what is
+meant? (Perhaps when the moon looks down the cloud looks like a floor
+and when the earth looks up it sees the cloud like a tent.) Whose are
+the "unseen feet"? At what do the stars "peer"? What do they see first?
+Why do they "turn and flee like a swarm of golden bees"? What do the
+stars see when the rent is widened? With what are the rivers, lakes and
+seas paved? How can they be paved with moon and stars? Did you ever see
+the moon and stars reflected in a lake, the former perhaps making a
+broad glittering pavement across the waters? To what does "these" in the
+last line refer? Why did not Shelley write "stars" instead of "these"?
+Can you see the exquisite night pictures described in these lines?
+
+_Fifth Stanza._ This stanza is characterized by force and intensity of
+action; the words and phrases are as apt and beautiful as can be
+written.
+
+Have you not seen the west when the clouds appeared a fiery red around
+the setting sun? Have you not seen the moon surrounded by bright pearly
+clouds? When the winds blow strong and whirl the fleecy clouds through
+the sky do not the latter make the mountain tops dim and do not the
+stars seem to dash across the heavens in a maddening race? Ever
+changing, the clouds constantly rearrange themselves, sometimes bridging
+the entire heavens, resting at the horizon upon the mountains as upon
+columns.
+
+What is the "triumphal arch"? What are the powers of the air? What is
+meant by saying they are "chained to the chair" of the cloud? Is the
+"triumphal arch" the "million-colored bow"? What is the "bow" that is
+said to be "million-colored"? What wove the soft colors of the
+million-colored bow? What is the "sphere fire"? What did it do? Whose
+soft colors did it weave? What was the earth doing while the colors were
+being woven? Why should the earth be laughing? Why is it spoken of as
+the moist earth?
+
+_Sixth Stanza._ A cenotaph in an empty ornamental tomb. The body of the
+person to whom the monument has been erected is buried elsewhere.
+
+In what way is a cloud the daughter of the earth and water? In what way
+is it the nurseling of the sky? How can a cloud pass through the pores
+of the ocean and shores? What are the pores of the ocean and shores? Is
+it true that a cloud cannot die? Is the poet true to nature and science
+when he says:
+
+    "For after the rain, when, with never a stain,
+     The pavilion of heaven is bare,
+     And the winds and sunbeams, with their convex gleams,
+     Build up the dome of the air"?
+
+What is the "cenotaph" of the cloud? Out of what does the cloud rise
+again? What is there appropriate in saying that the cloud rises like a
+ghost? What is it the cloud builds up again?
+
+Note the following particularly beautiful phrases:
+
+                            "Leaves when laid
+     In their noonday dreams."
+
+    "Great pines groan aghast."
+
+    "The sanguine sunrise, with his meteor eyes."
+
+    "The crimson pall of eve."
+
+    "The woof of my tent's thin roof."
+
+    "My wind-built tent."
+
+    "The million-colored bow."
+
+    "Nurseling of the sky."
+
+        "With never a stain
+     The pavilion of heaven is bare."
+
+Read aloud the entire lyric till its sweet music is yours. Note the
+smooth rhythm, the peculiar adaptation of sound to sense, the flowing
+cadences in the lines.
+
+
+_Ode to a Skylark_
+
+(Volume VII, page 275)
+
+There are three classes of lyrics that are to a greater or less degree
+in the nature of an address to some person, place or thing. The elegy is
+a lyric address praising the dead, the ode and the sonnet may praise
+living or dead. The elegy in its measures partakes of the solemnity of
+the grave, the ode is hampered by no such restrictions. Neither is the
+sonnet, although by its strict requirements of form it is set off in a
+class by itself. In the ode the poet enjoys his greatest freedom, for he
+may use any meter, may write at any length and in any manner, grave, gay
+or grotesque. Accordingly the odes of our language are most spontaneous,
+musical, inspiring and beautiful.
+
+_The Skylark_ is a perfect example of an ode at its best. It is full of
+life and joy. It sparkles in every line and vies in music with the song
+of the lark himself.
+
+    "Hail to thee, _blithe spirit_!--
+       Bird thou never wert."--
+
+Those two lines are to be taken as the key note of the whole lyric. It
+is the spirit of free and perfect melody that Shelley is addressing,
+melody that comes from heaven or near it, that bubbles from the full
+heart, that is free from rules and conventions, unpremeditated, yet all
+art. It is "Like an unbodied joy whose race is just begun." "What thou
+art we know not," yet thou art like a poet hidden singing hymns
+unbidden; like a high-born maiden soothing her love-laden soul in
+secret; like a hidden glowworm scattering its hues unbeholden; like a
+rose embowered in its leaves making faint the thieving winds with its
+heavy scent. Its music surpasses the delicate sounds of vernal showers
+on the twinkling grass, the beauty of the rain-awakened flowers, and all
+that ever was clear and fresh and joyous. Such is the song.
+
+"What are the thoughts that inspire such heavenly melody?" the poet
+cries. "Teach us, teach us thy sweet thoughts. I have never heard such a
+flood of rapture so divine. Matched with thy music the noblest marriage
+hymn, the grandest Te Deum would be but an empty boast. From what
+fountains springs thy happy strain? Is it from fields, or waves or
+mountains, from strange shapes of the sky and plain? Is it from
+ignorance of pain, from love of thine own kind that the joyous music
+comes? Certainly thou lovest, but there can be no weariness in thy keen
+joy, no shadow of annoyance. How different we!
+
+    "We look before and after,
+       And pine for what is not:
+             Our sincerest laughter
+               With some pain is fraught;
+     Our sweetest songs are those that tell of saddest thought.
+
+            "Yet if we could scorn
+               Hate, and pride, and fear;
+             If we were things born
+               Not to shed a tear,
+     I know not how thy joy we ever should come near."
+
+"To me, the poet, thy skill would be better than all the measures of
+delightful sound, than all the treasures found in books and if I could
+sing one half as well as thou, the world would listen to me entranced as
+I am listening to thee."
+
+If the song of the lark is beautiful, the song of the poet is not
+surpassed. The riotous spirit of music sings in every line, beauty is
+seen in every stanza, is lavished upon every phrase, upon every
+melodious verse. The prodigality of beautiful phrases is marvelous. The
+phrases descriptive of the bird alone are strikingly apt and numerous:
+
+"Blithe spirit"; "bird thou never wert"; "like a cloud of fire"; "like
+an unbodied joy"; "like a star of heaven"; "like a poet hidden in the
+light of thought"; "like a highborn maiden in a palace tower"; "like a
+glowworm golden"; "like a rose embowered"; "sprite and bird"; "thou
+scorner of the ground."
+
+To characterize the song properly, the poet finds it necessary to use
+these phrases: "Profuse strains of unpremeditated art"; "shrill
+delight"; "keen as are the arrows of that silver sphere"; "all the earth
+and air with thy voice is loud"; "a rain of melody"; surpassing the
+"sound of vernal showers" and of "rain-awakened flowers" and "all that
+ever was joyous, clear and fresh"; "a flood of rapture so divine";
+beside it a "hymenaeal chorus" or a "triumphal chaunt" is "but an empty
+vaunt"; "clear, keen joyance," "notes flow in such a crystal stream."
+
+Besides the ardent appreciation for the beautiful song, the lyric
+contains one sad truth exquisitely expressed:
+
+           "We look before and after,
+              And pine for what is not:
+            Our sincerest laughter
+              With some pain is fraught;
+    Our sweetest songs are those that tell of saddest thought."
+
+And finally, there is the consummate personal appeal of the poet, which,
+if we may judge by the matchless lyric, was answered by the same spirit
+that inspired the graceful scorner of the ground:
+
+         "Teach me half the gladness
+            That thy brain must know,
+          Such harmonious madness
+            From my lips would flow,
+    The world should listen then, as I am listening now!"
+
+Compare the following lyric on the same subject by James Hogg:
+
+          Bird of the wilderness,
+          Blithesome and cumberless,
+    Sweet be thy matin o'er moorland and lea!
+          Emblem of happiness,
+          Blest is thy dwelling-place--
+    O, to abide in the desert with thee!
+        Wild is thy lay and loud,
+        Far in the downy cloud
+    Love gives it energy, love gave it birth.
+        Where, on thy dewy wing,
+        Where art thou journeying?
+    Thy lay is in heaven, thy love is on earth.
+        O'er fell and mountain sheen,
+        O'er moor and mountain green,
+    O'er the red streamer that heralds the day,
+        Over the cloudlet dim
+        Over the rainbow's rim,
+    Musical cherub, soar, singing away!
+        Then when the gloaming comes,
+        Low in the heather blooms
+    Sweet will thy welcome and bed of love be!
+        Emblem of happiness,
+        Blest is thy dwelling-place
+    O, to abide in the desert with thee.
+
+Various interpretations and helpful comments of other kinds may be found
+on the following pages:
+
+  Volume I,     page 95.   _The Rock-a-By Lady._
+  Volume I,     page 204.  _Old Gaelic Lullaby._
+  Volume I,     page 350.  _Keepsake Mill._
+  Volume I,     page 406.  _The Fairies._
+  Volume II,    page 482.  _In Time's Swing._
+  Volume IV,    page 86.   _The Village Blacksmith._
+  Volume V,     page 335.  _How They Brought the Good News from Ghent to
+                            Aix._
+  Volume V,     page 396.  _The American Flag._
+  Volume VII,   page 345.  _The Reaper's Dream._
+  Volume VIII,  page 60.   _America._
+
+
+
+
+CHAPTER XII
+
+READING ALOUD
+
+
+Silent reading is selfish, while oral reading is for the benefit and
+pleasure of others. The ordinary individual in daily life reads but
+little aloud, and probably makes no attempt whatever to improve his
+style after he leaves the schoolroom. But parents and teacher are
+incessantly called upon to read--to read intelligently and effectively.
+To some this power appears to come naturally, but most people acquire it
+only by serious study and continuous practice, and will find their
+greatest assistance in a thorough knowledge of those things which are
+essential to pleasing oral expression.
+
+1. ARTICULATION AND ENUNCIATION. Articulation is one thing; enunciation
+is another. A person articulates the sounds of a language; he enunciates
+the syllables and words. A clear and distinct enunciation is as
+necessary as the perfect articulation on which it is based. Indistinct
+enunciation comes from a natural slovenliness of mind, from nervousness,
+haste or over-excitement.
+
+Any one who can articulate correctly can acquire a perfect enunciation.
+Knowing this fact, and knowing the causes which lead to poor
+enunciation, it is comparatively easy to correct the faults and give
+drill which will overcome the carelessness or remove the difficulty.
+
+2. EMPHASIS AND INFLECTION. The primary facts upon which rests
+intelligibility in reading are emphasis and inflection. Let it be said
+at the start that no one can read well who has not thoroughly mastered
+the thought in the selection he is rendering. If he is compelled to
+search his mind for the meanings of words or to grasp the complete idea
+of a sentence, he unwittingly pauses and hesitates and confuses the
+ideas of his hearers. But if the thought of a selection is thoroughly
+mastered, he places the emphasis almost unerringly and by so doing
+raises no conflicting ideas in the mind of the listener. Moreover, if
+the meaning of a sentence is clear to a reader his inflections are
+ordinarily correct.
+
+3. EMOTIONAL STATES. A person may read with perfect inflection and the
+most correct emphasis, yet fail altogether to convey the real feeling of
+the author. Not only must a reader master the thought, but it is
+essential that he be able to feel the emotions that possessed the author
+or manifested themselves in the characters he describes. If anyone is
+thoroughly possessed by the sentiment of any given poem, the quality of
+his voice will modify itself and respond to the behests laid upon it. He
+will unconsciously pitch his voice at the proper key, will use the right
+amount of force, and speak at the rate which most suitably expresses his
+feelings. When this is done, we have perfectly natural reading, the
+highest art.
+
+Pitch, rate, quality and force are the particular characteristics of
+good reading which depend almost entirely upon the mental state of the
+reader.
+
+a. Pitch. Much depends upon the proper pitch of the voice. The key upon
+which one reads may be medium, or low, or high, and what it is depends
+upon certain physiological conditions. If the vocal chords are tense,
+the pitch is high. Accordingly, any state of mind that produces tense
+vocal chords produces high pitch in the voice. A person can forcibly
+tighten his vocal chords and utter sounds at high pitch, but they are
+strained, artificial and unnatural. If a certain amount of feeling goes
+with the effort, the tones become more agreeable.
+
+If a person's voice is pitched too high, is harsh and unmelodious, the
+remedy is by way of a process of forgetting. He must forget that he is
+reading and feel that he is talking. If his conversation is marked by
+the same faults as his reading, he may gain something by imitation in
+the way of raising his standards of expression. In general, he reads
+harshly because he thinks he _must_ read. The nervous tension which this
+feeling produces has affected his vocal chords without any intention on
+his part. He cannot read more expressively while he feels as he does.
+Harshness and unnatural pitch will disappear from his voice when he can
+forget that he is reading from compulsion.
+
+For practice the following selections are excellent:
+
+  _Gettysburg Address_, IX, 321.
+  _Boat Song_, VII, 17.
+  _Battle of Waterloo_, VIII, 176.
+
+b. Rate or Time. The rate at which a person reads, or the time consumed
+in any one selection, is regulated by the extent or breadth of thought
+and by the rapidity of action. There is a certain medium or ordinary
+time in which those selections that are in no way emotional are read.
+Commonplace selections, not calculated to stir the feelings, are of this
+character, as are simple narratives where the incidents are unexciting.
+This medium or standard time may be varied in two ways: first, by the
+quantity of time taken in the utterance of certain words or syllables,
+and second, by pauses between sentences or groups of words. Rate,
+however, usually depends more upon the grouping of words and the length
+of the pauses between groups than upon the utterance of syllables. The
+rate of syllabic utterance is usually a personal characteristic. Some of
+us articulate rapidly, while others of more phlegmatic temperament speak
+slowly.
+
+In conversation or in perfectly natural reading, we usually utter with
+one impulse of the voice those words which are closely related in
+meaning. These words so uttered form groups that are usually quite
+independent of punctuation. Punctuation marks are for the eye and are
+intended to make clear the meaning. They do not separate the sentence
+into units of expression. Only the terminal marks are of any great
+importance either in suggesting the inflection or indicating the length
+of the pause. A good reader notices the marks insomuch as they make
+clear the thought, but largely disregards them in his reading.
+
+The person who reads too rapidly has a mind that is very quick in its
+action or one that is not fully occupied with the thought of his
+selection; he may have a vague understanding, but does not realize the
+full extent and import of the idea. If he reads too slowly, he is
+naturally slow in thought, or the words come to him slowly through his
+eyes, his organs of speech are not sufficiently under control, or he
+does not appreciate the difference between the principal ideas and those
+of minor importance. Find the central idea, group others about it in
+proper degrees of subordination, feel the sentiment in what is being
+read, and the time usually will be correct. There are worse faults in
+reading than undue rapidity or slowness, for we can make our minds keep
+pace with the reader, if in other respects his expression is good.
+
+The following selections afford considerable variety in rate:
+
+  _Exciting Canoe Race_, VII, 79.
+  _Those Evening Bells_, VII, 340.
+  _Charge of the Light Brigade_, VII, 147.
+  _Marco Bozzaris_, VIII, 90.
+
+c. Quality. The quality of the voice is almost entirely dependent upon
+the emotions. Tenderness, love, joy, awe, fear, all produce their effect
+upon the voice. In an unemotional state the person speaks in normal
+quality and in the tone that is natural to himself. If the same person
+is frightened or if his animosity is aroused, he speaks in an aspirated
+tone; if he feels harshly toward anyone or is angry, his voice possesses
+that guttural quality which indicates the severer and harsher emotion;
+when he is moved by grandeur and sublimity, his voice naturally takes a
+full, round quality.
+
+d. Force. The quantity of mental energy the person possesses usually
+regulates the force of his utterance, and that mental energy is
+stimulated by his emotions. If he feels thoroughly in earnest in what he
+is trying to accomplish, his voice becomes loud and full of force. It is
+then a natural force and is usually agreeable, unless the emotion which
+causes it is of an unpleasant type.
+
+But it is often true, particularly of teachers who have been long in
+service and those persons who have talked under unfavorable conditions
+to large numbers of people, that their voices have become too loud and
+too much strained to be pleasant to the ear. A soft, pleasing voice,
+loud enough to be distinctly audible, is always better than a strident,
+forcible utterance that compels attention whether one will or not.
+
+Extremes of force may be found in the following selections:
+
+  _Sweet and Low_, VI, 122.
+  _To a Waterfowl_, VII, 395.
+  _The Destruction of Sennacherib_, VI, 141.
+  _Little Red Riding Hood_, I, 79.
+
+
+
+
+CHAPTER XIII
+
+LITERATURE AND ITS FORMS
+
+
+It is not everyone who can tell readily what is meant by literature, nor
+can anyone in a few words define it. What the study of "literature"
+(only the adult's manner of saying "reading") is expected to accomplish
+was aptly described by Cardinal Newman when he wrote: "The object of
+literature in education is to open the mind, to correct it, to refine
+it, to enable it to comprehend and adjust its knowledge, to give it
+power over its faculties--application, flexibility, method, critical
+exactness, sagacity, address and expression." Reading at home and in the
+public schools as well as in the high school and colleges helps to
+accomplish these ends to a great extent.
+
+Many persons fail to understand what literature is, and if they do
+realize its importance they do not comprehend the great variety of its
+forms nor the significance of each. To help such persons to a more
+comprehensive knowledge and a deeper insight into the functions of
+literature this chapter is written.
+
+In its widest sense the word literature covers nearly every kind of
+printed matter, but it is in its more restricted meaning that the term
+is used here. Only that which is beautiful in form and expression,
+inspiring and helpful in spirit, noble and righteous in sentiment can
+be called literature as we are considering it. There may be weak and
+frivolous books, well-meaning but inept books, and really bad books, but
+none of them can be classed as literature.
+
+Literary masterpieces are either prose or poetry, and in print the two
+are easily recognizable by their difference in form. Coleridge once said
+that prose consisted of words in their best order, while poetry was the
+best words in their best order, a poetic definition that does not convey
+a very accurate knowledge of the distinction. Poetry differs from prose
+not only in the choice and arrangement of words, but also to a lesser
+degree in sentiment and feeling. However, much verse, though faultless
+in form, can never be considered real poetry, while much prose has real
+poetic beauty.
+
+
+_Prose_
+
+The great bulk of the writings of the world is in prose. It is the
+medium of hard sense, of practical knowledge, of argument and of
+dialogue. Yet often it appeals to the imagination, charms with its
+beauty and inspires to heroic deeds.
+
+It seems to be generally accepted that four methods of expression are to
+be found in prose: _narration_, _description_, _exposition_ and
+_argumentation_. Narration deals with things in action, description with
+the appearance of things, exposition explains the relations ideas bear
+to one another, and argumentation not only does this, but tries at the
+same time to convince. Theoretically, this distinction is very easy to
+make, for action is the life of narration, appearance the theme of
+description, explanation and exposition are synonymous, and no one
+argues but with the hope of convincing. What can man do more than to
+tell what has been done, tell how a thing looks, show how one thing
+follows from another or is related to it, and endeavor to bring another
+person to the same state of mind?
+
+The accuracy and completeness of the classification is most evident
+until one attempts to apply it practically to existing literature, and
+then he finds that no literary masterpiece belongs entirely to any one
+of the classes, but that these mingle and unite, one or the other
+usually predominating. This ruling element, the one which is
+proportionately greater, will govern the classification of a selection.
+In any story, narration and description meet at every turn, and not
+infrequently exposition is found freely intermingled; while novels have
+been written with the avowed sole purpose of changing the beliefs of a
+people. _Uncle Tom's Cabin_ is a story of intense dramatic activity, and
+abounds in vivid descriptions of places and persons. It is generally
+dealing with incidents relating to the characters of the story, yet it
+really makes an exposition of the evils of slavery, and certainly was no
+small factor in stirring the American people into vigorous action
+against the slave dealers. Yet no one would classify the book otherwise
+than among the narratives. Although into Burke's _Conciliation_ other
+elements enter, yet everyone will admit it to be argumentative in the
+highest degree. So while it is well to classify the selections read, yet
+fine theoretical distinctions should be abandoned. It is not so
+necessary to classify and name as it is to compare and distinguish.
+
+Narratives have been classified variously, but not more satisfactorily
+than have other forms of literature. A narrative is true or fictitious,
+and there appears the first principle of classification. Truthful
+narratives are personal when they are the simple account of the deeds of
+some person or thing, biographical when they show a clear and evident
+purpose to detail the events in the life of the person, historical when
+they deal with larger and more complicated questions and when the actors
+are as numerous as the actions are various. Fictitious narratives
+comprise short stories and novels. One prominent writer notes the
+following types: (1) The realistic novel that is true to actual life and
+often enters into the discussion of important questions of record. (2)
+The novel of life and manners which is largely descriptive and in which
+the exigencies of the plot give way to the study of customs. (3) The
+novel of incident in which the plot is everything and description and
+character study are avoided or subordinated to action. (4) The romance
+which usually deals with things as they were in days long past and with
+actions that little concern the present. Marvelous and even supernatural
+incidents crowd its pages. (5) The idealistic novel which paints the
+world as it should be and makes its actors more nearly perfect than the
+world accepts as typical. (6) The novel with a purpose which seeks to
+convert its readers by the vividness of its portraits rather than by
+argument, though by means of many detailed conversations its theories
+are often freely discussed and fully substantiated. Many great reforms
+have been brought about by novels of this character.
+
+Description deals with the individual and not with the class. A fine
+description is a work of art in its highest sense and is closely allied
+to painting, than which it is even more delicate and refined; for while
+the painter lays his color on the canvas and our eyes see the entire
+picture in all its minutest detail, the writer can only suggest the idea
+and stimulate the imagination to create for itself the picture in the
+mind of the artist. Yet such is the marvelous power of words when
+handled by a master that one can see by them almost as vividly as by the
+sense of sight. The reader is transported to far-away lands, strange men
+and animals surround him, the skies glare above him, silver lakes
+sparkle in the sun, brooks murmur against their fern-covered sides, and
+birds move the soul with their sweet music. Evening draws on, and the
+landscape glimmering fades away; the stars come out one by one and by
+and by the moon steals slowly up the sky. Peace and quiet reign over the
+darkened world. Neither sculpture nor painting can depict these changes;
+it rests with the magic of words. But the reader must do his share. He
+must give time to his reading, must yield himself gently to its
+influence, must not force himself into the writer's mood but must
+receive and accept. Then descriptive literature will yield its keenest
+pleasures.
+
+Exposition deals with the class, and is abstract. So the demands made
+upon the reader are infinitely greater. It assumes that the concrete
+examples and specific instances necessary to interpret the abstract are
+already in mind and that the barest allusion to them will be sufficient.
+So exposition naturally follows narrative and description.
+
+Successful argumentation depends upon proof and persuasion. It is
+addressed to the reason or to the emotions. Burke and Webster endeavor
+to establish their respective positions by irrefutable arguments. When
+Beecher addressed the people on the slavery question he appealed
+strongly to their emotions and sought to make them act because of their
+intense feeling. One characteristic of all literary masterpieces is
+unity, but in none is this of more importance than in the expository and
+argumentative types.
+
+As we study it, literary material may be grouped as fiction, essays,
+speeches (orations), and dialogue (drama). No classification can be
+rigid or exact, for one may blend into the other. At the same time in
+any one may be found the four forms, description, narration, exposition
+and argument. For our purposes, however, the following definitions will
+answer: _Fiction_ is a term covering those narratives which are either
+wholly or in part events that never happened and acts of individuals
+that never lived. Fiction is the work of the imagination, based upon the
+facts of life and observation. It appears as stories, in narrative poems
+or epics, and in novels.
+
+_Essays_ deal with all subjects and in such a variety of ways that any
+attempt to classify them meets with difficulty. Originally an essay was
+an attempt, a mere outline or plan intended to be filled out at greater
+length or to be used in different form. It is in this sense that Bacon
+uses the word and his essays are condensed to the highest degree. In
+later years essays have come to be of the most highly finished type of
+literature and some of the most beautiful passages, the noblest
+thoughts, the most inspiring utterances, are to be found in them.
+Almost every conceivable topic is treated: there are biographical essays
+which do little more than narrate the facts of a man's life; there are
+descriptive essays whose only function is to make their readers see
+something as the author saw it; there are argumentative and didactic
+essays and essays on science, art, religion, and literary criticism.
+Some writers have given their whole time and attention to this form of
+composition, and the modern magazine has become their distributing
+agency. Much of the deepest, of the brightest, of the best of recent
+work has come to its readers through this medium.
+
+The essay shows more of the author's self than any other form of
+literature. It is apt to be sincere, to be the deliberate expression of
+the writer's own views formulated with the desire to convince another.
+In the purely literary type this last characteristic is not so
+strikingly prominent, though it appears rather under the surface. In no
+form of literature is the artistic element more manifest. The prose
+writer makes of his essay what the poet does of his lyric--the most
+finished and beautiful expression of his thought. The thought is the
+writer's chief concern, but upon his manner of expressing it depend the
+force and value of his work. Accordingly he gives to his style his most
+careful attention and fits and polishes it with all his skill. The
+result is that in the essay are to be found the best examples of prose
+style. While the essay frequently appeals to our humorous sense and
+sometimes arouses our sympathy by its pathetic touches, yet no such
+opportunity is offered for emotional effect as that given by the novel
+or the drama.
+
+The essay is written to be read, the _oration_ to be heard; the essay is
+to please, to entertain, perhaps to instruct, sometimes to convince; the
+oration is to arouse the feelings, to carry conviction, to stir the
+public to action. It is a formal production, addressed directly to its
+hearers; it is in form or meaning in the second person. Even when
+descriptive or eulogistic, it is a direct address. The orator says,
+"These are my opinions and my reasons for so thinking. Will you not
+accept my view and act accordingly?"
+
+The oration naturally divides itself into three sections. There is an
+_introduction_, in which the speaker clears the way, opens the question
+and lays down the principles he proposes to advocate, or indicates the
+course of his argument. The _body_ follows. Here the principles are
+elucidated, the arguments advanced and properly established or the
+descriptions elaborated and finished. The last section is the
+_conclusion_, which may consist of a brief review or summary of the
+inferences drawn, or of a plea for belief and for action in accordance
+with the principles of the speaker.
+
+Before the art of printing was invented, public opinion was molded
+almost entirely by public speaking, and for a great many years afterward
+the orator was the greatest of leaders. By the magic of his eloquence he
+changed the views of men and inspired them to deeds of valor. The fiery
+orations of a Demosthenes, of a Cicero; the thrilling words of a Peter
+the Hermit or a Savonarola; the unanswerable arguments of a Burke or a
+Webster, have more than once turned the course of history.
+
+But when the newspaper first found its way into the hands of thinking
+men the power of the orator felt the influence of its silent opponent
+and began to wane. Today, it is not often that multitudes are swayed by
+a single voice. The debates and stump-speeches of a political campaign
+change but few votes. The preacher no longer depends wholly upon the
+convincing power of his rhetoric to make his converts. The
+representatives of a people in a parliament or a congress speak that
+their words may be heard through the newspapers by their constituents
+more than with the expectation that their speech will carry a measure
+through the House they are addressing.
+
+Yet we will listen with pleasure to a fervid speaker whose earnestness
+of manner carries the conviction of his sincerity, and even against our
+will we are moved by elegant sentences and pleasing tones. The orator
+will continue to be a power, though in a different way. Conditions have
+changed, and the ponderous periods and elaborate figures that
+characterized the orators of classic epochs are giving place to the
+plain, lucid diction and the simple, true-hearted tones of the modern
+speaker.
+
+The drama is objective, the author keeping himself out of sight as much
+as possible. His characters appear, speak their parts and vanish with no
+explanatory words from him except the occasional stage direction limited
+to the fewest possible words. There is no description, except when the
+actors give an account of something that does not occur upon the stage.
+There is little of narration, except to explain what does not appear
+upon the scene or to give clearness to the action. Argument is not
+infrequent, though it is usually in the form of a moving appeal to the
+emotions rather than to the reason. The play often leads to exposition,
+and many dramas are written with the evident intent of teaching a deep
+and forceful lesson.
+
+The drama shows man in action and develops his character before the
+reader, but it is by acts and speech and not by direct description from
+the author. It deals with all human interests and frequently
+supernatural manifestations are introduced and become important factors
+in the plot, particularly when they are believed in by the people who
+appear in the drama. But in general it is a study of life and character.
+
+Primarily the drama is to be heard, not read, and consequently its style
+is usually clear and its meaning easily apprehended, but the complexity
+of its incidents and the intricacies of its plot make it difficult to
+follow. The rapidity of its action, the necessity of gathering the
+meaning from a single hearing, and the intensity of feeling aroused
+would all unite to confuse the hearer were it not for the skill of the
+actor and the appropriateness of the stage settings. By the aid of
+these, understanding is in most cases not difficult. The changing
+scenery, the dress of the actors, their movements, the tones of their
+voices, and the expression of their faces all aid the hearer. But the
+interpretation then becomes that of the actor, so that the listener is
+once removed from the author. Moreover, to the actor everything is
+subservient to dramatic effect, and the study of an Othello descends
+into an effort to excite an audience rather than to portray correctly
+the shifting passions of the jealous Moor. The poet's creation is
+adapted to the actor's use by the omission of scenes, changes of scenes,
+and additions of scenes, by such verbal alterations and phrasal
+transpositions that one does not see Shakespeare's Shylock demanding his
+pound of flesh but watches Irving's Shylock whetting his savage knife;
+Hamlet is lost in Booth, and Juliet weeps in the tears of Mary Anderson.
+
+But the pleasure a person derives from listening to their thrilling
+utterances is as distinct from that which comes to the appreciative
+reader as the pleasures of the palate differ from those of the eye. To
+the reader everything is his own. He carries his own theater with him.
+The scenery he must himself construct and he may alter it at will; the
+costumes and personal appearance of the characters are the creations of
+his own mind; his thunder has no metallic sound and his lightning always
+flashes. He may bring his favorites back with many an encore and may
+show his disapproval with hisses that would drown the gallery. He may
+linger over the passages he loves and find new encouragement in his
+defeats and ever fresh joys for his hours of gloom. He is never hurried:
+the lights never go out, the curtain is never rung down.
+
+
+_Poetry_
+
+The reality of poetry is its beauty, its power of inspiration, its
+truth. Its beauty lies in its choice of words, in its figures of speech,
+in its music and in its sentiment. Any definition that is not purely
+formal is hard to give. Professor Shairp defined the soul of poetry when
+he wrote: "Whenever the soul comes vividly in contact with any fact,
+truth, or existence, which it realizes and takes home to itself with
+more than common intensity, out of that meeting of the soul and its
+object there arises a thrill of joy, a glow of emotion; and the
+expression of that _glow_, that _thrill_, is poetry."
+
+
+_The Structure of Poetry_
+
+The form and structure of poetry should be studied, but not to so great
+an extent as to blind the eye or deaden the appreciation of its beauty
+and sentiment. Brown, who wrote the beautiful story _Rab and His
+Friends_, has said, "It is with poetry as with flowers and fruits. We
+would all rather have them and taste them than talk about them. It is a
+good thing to know about a lily, its scientific ins and outs, its
+botany, its archaeology, even its anatomy and organic radicals; but it is
+a better thing to look at the flowers themselves and to consider how
+they grow."
+
+If one reads poetry aloud he soon becomes sensible of a certain rhythm
+or regular recurrence of accented syllables that gives a measured
+movement to the lines. It is a recognition of this rhythm that makes a
+child read in a "sing-song" tone, as natural a thing as it is to sing.
+If we hear constantly repeated at frequent and regular intervals any
+noise, there is a tendency to group these separate sounds and measure
+them off regularly. The clock ticks with always the same force and with
+the same space of time between the ticks, yet we hear _tick_-tack,
+_tick_-tack; we can prove the difference to be in our ear, for it
+requires but little effort to hear tick-_tack_ or _tack_-tick,
+_tack_-tick. The ticking has not varied in the least.
+
+The poet takes advantage of this rhythmical tendency of nature and by
+using accented syllables at regular intervals compels us to recognize
+the swing of his lines. When he reduces this to a system he has
+established the _meter_ of his production. The poetical accents
+sometimes fall on unaccented syllables and sometimes on monosyllabic
+words that are not emphatic, but usually the metrical accent of any
+given word corresponds to its logical accent. The accentuation of a
+syllable tends to lengthen the time used in the pronunciation of that
+syllable, and so we call it long, although the sound of its vowel may be
+short. Short syllables are those which are unaccented, even though the
+vowel has the long sound.
+
+Verse appeals to the ear by its melodious combinations of sounds and
+also by the regular recurrence of similar sounds in _rhymes_. These
+usually occur at the ends of verses. In order that a rhyme may be
+perfect the two rhyming syllables must both be accented, the vowel sound
+and the consonants following must be identical, and the sounds preceding
+the vowel must be different. For example, _fate_ and _late_ rhyme; _fat_
+and _late_ do not; _fate_ and _lame_ do not; _debate_ rhymes with
+_relate_, but not with _prelate_. Double rhymes occur frequently, as in
+the words _bowlders, shoulders_.
+
+Take this stanza from Hood's _Song of the Shirt_:
+
+    With fingers weary and worn,
+      With eyelids heavy and red,
+    A woman sat in unwomanly rags
+      Plying her needle and thread--
+          Stitch! Stitch! Stitch!
+    In poverty, hunger and dirt;
+      And still with a voice of dolorous pitch
+    She sang the "song of the shirt."
+
+Here the first and third lines are unrhymed, the second and fourth, the
+fifth and seventh, and the sixth and eighth lines rhyme alternately in
+couplets. If the beginnings of the verses are noticed it will be seen
+that the indentations of the lines correspond with the rhymes.
+
+Rhymes are not always used in poetry. Most of Shakespeare's plays are
+written in _blank verse_, which is unrhymed iambic pentameter, called
+_heroic verse_. _Hiawatha_ and _Evangeline_ are not rhymed, the former
+being trochaic tetrameter and the latter largely dactylic hexameter.
+
+Frequently appeal is made to the ear by a similarity of sound at the
+beginning of words. This is known as _alliteration_. In early English
+poems this was of prime importance and subject to rigid rules, but more
+recently it has been used without rule, subject merely to the author's
+will. This is seen to a marked degree in many writers. Here are several
+lines taken from Poe's _The Bells_:
+
+    What a world of _m_erriment their _m_elody foretells,
+    What a _t_ale of _t_error now their _t_urbulency _t_ells.
+    In a mad expostulation with the dea_f_ and _f_rantic _f_ire.
+
+In many cases alliteration is very skilfully handled, as where Whittier
+uses the liquid consonants to make more smooth and harmonious to the ear
+the line that tells the friendliness of the brooklet whose murmurings
+could not be heard in winter, but--
+
+    "The music of whose _li_quid _li_p
+     Had been to us companionship"
+
+during the long summer days.
+
+The number of verses in a stanza varies from two to an indefinite
+number. When there are two verses the stanza is called a couplet; a
+three line stanza is called a tercet; a four line stanza, a quatrain.
+The five line stanza is not common, but six is a frequent number.
+
+
+_Kinds of Poetry_
+
+Poems may be classified as epic, lyric and dramatic.
+
+The word _epic_ is by some writers restricted in its application, but it
+is preferred here to use it in a broad sense to include various forms of
+narrative poetry, and to use the term greater, or heroic, epic to
+designate the smaller class of narratives which the older writers knew
+as epics. Thomas Arnold's definition of the greater epic is: "The
+subject of the Epic Poem must be some one, great, complex action. The
+principal personages must belong to the high places of the world, and
+must be grand and elevated in their ideas and in their bearing. The
+measure must be of sonorous dignity, befitting the subject. The action
+is carried on by a mixture of narrative, dialogue, and soliloquy.
+Briefly to express its main characteristics, the epic treats of one
+great complex action, in grand style, and with fullness of detail."
+
+Under such a definition there can be but few really great epics in any
+language. Comparatively few poets have cared to undertake so great a
+task and many of those who have been willing to make the attempt have
+failed conspicuously in the execution. But most of the great languages
+of the world have each one surpassing epic which has held the interest
+of its readers and established an immortality for itself. Homer gave the
+Greeks the grandeur of his _Iliad_; Virgil charms the Latin race and
+every cultivated people since with the elegance of his _Aeneid_; Dante
+with Virgil for his model and Beatrice as an inspiration wrote in
+Italian the _Divina Commedia_, in which he described with all-powerful
+pen the condition of the dead in the Inferno, Purgatory, and Paradise;
+and our Milton after years of preparation, from the dark realm of his
+own blindness, produced the sublime measures of _Paradise Lost_. These
+are the Greater Epics, greater by far than anything else written by man.
+With them this course does not concern itself to any great extent.
+
+The term lesser epic includes the numerous forms of narrative poems from
+the old-time ballad to the modern story-telling poem. The epic is
+essentially different from the lyric. While in the latter the
+personality of the author is always apparent, and properly so, in the
+epic the intrusion of the poet's self is usually a defect. The lyric is
+subjective, the epic objective. To tell a story effectively and well is
+the prime motive, to tell it beautifully and in a way to excite the
+imagination and move the feelings of the reader is the contributory
+poetic impulse. Of the lesser epics groups might be set apart. The
+ballad is the oldest form. It was originally the production of wandering
+minstrels or glee-men and was not reduced to writing and kept in
+permanent form. Being passed from mouth to mouth there naturally came
+to be great variations in its form, and even the incidents were modified
+to suit the taste of the singer. After poetry came to be a study of the
+cultured and refined, the minstrel's power declined, though he was a
+welcome guest at the feasts of the wealthy, where his song added to the
+gayety of the occasion or gave dignity to the host as his deeds were
+sung by the hireling bard. In the sixteenth century these singers
+disappeared from view in the blaze of the Elizabethan Age.
+
+The highest type of literary expression is poetry, and the most perfect
+creation of poetic imagination is the lyric. Technically a lyric is a
+song, a short poem that can be set to music. But this must be
+interpreted in a wide sense, for though all the songs that are sung are
+lyrics, the greater number of lyrics were never intended to be fitted to
+the closer requirements of vocal harmony. They deal with all subjects
+and have few requirements of form, though form is an essential element
+and a matter of great importance, for to the perfection of form much of
+the intense effect of the lyric is due. Like the essay the lyric is a
+subjective composition; it is confessedly the expression of the poet's
+personal emotion and his own experiences. His mind, his soul, speak to
+us; he does not interpret the thoughts and feelings of another. The
+lyric is usually contemplative and full of the choicest results of the
+poet's meditations. It influences action indirectly through direct
+appeals to the emotions.
+
+Songs form a class of lyrics as varied in content as the possible
+subjects in life. One might consider them as sacred and secular and
+under the former recognize the psalms, which our poets have many times
+rendered into metrical form, not infrequently detracting from the
+sublimity of the originals. "The Lord is my Shepherd" needs no change,
+no remodeling from the biblical version to make it a true lyric, but
+that it may be sung to the tunes of our churches it has more than once
+been paraphrased.
+
+Hymns are religious songs expressing devout reverence for the deity,
+displaying confidence and faith in the goodness of God, breathing a
+prayer for help in hours of difficulty and distress, or for consolation
+in the hour of affliction. Our literature is full of these noble poems,
+and their lofty sentiments, clothed in beautiful words sung to the
+thrilling music of other inspired composers, have been potent factors in
+culture and refinement.
+
+Secular songs are written upon nearly every conceivable topic of human
+interest and are more numerous than any other form of literature, but so
+many of them are inferior in composition and so dependent upon the
+jingle of the tunes to which they are sung that their life is little
+longer than the time consumed in their production. But a large number
+are conceived in the true spirit of art and are as worthy of immortality
+as anything we read.
+
+There are comic songs that sparkle with wit and whose music laughs with
+the hearer; sentimental and love songs whose sensuous cadences intensify
+the passion of their words; convivial songs where toasts are drunk to
+the accompaniment of the clinking glasses; and patriotic songs that roll
+with the ringing cheers of thousands and the tramp of armed men.
+
+There are still three large classes of lyrics each distinct in itself,
+though, as we see if we try to draw the lines closely, shading off into
+one another. Usually these are in the nature of a direct address to some
+person, place, or thing, and are distinguished one from another by the
+nature of the subject or the rules of form. All are in a greater or less
+degree complimentary to the thing addressed and show interest, respect,
+admiration or love. The ode and elegy have most in common, although the
+latter is a tribute to the dead. The sonnet partakes deeply of the
+nature of the others, but is set off by very arbitrary limitations of
+form.
+
+There are no rules governing the form of the ode; the poet is at liberty
+to select whatever form seems best adapted to his purpose. The length of
+the stanza, the meter, the rhyme, may be as varied as his fancy
+dictates, but the ode is an address direct and personal, an address with
+praise for its object. The subject may be a flower, a piece of pottery,
+a person, a bird or a nation, but some definite inciting object is
+necessary. The ode is subjective in that the poet expresses his own
+feeling of admiration or reverence. Often there is an acknowledgment of
+a benefit conferred, a lesson learned, or affection returned. From these
+conditions, namely, the liberty of form, the direct and powerful
+inspiration, the sincere desire to return a favor, a poet might
+naturally be expected to produce his choicest work, and so he has done.
+
+A mournful song, in stately measure, praising the dead for his virtues,
+full of the grief that remains with the living, believing in the
+happiness of the departed and hoping for a blessed reunion in the
+hereafter: this is the typical _elegy_. On the one side it shades off
+into the ode, some poems being susceptible of classification in both
+groups; on the other it may take the form of sonnets, many of which
+answer every requirement of the dirge. Many poems are therefore
+elegiacal that are not strictly elegies. A rigid classification is never
+necessary, but an association of these beautiful pieces, all thoroughly
+impregnated with the personal grief of the author, gives to each a
+greater power, a more thrilling significance. They arise from the
+deepest emotion and so are the offspring of divinest inspiration; love
+is in the heart of the writer and so the flight of song is best
+sustained; they are intended to show to the world respect and admiration
+for the one whose virtues they celebrate and so they are refined and
+polished to the last degree. Where grief, love and a hope to give
+earthly immortality to the object of his affection move the poet, we
+expect the finest efforts of his genius. These elegies include some of
+the grandest, the most perfect productions of poetic skill.
+
+When man sees his loved one laid away forever, he naturally longs to
+preserve the memory of the departed to succeeding generations, to erect
+some permanent memorial. Funereal monuments are characteristic of every
+race and have proved the most enduring records of the past. The
+inscriptions upon these tombs are early records of the elegiac spirit.
+
+The epitaph is elegy in miniature. "To define an epitaph is useless;
+everyone knows it is an inscription on a tomb. An _epitaph_ is indeed
+commonly panegyrical, because we are seldom distinguished by a stone but
+by our friends," says Dr. Johnson.
+
+This epitaph was written by Robert Wilde in the seventeenth century:
+
+    Here lies a piece of Christ; a star in dust;
+    A vein of gold; a china dish that must
+    Be used in heaven, when God shall feast the just.
+
+The _sonnet_ may be addressed to any person or thing and is the direct
+personal expression of the author's feeling. It is like the ode, and
+also partakes of the general nature of the elegy, but it differs from
+both in the rigidity of the rules of form that govern it. Sonnets
+originated in Italy, and the genuine Italian sonnet is very exacting in
+form. It must consist of exactly fourteen lines of iambic pentameter.
+These lines are divided into two groups, one of which consists of eight
+lines or two _quatrains_, the whole known as the _octave_. The remaining
+six lines constitute the _sestet_. The first and last line of each
+quatrain rhyme together, while the middle lines of each form the second
+rhyme. In the sestet usually the first line rhymes with the fourth, the
+second with the fifth and the third with the sixth. As a whole the
+sonnet contains one idea, which in the octave is general, in the sestet
+specific, for the sestet expresses the conclusion of the octave.
+
+The difficulties of composition under such arbitrary limitations are
+evident, and it is not to be wondered at that even famous poets have
+utterly failed when they have essayed to write in this form. The sonnet
+has met with severest criticism, some writers failing to see any beauty
+in it. Coleridge says: "And when at last the poor thing is toiled and
+hammered into fit shape, it is in general racked and tortured prose
+rather than anything resembling poetry." Though Lord Byron wrote a few
+himself he defined the sonnet as "The most puling, petrifying, stupidly
+Platonic composition."
+
+But this is hardly fair to the many exquisitely beautiful lyrics that in
+this form grace the English language. Those "little pictures painted
+well," those "monuments of a moment" are among our most graceful poems,
+and the reader who has not learned to delight in a beautiful sonnet has
+missed the most refined pleasure English literature has to give.
+
+The following exquisite sonnet, _Victor and Vanquished_, by Longfellow,
+is formed on the Italian model:
+
+    As one who long hath fled with panting breath
+      Before his foe, bleeding and near to fall,
+      I turn and set my back against the wall,
+    And look thee in the face, triumphant Death.
+    I call for aid, and no one answereth;
+      I am alone with thee, who conquerest all;
+      Yet me thy threatening form doth not appall,
+    For thou art but a phantom and a wraith;
+      Wounded and weak, sword broken at the hilt,
+    With armor shattered, and without a shield,
+      I stand unmoved; do with me what thou wilt;
+    I can resist no more, but will not yield.
+      This is no tournament where cowards tilt;
+    The vanquished here is victor of the field.
+
+How many verses in this sonnet? What is the meter? What is the rhyme
+scheme? Through how many lines is the rhyme scheme the same as that
+followed in the Italian sonnet?
+
+Is there a unity of thought in this sonnet? Does the poet consistently
+allude to some one thing? Was Longfellow old or young when he wrote
+this? What does Longfellow represent himself to be? Why does he "set his
+back against the wall"? In these days of Mauser rifles would it do any
+good to set one's back against the wall for protection against an
+approaching enemy? Was it ever an advantage? Who is the foe that follows
+him? How can Death be "but a phantom and a wraith" and at the same time
+follow the poet triumphantly? What do his weapons and his armor indicate
+as to what he represents himself? What is the "broken sword"? Who fight
+in tournaments? What is there appropriate in the word "tilt"? How can
+the one who is vanquished be victor still? Is the figure of medieval
+knighthood well sustained?
+
+The earliest European _dramas_ of which we have any record were the
+plays performed in ancient Greece five hundred years before Christ.
+There were very few characters introduced, sometimes only one or two,
+and a chorus was the most important part of the representation. This
+chorus served to fill the gaps in the action, to state what had preceded
+and at times even to comment upon the actors, to exhort or to praise or
+condemn their behavior. The Greek dramatists carefully followed the
+so-called rule of _three unities_: unity of time, whereby the action
+must be compressed into one day; unity of place, by which only one place
+must be represented; and unity of action, whereby the movement of the
+piece must be continuous, all the incidents be connected so as to form
+one main line of thought. The rule of three unities was followed very
+closely by the French dramatists up to comparatively recent times; but
+in England, beginning with the Elizabethan era, no restraint was placed
+upon dramatic technique except unity of action, which still remains
+essential.
+
+During the Middle Ages the drama was represented by _miracle_ and
+_mystery plays_ dealing with sacred history. They differed in subject
+only. The miracle plays represented the lives of saints and their
+miraculous deeds; the mysteries, the mysterious doctrines of
+Christianity and various biblical events. During an age when preaching
+was unusual, the clergy reached the souls of their people by means of
+these rude plays which were at first given in churches; but later, when
+the town guilds and trade organizations began to present them, the stage
+was a traveling cart, roughly fitted up with rude scenery. Still later,
+before theaters were built, the wandering players acted in inn yards or
+courtyards. Female parts were always taken by boys, and it was not until
+after Shakespeare's time that women appeared on the stage.
+
+In the reign of Henry VI the mysteries were in part superseded by the
+_morality plays_, although the former did not wholly go out of style
+until the time of Elizabeth. The passion play given every ten years at
+Oberammergau, Bavaria, is a survival of the old mystery play. The
+moralities personified the virtues and vices common to man, and
+attempted to teach moral lessons by allegorical representations. When
+popular interest in these dramas began to lag, current topics were
+introduced into the dialogue, and characters from real life appeared on
+the stage for the first time. Early in the sixteenth century John
+Heywood invented a farcical composition called _The Interlude_ to
+relieve the tiresome monotony of existing plays. But it was in 1540 that
+the first comedy appeared, and it is not too much to say that this play
+marks the beginning of modern English drama. Nicholas Udall, head master
+of Eton College, being accustomed to write Latin plays for his boys,
+concluded to try his hand at an English drama. The result was _Ralph
+Royster Doyster_, the first comedy. In 1562 Queen Elizabeth was
+entertained by the presentation of the first English tragedy, a play
+entitled _Gorboduc_, by Thomas Sackville.
+
+During the sixteenth and seventeenth centuries amateur dramatic
+productions called _masques_ were presented. Sometimes even nobles and
+members of the royal family took part. These plays were accompanied by
+music, dancing, and spectacular effects. The literary character of the
+masque developed into the compositions of Ben Jonson, and culminated in
+Milton's _Comus_. During the reign of Elizabeth the productions of Kyd,
+Peele, Greene, Marlowe, and Beaumont and Fletcher raised the drama to
+such a lofty plane that only the genius of a Shakespeare could surmount
+it.
+
+There are two distinct classes of modern dramas--tragedies and comedies.
+In the former, events crowd irresistibly on to some terrible conclusion,
+usually resulting in the death of the principal characters. An
+atmosphere of gloom surrounds it, and the flashes of light serve but to
+intensify the general darkness. Even when the soul of the reader
+recognizes the justice of the end it rebels against the horrors of the
+situation. The deeper and darker passions predominate; love is swallowed
+up in hate and happiness drowned in grief. The comedy is in a lighter
+and happier vein; its situations may be trying but they end happily; the
+sun shines and the air is clear; if storms appear they are the showers
+of a summer day, not awful tempests. The comedy descends through various
+forms to the travesty and farce whose purpose is solely to excite
+laughter by ludicrous scenes and absurd incidents. The melodrama abounds
+in thrilling situations and extravagant efforts to excite emotions, but
+its final outcome is a happy one, and the villain is punished and virtue
+is comfortably rewarded.
+
+Dramas may be written in prose or in poetic form. The tendency is toward
+prose in comedy and poetry in tragedy, though in the same play both
+prose and poetry are sometimes used. The most common form for the poetic
+composition is the unrhymed iambic pentameter or blank verse (heroic
+measure). Rhymes are in use but usually their purpose is definite and
+specific and they may occur occasionally in plays which are otherwise in
+blank verse. Lyrics are often introduced, and in them both rhyme and
+meter are varied at the pleasure of the author.
+
+_Journeys Through Bookland_ contains numerous illustrations of the facts
+of this chapter and plentiful examples of every form of literature
+except the sonnet, of which a type has just been given. The outline
+which follows will summarize this chapter and show a few of the examples
+that may be formed.
+
+  [Illustration: ROBERT LOUIS STEVENSON
+  PAUL DU CHAILLU
+  RUDYARD KIPLING
+  THOMAS HUGHES
+  HANS CHRISTIAN ANDERSEN
+  JAKOB GRIMM
+  WILHELM GRIMM]
+
+
+LITERATURE
+
+  I. PROSE.
+    1. Forms of Prose Composition.
+      A. Narration.
+        _The Pine Tree Shillings_: IV, 192.
+        _A Christmas Carol_: VI, 244.
+
+      B. Description.
+        _Brute Neighbors_: VII, 260.
+        _The Alhambra_: VIII, 153.
+        _Children's Books of the Past_: V, 101.
+
+      C. Exposition.
+        _Imitation of Christ_: VI, 134.
+        _The Cubes of Truth_: VII, 406.
+        _Reading History_: V, 394.
+
+      D. Argument.
+        _Poor Richard's Almanac_: VI, 407.
+
+    2. Kinds of Prose.
+      A. Fiction.
+        _Aladdin_: III, 288.
+        _Tom Brown at Rugby_: V, 469.
+        _The Adventure of the Windmills_: VII, 438.
+
+      B. Essays.
+        _Childhood_: VI, 124.
+        _Dream Children_: VIII, 335.
+        _The Vision of Mirza_: IX, 285.
+
+      C. Orations.
+        _The Gettysburg Address_: IX, 321.
+        _Abraham Lincoln_: IX, 324.
+
+  II. POETRY.
+    1. Structure of Poetry.
+      A. Rhyme.
+        _The Country Squire_: VI, 474.
+        _To My Infant Son_: VI, 478.
+
+      B. Meter.
+        _The Daffodils_: VII, 1.
+        _The Old Oaken Bucket_: VII, 11.
+        _Bannockburn_: VII, 15.
+        _Boat Song_: VII, 17.
+
+    2. Kinds of Poetry.
+      A. Epics.
+        a. Heroic Epics.
+          _Death of Hector_: IV, 364.
+          _Wooden Horse_: IV, 383.
+        b. Lesser Epics.
+          _Saint Nicholas_: II, 202.
+          _Pied Piper of Hamelin_: III, 384.
+          _Incident of the French Camp_: IV, 174.
+          _Sohrab and Rustum_: VI, 173.
+
+      B. Lyrics.
+        a. Songs.
+          (1) Sacred.
+              _Nearer Home_: IV, 126.
+              _Lead, Kindly Light_: V, 110.
+          (2) Secular.
+              _Annie Laurie_: VI, 119.
+              _Auld Lang Syne_: VI, 228.
+              _Those Evening Bells_: VII, 340.
+          (3) Patriotic.
+              _Battle Hymn of the Republic_: V, 399.
+              _America_: VIII, 60.
+        b. Odes.
+          _To the Fringed Gentian_: VII, 4.
+          _Ode to a Skylark_: VII, 275.
+          _To H. W. L._: IV, 84.
+        c. Elegies.
+          _Elegy Written in a Country Churchyard_: VI, 360.
+        d. Sonnet.
+        e. Drama.
+          _The Tempest_: VIII, 364.
+
+
+
+
+CHAPTER XIV
+
+JOURNEYS THROUGH BOOKLAND IN ITS RELATION TO THE SCHOOL
+
+
+_Reading and Language_
+
+These books were prepared expressly for home readings, but as has been
+said elsewhere, they were prepared with a definite purpose to make them
+a living adjunct to school work and a strong helper in bringing the home
+and the school together. To accomplish this result it was necessary that
+all the studies offered in _Journeys_ should be after the most approved
+methods and that there should be no selections that could not with
+propriety be used in any school in the land. This principle of selection
+made it necessary to exclude some selections that might have been
+pleasing but at the same time were not universal in their acceptance.
+Again, it was necessary to include literature that was in a sense
+technical, that would apply to every class that young readers have in
+school. This does not mean that there are a great many things that are
+purely geographical or purely historical or that deal directly with the
+study of language and literature. It means that the reader of _Journeys_
+will find selections that he can use in nearly every class in school and
+that those selections are in the highest degree literary. In no way does
+a child learn more thoroughly that geography and history are worth
+study in themselves than by meeting them clothed in the beauty of fine
+writing. In no way will he be led more quickly into a love for nature in
+all her manifestations and into a keen desire to study nature than by
+the hand of literature. Language takes on a new interest when it becomes
+evident that it is a real and necessary help to writing as the great
+writers do.
+
+Accordingly when the selections were chosen for _Journeys_, a tabulation
+of school subjects was made and under each head were placed the things
+that would be most helpful in school work. It was not decided finally to
+keep that arrangement in the books, for a different and a better system
+of grading and classification was selected. Nevertheless the selections
+are there, and the object of this and the few following chapters is to
+show what those selections are, how they may be used in school and how
+their use at home helps in the school work of every reader.
+
+In the grades below the high school the following subjects are
+considered most important, viz.: reading, language, arithmetic,
+geography, history and nature study. At the first thought one would say
+that a set of books such as _Journeys_ can be of no use in the
+arithmetic class, and of course their usefulness in that direction would
+not justify their existence. However, there are selections in _Journeys_
+that have a decided arithmetical flavor, such as, for instance, _Three
+Sundays in a Week_ (Volume VI, page 453) and _The Gold Bug_ (Volume IX,
+page 232). Even among the nursery rhymes is one that is purely
+arithmetical (Volume I, page 41). We may, however, disregard the
+arithmetic in _Journeys_, but we must not lose sight of the fact that
+the method of reading discussed under the title _Close Reading_ is
+exactly the method of study that every person must pursue if he is to
+make any success in mathematics. In no other branch is there a call for
+such close reading, and only he who can get all the meaning out of the
+statement of a problem can be certain of his solution. One of the
+reasons that so many children have trouble with the problems in their
+arithmetic classes is that they do not read intelligently. Many a good
+teacher of mathematics will tell you that a large part of her success is
+due to the fact that she has spent much of the time in the class in
+teaching her pupils to read understandingly. Many another could make a
+vast improvement in her methods of teaching if she would spend a part of
+the time of each recitation in teaching her pupils to read problems till
+they thoroughly understand them before beginning to work out the
+formulas. It follows then that every child who masters the art of close
+reading will be helped in a great measure in all his work in
+mathematics. The value of _Journeys_ in this connection is that it makes
+that method of study clear and leads a child to its mastery almost
+without the recognition of what he is doing. It will teach him to think
+before he acts and to acquire the habit of looking for the full meaning
+of everything he reads.
+
+In this and the two following chapters will be given studies of the most
+important subjects studied in the grades, showing the correlation of the
+_Journeys_ material. These subjects will be treated in the following
+order: Reading, Language, Nature Study, Geography and History.
+
+
+A. Reading
+
+As for the other studies with which _Journeys_ is correlated, we shall
+take them up one by one and at greater length. First in importance is
+reading. This is always first in importance in school, for every other
+study depends upon it. In fact the prime motive of _Journeys_ is to
+teach reading, and it will teach reading in the school and in the home.
+The child who has read what these books have to offer in the way that
+these books teach will have a power that cannot be taken from him, and
+his position in class and elsewhere will be raised immediately. Besides
+the fund of information he will have acquired he will have made for
+himself a habit that will always benefit him. Every study in the books
+from the first page to the last is a help in reading, and all the
+lessons of this volume are directed to reading. But there are three or
+more long chapters in this volume which take up the different methods of
+reading and apply them to selections on all conceivable subjects dealt
+with in _Journeys_. To these chapters on reading the teacher and the
+parent who wants to be informed are directed. The treatment is simple
+and not above the effort of anyone, and the method will appeal to all
+high school students of literature, for it is the method of the best
+teachers of that subject.
+
+
+B. LANGUAGE
+
+There are two distinct phases of the teaching of language: pupils must
+be taught to speak and to write with ease, fluency and correctness.
+There are very few children who do not like to talk. It is as natural to
+them as to breathe. But as soon as they begin to speak we begin to
+correct their speech. Much of our criticism is given publicly, at least
+before other children, some of whom are known to speak more fluently and
+correctly than those whose errors are being criticized. In consequence,
+the children begin to doubt themselves, to hesitate, and gradually to
+lose their desire to talk. In fact, so timid and reluctant do they
+become that by the time they have been in school a few years many
+teachers find their greatest difficulty in getting pupils to recite well
+or to talk naturally. Perhaps before and after school and at recess they
+will converse freely and delightfully, but as soon as their classes are
+called they become reticent and ill at ease. Not all of this lack of
+spirit is due to the teacher, but some of it is. In any event it is an
+unfortunate condition, and the teacher is anxious to remove it.
+
+At home a similar condition prevails. If the parents are themselves
+accurate in speech and alive to the importance of making their children
+good talkers and users of correct English they will be ready with
+criticism, and unless they are careful will do their share to repress
+the natural frankness of child nature. Parents who have been teachers
+are quite as liable to err as others are to remain in ignorance in
+attempting to understand the psychology of the child mind. Freedom of
+conversation on topics of interest where correct models of speech are
+always before the child will accomplish more in making cultivated speech
+than will twice as much direct instruction. If only parents will read
+the things that the children are reading and affect an interest in those
+things they can be certain of giving the best training, while they
+themselves will grow in happiness and nearness to their offspring. In
+the fields of literature they can stray together with the consciousness
+that with all the beauty there is nothing to corrupt.
+
+In a lesser degree, perhaps, the same facts are true in written
+language, in composition. But in lessons of this type the instructor
+will not find conditions so favorable: Talking is natural, writing is
+artificial; to speak is instinctive, to write is an art of difficult
+attainment. In the first place, a child must be taught to form strange
+characters with his hand. After he acquires facility in that, he must
+think, put this thoughts into words in his mind, and then laboriously
+transfer his words, letter by letter, to the paper before him. Many a
+child who talks well cannot write a respectable letter. His thoughts
+outrun his hand, and by the time the first labored sentence is written
+his ideas have fled and he must begin again. Is it any wonder that his
+sentences are disconnected, his thought meager?
+
+Just think what it means to a child to write you a letter, or even a
+brief paragraph! Suppose he wants to tell you about a dog he has at
+home. He begins by thinking: "My dog, Ben, is a pretty little woolly
+fellow with bright eyes and long silky ears," and then his thoughts run
+off vaguely into the general idea that he is going to tell you about
+some very cute tricks Ben can perform. The child is all enthusiasm and
+he begins writing and thinking something like this: "My (that word must
+begin with a capital letter) dog ('Ben' must begin with a capital, too)
+Ben is a (is that 'pritty' or 'pretty'? It's pronounced 'pritty' anyhow)
+pritty (that don't look right. Scratch it out!) pretty (well, that
+don't, I mean _doesn't_ look right either, but I'll leave it) (For
+goodness sake, how do you spell it? 'Wooly'? 'wolly'? 'woolly'? I guess
+I had it right at first) wooly fellow (where shall I put the commas?
+I'll leave 'em out. Teacher can put them in if she wants them.) with
+bright eyes and long slicky (no, no, that isn't right! How funny!
+Scratch it out.) silky ears. (I nearly forgot the period. Now what was I
+going to say next?)." When he is through, his first sentence is like
+this: "My dog Ben is a pretty little wooly fellow with bright eyes and
+long silky ears." He looks at his work with doubt and disgust as he
+scratches his head for the next idea. He has wholly forgotten what he
+intended to tell about! Later, his work, wholly unsatisfactory to
+himself comes to you for criticism and you take your blue pencil or your
+pen with red ink and put in the marks if any are needed, indicate the
+misspelled words and sigh as you say, "Will Charlie ever learn to write
+a decent composition?" Certainly he will, when his writing becomes
+mechanical, when his hand makes the letters, puts in the marks, and his
+lower brain spells the words for him, without disturbing the higher
+cells which are occupied with his ideas.
+
+These are the diverse problems that confront anyone who tries to teach
+language to a child. We cannot solve them all, but most certainly we can
+lend some assistance.
+
+
+1. Oral Lessons
+
+Success in oral language lessons rests primarily upon interest. If you
+can secure interest, the children will talk freely; if you retain
+interest, you can criticize freely and with good effect.
+
+Criticisms should not be too severe and should always be impersonal. It
+is not John and Mary who are being corrected, but the mistakes that John
+and Mary make. You have heard both parents and teachers say, "John, why
+will you persist in saying, 'I done it'? Don't you know that is wrong?
+You must correct yourself." Such criticism is wholly bad. If John says
+"I done it," it is because he has heard the expression and become
+habituated to its use. He cannot be taught differently by berating him.
+When he says, "I done it," repeat after him in a kindly inquiring voice,
+"I _done_ it?" or say in a kindly way, "I did it." In either case John
+will give you the correct form willingly, and when he has done so times
+enough he will forget the wrong form and cease to use it.
+
+Everyone must remember that children have heard slang and incorrect
+speech almost from infancy; that the playground, the street and the home
+have been steadily teaching, and that the minds of even primary children
+may be filled with not only loose forms of speech, but even with profane
+and indecent expressions. One of the natural correctives for such things
+is the reading and telling of attractive stories, full of dramatic
+power, calculated to stimulate right feeling, couched in clear and
+forcible English. Elsewhere in this volume under the title _Telling
+Stories_ are suggestions and good models.
+
+From the standpoint of the language lesson, children must reproduce the
+story, must "tell it back" to make it valuable to them. The instructor's
+part in this reproduction may be summed up as follows:
+
+1. Be an interested audience for the child.
+
+2. Secure clearness. Do it by a gentle question or a remark now and
+then: "I am not sure that I understand you." "Do you think I would know
+what you mean if I had never read the story?" "If you were telling the
+story to your playmate would she understand that?"
+
+3. Encourage the child to use his own words, when he follows too closely
+the phraseology that was given him, yet remember that one of the objects
+of the exercise is to give the children the use of a wider vocabulary
+and to make them appreciate and use beautiful and forcible expressions.
+
+4. Be reasonably content with freedom of expression at first, and do not
+expect too rapid improvement. You are moving against fixed habits.
+
+5. Vary the character of the exercise. Sometimes permit one child to
+tell the whole story; at other times, call upon other children, or
+continue the story yourself.
+
+6. If the story is a difficult one, do not ask for its reproduction
+until it is thoroughly understood. Make its meaning clear by skilful
+questioning, which with the answers makes an extremely valuable
+conversation lesson.
+
+7. Encourage the use of beautiful expressions, of fine figures of
+speech. Do it by using such expressions yourself and by pointing them
+out in the story or poem you are using.
+
+8. Beware of spoiling a beautiful poem or an elegant prose selection by
+poor reproduction. After the story has been related and the meaning made
+clear have the original read several times exactly as it is written and
+encourage the children to commit it to memory.
+
+There are in _Journeys Through Bookland_ many selections suitable for
+these oral lessons. For the little folks there are some of the _Nursery
+Rhymes_, of Volume I, like the following:
+
+  _Little Boy Blue_, Page 33.
+  _Mary, Mary, Quite Contrary_, Page 30.
+  _Ladybird, Ladybird_, Page 12.
+  _Little Bo-Peep_, Page 9.
+  _Jack and Jill_, Page 27.
+  _Poor Robin_, Page 16.
+  _There Was a Jolly Miller_, Page 47.
+  _Twinkle, Twinkle, Little Star_, Page 44.
+
+In the same class may be included those beautiful poems by Stevenson and
+Field, poems that every child loves and will be delighted to talk about.
+For instance, the following from the same volume:
+
+  _The Swing_, Page 67.
+  _Singing_, Page 83.
+  _The Rock-a-by Lady_, Page 94.
+  _My Bed is a Boat_, Page 126.
+  _Foreign Lands_, Page 130.
+  _Little Blue Pigeon_, Page 133.
+  _The Land of Counterpane_, Page 144.
+  _Norse Lullaby_, Page 246.
+  _Where Go the Boats?_ Page 256.
+  _Wynken, Blynken and Nod_, Page 262.
+  _Keepsake Mill_, Page 349.
+  _The Duel_, Page 384.
+
+The last list, however, includes many of those poems which must not be
+spoiled by childish re-telling. Use them for conversation subjects and
+then for reading or recitation.
+
+The fables will be found to provide excellent material, and there need
+be no fear of ruining their effect as literature:
+
+  _The Lion and the Mouse_, Volume I, page 75.
+  _The Wolf and the Crane_, I, 96.
+  _The Lark and Her Young Ones_, I, 131.
+  _The Cat and the Chestnuts_, I, 142.
+  _The Sparrow and the Eagle_, Volume II, 8.
+
+Certain of the fairy stories are excellent; so are anecdotes concerning
+men of whom the children should know; historical tales, and stories
+about plants, birds and other animals. Among the great number of
+selections that might be included under this head, some of the best are
+the following:
+
+  1. Fairy Tales and Folk Stories:
+    _Silverlocks and the Three Bears_, Volume I, 101.
+    _The Hardy Tin Soldier_, I, 148.
+    _Cinderella_, I, 224.
+    _The Ugly Duckling_, I, 414.
+    _Why the Sea is Salt_, II, 484.
+    _The Pied Piper of Hamelin_, III, 384.
+
+  2. Biographical Stories:
+    _Robert Louis Stevenson_, Volume I, 128.
+    _Eugene Field_, I, 242.
+    _George Rogers Clark_, VI, 422.
+    _Pere Marquette_, VIII, 121.
+
+  3. Myths:
+    _The Wonderful Gifts_, Volume I, 368.
+    _The Chimera_, II, 173.
+    _The Story of Phaethon_, II, 206.
+
+  4. Historical Tales:
+    _Robert Bruce and the Spider_, Volume V, 314.
+    _The Fall of the Alamo_, VIII, 141.
+    _Herve Riel_, VIII, 168.
+
+  5. About Flowers and Plants:
+    _The Daffodils_, Volume VII, 1.
+    _Trees and Ants That Help Each Other_, VII, 306.
+    _A Bed of Nettles_, VIII, 209.
+
+  6. About Birds:
+    _Who Stole the Bird's Nest?_ Volume II, 399.
+    _Owls_, IX, 229.
+
+  7. About Other Animals:
+    _Elephant Hunting_, Volume VI, 385.
+    _The Buffalo_, VII, 96.
+    _The Pond in Winter_, VII, 280.
+
+The longer stories you will abbreviate in telling, and the children will
+still further shorten them. Try, however, to retain the spirit of each.
+Do not try to tell all that is contained in the longer articles
+mentioned above. Select interesting portions, a single anecdote, a few
+facts that will hold attention.
+
+At times vary the exercise by giving a very simple theme and ask the
+children to make up a story to fit it. If they have difficulty, help
+them to think and talk. When they see what you want some will surprise
+you with their vivid imaginations and picturesque modes of expression.
+Suppose you have in mind the fable _The Wind and the Sun_ (Volume I,
+Page 95). You might present the idea to them in this form: "The Wind and
+the Sun each tried to make a man take off his coat. The Wind tried and
+failed, then the Sun tried and succeeded. Can you tell me a story about
+that?" If you meet with no satisfactory response, begin questioning
+somewhat in this style, and perhaps the child will answer nearly as
+indicated:
+
+Question. You don't know what I mean? Then let us tell it together. How
+do you think the Wind would try to make a man take off his coat?
+
+Answer. He would try to blow it off.
+
+Q. How would he blow?
+
+A. He would blow hard.
+
+Q. Can you think of another word besides _hard_ to show how he would
+blow?
+
+A. Fierce.
+
+Q. Fiercely. Yes, "_fiercely_" is a good word. How fiercely would he
+blow?
+
+A. Very fierce.
+
+Q. Yes, very _fiercely_. Did you notice I said "fiercely," John? Now
+can't you think of a comparison with something else that is fierce, so
+that our story will sound well and people will like it?
+
+A. A lion is fierce. We could say, "He blew as fiercely as a lion."
+
+Q. But a lion does not blow. What does he do?
+
+A. He tears his prey when he captures it.
+
+Q. That's good. Now tell me how the Wind tried to make the man take off
+his coat.
+
+A. The Wind blew fiercely as a lion tears his prey.
+
+Q. Good. Did the man take off his coat?
+
+A. I don't think he did. I think he would try to keep it on.
+
+Q. How hard do you think he would try?
+
+A. As hard as he could.
+
+Q. Did he lose it?
+
+A. No. No matter what the Wind did I think the man would keep on his
+coat.
+
+Q. Will you please tell the story as far as we have gone?
+
+A. The Wind and the Sun tried to make a man take off his coat. First the
+Wind blew as fiercely as a lion tears his prey, but the man clung more
+closely to his coat and would not let it go.
+
+Q. That is good, but it does not satisfy me yet. I want a longer,
+prettier story. Let us make believe the Wind and the Sun are two men.
+Make them talk so they will seem real to us. Can't you start us?
+
+A. One day Mr. Wind and Mr. Sun got to talking. Each one thought he was
+stronger than the other. They saw a man walking along the road. He had a
+big overcoat on and Mr. Wind said that he--
+
+Q. Tell us exactly what Mr. Wind said.
+
+A. Mr. Wind said, "I am stronger than you are. I can make that man take
+off his coat. You can't!"
+
+Q. That is a fine start. Tell us what the Sun said.
+
+A. The Sun said that he--
+
+Q. "That he?"
+
+A. The Sun said, "I can make him take off his coat, and I can do it
+quicker than you can."
+
+Q. Good. Go on.
+
+A. So they tried. Mr. Wind began. He blew as hard as he could and
+whistled around the man. He blew as fiercely as a lion tears his prey,
+but the man wouldn't take off his coat.
+
+Q. What would the man do to his coat?
+
+A. I think he'd hold on to it, button it up, draw it close around him.
+
+Q. Good. Very good. Now tell the story as well as you can.
+
+A. Begin at the beginning?
+
+Q. Yes.
+
+A. One day Mr. Wind and Mr. Sun got into a quarrel about who was the
+strongest. While they were at it, a man in a heavy overcoat came walking
+along the road. When Mr. Wind saw the man he said, "Now see that man
+down there. I can make him take off his coat, but you can't." Mr. Sun
+replied, "I don't believe you can do it, but I can, though," then Mr.
+Wind said, "Well, I'll show you, you conceited thing!" So the Wind blew
+and blew, fierce and loud like a lion attacking his prey, but the man
+wouldn't take off his coat. He drew it around him and buttoned it up and
+hung on to it.
+
+Q. I like your story. But how many people were talking?
+
+A. Two.
+
+Q. Did you mean to say "_strongest_"?
+
+A. Stronger.
+
+It is not necessary to continue this farther, for enough has been
+written to show how a story may be developed and improved with each
+retelling.
+
+The same style of work, perhaps to even better advantage, may be done
+from the pictures so numerous in _Journeys Through Bookland_. In this
+volume, under the title _Pictures and Their Use_, will be found
+plentiful suggestions that will be helpful in conversation lessons.
+
+
+2. Written Lessons
+
+A. Introduction.
+
+The demands of written composition are so much more severe than those of
+oral composition that we must be careful not to ask more than the child
+can execute with comparative ease. Before he begins to write, he should
+have clear ideas of what he intends to write and should have those ideas
+so arranged that they will not be confused in the process of writing.
+Moreover, a child must become quite familiar with writing as an art
+before he can be expected to originate ideas or forms of expression for
+the purpose of writing them. It follows, then, that some of the early
+written work in language may profitably consist of copying selections of
+various kinds.
+
+The titles given under the preceding section (_Oral Lessons_) will lead
+to many excellent exercises for this purpose. Insist on perfect accuracy
+of copy. Spelling, capitalization and punctuation must be correct. If
+the original is prose, insist upon proper paragraphing; if poetry, upon
+exactness in the arrangement of the lines, especially in the matter of
+indentation. Children will quickly see the relation that indentation
+bears to rhymes. By following with exactness, the child learns
+unconsciously to observe the general rules. By occasionally calling
+attention to the reasons for forms, children are taught to act
+intelligently and to decide for themselves when they come to original
+composition.
+
+Rhythm is as natural as breathing, and rhyming is easy for children with
+quick ears and quick thought. You will be surprised the first time you
+try the exercise to see how quickly they will imitate a rhythm with
+which they are familiar, and the skill they show in making rhymes. Try
+it first as an oral exercise, and later ask for written lines. Much of
+such work may not be profitable, but it serves well to give variety.
+Making simple parodies is amusing and stimulating to thought. Sometimes
+you will help by suggesting rhymes or by giving hints as to the subject
+to be parodied.
+
+Take the nursery rhyme _There Was an Old Woman_ (Volume I, page 36) for
+a model. Suggest _bird_ and _nest_ as ideas for new rhymes and keep
+helping until you get something like this:
+
+    There was a sweet birdie
+      Who built a fine nest,
+    A beautiful birdie
+      With a very red breast.
+
+Use the same meter many times over till all become familiar with it.
+Similar exercises prove highly interesting to children of all ages.
+
+Although this is not a treatise on written language lessons, a few
+general suggestions may not be out of place:
+
+1. Be sure that the children have something interesting about which to
+write.
+
+2. Be sure that they have a good stock of ideas on the subject, or that
+they know how and where to get information and can get it without great
+difficulty.
+
+3. Be sure that they write an outline of their composition or have one
+thoroughly in mind before they begin on the essay itself.
+
+4. Give plenty of time for the writing.
+
+5. Show a decided interest in their preparation and in their
+compositions.
+
+6. Do not be severe in your criticisms. Give encouragement. Concentrate
+your efforts on one or two errors at a time. Let other mistakes pass
+till a more convenient time.
+
+7. _a._ Watch for errors:
+
+    (1) In the use of capital letters.
+
+    (2) In the use of punctuation marks; first of terminal marks, then
+of the marks within a sentence.
+
+  _b._ See that every sentence is complete, with subject and predicate.
+
+  _c._ See that verbs agree with subjects, and pronouns with antecedents.
+
+  _d._ Insist that the work be paragraphed.
+
+  _e._ Watch for errors in case among the pronouns. The objective case is
+troublesome.
+
+  _f._ Look for adjective forms where adverbial forms are correct.
+
+8. Require care in all work. Neatness and legibility are essential.
+
+9. Mark errors, do not correct them. Let the children do that. A simple
+system of marks will enable you to indicate the nature of the error.
+
+10. When the mistakes have been corrected, have a neat copy made and
+preserved.
+
+11. Try sincerely to work with your children and to secure a genuine
+spirit of co-operation.
+
+
+B. Literature in Written Lessons.
+
+Indirectly, all that is said on the teaching of reading in this and
+other volumes bears upon language, and you are earnestly urged to
+consider it all carefully in that light. More directly, what has been
+written herein on the subject of conversation lessons and oral language
+is a necessary preliminary to any discussion of written work and should
+be used freely in the assignment and preparation of subjects for written
+exercises. The outlines for study in reading and the outlines of the
+oral lessons are easily modified to become very satisfactory outlines
+for compositions. The selections recommended for oral lessons are all
+adapted to written work.
+
+NARRATION. As in other instances, however, it here seems wise to give a
+few suggestions specifically for the written exercises, and as a basis
+for such suggestions we will take selections from _Journeys Through
+Bookland_.
+
+Robin Hood has been an interesting character for many generations of
+schoolboys, and among the ballads concerning him (Volume III, page 436)
+are several good selections for reading aloud. Most children know
+something about Robin Hood and many of them have read full accounts, yet
+probably the old ballads are not familiar. The note on page 436 gives
+information about the ballads and tells what it is necessary to know
+about Robin Hood himself. Suppose we take as a subject the ballad on
+page 444, _Robin Hood and the Stranger_. The notes explain peculiar
+expressions and give the meanings of obsolete words. There is a manly,
+rough-and-tumble spirit in the ballad that boys like, and it is clean
+and wholesome, as well.
+
+Read the ballad to the children, explaining the more obscure words and
+phrases as you go along. Encourage the children to ask questions
+whenever they do not fully understand. Talk freely until you have made
+everything clear and have secured interest. Then read the whole ballad
+without interruption. Read with expression and enthusiasm. Show the
+spirit and virility of the men.
+
+Then by questions bring out the facts of the narrative in logical order
+as they appear, and have each child copy them for himself. They
+constitute the outline each is to write. Adapt the outline to the age
+and acquirements of the child; make it as full or as brief as you
+please, but make it logical and complete. Let it be similar to the
+following:
+
+1. Robin Hood goes hunting.
+
+2. He meets a well-dressed stranger.
+
+3. The stranger kills a deer by a remarkable shot with his bow.
+
+4. Robin Hood invites the stranger to join his company.
+
+5. The stranger threatens Robin Hood.
+
+6. They prepare to fight with bows.
+
+7. Robin Hood thinks it a pity that either should be slain, and proposes
+to fight with broadswords.
+
+8. Robin Hood strikes a heavy blow which the stranger returns with
+interest.
+
+9. Robin Hood feels great respect for the stranger's power, and asks who
+he is.
+
+10. The stranger proves to be Robin Hood's only nephew.
+
+11. They meet Little John, who wants to fight young Gamwell.
+
+12. Robin Hood compels peace, makes Gamwell second to Little John and
+names him Scarlet.
+
+Talk to the children freely after you have made the outline; advise them
+to make the story interesting, dramatic, and not too long. Show them
+that it is better to use direct discourse; that is, to make the
+characters seem alive. The result will be a good _narration_, the
+simplest and most common form of written discourse.
+
+DESCRIPTION. To so describe a scene to another person that he may see it
+clearly and vividly is high art. It is necessary in narration and often
+lends strength to description and exposition. Accordingly, it is one of
+the most important forms of composition. In no direction, perhaps, can
+_Journeys Through Bookland_ be of greater assistance.
+
+I. In the first place, the pictures are a mine of subjects for
+description. The pictures themselves may be described, and many of them
+will suggest other subjects for similar tasks. For instance, in Volume
+V, on page 219, is a picture of Sir Galahad when the Holy Grail appears
+to him. Some of the topics for description are the following:
+
+1. The picture, _Sir Galahad_. (For suggestions as to the description of
+pictures, etc., see the topic _Pictures and Their Use_, in this volume.)
+
+2. The trees in the forest.
+
+3. The armor of Sir Galahad and the trappings of his horse.
+
+Again, in Volume V, on page 17, is the picture of Gulliver's _Journey to
+the Metropolis_, which gives us these topics:
+
+1. The picture.
+
+2. The cart on which the Lilliputians transport Gulliver. (Read the
+account in the story for further facts.)
+
+Facing page 116 in the same volume is the halftone of King Arthur in
+armor. To write a minute description of the armor would be an excellent
+exercise, requiring close observation and not a little reading, if the
+children wish to name the pieces of armor the king wears.
+
+II. Many of the stories contain beautiful descriptive passages, which
+may be studied with profit, and some of the selections are almost wholly
+descriptive. An excellent example of the latter type and an exceedingly
+interesting article for children is _Some Children's Books of the Past_
+(Volume V, Page 101).
+
+_The King of the Golden River_ (Volume II, page 405) and _A Christmas
+Carol_ (Volume VI, page 244) are especially rich in material of this
+kind. On page 408 of the former selection the King is described at his
+first appearance. An analysis of the paragraph is to be found on page
+445 of the same volume, under the title _First Appearance_. By comparing
+the analysis and the descriptive paragraph it will be seen that the
+former gives the facts only, while in the latter there are comparisons
+and descriptive words that make the whole vivid and artistic.
+
+The outline is a good description of an imaginary person. After the
+children have studied paragraph and outline, give them another outline
+like this:
+
+  1. General statement, or introduction.
+  2. Nose.
+  3. Cheeks.
+  4. Eyes.
+  5. Beard.
+  6. Hair.
+  7. Height.
+  8. Clothing.
+    _a._ Hat.
+    _b._ Coat.
+    _c._ Vest.
+    _d._ Trousers.
+    _e._ Shoes.
+
+Require each child to follow the outline and to write a smooth, readable
+description of a man whom he knows. Vary the exercise by asking the
+children to describe some man whose picture you show; some man whom all
+have seen, or, if it can be done in the proper spirit, one of the other
+children who is willing to pose. Then ask them to describe some fanciful
+character about whom you make a general statement, as, for example, "He
+was the most amusing man I ever saw in my life," or, "He was certainly
+the most dignified man in appearance and the best-dressed man I ever
+saw." A comparison of the descriptions given by the different members of
+the class will be amusing and instructive. Try to secure descriptions
+which in style are in harmony with the subject.
+
+III. In many of the selections the authors have not tried to describe
+things very fully. In such cases you have fine opportunities to train
+the imagination by asking the children to supplement the descriptions.
+For instance, _On the Receipt of My Mother's Picture_ (Volume VII, page
+331) raises among other subjects for descriptive writing the following:
+
+  1. Describe Cowper's mother.
+  2. Describe the picture he received.
+  3. Describe the home of his infancy.
+  4. Describe the "well-havened isle."
+
+Children should be taught to look through the entire poem for facts that
+bear on the topics. When writing, they must not misrepresent these facts
+nor give others that contradict those in the poem. Where nothing is
+said, the child may see what he likes. Such exercises tend to make
+children appreciate good literature, and, when they are reading, to
+visualize the things to which allusion is made.
+
+EXPOSITION. In Volume IV, beginning on page 14, is the story of Martin
+Pelaez, the Asturian, which will offer good material for a composition
+of another kind. The introduction to _Cid Campeador_, page 9, will give
+you information you are likely to need to answer questions.
+
+As in the exercise just given, begin to read and make such explanatory
+comments as are needed to show clearly the character of Martin. You
+will, of course, need to make the story lucid to the children. Show
+that--
+
+_a._ Pelaez was a Spanish grandee of great strength and noble form.
+
+_b._ He was a coward at heart.
+
+_c._ Twice he ran from the enemy and avoided battle.
+
+_d._ Both times he was asked by the Cid to sit with him at the table,
+and not with the noblest knights.
+
+_e._ The first time Martin thought it an honor to himself; the second
+time, he saw it to be a grave reproof.
+
+_f._ Thereafter he fought nobly, was seated with the great knights, and
+became one of the Cid's most favored friends.
+
+When these points have been fixed in mind, proceed to develop an outline
+for the composition. It may be something like this:
+
+_a._ The character of Martin as we first meet him in the story, with
+instances to prove the nature of it.
+
+_b._ His character after he was changed by the Cid, with evidences to
+show it. Exemplified:
+
+1. He was a coward. We know it from--
+  (_a_) His flight during the first battle.
+  (_b_) His retreat during the second battle.
+  (_c_) The fact that he was large, strong and well versed in arms
+        yet would not fight.
+  (_d_) The fact that he hoped to escape the notice of the Cid.
+
+2. He was teachable. We know it because he needed but two lessons.
+
+3. He was brave. We know it from his conduct in battle.
+
+4. He had many noble characteristics. We know it because be became the
+trusted friend of the Cid.
+
+Put into the form of a composition, we might expect something like this:
+
+"Martin Pelaez, when we first knew him, was an arrant coward, for though
+strong, well-formed and versed in the use of arms, he more than once
+fled before the enemy. He had other traits of a coward, as we may know
+from his actions in hiding in his tent and hoping to escape the eye of
+his master and unfairly gain the reputation of a brave knight.
+
+"Later, however, under the wise treatment of the Cid he was made ashamed
+of his cowardice, conquered it and became a courageous warrior. In fact,
+he was one of the bravest and most powerful knights in the army of the
+Cid.
+
+"More than that, Martin Pelaez developed all the traits of a gentleman.
+He became a good keeper of secrets, was wise in counsel and brave in
+action."
+
+The foregoing is a good example of exposition, the third of the four
+forms of prose composition.
+
+ARGUMENT. _The Boston Massacre_ by Nathaniel Hawthorne (Volume IV, page
+217) offers several good questions for debate. We may select the
+decision of the judges (page 223) as the one furnishing the best
+opportunity. Hawthorne says, "The judges told the jury that the insults
+and violence which had been offered to the soldiers justified them in
+firing at the mob."
+
+To bring the question into a form for debate we might write it, "Were
+the judges right in their decision?" This leaves the question evenly
+balanced, with no prejudice against either side. It might be put more
+formally: "_Resolved._ That the judges were right in their decision."
+The effect of stating the question in the latter form is to throw the
+"burden of proof" on the negative. In other words, if the question is in
+the latter form and the arguments are equally balanced, the decision
+would have to be that the judges were right.
+
+Having determined the form of the question, the children may be
+separated into two groups, as nearly as possible equal in ability, and
+one group may be appointed to take the side of the judges and one the
+side of the soldiers.
+
+Having arranged the preliminaries, converse with the children freely,
+bringing out points equally in favor of both sides. Avoid any appearance
+of favoritism. If one side is manifestly stronger than the other,
+however, you may put them on a level by showing a few arguments to the
+weaker side. Do this openly, so that all may understand your action.
+
+Encourage the children to study both sides of the question and to be
+fair-minded. In fact, the ordinary debate where children are appointed
+to argue upon a certain side of the question does not bring into play
+the same good methods of thought and judgment as the free debate, in
+which each child studies both sides of the question, determines which
+side he thinks the right one, and then argues for that side.
+
+In this question urge the children to study the subject in their
+histories or in any reference books that may be handy. Help them to get
+at the truth of the matter. Hawthorne may show prejudice. Does he? We
+may feel a bias in favor of one side or the other. Do we? Then to the
+extent of that bias we are liable to be unfair and to fail in making a
+sound argument.
+
+After the children have read what they can find on the subject, ask them
+to arrange their arguments in parallel columns, for and against the
+judges. Something like the following may appear:
+
+          FOR                            AGAINST
+
+  1. The Americans                1. The English had
+  were the subjects of the        oppressed the colonists
+  English, and subjects           by unjust taxes and in
+  should be loyal.                other ways (mention
+                                  them) until the time
+                                  for loyalty had ceased.
+
+  2. The colonists                2. If these colonists
+  were not an organized           were a mob they were
+  body, acting legally.           justified in their acts.
+  They were a wild mob,           It was an insult and
+  and mobs must be                worse to quarter troops
+  quelled or lives and            upon them and they
+  property cannot be protected.   naturally resented it.
+                                  They had had no time
+                                  to organize and make
+                                  laws. They had to act
+                                  at once.
+
+  3. The mob was                  3. It is always the
+  composed of wild                young men who lead.
+  young men, and most             In most great movements
+  of the colonists did not        it has been the
+  approve of their acts.          young men who were
+                                  right.
+
+  4. The mob called               4. The soldiers forgot
+  the soldiers "lobster-backs,"   their discipline and
+  "red-coats," and                called the colonists "rebel
+  other insulting names           rascals" and threatened
+  before the soldiers             to use bayonets.
+  spoke.
+
+  5. The mob crowded              5. The soldiers
+  the soldiers off the            should have kept to their
+  sidewalk, threw snow            barracks, but they paraded
+  and lumps of ice at             the streets and
+  them. The young men             pricked the townspeople
+  dared the soldiers to           with their bayonets.
+  fire, threatened to drive
+  them to their barracks
+  and to beat them down.
+
+  6. Captain Preston              6. Captain Preston
+  was acting under orders,        was unwise, irritating,
+  and he warned the colonists     overbearing, and by his
+  that he would preserve          attitude provoked the
+  order at any risk.              colonists beyond human
+                                  endurance.
+
+  7. The firing was a             7. Captain Preston
+  mistake. It was not by          ordered his men to fire
+  Captain Preston's orders.       on the colonists.
+
+  8. The first shot was           8. A British sympathizer
+  fired by a masked man           in a mask fired
+  who appeared on the             into the crowd of unarmed
+  balcony of a house and          colonists.
+  fired at the soldiers.
+
+  9. The British soldiers         9. By withdrawing
+  were soon withdrawn             the troops the British
+  and everything                  confessed that they were
+  done to make the colonists      in the wrong.
+  feel right about
+  the affair. This showed
+  that the British were
+  still very friendly to the
+  colonists, and desired
+  their good will.
+
+  10. Judges who were             10. The judges were
+  supposed to be honorable        British appointees, not
+  men heard all the               in sympathy with the
+  evidence and would not          colonists and too much
+  be liable to make any           prejudiced to be able to
+  mistake.                        decide fairly.
+
+  11. The judges                  11. The judges knew
+  were so thoroughly              they were wrong and
+  convinced that the soldiers     were afraid to leave the
+  were not guilty                 question to the jury.
+  that they told the jury
+  what verdict to give.
+
+The "points" given above show some of the really minor debatable topics
+that arise under the larger question. They show, too, how differently
+the same incidents may appear to different eyes. Perhaps some of the
+"points" are stated unfairly, to give strength to the argument. Bare
+assertions are not proofs and some of the "points" are nothing but
+assertions. Opinions are not arguments. Some of the statements would
+need to bolstered up by facts and "authorities" before they could be
+accepted as real arguments.
+
+Most debates are oral, but, for our purpose, they are to be considered
+as written language lessons. Hence, when the arguments are marshalled as
+above, the child should select the side he feels to be right and compose
+his argument in proper form. Teach him to see the three parts to his
+argument, namely, the introduction, the body of his argument, and the
+conclusion. Tell him to make his style personal, clear, concise,
+logical, strong, persuasive and convincing. Show him what each
+characteristic in the above list means.
+
+For example, the _argument_ for the judges made from the assertions
+given above might be stated as follows:
+
+_Introduction._ "That the judges were right when they pronounced Captain
+Preston and the eight British soldiers not guilty of murder when they
+fired on the colonial mob in what is incorrectly called the 'Boston
+Massacre' will be proved in this argument."
+
+_Body of the Argument._ "The citizens of Boston were English subjects
+who had been fostered by the mother country. Since the settlement at
+Plymouth in 1620 no other nation had claimed or exercised any control
+over them, and I maintain that loyalty to his country is one of the
+highest duties of every citizen." (It is not advisable to write here the
+"body" of the argument. It would naturally be continued step by step
+till the eleven "points" given above had been exhausted. If those
+"points" had been brought up in the general conversation lesson every
+child would be expected to add others that he had found by his own
+study. Liberty of omission, arrangement and addition should always be
+allowed. Originality is always at a premium.)
+
+_Conclusion._ "I have now presented to you the reasons for my belief. I
+have shown you conclusively that the colonists were British subjects and
+owed unquestioning loyalty to their country; that----[Here recapitulate
+briefly but forcibly the arguments, so as to present them convincingly
+and at one time.] In view of all these facts I maintain that I have
+shown that the judges did not err when they pronounced Captain Preston
+and the eight soldiers not guilty of murder."
+
+Of course, the form of the introduction and conclusion may vary from
+that given here. Each child should be allowed the greatest freedom of
+expression consistent with the facts that there must be an introduction
+that states the question fairly and clearly, and a conclusion that shows
+how much the contentions have been proved.
+
+CONCLUSION. While narration, description, exposition and argument are
+the four forms of prose composition, we do not find frequently that
+selections are exclusively one or another. Nearly every story contains
+description, and exposition is not infrequent; expositions often contain
+description and narration, and arguments are often based upon narration
+and exposition. Excellent language lessons may be given by examining
+masterpieces to see what forms of composition they represent or which
+form predominates.
+
+Thus, in _An Exciting Canoe Race_ (Volume VII, page 79), an extract from
+Cooper's _The Last of the Mohicans_, may be found several forms of
+composition:
+
+1. The story as a whole is narration.
+
+2. On page 81 is this passage in exposition: "That's a trail that
+nothing but a nose can follow; grass is a treacherous carpet for a
+flying party to tread on, but wood and stone take no print from a
+moccasin. Had you worn your armed boots, there might indeed have been
+something to fear; but with the deerskin suitably prepared, a man may
+trust himself, generally, on rocks with safety. Shove in the canoe
+higher to the land, Uncas; this sand will take a stamp as easily as the
+butter of the Jarmans on the Mohawk. Softly, lad, softly; it must not
+touch the beach, or the knaves will know by what road we have left the
+place."
+
+3. On page 86 is this descriptive passage: "The well-known crack of a
+rifle, whose ball came skipping along the placid surface of the strait,
+and a shrill yell from the island interrupted his speech and announced
+that their passage was discovered. In another instant several savages
+were seen rushing into the canoes, which were soon dancing over the
+water in pursuit. These fearful precursors of a coming struggle produced
+no change in the countenances and movements of his three guides, so far
+as Duncan could discover, except that the strokes of their paddles were
+longer and more in unison, and caused the little bark to spring forward
+like a creature possessing life and volition."
+
+It will be observed that the paragraph just quoted is not purely
+descriptive, but that it contains something of narration as well. A
+single sentence of pure description is the following, to be found on
+page 88: "So rapid was the progress of the light vessels that the lake
+curled in their front in miniature waves and their motion became
+undulating by its own velocity."
+
+The following, from page 90, is a brief argument in conversational form,
+the elementary form of debate:
+
+"Get you then into the bottom of the canoe, you and the colonel; it will
+be so much taken from the size of the mark."
+
+"It would be but an ill example for the highest in rank to dodge, while
+the warriors were under fire!"
+
+"Lord! Lord! that is now a white man's courage! And, like too many of
+his notions, not to be maintained by reason. Do you think the Sagamore
+or Uncas, or even I, who am a man without a cross, would deliberate
+about finding a cover in a scrimmage when an open body would do no good?
+For what have the Frenchers reared up their Quebec, if fighting is
+always to be done in the clearings?"
+
+"All that you say is very true, my friend; still, our custom must
+prevent us from doing as you wish."
+
+Good selections to use for the purposes described and good subjects for
+compositions are the following from _Journeys Through Bookland_:
+
+For Narration:
+
+  1. Stories from _The Swiss Family Robinson_, Volume III, page 99.
+  2. _The Story of Siegfried_, III, 410.
+  3. _The Death of Hector_, IV, 364.
+  4. _Tom Brown at Rugby_, V, 469.
+  5. _The Recovery of the Hispaniola_, VII, 352.
+  6. _The Adventure of the Windmills_, VII, 438.
+  7. _The Adventure of the Wooden Horse_, VII, 467.
+  8. _The Battle of Ivry_, VIII, 76.
+
+For Description:
+
+  1. _How the Old Woman Looked._ See _The Old Woman Who Lived in a
+     Shoe_, Volume I, page 35.
+  2. _The House in the Tree._ See _Swiss Family Robinson_, III, 141.
+  3. _A Forest Scene._ See _Pictures of Memory_, IV, 128.
+  4. _Sheridan's Horse._ See _Sheridan's Ride_, IV, 223.
+  5. _Christmas._ See _The Fir Tree_, II, 68, and _Christmas in Old
+     Time_, VI, 356.
+  6. _A Scene of My Childhood._ See _The Old Oaken Bucket_, VII, 11.
+  7. _My Old Kentucky Home._ See poem of the same name, VII, 179.
+
+For Exposition:
+
+  1. _The Character of the Boy, Tom._ See _Tom, the Water Baby_, Volume
+     II, page 215.
+  2. _What Kind of a Man was Viking?_ See _The Skeleton in Armor_, V,
+     327.
+  3. _Exaggeration and Falsehood._ See _Baron Munchausen_, V, 403.
+  4. _On the construction, meaning, and sentiment in "Home, Sweet
+     Home."_ See VI, 221.
+  5. _The Strength of the Gorilla Compared with that of the Elephant._
+     See _A Gorilla Hunt_, VII, 247, and _Elephant Hunting_, VI, 385.
+  6. _The Wit of the Visitor._ See _Limestone Broth_, VI, 467.
+  7. _A Character Sketch of Alice and John._ See _Dream Children_. VIII,
+     335.
+
+For Argument:
+
+  1. _Was the Second Traveler in the Right?_ See _The Two Travelers_,
+     Volume I, page 109.
+  2. _Were the Three Men Perfectly Healthy?_ See _We Plan a River Trip_,
+     V, 443.
+  3. _Was the Punishment of the Ancient Mariner Just?_ See _The Rime of
+     the Ancient Mariner_, VII, 29.
+  4. _Was it Sensible for Casabianca to Remain on the Burning Ship?_ See
+     _Casabianca_, VIII, 313.
+  5. _Should Warren Hastings Have Been Convicted?_ See _The Impeachment
+     of Warren Hastings_, IX, 32.
+
+
+
+
+CHAPTER XV
+
+JOURNEYS THROUGH BOOKLAND IN ITS RELATION TO THE SCHOOL--(Continued)
+
+
+_Nature Study_
+
+Nature study to be most valuable must be in reality the study of nature.
+Its beginnings are in observation and experiment, but there comes a time
+when the child must go to books for information and enlightenment. The
+purposes of nature study are to awaken a spirit of inquiry concerning
+things in the immediate vicinity and thence in wider fields; to develop
+observation, comparison and reason; to give interests that will charm
+the possessor through life; to introduce the elements of the natural
+sciences. Enthusiasts have made the study of nature the basis of all
+school work, the correlating force in all studies. Such an idea has
+merit in it, for it is certain that lessons begun in the observation of
+living things and the phenomena of nature speedily ramify into language,
+reading, geography, history, and even mathematics.
+
+There is among some an unfortunate tendency to go too much to books for
+material and to seize too quickly any suggestion that leads in that
+direction. Yet books are valuable at the proper time and in the proper
+place. When facts have been learned, they may be made vital by good
+literary selections; when facts not accessible by observation are
+needed, they may be obtained through books. On the other hand,
+literature is full of allusions to natural facts and phenomena and may
+only be understood by him who knows nature. Both phases of the subject
+are of vital interest.
+
+Instead of attempting any systematic outline for nature study we will
+here try to give help on two problems only:
+
+_First._ How may nature study be broadened by the use of literature?
+
+_Second._ How may the study of nature help in the appreciation of
+literature?
+
+
+I.
+
+In trying to answer the first question we will present first a
+classified list of selections from _Journeys Through Bookland_ which are
+closely related to the study of nature and indicate briefly how they may
+be used.
+
+A. Seven Long Selections.
+
+In the first place, there are long selections in which there are many
+anecdotes and incidents which are usable in nature study. We will give
+partial lists of what is to be found therein, but it is well to read the
+whole selection and choose what is best for the occasion.
+
+1. _Tom, the Water Baby_ (Volume II, page 215). This is one of the most
+charming stories in the book, especially for young children, though
+older ones and even people of mature years will enjoy it thoroughly.
+Tom, a little chimney sweep, after perilous adventures, dies, or rather
+turns into a newt or eft, a water baby. His exciting life thereafter is
+in the waters, where he meets many of its strange denizens. The whole
+story is highly imaginative, humorous, and full of fine lessons,
+beautifully given. The more important of his adventures, from our point
+of view, are concerned with the following:
+
+  The Caddis Fly, pages 261-264.
+  The Dragon Fly, pages 264-265.
+  The Sand Fly, pages 267-269.
+  Otters, pages 270-271, 273-274.
+  Salmon, pages 272, 279-283.
+  Tides, page 287.
+  The Turbot, page 289.
+  Lobsters, pages 292-294, 300-303.
+  Sea Cucumbers, page 297.
+  Great Auk, page 339.
+  Mother Carey's Chickens (Stormy Petrels), page 344.
+
+2. _Robinson Crusoe_ (Volume III, page 45). Two chapters only are given
+from this great story, but the first, dealing with the capture and
+education of Crusoe's man Friday, may be worth while to read in
+connection with studies of savage races. It is not altogether
+scientific.
+
+3. _The Swiss Family Robinson_ (Volume III, page 99). This famous old
+story will be charming to children for many generations to come. It is a
+tale of the wonderful struggle of a family against nature. It may be a
+fact that it is unreasonable and impossible; that not all the seeming
+facts are true; that nature never plays so perfectly into the hand of
+man; that not all the living things mentioned are to be found in one
+locality. But it is clean, wholesome adventure, and the errors in it
+will do no harm. Many a good language lesson and many an addition to
+nature lessons may be drawn from it. The efforts of the family to
+utilize what they find, though too successful, are worthy of imitation.
+Some of the more interesting things met by the family are the following:
+
+  Lobsters, page 113.
+  Oysters, pages 114, 117.
+  Agouti, page 116, with a picture on page 116.
+  Cocoanuts, pages 125-128.
+  Calabash Trees, page 123.
+  Monkeys and Cocoanuts, pages 125-128.
+  Shark, page 138.
+  Turtle, pages 145-149.
+  Penguins (picture), page 152, pages 151-153.
+  Cassava Bread, pages 154-157.
+  Caoutchouc, page 170.
+  Onager (Wild Ass), pages 171-174 (picture, page 172).
+  New Zealand Flax, pages 175-176.
+  Flamingo, page 177.
+  Salt Cavern, pages 180-185.
+  Herrings, pages 187-188.
+  Gypsum, page 188.
+  Boa Constrictor, pages 192-195.
+  Ostrich, pages 206-215.
+  Walrus, page 222.
+  Hyenas, pages 227-228.
+  Lions, pages 252-256.
+
+4. _Brute Neighbors_ (Volume VII, page 260) is an interesting essay by
+Henry David Thoreau, the most delightful of American naturalist writers.
+In this essay he chats familiarly about the animals that surround his
+cottage in the woods, and shows the closeness of his observation as
+well as the breadth of his general knowledge. It is a nature study in
+itself as a whole. Besides mention of other animals, he tells
+interesting anecdotes of the following:
+
+  A Wild Mouse, page 261.
+  The Partridge, as the ruffed grouse is called in New England, pages
+    262-263.
+  The Woodcock, page 264.
+  The Fighting Ants, pages 264-268.
+  The Loon, pages 270-274.
+
+5. _The Pond in Winter_ (Volume VII, page 280). This is another of
+Thoreau's charming essays in natural history. It contains a pretty
+description of the snow and ice covered pond (page 280), an account of
+fishing through the ice (pages 282-283), and a vivid description of the
+pickerel (pages 283-284).
+
+6. _Winter Animals_ (Volume VII, page 293) is a third one of Thoreau's
+essays. An analysis shows that he tells something of all the following
+interesting things:
+
+  I. Winter routes over lakes, pages 293-294.
+
+  II. Sounds by day and night.
+    a. The melodious note of a hooting owl, page 294.
+    b. The honking of a goose, page 294.
+    c. The harsh and tremulous call of a cat-owl, page 294.
+    d. The whooping of the ice, page 295.
+    e. The barking of foxes, page 295.
+    f. The feet of the red squirrel down the sides of the house, page
+       295.
+    g. The discordant screams of the jays, page 298.
+    h. The wiry note of the chickadee, page 298.
+    i. The whirring wings of the partridges, page 299.
+    j. The yelping of hounds, and the hunting
+       horn (including fox hunting), pages 300-304.
+
+  III. The destructiveness of squirrels and wild mice, pages 296-297.
+
+  IV. The hares, pages 304-305.
+
+7. _Trees and Ants That Help Each Other_ (Volume VII, page 306) is a
+selection from the writings of Thomas Belt. It is an extremely
+interesting account of some of the curious adaptations of plants and
+animals to each other, as is indicated sufficiently by the title. An
+outline of the essay follows:
+
+  I. A species of acacia, pages 306-309.
+    1. Houses and feeds ants.
+      a. Houses in thorns.
+      b. Feeds (1) by glands and (2) by a pear-shaped appendage.
+    2. Ants protect trees.
+    3. Each seems beneficial to the other.
+
+  II. A cecropia, or trumpet tree, pages 309-311.
+    1. Houses and feeds ants.
+      a. Houses in hollow stems.
+      b. Feeds ants through herds of plant-lice that suck juices of
+         plant and secrete honey.
+    2. Ants protect trees.
+    3. Apparently beneficial to all.
+
+  III. An evergreen shrub.
+    1. Houses and (probably) feeds ants.
+      a. Houses in pouches at base of leaves.
+      b. Probably feeds ants through the services
+         of scale insects and plant-lice.
+    2. Ants protect shrubs.
+    3. Probably beneficial to all.
+
+  IV. Plants feeding ants, pages 311-312.
+    1. Orchids.
+    2. Passion flowers.
+    3. Dog rose.
+
+
+B. Classified Selections
+
+The following selections, ranging from nursery rhymes to some of the
+finest things ever written, may be considered available for the purpose
+of creating interest in nature study or of adding to a stock of
+knowledge already acquired. For convenience, they are classified in a
+general way, according to the subject-matter of which they treat:
+
+    I. Flowers and plant life:
+    _a._ Nursery rhymes:
+      (1) _Daffy-Down-Dilly Has Come Up to Town_, Volume I, page 47.
+      (2) _Mary, Mary Quite Contrary_, I, 30.
+
+    _b._ Fables:
+      (1) _The Boy and the Nettle_, Volume I, page 65.
+      (2) _The Fox and the Grapes_, I, 135.
+
+    _c._ Fairy Tales:
+      (1) _The Tree_, Volume I, page 301.
+      (2) _The Flax_, I, 378.
+      (3) _The Fir Tree_, II, 68.
+
+    _d._ Poems:
+      (1) _The Reaper and the Flowers_, Volume I, page 410.
+      (2) _John's Pumpkin_, III, 1.
+      (3) _The Potato_, II, 467.
+      (4) _The Moss Rose_, VI, 98.
+      (5) _The Daffodils_, VII, 1.
+      (6) _To the Fringed Gentian_, VII, 4.
+      (7) _To a Mountain Daisy_, VII, 8.
+      (8) _The Petrified Fern_, VII, 77.
+
+    _e._ An interesting essay:
+      (1) _A Bed of Nettles_, Volume VIII, page 209.
+
+    _f._ See references to _The Swiss Family Robinson_ and _Trees
+         and Ants That Help Each Other_, in the earlier part of this
+         section.
+
+    II. Birds:
+    _a._ Nursery rhymes:
+      (1) _Lady Bird, Lady Bird_, Volume I, page 12.
+      (2) _Higgledy, Piggledy_, I, 20.
+      (3) _Poor Robin_, I, 16.
+
+    _b._ Poems:
+      (1) _Little Birdie_, Volume I, page 142.
+      (2) _The Brown Thrush_, I, page 147.
+      (3) _The English Robin_, II, 214.
+      (4) _Who Stole the Bird's Nest_? II, 399.
+      (5) _Four Ducks on a Pond_, VI, 98.
+      (6) _The Rime of the Ancient Mariner_, VII, 29.
+      (7) _Ode to a Skylark_, VII, 275
+      (8) _To a Waterfowl_, VII, 395.
+      (9) _The Romance of the Swan's Nest_, VIII, 315.
+
+    _c._ Fables:
+      (1) _The Fox and the Crow_, Volume I, page 64.
+      (2) _The Fox and the Stork_, I, 73.
+      (3) _The Wolf and the Crane_, I, 96.
+      (4) _The Lark and Her Young Ones_, I, 131.
+      (5) _The Owl and the Pussy Cat_, I, 339.
+      (6) _Minerva and the Owl_, II, 7.
+
+    _d._ Fairy Story:
+      (1) _The Ugly Duckling_, Volume I, page 414.
+
+    _e._ An Essay:
+      (1) _Owls_, IX, page 229.
+
+    _f._ See also references to _Tom, the Water Baby_, _The Swiss
+         Family Robinson_, _Brute Neighbors_, and _Winter Animals_,
+         in earlier parts of this section.
+
+  III. Four-footed animals:
+    _a._ Nursery rhymes:
+      (1) _Ding Dong Bell_, Volume I, page 15.
+      (2) _Little Bo Peep_, I, 9.
+      (3) _Old Mother Hubbard_, I, 24.
+      (4) _Three Little Kittens_, I, 13.
+      (5) _Baa, Baa, Black Sheep_ I, 8.
+
+    _b._ Fables:
+      (1) _The Fox and the Crow_, Volume I, page 64.
+      (2) _The Ass in the Lion's Skin_, I, 65.
+      (3) _The Fox and the Stork_, I, 73.
+      (4) _The Gnat and the Bull_, I, 70.
+      (5) _The Lion and the Mouse_, I, 75.
+      (6) _The Wolf and the Crane_, I, 96.
+      (7) _The Fox and the Grapes_, I, 135.
+      (8) _The Bat and the Two Weasels_, I, 154.
+      (9) _The Owl and the Pussy Cat_, I, 339.
+     (10) _The Horse and the Stag,_ I, 338.
+     (11) _The Fox, the Wolf, and the Horse_, I, 377.
+     (12) _The Wolf and the Lamb_, I, 455.
+
+    _c._ Poetry:
+      (1) _The Cow_, Volume I, page 106.
+      (2) _Mercy to Animals_, I, 413.
+      (3) _How They Brought the Good News from Ghent to Aix_, V, 335.
+      (4) _To a Mouse_, VII, 5.
+
+    _d._ Stories:
+      (1) _A Dog of Flanders_, Volume IV, page 93.
+      (2) _The Lion and the Missionary_, VI, 93.
+      (3) _Rab and His Friends_, VI, 99.
+      (4) _Elephant Hunting_, VI, 385.
+      (5) _The Gorilla Hunt_, VII, 247.
+
+    _e._ Essays:
+      (1) _Some Clever Monkeys_, Volume VI, page 402.
+      (2) _The Buffalo_, VII, 96.
+
+    _f._ See, also, references to _Tom, the Water Baby_, _The Swiss
+         Family Robinson_, _Brute Neighbors_, and _The Pond in Winter_,
+         in the earlier part of this section.
+
+  IV. Reptiles:
+    _a._ Fable:
+      (1) _The Boys and the Frogs_, Volume I, page 63.
+
+    _b._ See, also, references to _Tom, the Water Baby_, and _The
+         Swiss Family Robinson_, in the earlier part of this section.
+
+  V. Insects:
+    _a._ Nursery rhyme:
+      (1) _Little Miss Muffett_, Volume I, page 29.
+
+    _b._ Fable:
+      (1) _The Gnat and the Bull_, I, 70.
+
+    _c._ Poem:
+      (1) _The Spider and the Fly_, III, 19.
+
+    _d._ Essay:
+      (1) _Trees and Ants That Help Each Other_, VII, 306.
+
+    _e._ See, also, references to _Tom, the Water Baby_, in the earlier
+         part of this section.
+
+  VI. Denizens of the water:
+    _a._ Fish:
+      (1) _Salmon Fishing_, Volume VII, page 285.
+      (2) "Pickerel," in _The Pond in Winter_, VII, 280.
+      (3) See, also, "Salmon," in _Tom, the Water Baby_, II, 272, 279-283.
+
+    _b._ See numerous references to _Tom, the Water Baby_, in the
+         earlier part of this section.
+
+  VII. Natural Phenomena:
+    _a._ Nursery rhymes:
+      (1) _Rainbow in the Morning_, Volume I, page 48.
+      (2) _If All the World Were Water_, I, 48.
+
+    _b._ Poems:
+      (1) _Twinkle, Twinkle, Little Star_, Volume I, page 44.
+      (2) _The Sun's Travels_, I, 68.
+      (3) _Rain_, I, 110.
+      (4) _Autumn Fires_, I, 394.
+      (5) _The Wind_, I, 440.
+      (6) _The First Snowfall_, II 403.
+      (7) _In Time's Swing_, II, 481.
+      (8) _Echo_, III, 286.
+      (9) _The Rainbow_, VI, 91.
+     (10) _Sweet and Low_, VI, 122.
+     (11) _The Cloud_, VII, 257.
+
+    _c._ Fable:
+      (1) _The Wind and the Sun_, Volume I, page 95.
+
+  VIII. Geographical in Nature:
+      (1) _At the Seaside_, Volume I, page 129.
+      (2) _From a Railway Carriage_, I, 198.
+      (3) _Stop, Stop, Pretty Water_, I, 317.
+      (4) _Song of the Brook_, IV, 60.
+      (5) _A Descent into the Maelstrom_, VIII, 95.
+      (6) _Ascent of the Jungfrau_, IX, 1.
+
+
+II
+
+Aid in answering the second problem may be found in the following
+paragraph:
+
+A series of interesting studies may be founded on the use which authors
+make of nature by way of direct and indirect allusion in their works.
+Such lessons are the opposite of those we have been considering. Now,
+the literary selection is taken first, read carefully and the allusions
+noted and classified. It will be noticed that it is not necessary that
+selections used for this purpose should be new to the pupils. In fact,
+genuine literature has the merit of being always new, always
+interesting. No better service can be rendered to a child than to create
+in him a love for the fine things in literature. Continued, monotonous
+study of a masterpiece may breed dislike of it, especially if the
+exercises are dull and formal. But to approach an old favorite from a
+new direction, to look at it from a new point of view, is to lend it
+added charms.
+
+A. To illustrate our method, we will use _The King of the Golden River_
+(Volume II, page 405).
+
+1. _Assignment._ The leader assigns the work as follows: "I wish you to
+read the first section of _The King of the Golden River_ and write in
+the order of their occurrence, every mention of a living thing or
+natural object and every allusion to them. Use the words of the story
+when possible, but be brief. After each put a number, to show the page
+of the story. Let us see who can find the greatest number and who can
+make the best paper."
+
+2. _Preparation._ If the children work well their lists will be
+something like this:
+
+  a. The valley in the mountains. Page 405.
+    (1) Snow-covered peaks; cataracts; a crag; river; circular hollows.
+    (2) Heavy crops; high hay; red apples; blue grapes; rich wine; sweet
+        honey.
+    (3) Blackbirds; hedgehogs; crickets; cicadas.
+    (4) Corn.
+
+  b. The wet summer. Page 407.
+    (1) Hay; vines; corn.
+
+  c. A nice piece of mutton. Page 408.
+
+  d. Must be the wind. Page 408.
+
+  e. A black feather some three feet long. Page 409.
+
+  f. Like a beaten puppy's tail. Page 410.
+
+  g. Like a mill stream. Page 410.
+
+  h. Licking its chops. Page 410.
+
+  i. A gust of wind that made the old chimneys totter. Page 411.
+
+  j. Quicksilver-like streams. Page 411.
+
+  k. Like a straw in the high wind. Page 413.
+
+  l. A wreath of ragged cloud, that whirled and rolled away down the
+     valley. Page 415.
+
+  m. A gush of rain. Page 415.
+
+  n. Howling wind and rushing rain without intermission. Page 415.
+
+  o. The room was full of water. Page 416.
+
+  p. A misty moonbeam. Page 416.
+
+  r. Like a cork. Page 416.
+
+  s. The inundation. Pages 416-417.
+    (1) Trees; crops; cattle swept away.
+    (2) Red sand and gray mud left in their stead.
+    (3) Corn swept away.
+    (4) _Breezy_ letters.
+    (5) Southwest Wind, Esquire.
+
+3. _Recitation._ The leader's part in the recitation is to help the
+children to classify the things mentioned, to bring out the meaning of
+the figures of speech, and to see that the allusions are understood.
+
+In writing this fine chapter, Ruskin has mentioned or alluded to the
+following:
+
+  a. Land and water forms: Mountains; valley; snow; peaks; cataracts;
+     river; circular hollow; mill stream; cloud; rain; globe of foam.
+
+  b. Animals: Sheep (mutton); bird (feathers); puppy; dog (licking its
+     chops); wolf (howling wind); cattle.
+
+  c. Plant life: Crops; hay; apples; grapes; corn; vines; straw; cork;
+     trees.
+
+  d. Natural phenomena: A wet summer wind blowing; gushing rain;
+     whirling clouds; misty moonbeam; floating foam; sweeping
+     inundation; breezes (breezy letters).
+
+  e. Rock material: Quicksilver; red sand; gray mud.
+
+  f. Natural products: Crops; apples; hay; grapes; wine; honey; corn;
+     mutton; cork; cattle.
+
+  g. Figures of speech: (In studying figures of speech, make three
+     points in each, viz.: _First_, the basis of the figure; _second_,
+     the translation of the figure into literal English; _third_, the
+     force and beauty of the figure and its effect on the meaning of the
+     sentence. With older children the names of the figures may be
+     given. Illustrations of these directions will follow.)
+
+     (1) Like a beaten puppy's tail. (A beaten puppy drops his tail and
+         drags it weakly behind him. The feather drooped down behind him
+         and dragged limply along. The figure gives a vivid picture of the
+         wet feather, limp and unhandsome. The figure is a comparison in
+         the form of a _simile_.)
+
+     (2) Like a mill stream. (Rushing, roaring, fast and furious.)
+
+     (3) Licking its chops. (_First_, a dog runs out his tongue and
+         licks his lips and the outside of his face [cheeks--chops] when he
+         sees food brought to him. A red flame twists and waves around like
+         the tongue of a dog. We speak of "tongues of flame" and "hungry
+         flames devouring." _Second_, long streams of flame waved around
+         and curled about the wood as they burned it. _Third_, how much
+         more vivid is the picture we see of the beautiful fire. The words
+         "rustling" and "roaring" help to strengthen the figure. This is a
+         fine comparison, but as it is not directly expressed by the use of
+         the words "like" or "as" we call it a _metaphor_.)
+
+     (4) Quicksilver-like streams. (Bright, shining, smoothly running,
+         with metallic luster.)
+
+     (5) Like a straw in the high wind. (Rapid, uncertain, irregular
+         motion.)
+
+     (6) A wreath of ragged cloud. (Notice the metaphor in _wreath_--also
+         in _ragged_.)
+
+     (7) Howling wind. (A wolf howls. The figure which raises an inanimate
+         object to the level of animate beings, or raises an animate being
+         [a dog, for instance] to the level of a human being, is called
+         _personification_.)
+
+     (8) Like a cork.
+
+     (9) _Swept_ away.
+
+    (10) _Breezy_ letters. (The words _swept_ and _breezy_ are
+         somewhat metaphorical, though their frequent use in this manner
+         makes the meaning almost literal.)
+
+    (11) Southwest Wind, Esquire. (Personification.)
+
+B. A second lesson may confine itself more closely to the figures of
+speech. Naturally this study of figures belongs with language and
+literature, but the point we wish to make is one of correlation. There
+is a literary side to nature study, and a natural history side to
+literature. Many of the greatest authors have been ardent lovers of
+nature, and have drawn liberally on their knowledge of nature in
+beautifying what they have written. Many a reader, from lack of
+knowledge or from careless habits, passes over the most delightful
+things, as blind and deaf as he who sees no beauty in the wild flowers
+and hears no melody in the songs of birds.
+
+For the second lesson of this character we will take the second and
+third chapters of _The King of the Golden River_, hoping to find an
+abundance of figures based on nature in some of its forms. We may not
+find many. Some writers use few. We suspect that Ruskin used them
+freely; as a matter of fact he was one of the greatest lovers of nature,
+a man who labored hard to bring art and nature together and to find a
+place for them in the lives of all.
+
+We find in the second chapter the following nature figures:
+
+  a. Southwest Wind, Esquire, page 418.
+  b. His relations, the West Winds, page 418.
+  c. It looks more like silk, page 419.
+  d. The hot breath of the furnace, page 420.
+  e. Bright tongues of fiery cloud burning and quivering about them,
+     page 420.
+  f. A clear _metallic_ voice, page 420.
+  g. Like that of a kettle on the boil, page 421.
+  h. As smooth and polished as a river, page 421.
+  i. The prismatic colors gleamed over it, as if on a surface of
+     mother-of-pearl, page 422.
+  j. In order to allow time for the consternation ... to evaporate, page
+     424.
+
+In the third chapter are the following:
+
+  a. Knotty question, page 426.
+  b. Like a line of forked lightning, page 427.
+  (This whole paragraph is a wonderfully beautiful description.)
+  c. Rose like slow smoke, page 427.
+  d. In feeble wreaths, page 428.
+  e. Shrieks resembling those of human voices in distress or pain, page
+     428.
+  f. None like the ordinary forms of splintered ice, page 428.
+  g. _Deceitful_ shadows, page 428.
+  h. Lurid lights _played_, page 428.
+  i. Ice _yawned_ into fresh chasms, page 428.
+  j. Fell _thundering_ across his path, page 429.
+  k. Rays _beat_ intensely, page 429.
+  l. Its lips parched and burning, page 430.
+  m. Long snake-like shadows, page 430.
+  n. The _leaden_ weight of the _dead_ air pressed upon his brow and
+     heart, page 430.
+  o. Shaped like a sword, page 431.
+  p. Like a red-hot ball, page 431.
+  q. They shook their crests like tongues of fire, page 432.
+  r. Flashes of _bloody_ light gleamed along their foam, page 432.
+  s. An icy chill shot through his limbs, page 432.
+  t. The _moaning_ of the river, page 432.
+  u. _The Black Stone_, page 432.
+
+
+
+
+CHAPTER XVI
+
+JOURNEYS THROUGH BOOKLAND IN ITS RELATION TO THE SCHOOL--(Continued)
+
+
+_Geography and History_
+
+The connection between geography and history on the one hand and
+literature on the other is most intimate. In the first place nearly all
+our knowledge of history must come through reading, and while we learn
+our geography most accurately through travel and observation, but a
+small part of our information comes through those channels. We read
+incessantly of our own country and others, we fill our minds with
+visions of plants, animals and the peoples of foreign lands from the
+facts we gather from the papers, magazines and books. If most of our
+facts come through reading it is no less true that most of our real
+interest in geography and history comes not from the facts of our
+text-books but from the literature we have read, the literature that
+clothed those facts and made them real and living. Ask yourselves what
+gave you your first real interest in the history of Scotland and see if
+your answer is not, "The novels of Scott." Again, where did you get your
+first adequate ideas of chivalry and the feudal system if it was not
+from _Ivanhoe_ or some similar piece of literature? What makes the
+Crimean War a household word in the homes of two continents if it is not
+the deeds of Florence Nightingale and Tennyson's _Charge of the Light
+Brigade_? Who can tell most of the Battle of Waterloo, he who has read
+the facts of history or he who has read Byron's thrilling poem and the
+description by Victor Hugo? Who knows the English home as it was? He who
+reads Goldsmith's _Deserted Village_.
+
+  [Illustration: OLIVER GOLDSMITH
+  MATTHEW ARNOLD
+  JOHN RUSKIN
+  THOMAS BABINGTON MACAULAY
+  JOHN BUNYAN
+  THOMAS DE QUINCEY
+  CHARLES LAMB]
+
+It is in furnishing those literary masterpieces that give life to
+geography and inspiration to history that _Journeys Through Bookland_
+gives the best of assistance to boys and girls in their school work.
+Some of its selections will give facts and many of them, but the facts
+form the smaller part of the contribution. History is valuable only as
+it enables us to understand the present, thrills us with the
+accomplishments of the past and teaches us how to live and act in the
+future. No man is so wrapped up in business that he does not heed the
+charm of noble deeds and fails to be moved by glorious achievement. Some
+histories are literature in themselves and have the inspiring quality we
+crave, but most of them are too dry and scientific to afford much
+interest to the child. So the greater part of our selections are not
+from the books that are called real history but from those which appeal
+to the imagination and stir the soul. Geographical teaching is likewise
+indirect in _Journeys_ but it is none the less helpful and inspiring. To
+prove the truth of these statements we have only to present what the
+books contain and show how the selections may be used.
+
+It does not seem wise to separate the two subjects too widely, for they
+are closely related and intimately interwoven in almost all reading.
+There are, it is true, some masterpieces that may be considered purely
+geographical and others that are as entirely historical, but these will
+be easily identified. Yet for ease and readiness in locating them we
+append a list of nearly one hundred selections and classify them in a
+simple manner:
+
+  1. Largely geographical.
+    _a._ Juvenile poems with geographical allusions, or based on
+           geographical facts:
+       (1) _The Suns Travels_, Volume I, page 68.
+       (2) _Singing_, I, 83.
+       (3) _Foreign Lands_, I, 130.
+       (4) _At the Seaside_, I, 129.
+       (5) _Old Gaelic Lullaby_, I, 203.
+       (6) _Where Go the Boats?_ I, 256.
+       (7) _Foreign Children_, I, 351.
+       (8) _Keepsake Mill_, I, 349.
+       (9) _Windy Nights_, II, 123.
+      (10) _Picture Books in Winter_, II, 87.
+      (11) _The Child's World_, II, 66.
+
+    _b._ Stories and poems that describe places or people in Europe
+           and some of their customs and modes of life:
+       (1) _The Tree_, Volume I, page 301.
+       (2) _The Snow Maiden_, I, 257.
+       (3) _The Snow Queen_, II, 124.
+       (4) _The Skeleton in Armor_, V, 327.
+       (5) _Rab and His Friends_, VI, 99.
+       (6) _The Governor and the Notary_, VII, 20.
+       (7) _Don Quixote_, VII, 431.
+       (8) _The Alhambra_, VIII, 153.
+       (9) _Ascent of the Jungfrau_, IX, 1.
+      (10) _The Cotters Saturday Night_, VIII, 319.
+
+    _c._ Fanciful legends with geographical interests:
+       (1) _Why the Sea Is Salt_, Volume II, page 484.
+       (2) _Origin of the Opal_, II, 480.
+
+    _d._ A Story from Japan.
+       (1) _The Mirror of Matsuyana_, Volume II, page 36.
+
+    _e._ A story of longitude:
+       (1) _Three Sundays in a Week_, Volume VI, page 453.
+
+    _f._ Plants or plant life:
+       (1) _The Potato_, Volume II, page 467.
+       (2) _Trees and Ants That Help Each Other_, VII, 306.
+       (3) _A Bed of Nettles_, VIII, 209.
+
+    _g._ Animal life:
+       (1) _Salmon Fishing_, VII, 285.
+       (2) _Winter Animals_, VII, 293.
+       (3) _Trees and Ants That Help Each Other_, VII, 306.
+       (4) _Owls_, IX, 229.
+       (5) _Elephant Hunting_, VI, 385.
+       (6) _Some Clever Monkeys_, VI, 402,
+       (7) _The Buffalo_, VII, 96.
+       (8) _A Gorilla Hunt_, VII, 247.
+       (9) _Brute Neighbors_, VII, 260.
+      (10) _The Pond in Winter_, VII, 280.
+
+    _h._ Natural phenomena:
+       (1) _The Cloud_, Volume VII, page 257.
+
+  2. Indians and their habits. The selections are either historical or
+     geographical or both.
+    _a._ _The Arickara Indians._ (A description of the habits
+         and customs of one of the western tribes.) Volume IV, page
+         472.
+
+    _b._ _Reminiscences of a Pioneer._ (This contains a few
+         interesting anecdotes of Indians and many incidents of pioneer
+         life.) Volume V, page 340.
+
+    _c._ _Black Hawk Tragedy._ (A very interesting biographical
+         and historical sketch.) Volume VII, page 58.
+
+    _d._ _An Exciting Canoe Race._ (A story of the New York Indians
+         at an early day.) Volume VII, page 79.
+
+    _e._ _David Crockett in the Creek War._ (An interesting account
+         of southern Indians and their wars.) Volume VIII, page 37.
+
+  3. Biography. The selections in this group consist of anecdotal
+     sketches, brief biographies, extracts from longer works, and a few
+     poems.
+
+    _a._ Authors of the United States and of foreign countries:
+       (1) _Robert Louis Stevenson_, Volume I, page 128.
+       (2) _Eugene Field_, I, 242.
+       (3) _Hans Christian Andersen_, II, 81.
+       (4) _Henry Wadsworth Longfellow_, IV, 62.
+       (5) _Alice and Phoebe Cary_, IV, 116.
+       (6) _Nathaniel Hawthorne_, IV, 180.
+       (7) _Sir Walter Scott_, VI, 26.
+       (8) _John Greenleaf Whittier_, VII, 381.
+       (9) _William Cullen Bryant_, VII, 391.
+      (10) _Oliver Wendell Holmes_, VII, 398.
+      (11) _James Russell Lowell_, VII, 411.
+      (12) _Washington Irving_, VIII, 216.
+      (13) _Charles and Mary Lamb_, VIII, 328.
+
+    _b._ Biblical Characters:
+       (1) _The Story of Joseph_, Volume I, page 456.
+       (2) _The Story of Esther_, II, 448.
+       (3) _David_, IV, 274.
+       (4) _Ruth_, VI, 143.
+
+    _c._ The author of many fables:
+       (1) _Aesop_, Volume II, page 1.
+
+    _d._ English history:
+       (1) _Alfred the Great_, Volume IV, 260.
+       (2) _Queen Victoria_, VII, 152.
+       (3) _Florence Nightingale_, IX, 13.
+
+    _e._ American history:
+       (1) _George Rogers Clark_, Volume VI, page 422.
+       (2) _David Crockett in the Creek War_, VIII, 37.
+       (3) _Pere Marquette_, VIII, 121.
+       (4) _Abraham Lincoln_, IX, 324.
+
+    _f._ Roman history:
+       (1) _Julius Caesar_, Volume IX, page 126.
+
+  4. Myths from several sources:
+    _a._ Grecian and Roman:
+       (1) _Atalanta's Race_, Volume I, page 386.
+       (2) _Baucis and Philemon_, I, 431.
+       (3) _The Golden Touch_, II, 43.
+       (4) _The Chimera_, II, 173.
+       (5) _The Story of Phaethon_, II, 206.
+       (6) _The Queen of the Underworld_, II, 468.
+       (7) _Cupid and Psyche_, III, 365.
+
+    _b._ Northern Europe:
+       (1) _How the Wolf was Bound_, II, 91.
+       (2) _The Death of Balder_, II, 99.
+       (3) _The Punishment of Loki_, II, 111.
+       (4) _Beowulf and Grendel_, III, 350.
+
+    _c._ Miscellaneous:
+       (1) _Stories of the Creation_, Volume IV, page 159.
+
+  5. Legendary heroes. The following selections give vivid ideas of the
+     great national heroes whose reputed deeds have been an inspiration
+     to hosts of children in many lands:
+
+    _a._ Scandinavian:
+       (1) _Frithiof the Bold_, Volume III, page 394.
+
+    _b._ German:
+       (1) _The Story of Siegfried_, Volume III, page 410.
+
+    _c._ English:
+       (1) _Robin Hood_, Volume III, page 436.
+       (2) _King Arthur_, V, 113.
+       (3) _Balin and Balan_, V, 130.
+       (4) _Geraint and Enid_, V, 148.
+       (5) _The Holy Grail_, V, 207.
+       (6) _Dissensions at King Arthur's Court_, V, 232.
+       (7) _The Passing of Arthur_, V, 237.
+
+    _d._ French:
+       (1) _Roland at Roncesvalles_, Volume III, page 460.
+
+    _e._ Spanish:
+       (1) _The Cid_, Volume IV, page 9.
+
+    _f._ Greek:
+       (1) _The Death of Hector_, Volume IV, page 364.
+       (2) _Ulysses_, IV, 398.
+
+    _g._ Roman:
+       (1) _Horatius_, Volume VI, page 1.
+
+  6. Historical tales, poems, and selections of different kinds and
+     varying degrees of difficulty:
+
+    _a._ Northern Europe:
+       (1) _Holger Danske_, Volume II, page 377.
+       (2) _Make Way for Liberty_, VII, 172.
+       (3) _Marco Bozzaris_, VIII, 90.
+
+    _b._ France and Napoleon:
+       (1) _Incident of the French Camp_, Volume IV, page 174.
+       (2) _Battle of Ivry_, VIII, 76.
+       (3) _Herve Riel_, VIII, 168.
+       (4) _The Battle of Waterloo_, VIII, 176.
+       (5) _The Battle of Cressy_, IX, 161.
+
+    _c._ Classic lands:
+       (1) _The Wooden Horse_, Volume IV, page 383.
+       (2) _The Battle of Thermopylae_, VIII, 81.
+       (3) _The Death of Caesar_, IX, 126.
+       (4) _The Death of Caesar_, IX, 143.
+       (5) _Julius Caesar_, IX, 155.
+
+    _d._ British Isles:
+       (1) _Chevy Chase_, Volume IV, page 312.
+       (2) _The Ballad of Agincourt_, V, 95.
+       (3) _Some Children's Books of the Past_, V, 101.
+       (4) _The Rise of Robert Bruce_, V, 278.
+       (5) _Bruce and the Spider_, V, 314.
+       (6) _The Heart of Bruce_, V, 316.
+       (7) _The Tournament_, VI, 38.
+       (8) _Bannockburn_, VII, 15.
+       (9) _The Charge of the Light Brigade_, VII, 147.
+      (10) _The Recessional_, VII, 164.
+      (11) _The Battle of Trafalgar_, VIII, 284.
+      (12) _Casabianca_, VIII, 313.
+      (13) _The Impeachment of Warren Hastings_, IX, 32.
+      (14) _The Battle of Cressy_, IX, 161.
+      (15) _The Battle of Hastings_, IX, 330.
+
+    _e._ United States:
+       (1) _The Pine Tree Shillings_, Volume IV, page 192.
+       (2) _The Sunken Treasure_, IV, 199.
+       (3) _The Hutchinson Mob_, IV, 208.
+       (4) _The Boston Massacre_, IV, 217.
+       (5) _The Landing of the Pilgrim Fathers in New England_, IV, 197.
+       (6) _Sheridan's Ride_, IV, 223.
+       (7) _Henry Hudson's Fourth Voyage_, V, 254.
+       (8) _Reminiscences of a Pioneer_, V, 340.
+       (9) _Braddock's Defeat_, V, 379.
+      (10) _The American Flag_, V, 396.
+      (11) _Stonewall Jackson's Way_, V, 400.
+      (12) _The Capture of Vincennes_, VI, 428.
+      (13) _The Old Continentals_, VII, 175.
+      (14) _America_, VIII, 60.
+      (15) _The Fall of the Alamo_, VIII, 141.
+      (16) _The Knickerbocker History of New York_, VIII, 224.
+      (17) _The Battle of Saratoga_, IX, 176.
+      (18) _The Gettysburg Address_, IX, 321.
+
+    _f._ America, outside of the United States:
+       (1) _The Buccaneers_, Volume V, page 359.
+       (2) _Captain Morgan at Maracaibo_, V, 365.
+       (3) _Ringrose and His Buccaneers_, VIII, 1.
+       (4) _The Retreat of Cortez_, VIII, 63.
+
+The object of teaching geography and history is not solely that children
+may acquire a collection of facts. Too often the lessons in these
+branches consist merely in memorizing text books, in learning long
+descriptions, in the study of meaningless maps and in the listing of
+political and military events in chronological order. The value of such
+work is comparatively small, and the studies cannot be considered
+profitable. If, however, children are taught to know and understand
+people, their habits and modes of life; if they learn geographical facts
+in their relation to humanity, to study events in the relation of cause
+to effect, to seek for truth and the meaning of things, then nothing is
+more productive of good than the teaching of geography and history.
+
+If we accept as true the foregoing statements, then methods of teaching
+the subjects become clear as we think of them. It is evident that early
+lessons should be designed to create interest:
+
+(1) In the world of things immediately around us; in the land and what
+grows and lives upon it; in the water, its relation to the land, its
+motions, and the life that it contains; in the air, its phenomena and
+its denizens; in human beings, their feelings and all their activities.
+
+(2) In the great earth as a whole and its parts; in foreign animals and
+plants; in humanity in other lands.
+
+It appears that so broad an outline as the one just given can never be
+filled in, that the study of geography and history, the study of the
+world and its peoples, can never be completed. If such is the case, it
+follows that the teacher who creates the most vital interest in the
+subject, who leaves with her pupils the most ardent desire to study and
+know, has been of greatest service to them.
+
+Now, the great interests of life have their inception in early years
+when the mind is active, curiosity strong, and instruction accepted
+without question. Then should be created that abiding interest which
+will make good students of geography and history, good citizens, good
+men and women. If too many formal lessons are given them, and pupils are
+set to work at dreary tasks and are asked to memorize dry facts, it is
+probable that they will never become good students. How, then, shall an
+abiding interest be created?
+
+The entrance to the field of geography is through nature study, which is
+discussed elsewhere under that title. For the first two years of a
+child's school life he will hear nothing of geography, and even in the
+third year there will be little formal reference to it, but all the time
+he is quietly mastering facts and developing interests that are
+geographical in their character.
+
+When systematic lessons begin, there should be presented only real facts
+and genuine things, that bear some close and direct relation to
+ourselves and that should be matters of personal observation, as far as
+possible. Day and night in summer and winter, the seasons, the weather,
+wind, rain, snow, sleet, foods, clothing, the occupations of the
+neighborhood, the brooks and bodies of water about the school, hills,
+valleys, plains, plants and animals of the locality, each in turn
+serves its purpose. We cannot here show how these various subjects
+should be treated, but to illustrate the use of literature in elementary
+geography lessons we will present an outline on a single subject. New
+possibilities will be seen in every direction if frequent use of the
+list given above is made in finding suitable selections.
+
+If we choose the wind as the subject of our model lesson, we may be sure
+to cover several recitations that will lead us into reading, nature
+study and language (oral and written). It is a subject that encourages
+wide correlation. The outline might be the following:
+
+  1. _Purpose of the Lesson._ To teach the following facts:
+    _a._ That air occupies space.
+
+    _b._ That wind is air in motion and has force.
+
+    _c._ The directions and names of winds.
+
+    _d._ The uses of winds.
+
+  2. _Experiments and Observation._
+    _a._ _Take an empty bottle and thrust it squarely, mouth down, into
+         water._ Does the water rise in the bottle? (Only a little way.)
+         Why? (It can't get in. There is air in the bottle.)
+
+    _b._ _Raise the bottle slowly and tip it slightly so that a part of
+         the mouth is above the water, then push it horizontally into
+         the water._ Does the water go into the bottle now? (Yes.) Why?
+         (Because there is no air there to keep it out.) How do you
+         know? (I saw the air coming out in bubbles.) Why didn't the air
+         come out when we pushed the bottle down the first time? (The
+         water was too heavy; it held the air in.)
+
+    _c._ _Hold your hand close in front of your mouth and blow._ Can you
+         feel anything? (Yes; the air strikes my hand.) When you are out
+         in the wind can you feel it? (Yes; it pushes against me.) Can
+         it push hard? (Yes; sometimes it pushes over trees and houses.)
+         What is the wind? (It is air moving.)
+
+    _d._ Is the wind blowing today? Did it blow yesterday? From what
+         direction is it (was it) blowing? How do you know? (I saw trees
+         bending away from it. I felt it pushing from that side. It came
+         in at that window. The vane on the church steeple pointed that
+         way.)
+
+    _e._ When a wind comes from the South, what do we call it? (South
+         wind.) When a wind blows from the North what do we call it?
+         (North wind.) What wind brings cold weather? (North.) What wind
+         brings warm weather? (South.) What wind brings long spells of
+         rainy weather? (East.) What wind brings showers and
+         thunderstorms? (South and West.) What winds prevail in summer?
+         (South and West.) What winds prevail in winter? (North.)
+
+    _f._ What work have you seen the wind do? (Turn windmills; sail
+         boats.) Have you seen it do any work for us here? (Yes; it
+         drives the clouds that bring us rain. It drives away stormy
+         clouds.) Can't you think of something else? (It scatters seeds
+         of plants. It shakes nuts from trees. It helps melt snow and
+         ice. It keeps the air clean and pure.)
+
+  3. _Literature._
+    _a._ As an introduction to the lesson or in preparation, give the
+         first two stanzas of that beautiful poem by W. B. Rands, _The
+         Child's World_ (Volume II, page 66).
+
+    _b._ In considering the strength of the wind, there is a fine
+         opportunity to introduce the fable _The Wind and the Sun_
+         (Volume I, page 95).
+
+    _c._ Robert Louis Stevenson's verses, _Windy Nights_ (Volume II,
+         page 123), are entertaining and give an opportunity for nice
+         explanation.
+
+    _d._ In the same light as the preceding selection may be regarded
+         the imaginative verses by the same author, _The Wind_ (Volume
+         I, page 440).
+
+    _e._ In _The King of the Golden River_ (Volume II) is a humorous
+         personification of the southwest wind. It is strikingly true of
+         the nature of that wind. The description begins on page 408,
+         and a second appearance of the wind is chronicled on page 415.
+
+    _f._ Finest of all the selections for this topic is Tennyson's
+         exquisite lullaby, _Sweet and Low_ (Volume VI, page 122). This
+         is well worth memorizing.
+
+If we wish a model for a history lesson, the following will answer:
+
+One of the interesting characters in history is King Alfred of England,
+and in the sketch of him (Volume IV, page 260) are facts enough for
+several elementary lessons in history. The outline for teaching might be
+as follows:
+
+  1. _Preparation._
+    _a._ Read the article above referred to, and such other material
+         concerning Alfred as can be found.
+
+    _b._ Select two incidents for story telling and prepare them for
+         recital. (See articles on _Story Telling_ in this Volume.)
+
+  2. _Presentation._
+    _a._ Tell the first story (page 260). It might be given in this
+         form:
+
+"More than a thousand years ago, Alfred, the youngest of the four sons
+of the king, was born. He was a fine lad and the favorite of his
+parents, but when he was twelve years of age he had not yet learned to
+read. This is not so strange, when we stop to think that it was long
+before people knew anything about printing, and every letter in every
+book had to be slowly made with a pen.
+
+"This made books very expensive and rare, so that only a few people
+could own even one. Still, you have no idea how beautiful some of those
+books were. They were written on thin, fine-grained leather called
+parchment, and were beautifully decorated in colors. The capital letters
+which began paragraphs, and sometimes all the capital letters, were made
+large, in fanciful shapes, and all around them were painted flowers,
+birds, human beings, or pretty designs, so that each letter was a
+beautiful picture in itself. Then in the margins, above the titles, at
+every place where there was no writing were still other delicate
+designs. Some of those wonderful old books are still in existence, and
+people go long distances to see them. They are more valuable now than
+ever, and most of them are safely guarded in museums.
+
+"One day Alfred's mother was reading to her children, from one of those
+beautiful books, some fine poems which the Saxons had written. The boys
+all became very much interested in the rich little paintings that
+decorated it. The mother pointed out its beauties and told the boys how
+carefully the artists had worked and how long it had taken them to do
+it.
+
+"'Did you ever see its equal?' she asked.
+
+"'No,' replied the oldest boy, 'I have not seen anything like it. I wish
+I had one like it.'
+
+"'Boys,' said the mother, 'this is one of the greatest treasures I have,
+and I would not like to part with it. Yet I love my boys better than the
+book, and I want them to learn to read. So this is what I will gladly
+do: I will give this book to the first of you who comes to me and shows
+that he can read it understandingly.'
+
+"'It is my book, for I can read some already,' said the oldest.
+
+"'But I can work harder than you, and I will learn faster,' said the
+second.
+
+"'I learn more easily than any of you,' the third boy added. 'I feel
+sure I shall win the book.'
+
+"Alfred said nothing, but as soon as his mother had ceased to read he
+hurried away, found a wise man to teach him and began immediately to
+work with great diligence. It was not long before he began to read for
+himself, and before his brothers had made much progress Alfred went to
+his mother.
+
+"'I think I can read the book,' he said.
+
+"'I do not think you have had time to learn. You are hurrying too much.
+You should study more,' his mother replied.
+
+"'But, mother, please let me try,' pleaded Alfred.
+
+"The mother yielded and Alfred brought the big book to her and laid it
+on her knee. Then he opened it at the beginning and with very few
+mistakes read poem after poem. His mother was more than satisfied, and
+when Alfred left the room he was hugging the elegant book and carrying
+it to his part of the castle.
+
+"This was only the beginning, for Alfred became the greatest scholar and
+the wisest king the Saxons ever had. He made just laws, he ruled kindly,
+he founded schools, and he tried in every way to make his subjects
+better, wiser and happier. Do you not think it all began in his love for
+the beautiful look?"
+
+3. _Recitation._
+
+Ask questions and make the children see in the story:
+
+  _a._ (The Introduction.) The first general facts about Alfred.
+
+  _b._ (The Body of the Narrative.) The story of how Alfred learned
+       to read.
+
+  _c._ (The Conclusion.) Alfred wins the prize and becomes a great ruler.
+
+Then ask them to tell the story in their own words.
+
+Finally ask them to write the story for a composition.
+
+4. _Additional Information._ Find out what other things about Alfred are
+already known to the class. Then tell the story of Alfred and the cakes
+(page 261); of his battles with the Danes under Guthrum (page 262); of
+his war with the Danes under Hastings (page 263); of his work for his
+people (page 264); and of his plans and inventions (page 265).
+
+5. _Supplementary Readings._ If the lessons on Alfred have been well
+conducted, interest will have been created in a variety of subjects
+relating to early English history. The Saxons, their mode of life,
+armor, weapons, manner of warfare, laws and customs; the Danes and their
+characteristics; the rulers who followed Alfred; the formation of the
+English nation, are topics that readily suggest themselves.
+
+       *       *       *       *       *
+
+More or less closely connected with these lines of thought are the
+following selections in _Journeys Through Bookland_. Interest may be
+deflected in any direction. If the selections are too hard for the class
+to read, tell the stories in simplified form:
+
+   1. _The Legends of King Arthur_ (Volume V, beginning on page 113).
+
+   2. _The Attack on the Castle_ (Volume IV, page 322).
+
+   3. _The Battle of Hastings_ (Volume IX, page 330).
+
+   4. _Beowulf and Grendel_ (Volume III, page 350).
+
+   5. _Chevy Chase_ (Volume IV, page 312).
+
+   6. _Frithiof the Bold_ (Volume III, page 394).
+
+   7. The myths of the Northland, viz.: _How the Wolf Was Bound_ (Volume
+      II, page 91); _The Death of Balder_ (Volume II, page 99); _The
+      Punishment of Loki_ (Volume II, page 111); and part of _Stories of
+      the Creation_ (Volume IV, page 159).
+
+   8. _A Norse Lullaby_ (Volume I, page 246).
+
+   9. _The Tournament_ (Volume VI, page 38).
+
+  10. _The Skeleton in Armor_ (Volume V, page 327).
+
+It will be noticed that while this outline is given for use with young
+children, it easily may be adapted to the use of older ones and may lead
+into a wide course in historical reading.
+
+The textbook in history is necessarily brief and really little more than
+an outline of events. In many instances the book gives too much space to
+battles, sieges and military movements and too little to the conditions
+of life, to manners, customs and causes and effects of events. Yet the
+textbook is a valuable guide and enables anyone to present the subject
+logically and to systematize what is learned, if nothing more.
+
+What a wide range of subjects is covered in the study of history! What
+abundance of material for study is required! Dates must be learned and
+events arranged chronologically; maps must be studied, fixed in mind and
+made of real value by a comprehension of the things they are supposed to
+represent; military events must be understood in relation to the causes
+that lead to them and the results that follow. Some few battles or
+campaigns must be made vivid enough to give an idea of the expense, the
+labor, the suffering and the horrors involved in war; government,
+educational and religious institutions, religious and social customs and
+financial methods must be studied; industries and amusements, the lives
+of the people, food and food supplies, the production of clothing and
+building material must be examined; in fact, each one of the multiform
+interests of humanity may be a fair topic for study at some time in the
+history class.
+
+Methods of instruction must be as varied as the subject-matter.
+Sometimes drill is necessary to fix facts; again it is necessary to
+encourage the observation and study of persons, things and events about
+us; a third time, wide research and extensive reading are demanded;
+again, the feelings must be aroused, sentiment and enthusiasm
+encouraged, patriotism taught.
+
+There is material for many of these exercises in _Journeys Through
+Bookland_.
+
+As a type of study for the military campaign, we might take Burgoyne's
+campaign in the Revolution. From the textbook we may learn certain facts
+and encourage the pupils to group them as follows:
+
+  _Burgoyne's Campaign._
+
+  1. Conditions prior thereto:
+    _a._ The British occupied only New York and Newport.
+
+    _b._ They understood the natural highway that existed along Lake
+         Champlain and the Hudson River from the Saint Lawrence River to
+         New York.
+
+    _c._ They resolved to establish a line of military posts along this
+         highway.
+
+  2. Plan of Campaign:
+    _a._ General Burgoyne was sent to Canada with 4,000 British regulars
+         and 3,000 Hessians.
+
+    _b._ Canadians and Indians to the number of 1,000 joined the troops
+         under Burgoyne.
+
+    _c._ St. Leger was sent to Oswego to descend the Mohawk, capture
+         Fort Stanwix and join Burgoyne.
+
+    _d._ Burgoyne was to go through Richelieu River and Lake Champlain
+         by boats; thence march to New York by land.
+
+  3. American Troops in Opposition:
+    _a._ General St. Clair with 3,000 men at Ticonderoga.
+
+    _b._ General Schuyler with about 3,000 men on the Hudson.
+
+  4. Burgoyne's Advance:
+    _a._ The trip to Ticonderoga made and the Americans dislodged from
+         the fort.
+
+    _b._ The skirmish at Hubbardton was successful, but the Americans
+         were not captured, and the delay to Burgoyne enabled St. Clair
+         to join Schuyler.
+
+    _c._ The march to the Hudson was full of difficulties and
+         discouragements:
+       (1) Obstructed roads; destroyed bridges.
+       (2) Inadequate supplies.
+       (3) Deserting Indians.
+       (4) Leaving a third of his troops at Ticonderoga.
+
+    _d._ The Expedition against Bennington:
+       (1) Colonel Baum sent to take supplies from the Americans there.
+       (2) Met General Stark with a force outnumbering him two or three
+           to one.
+       (3) Rain delayed battle, and British entrenched.
+       (4) Baum surrounded; his force captured or killed, including a
+           relief party under Riedesel.
+
+    _e._ St. Leger's Campaign.
+       (1) Unsuccessful battle at Oriskany.
+       (2) St. Leger retreated and disappeared from the region after a
+           flight induced by a ruse invented by Benedict Arnold.
+
+  5. Burgoyne's Surrender.
+    _a._ He attempted to cut his way through the lines of the American
+         troops which surrounded him.
+
+    _b._ Crossed the Hudson and met the Americans at Bemis Heights;
+         defeated.
+
+    _c._ Defeated at Freeman's Farm.
+
+    _d._ Surrendered October 17, 1777.
+
+  6. Effects of the Surrender.
+    _a._ Gave the Americans many arms and munitions of war.
+
+    _b._ Gave the Americans greater confidence in themselves and their
+         cause.
+
+    _c._ Caused great discouragement to the British, both at home and in
+         the colonies.
+
+    _d._ Established the prestige of the American cause in Europe.
+
+    _e._ Secured the assistance of France.
+
+    _f._ Probably was the most influential single campaign in the war
+         and largely instrumental in enabling the colonists to win.
+
+The preceding outline is the framework for the study of one military
+campaign. In a school it would be the basis for topical recitations, but
+in itself it has neither interest nor vitality. The main points should
+be memorized so that facts learned subsequently may be logically
+arranged. When the general outline is mastered, teachers and pupils
+begin to fill in details from all available sources and create in the
+minds of the pupils vivid pictures of the scenes, a thorough
+understanding of the course of events, and a lively realization of the
+effect of this remarkable episode of a great war. At home it may be used
+in a similar manner.
+
+To further assist in this instance and to furnish a type or model for
+succeeding studies, we will traverse the outline again, showing what may
+be done with it and how literature may lend its aid to the study of
+history. In _Journeys Through Bookland_ we have a long extract from _The
+Battle of Saratoga_ by Creasy (Volume IX, page 176). This will be the
+source of much of our information, and there are explanatory footnotes
+of considerable value. We reproduce here only the indices of the
+original outline:
+
+1. _a_, _b_ and _c_. A good outline map of the colonies is necessary. It
+must show the location of bodies of water, natural thoroughfares, cities
+and forts. The map should be made for the purpose and contain no details
+beyond those necessary for an understanding of this campaign. A second
+map showing a strip of country from the Saint Lawrence to New York and
+wide enough to include all the operations of the armies should contain
+more detail and be used frequently as the study proceeds. It may be
+well for each child to draw this region in outline and fill in the
+details as his study proceeds. Read page 177, Volume IX.
+
+2. _a_, _b_, _c_ and _d_. Read pages 180-182, Volume IX.
+
+3. _a_ and _b_. Pages 182-183, Volume IX.
+
+4. _a_ and _b_. Pages 181-182, Volume IX. The quotation from Burke,
+Volume IX, pages 183 and 184, and the following paragraph are
+interesting accounts of the feeling in England and America over the
+apparent successes of Burgoyne.
+
+_c._ The causes of the increased efficiency of the Americans and the
+bitterness with which the British were regarded by the colonists is
+explained on pages 184 and 185 of Volume IX.
+
+Something of the nature of the Indian allies may be gained from the
+story, _An Exciting Canoe Race_ (Volume VII, page 79).
+
+A stirring poem, to be read in this connection, is _The Old
+Continentals_ (Volume VII, page 175).
+
+5. _a_, _b_, _c_ and _d_. The final days of the campaign and the
+surrender are described on pages 193-200, Volume IX. In using this,
+bring out the following points not made in the original outline:
+
+The near approach of Clinton and the message from him. What must
+Burgoyne have felt when he received the message! Put human interest into
+the tale.
+
+The character of Burgoyne, Gates and Arnold, as shown by their acts.
+
+The Germans (Hessians) in the campaign.
+
+The burial of General Frazer.
+
+The condition of the British troops when they surrendered.
+
+The terms of surrender.
+
+Gates's message to Congress.
+
+6. _a_, _b_, _c_, _d_ and _e_. See, in this connection, pages 198 and
+199 of Volume IX.
+
+_The Soldier's Dream_ (Volume VII, page 170) is a good poem to read for
+the purpose of exciting sympathy for the soldiers.
+
+_The Picket Guard_ (Volume VII, page 177) is useful in a similar way,
+though written in connection with another war.
+
+_The American Flag_ (Volume V, page 396) may be used here. Did the
+American soldiers carry the flag of the United States at the time of the
+battle of Saratoga? If not, what flag was borne? Did the "United
+Colonies" have a flag?
+
+By consulting the tabulated list of selections useful in history classes
+you may find other things of interest. Care should be taken, however,
+not to cloud the main purpose of the lessons by the introduction of too
+much literary matter.
+
+       *       *       *       *       *
+
+Before leaving the subject of history and geography we urge upon those
+who wish to work with children, a careful perusal of the sections
+entitled _Close Reading_ in this volume.
+
+
+
+
+CHAPTER XVII
+
+JOURNEYS THROUGH BOOKLAND IN ITS RELATION TO THE HIGH SCHOOL
+
+
+_Introduction_
+
+All high school students are expected to be well grounded in good
+literature. It is part of every well planned course of study and the
+basis of much of the work in every year. Yet very few high schools are
+able to furnish the material for every student to read, and often the
+methods of instruction are inadequate to the large classes or fail in
+character and execution. There is contained in _Journeys_ practically
+all the real literature that is necessary for the foundation of a broad
+culture, and though much of it is simple and elementary, it is no less
+interesting and valuable. As a matter of fact, few high school students
+have ever read the simpler classics in a manner that brought to them the
+full message of the selections. Accordingly the most elementary things
+are often the newest and the most valuable. The simplest of the nursery
+rhymes, as may be seen by the comments and explanations given in another
+part of this volume, are full of interest to high school boys and girls,
+and in not a few schools form the basis of many serious lessons. The
+fables, the myths and the literature of the legendary heroes are not
+only interesting, but are of sufficient breadth in meaning to justify
+hard work on the part of anyone who has not already mastered them. It is
+a mistake to think that the simple things do not interest young men and
+young women. The people who scorn the elementary literature of nursery
+rhymes, fairy tales and fables are the immature boys of thirteen or
+fourteen years to whom everything juvenile seems beneath their dignity
+and newly acquired independence.
+
+The reader of _Journeys_ will notice, however, that the quantity of
+matter that may be called really juvenile is small in comparison with
+the grand total. As a matter of fact, the selections of the last six
+volumes are worthy the reading by anyone, old or young, at any time, and
+to be fully appreciated they must be read with care and discrimination
+by everyone. The sixth, seventh, eighth and ninth volumes are all
+high-class literature for adults as well as young children and the
+studies are worthy a place in any high school.
+
+The older a person grows the more he loves the things that were a
+delight to his childhood and the more keenly he realizes his loss if he
+never had the opportunity to become well acquainted with the great
+masterpieces that have been the comfort and inspiration of such
+countless thousands of people. Men and women of judgment never criticize
+the selections in _Journeys_ on the ground that they are too simple or
+are childish. Good literature never dies, never loses its interest. It
+lives in a day-by-day intimacy with every one of its acquaintances, and
+the love for it increases year by year for everyone who will listen to
+its teachings.
+
+Doubtless some high school students will be glad to have pointed out to
+them more in detail the things which are especially applicable to their
+work in school and which will help them in the mastery of the subject so
+that their school work will be made easier and they may raise their rank
+in the eyes of their teachers and companions.
+
+
+A
+
+Nearly all of the studies in the other volumes and all of them in this
+volume are of value to high school students. If they are not difficult
+enough to cause work they at least suggest ways of reading that will be
+valuable. In the ten volumes the studies are scattered so that young
+children may not see too much of the machinery of instruction as they
+read. On the other hand the high school student wants the material
+systematically arranged and easy of access.
+
+Accordingly the following arrangement of the studies in this and the
+other volumes of _Journeys_ will be of assistance:
+
+    I. Studies in Character:
+       (1) _Cinderella_, Volume I, page 224.
+       (2) _The Hardy Tin Soldier_, X, 158.
+       (3) _Rab and His Friends_, X, 177.
+
+   II. Studies in plot:
+       (1) _The Snow Queen_, Volume II, page 124.
+       (2) _The Gold Bug_, IX, 232.
+       (3) _Cinderella_, X, 150.
+
+  III. Studies in description:
+       (1) _The King of the Golden River_, Volume II, page 405.
+       (2) _The Reaper's Dream_, VII, 345.
+       (3) _The Recovery of the Hispaniola_, VII, 352.
+
+   IV. Method of analysis:
+       (1) _The Gettysburg Address_, Volume IX, page 321.
+       (2) _Braddock's Defeat_, X, 227.
+
+    V. General studies involving several or all of the main points:
+       (1) _Incident of the French Camp_, Volume IV, page 174.
+       (2) _The Tempest_, VIII, 468. (Extensive
+           studies following the drama.)
+       (3) _The Passing of Arthur_, X, 214.
+
+   VI. Studies in rhyme, meter and melody:
+       (1) _The Country Squire_, Volume VI, page 474.
+       (2) _To My Infant Son_, VI, 478.
+       (3) _The Daffodils_, VII, 1.
+       (4) _The Old Oaken Bucket_, VII, 11.
+       (5) _Bannockburn_, VII, 15.
+       (6) _Boat Song_, VII, 17.
+       (7) _The Bugle Song_, X, 287.
+
+  VII. Studies in interpretation, giving various methods and considering
+       different phases of the subject:
+       (1) _Christmas in Old Time_, Volume VI, page 356.
+       (2) _The Recessional_, VII, 164.
+       (3) _The Cubes of Truth_, VII, 406.
+       (4) _America_, VIII, 60.
+       (5) _A Descent Into the Maelstrom_, VIII, 95.
+       (6) _Dream Children_, VIII, 335.
+       (7) _The Vision of Mirza_, IX, 285.
+       (8) _Pippa Passes_, IX, 293.
+       (9) _Rab and His Friends_, X, 225.
+      (10) _The Reaper and the Flowers_, X, 272.
+      (11) _Adventures in Lilliput_, V, 8.
+      (12) _David Crockett in the Creek War_, VIII, 37.
+      (13) _The Impeachment of Warren Hastings_, IX, 32.
+      (14) _A Christmas Carol_, VI, 244.
+
+  VIII. Biographical sketches of authors, suitable for class use:
+       (1) _Robert Louis Stevenson_, Volume I, page 128.
+       (2) _Eugene Field_, I, 242.
+       (3) _Aesop_, II, 1.
+       (4) _Hans Christian Andersen_, II, 81.
+       (5) _Henry W. Longfellow_, IV, 62.
+       (6) _Alice and Phoebe Gary_, IV, 116.
+       (7) _Nathaniel Hawthorne_, IV, 180.
+       (8) _Jonathan Swift_, V, 1.
+       (9) _Sir Walter Scott_, VI, 26.
+      (10) _John Howard Payne_, VI, 221.
+      (11) _John Greenleaf Whittier_, VII, 381.
+      (12) _William Cullen Bryant_, VII, 391.
+      (13) _Oliver Wendell Holmes_, VII, 398.
+      (14) _James Russell Lowell_, VII, 411.
+      (15) _Elizabeth Barrett Browning_, VII, 419.
+      (16) _Washington Irving_, VIII, 216.
+      (17) _Charles and Mary Lamb_, VIII, 328.
+      (18) _William Shakespeare_, VIII, 468.
+
+
+B
+
+The assistance that literature may give in reading, language, nature
+study, history and geography is set forth at length in other chapters of
+this volume, and the high school student is earnestly requested to
+examine those chapters carefully and utilize whatever appeals to him in
+his studies. Especially are the chapters on reading and language
+valuable. Usually the greater part of the criticisms passed upon high
+school work is aimed against weaknesses in English. No small portion of
+this criticism is just, and it comes to a considerable extent from the
+fact that theme work is usually assigned on subjects so abstruse and so
+far beyond the ready appreciation of the student that the youthful
+writer is more concerned in finding out what he is to write than in
+thinking how he shall write. The result is a carelessness that brings
+errors in construction and an entire lack of clearness and elegance in
+expression. Even the older pupils can learn more from writing upon
+simple subjects where the material is easily obtained and is in itself
+interesting than from the usual difficult and uninteresting subjects.
+
+The close analysis of a masterpiece gives fine models of expression and
+furnishes the best of material for discussion. The use of capital
+letters and punctuation marks, spelling and the choice of words are all
+subjects for study and are all learned best from good models, such as
+are found in the masterpieces of literature. Students will soon learn
+that the rules of grammar are not always so hard and fast as they appear
+and that the practice of authors and publishers varies in minor things,
+especially in the use of commas and capital letters.
+
+Some studies of special interest that may be based upon the masterpieces
+in _Journeys_ will be given below. Many of the stories, poems and essays
+are accompanied by notes, queries and comments that will assist in
+making the studies profitable. Several good lessons may be derived from
+each topic and may be pursued at greater length by research in the
+volumes of reference in the school or public library.
+
+Look in the Index of the tenth volume for the following topics and then
+find in the proper volumes the several selections named in the Index:
+
+I. _Ballads._ Eight of the old English ballads and five more modern
+imitations are given. They are virile poems; simple, direct narratives.
+The old ones show the peculiarities of the old style English diction
+before poetry had been refined, while the later ones, breathing still
+the fire and originality of the earlier, are more polished and show the
+greater skill and accomplishments of the poets. The old ballads sprang
+spontaneously from the race, and doubtless many minds contributed to
+their phraseology, for they were sung and recited and passed on from
+mouth to mouth for generations before they were fixed in their present
+form.
+
+II. _Essays._ In the list of essays (fourteen) are some of the most
+exquisite ever written and others that are full of information and
+inspiration. _Dream Children_ is a perfect prose lyric; _Some Children's
+Books of the Past_ is an extremely interesting essay of the
+informational class. Besides the essays listed in the Index there are
+other selections in essay form that may be studied with profit. Here are
+some of them:
+
+   1. _Abraham Lincoln_, Volume IX, page 324.
+   2. _The Arickara Indians_, IV, 472.
+   3. _The Buffalo_, VII, 96.
+   4. _Alfred the Great_, IV, 260.
+   5. _The Battle of Cressy_, IX, 161.
+   6. _The Battle of Hastings_, IX, 330.
+   7. _A Bed of Nettles_, VIII, 209.
+   8. _Brute Neighbors_, VII, 260.
+   9. _The Buccaneers_, V, 359.
+  10. _Stories of the Creation_, IV, 159.
+  11. _Trees and Ants That Help Each Other_, VII, 306.
+
+III. _Fables._ The names of more than thirty fables are given in the
+list. Comparative study of these fables, considering the animals most
+frequently mentioned, the correctness and naturalness of the traits
+ascribed to the different animals, the moral precepts inculcated by the
+fables, etc., will be found interesting and profitable.
+
+IV. _Fairy Lore and Folk Lore._ Though fairy stories may have lost their
+intrinsic interest for high school students, the teacher will find in
+the collection given here the material for many a study. What merits
+keep the old stories alive and make them perennially fascinating to
+children of all nations? Which stories are the better for children,
+those of Hans Christian Andersen or those of the Brothers Grimm? What
+are the particular merits or demerits of each class? How do the stories
+by the latter writers compare in originality and beauty with the older
+stories? What comparisons can be made between _The Ugly Duckling_ and
+_The King of the Golden River_? What merits has _Cinderella_ over
+_Bluebeard_? What is the effect of _Jack the Giant Killer_ and stories
+of that kind on the minds of young people?
+
+V. _Fiction._ Look under the subtitles for the long list of stories
+suitable for study when the class is dealing with fiction.
+
+VI. _Legendary Heroes._ What can be more interesting than a study of
+these characters from the borderland of history? These great figures
+come forth from the shadows of the past and move before us like living
+men: Beowulf, the Saxon; Frithiof, the Norse hero; Siegfried, the
+German; Roland, the French knight; The Cid, Spain's greatest warrior and
+gentleman; Hector and Ulysses, the Greeks; King Arthur and his knights
+from England; Horatius, the Roman, and Sohrab, the Persian.
+
+The literature of the Arthurian legends as given in _Journeys_, where
+they cover about 150 pages, is a cycle of great importance to every high
+school student. The selections concerning Arthur form a series of
+narratives which, though from different sources, give a vivid picture of
+the great knight and his times. The cycle is in volume V and the titles
+are:
+
+  _a._ _Arthur Made King_, page 117.
+
+  _b._ _Arthur Weds Guenevere; The Round Table_, page 119.
+
+  _c._ _Arthur and Pellinore_, page 122.
+
+  _d._ _Arthur Gets Excalibur_, page 127.
+
+  _e._ _Balin and Balan_, page 130. (The stories given so far were
+        written expressly for _Journeys_, but all have followed rather
+        closely the relation of Malory.)
+
+  _f._ _Geraint and Enid_, page 148. (This is one of the most popular of
+        Tennyson's _Idyls of the King_. The poem is given complete.)
+
+  _g._ _The Holy Grail_, page 207.
+     (1) _The Knighting of Sir Galahad_, page 208.
+     (2) _The Marvelous Sword_, page 209.
+     (3) _Galahad and the Siege Perilous_, page 212.
+     (4) _Galahad draws the Sword of Balin Le Savage_, page 213.
+     (5) _The Holy Grail Appears_, page 214.
+     (6) _Galahad Gets His Shield_, page 217.
+     (7) _The Grail Achieved_, page 222. (The story of the search for
+         the Holy Grail, which is taken from the narrative of Sir Thomas
+         Malory, retains his quaint and charming style. The only
+         material changes are in paragraphing and the use of quotation
+         marks.)
+
+  _h._ _Dissensions at King Arthur's Court_, page 232. (This was written
+        for _Journeys_, to cover the interval between the achievement of
+        the Grail by Sir Galahad and the death of Arthur.)
+
+  _i._ _The Passing of Arthur_, page 237. (This is Tennyson's beautiful
+        poem given in full. It describes the last days of Arthur's reign
+        and the strange story of his death.)
+
+VII. _Lyrics._ This topic gives the titles of about fifty beautiful
+lyrics.
+
+VIII. _Myths._ Twelve titles showing stories from the mythology of
+different nations. Many of the articles have explanatory comments and,
+though stories and notes are intended primarily for young children, the
+whole offers a good introduction to a more extended study of mythology.
+
+IX. _Don Quixote._ The five adventures related give a good idea of the
+nature of the book and are sufficient for reference when the history
+class is studying chivalry.
+
+X. _Odes._ These seven of our finest odes will please the class in
+literature.
+
+XI. _Poetry._ Look up the sub-titles for names of poems.
+
+XII. _Wit and Humor._ It is not always easy to find what is wanted for
+class study under this head. The selections given are amusing, but at
+the same time most of them have real literary value, as well, and are
+worth study.
+
+
+
+
+CHAPTER XVIII
+
+RECITATIONS AND SPECIAL DAYS IN SCHOOL
+
+
+Whoever has had charge of young children who are in attendance at school
+has been many, many times worried in trying to answer for them the
+oft-repeated request "Where shall I find a piece to speak?" Every volume
+of _Journeys Through Bookland_ has a large number of selections suitable
+for this purpose. All of them may be found readily by consulting the
+Index at the end of the tenth volume, when the name is known or the
+nature of the selection is understood, or by examining the table of
+contents at the beginning of each volume when no intimation of title or
+subject has been given.
+
+It has become customary in most schools to observe with appropriate
+exercises certain notable days. Thanksgiving, Christmas, Memorial Day,
+Flag Day, Arbor Day, and Bird Day have their own peculiar functions and
+for each there is a different style of observance. Recitations, songs,
+readings, stories, help to make up the programs, and upon the parent
+often falls most of the burden in selecting material. In many states the
+Department of Education issues beautiful circulars on some of these
+special days, and from them the teacher draws some of her material and
+forms her program for the occasion. Yet when the one or two days for
+which material has been provided have passed there come a number of
+others which make their demands. Besides those mentioned, there are the
+birthdays of our great patriots and literary men and the general
+exercises at other times for which no special provision has been made.
+For the busy parent, teacher or pupil, _Journeys Through Bookland_
+provides an almost inexhaustible supply of excellent things, most of
+which may be found readily through the Index. Moreover, the selections
+are from the best literature for children, from that which they should
+know, so that the tired and harrassed mother need not worry for fear
+that the children are filling their minds with useless things.
+
+It does not seem worth while to give long lists of selections
+appropriate to special days, as things are well classified in the Index
+in the tenth volume. Yet to show more fully how _Journeys Through
+Bookland_ may be used, the following suggestions are offered:
+
+I. BIRD DAY. Besides many other selections that are usable in different
+grades, the following seem peculiarly appropriate:
+
+   1. _The Fox and the Crow_, Volume I, page 64. (This and the other
+      fables mentioned below may be repeated as given or, better, may be
+      told by a pupil in his own words.)
+   2. _The Fox and the Stork_, I, 73.
+   3. _The Wolf and the Crane_, I, 96.
+   4. _The Lark and Her Young Ones_, I, 131.
+   5. _The Brown Thrush_, I, 147.
+   6. _The Owl and the Pussy-cat_, I, 339.
+   7. _Minerva and the Owl_, II, 7.
+   8. _The Sparrow and the Eagle_, II, 8.
+   9. _Who Stole the Bird's Nest?_ II, 399.
+  10. _The Barefoot Boy_, IV, 3.
+  11. _Ode to a Skylark_, VII, 275.
+  12. (See also the lists of articles relating to birds, given under the
+      section devoted to _Nature Study_ in this volume.)
+
+II. MEMORIAL DAY. A few of the selections suitable for this occasion are
+the following:
+
+   1. _Sheridan's Ride_, Volume IV, page 223.
+   2. _The American Flag_, V, 396.
+   3. _"Stonewall" Jackson's Way_, V, 400.
+   4. _Breathes There the Man_, VII, 151.
+   5. _For A' That and A' That_, VII, 149.
+   6. _How Sleep the Brave_, VII, 151.
+   7. _The Picket Guard_, VII, 177.
+   8. _The Gettysburg Address_, IX, 321.
+   9. _Abraham Lincoln_, IX, 324.
+  10. (See also in the Index the titles under the words _Patriotism_
+      and _History_.)
+
+III. CHRISTMAS. There are at least three selections dealing specifically
+with Christmas, while many others are appropriate to the time:
+
+  1. _A Visit from St. Nicholas_, Volume II, page 202.
+
+  2. _A Christmas Carol_, VI, 244. (This may be made the basis of a very
+     interesting afternoon. Parts of the story may be told briefly,
+     parts may be read in full, parts recited and parts given as a
+     dialogue. Thus the spirit of Christmas cheer and good will that
+     animates this beautiful story may be communicated to the pupils in
+     the pleasantest of ways and one that will be remembered.)
+
+  3. _Christmas in the Old Time_, VI, page 356.
+
+IV. BIRTHDAYS. In the Index will be found the names of a number of great
+men and women of whom there are biographical sketches and from whose
+writings quotations have been made. Each of these may be made the
+subject of a general exercise at an appropriate time.
+
+V. DRAMATIZATION. Many a poem or story may be put into dramatic form
+with very little effort and thus furnish an exercise for several pupils
+at the same time. The descriptive parts may be read by a pupil not in
+the dialogue or may be omitted. In the latter case, acting may fill the
+void or the narrative may be made into conversation between the
+characters. Some rearrangement may be necessary and a little change in
+phraseology may be needed. Such adaptations the pupils may make
+themselves. The following scenes may be used by pupils of different
+ages:
+
+1. The description of the attack as given by Rebecca to Ivanhoe. (See
+_The Attack on the Castle_, Volume IV, pages 324 to 338.) By costumes
+and good acting this may be made a very effective scene.
+
+2. A few boys will enjoy rendering the conversational parts of _The
+Heart of Bruce_ (Volume V, page 316) while a girl reads the descriptive
+lines of the ballad.
+
+3. By making some changes in the text and putting into direct discourse
+some of that which Dickens has written in indirect discourse, a capital
+Christmas sketch may be made from the Christmas doings at the Cratchit
+home. (See _A Christmas Carol_, Volume VI, pages 303 to 312.)
+
+4. _Limestone Broth_ (Volume VI, page 467) can be made into a neat
+little humorous dialogue with very little change.
+
+5. Several scenes from _The Tempest_ (Volume VIII, page 364) are
+suitable for school use.
+
+6. _The Death of Caesar_ (Volume IX, page 143) is a fine dialogue and
+affords a good opportunity for many speakers.
+
+7. The conversation between Luigi and his mother (_Pippa Passes_, Volume
+IX, pages 317-323) is a fine scene for school use, especially if Pippa
+really passes singing at the right moment.
+
+VI. AN OLD-FASHIONED AFTERNOON. Not so many years ago it was an almost
+universal custom to give over Friday afternoon to the "speaking of
+pieces." Occasionally even now a teacher wants one of the old-fashioned
+mixed programs, and though she will prefer to make her own for each
+occasion, the following example will show one of the many that might be
+made from _Journeys Through Bookland_:
+
+   1. _Roll Call._ (Pupils respond with a memory gem from the hundred
+      given elsewhere in this volume.)
+   2. Song: _America_, Volume VIII, page 60.
+   3. _Wynken, Blynken and Nod_, I, 262.
+   4. _The Discontented Stonecutter_, II, 12.
+   5. Song: _Sweet and Low_, VI, 122.
+   6. _Beowulf and Grendel_ (retold in brief), III, 350.
+   7. _Incident of the French Camp_, IV, 174.
+   8. Song: _My Old Kentucky Home_, VII, 179.
+   9. _Echo_, III, 286. (Let the answers of Echo be given by someone who
+      is concealed from view of the audience.)
+  10. _The First Snowfall_, II, 403.
+  11. Song: _Home, Sweet Home_, VI, 221.
+
+
+
+
+CHAPTER XIX
+
+HANDY LIST OF STUDIES IN JOURNEYS THROUGH BOOKLAND
+
+
+The following list gives the names of those selections upon which the
+more important studies have been based. Here, they are arranged in the
+order in which the selections appear in the several volumes. When a
+study accompanies a selection, the reference given is that upon which
+the selection begins. However, as in a number of instances where studies
+are in one place while the selections are in another, the cross
+references are given more in detail, and a statement is made as to just
+what points in the selection are covered by the studies--whether these
+latter are character studies, scene studies, word studies, studies of
+figures or historical studies.
+
+Probably not a few of the readers of _Journeys_ will be glad to use the
+studies continuously, or will frequently want to know if some given
+selection in the volume has been treated. This question is easily
+answered by referring to this chapter, finding the volume in which the
+selection occurs, and then running down the numbers at the right of the
+page. This method will be more expeditious than running over the titles
+of the selections, though of course the latter may be followed.
+
+Reference should also be had to the General Index, under _Studies_.
+
+VOLUME ONE
+
+                                                                  PAGE
+  _Down Tumbled Wheelbarrow_                                        46
+      (See Study of Picture--Volume X, page 58)
+  _The Dog and His Shadow_                                          63
+      (See Study on Scene--Volume X, page 164)
+  _The Fox and the Crow_                                            64
+      (See Complete Study--Volume X, page 187)
+  _The Hare and the Tortoise_                                       71
+      (See Complete Study--Volume X, page 185)
+  _The Fox and the Stork_                                           73
+      (See Study on Scene--Volume X, page 166)
+  _The Rock-a-By Lady_                                              94
+  _The Wind and the Sun_                                            95
+      (See Lesson in Language--Volume X, page 357)
+  _My Bed is a Boat_                                               126
+      (See Study of Picture--Volume X, page 52)
+  _Little Blue Pigeon_                                             133
+  _The Land of Counterpane_                                        144
+  _The Brown Thrush_                                               147
+      (See Study--Volume X, page 276)
+  _The Hardy Tin Soldier_                                          148
+      (See Character Study--Volume X, page 158)
+  _Jack and the Beanstalk_                                         156
+      (See Study of Picture--Vol. X, page 52)
+  _The Town Mouse and the Country Mouse_                           199
+  _Old Gaelic Lullaby_                                             203
+  _Cinderella_                                                     224
+      (See Character Study--Volume I, page 238)
+      (See Complete Study--Volume X, page 150)
+  _Wynken, Blynken and Nod_                                        262
+      (See Study of Picture--Volume X, page 53)
+  _The Twin Brothers_                                              264
+  _Industry and Sloth_                                             300
+      (See Study in _Close Reading_--Volume X, page 229)
+  _The Drummer_                                                    303
+      (See Complete Study--Volume X, page 193)
+  _Keepsake Mill_                                                  349
+  _"Something"_                                                    395
+  _The Fairies_                                                    405
+  _The Reaper and the Flowers_                                     410
+      (See Study--Volume X, page 272)
+  _The Ugly Duckling_                                              414
+
+VOLUME TWO
+
+  _The Golden Touch_                                                43
+  _The Child's World_                                               66
+      (See Study--Volume X, page 277)
+  _The Fir Tree_                                                    68
+      (See Study of Picture, _The Swallow and the Stork
+      Came_--Volume X, page 55)
+      (See Study in _The Lesson and the Author's Purpose_--Volume
+      X, page 173)
+  _Picture Books in Winter_                                         87
+  _Seven Times One_                                                119
+      (See Study--Volume X, page 278)
+  _Shuffle-Shoon and Amber Locks_                                  121
+      (See Study of Picture--Volume X, page 54)
+  _The Snow Queen_                                                 124
+      (See Study on _The Plot_--Volume II, page 169)
+  _A Visit from Saint Nicholas_                                    202
+      (See Study in Figures--Volume X, page 270)
+  _Tom, the Water Baby_                                            215
+      (See Study of Picture, _Tom and the Dragon Fly_--Volume X,
+      page 55)
+      (See Nature Study Lesson--Volume X, page 381)
+  _The Milkmaid_                                                   374
+  _Holger Danske_                                                  377
+  _The Fairies of Caldon-Low_                                      395
+      (See Story Told--Volume X, page 68)
+  _Who Stole the Bird's Nest?_                                     399
+      (See Character Study--Volume X, page 95)
+  _The First Snowfall_                                             403
+      (See Study in Figures--Volume X, page 270)
+      (See Complete Study--Volume X, page 281)
+  _King of the Golden River_                                       405
+      (See Study--Volume II, page 441)
+      (See Study in Description--Volume X, page 366)
+      (See Complete Study--Volume X, page 393)
+  _The Potato_                                                     467
+      (See Study--Volume X, page 285)
+  _The Queen of the Underworld_                                    468
+  _Origin of the Opal_                                             480
+      (See Study--Volume X, page 285)
+  _In Time's Swing_                                                481
+  _Why the Sea Is Salt_                                            484
+      (See Study in _Close Reading_--Volume X, page 231)
+
+VOLUME THREE
+
+  _Robinson Crusoe_                                                 45
+      (See Nature Study--Volume X, page 382)
+  _Faithless Sally Brown_                                           92
+      (See Study in _Close Reading_--Volume X, page 232)
+  _Swiss Family Robinson_                                           99
+      (See Nature Study--Volume X, page 382)
+  _Cupid and Psyche_                                               365
+  _Frithiof The Bold_                                              394
+  _Lochinvar_                                                      432
+  _Robin Hood and the Stranger_                                    444
+      (See Study in Narration--Volume X, page 363)
+
+VOLUME FOUR
+
+  _The Barefoot Boy_                                                 3
+      (See Study--Volume X, page 286)
+  _Cid Campeador_                                                    9
+      (See Study in Exposition--Volume X, page 368)
+  _To H. W. L._                                                     84
+  _The Village Blacksmith_                                          86
+  _The Definition of a Gentleman_                                  170
+      (See Study in _Close Reading_--Volume X, page 234)
+  _Incident of the French Camp_                                    174
+  _The Boston Massacre_                                            217
+      (See Study in Argument--Volume X, page 370)
+  _Alfred the Great_                                               260
+      (See Study in History--Volume X, page 414)
+  _Little Giffin of Tennessee_                                     461
+      (See Story Told--Volume X, page 71)
+
+VOLUME FIVE
+
+  _Gulliver's Travels_                                               6
+      (See Study in _Close Reading_ on _Adventures in
+      Lilliput_--Volume X, page 235)
+  _Ballad of Agincourt_                                             95
+      (See Story Told--Volume X, page 74)
+  _Lead, Kindly Light_                                             110
+      (See Study--Volume X, page 98)
+  _Geraint and Enid_                                               148
+      (See Study of Picture, _Geraint hears Enid Singing_--Volume X,
+      page 60)
+  _The Passing of Arthur_                                          237
+      (See Complete Study--Volume X, page 214)
+  _The Heart of Bruce_                                             316
+      (See Study in _Close Reading_--Volume X, page 238)
+  _How They Brought the Good News from Ghent to Aix_               335
+  _Reminiscences of a Pioneer_                                     340
+      (See Study--Volume X, page 119)
+  _Braddock's Defeat_                                              379
+      (See Study in _Close Reading_--Volume X, page 227)
+  _The American Flag_                                              396
+
+VOLUME SIX
+
+  _Rab and His Friends_                                             99
+      (See Study in Emotional Power--Volume X, page 177)
+      (See Study in _Close Reading_--Volume X, page 225)
+  _Annie Laurie_                                                   119
+      (See Study in _Close Reading_--Volume X, page 243)
+  _Sweet and Low_                                                  122
+  _The Bugle Song_                                                 133
+      (See Study--Volume X, page 287)
+  _A Christmas Carol_                                              244
+      (See Study in Scene--Volume X, page 168)
+      (See Study of Picture, _Bob and Tiny Tim_--Volume X, page 41)
+  _Christmas in Old Time_                                          356
+  _Poor Richard's Almanac_                                         407
+      (See Study in Character Building--Volume X, page 101)
+  _The Country Squire_                                             474
+  _To My Infant Son_                                               478
+
+  VOLUME SEVEN
+
+  _The Daffodils_                                                    1
+  _The Old Oaken Bucket_                                            11
+  _Bannockburn_                                                     15
+  _Boat Song_                                                       17
+  _The Petrified Fern_                                              77
+      (See Study--Volume X, page 291)
+  _An Exciting Canoe Race_                                          79
+      (See Study in Forms of Expression--Volume X, page 376)
+  _The Recessional_                                                164
+  _The Forsaken Merman_                                            180
+      (See Study--Volume X, page 295)
+  _Tom and Maggie Tulliver_                                        186
+  _The Cloud_                                                      257
+      (See Study--Volume X, page 301)
+  _Brute Neighbors_                                                260
+      (See Study--Volume X, page 383)
+  _Ode to a Skylark_                                               275
+      (See Study in Figures--Volume X, page 268)
+  _The Pond in Winter_                                             280
+      (See Nature Study--Volume X, page 383)
+  _Winter Animals_                                                 293
+      (See Study--Volume X, page 383)
+  _Trees and Ants that Help Each Other_                            306
+      (See Study--Volume X, page 385)
+  _My Mother's Picture_                                            335
+      (See Study in Description--Volume X, page 367)
+  _The Reaper's Dream_                                             345
+  _The Recovery of the Hispaniola_                                 352
+  _The Cubes of Truth_                                             406
+  _The Lost Child_                                                 409
+      (See Study in _Close Reading_--Volume X, page 243)
+
+  VOLUME EIGHT
+
+  _David Crockett in the Creek War_                                 37
+      (See Study--Volume X, page 244)
+  _America_                                                         60
+  _A Descent into the Maelstrom_                                    95
+  _Herve Riel_                                                     168
+      (See Story Told--Volume X, page 78)
+  _Dream Children_                                                 335
+  _Reading Shakespeare_                                            346
+  _The Tempest_                                                    364
+
+  VOLUME NINE
+
+  _The Impeachment of Warren Hastings_                              32
+      (See Study--Volume X, page 248)
+  From _The Death of Caesar_                                       143
+      (See Study--Volume X, page 253)
+  _Battle of Saratoga_                                             176
+      (See Study in History--Volume X, page 419)
+  _The Gold Bug_                                                   232
+      (See Study--Volume IX, page 283)
+  _The Vision of Mirza_                                            285
+      (See Study in Notes)
+  _Pippa Passes_                                                   293
+      (See Study--Volume IX, page 316)
+  _The Gettysburg Address_                                         321
+  _Of Expense_                                                     397
+  _Robert of Lincoln_                                              444
+  _The Chambered Nautilus_                                         454
+  _Ode to a Grecian Urn_                                           462
+  _The Fate of the Indians_                                        466
+  _A Call to Arms_                                                 475
+
+
+
+
+CHAPTER XX
+
+SUPPLEMENTARY BOOK LISTS
+
+
+If _Journeys Through Bookland_ is read as we intend, it will occupy no
+inconsiderable part of the time boys and girls give to reading. Yet
+there will be a call for more books. Some selections from great authors
+will create a taste for more from the same writers, and certain pieces
+will suggest lines of reading that may profitably extend far beyond the
+limits of the present volumes. In fact, this series is meant to be the
+stimulus to a lifetime of reading. Some children are naturally readers,
+and will require more to satisfy their avid tastes than may be
+sufficient for their brothers and sisters, while other children may need
+to be helped even beyond the limits covered by our plans. It may be that
+some parents will feel uncertain what advice to give their boys and
+girls when asked about other books than those indicated in the text. For
+such the following lists have been prepared.
+
+At the present day, good libraries are to be found in almost every town,
+and either from the school or the town library may be drawn most of the
+books mentioned. Books are always good presents, and from these lists
+parents who have watched the development of their children's tastes will
+find helpful hints in the selection of presents that will be accepted
+with joy and read with continued pleasure.
+
+The training these plans for reading have given will excite interest in
+the great classics which the quantities of light, frivolous stories
+carelessly written for children have in a measure relegated to the
+background. These classics are the foundation of literature, and without
+a knowledge of them, best obtained in youth, genuine culture seems
+almost impossible.
+
+In presenting the lists it has seemed best to make some of them parallel
+to the volumes of this work rather than to arrange them by the ages of
+the children or their grades in school. The power to read intelligently
+and with appreciation is not wholly dependent upon age, nor does rank in
+school show the capability of the young person. Some boys of twelve will
+read and enjoy things that others of sixteen will find almost
+impossible. Not infrequently a little "sixth-grader" reads better
+literature than many a high school student. Other lists for older boys
+and girls are classified according to subject-matter. The method in
+every case is obvious.
+
+This series is for boys and girls of all ages; for girls as much as for
+boys. Good literature appeals to universal taste, and there is little
+question of sex in it. There was a time when girls were thought so
+different from boys that "girls' books" were written in abundance. Now
+that girls are given the same education that boys have, they usually
+like the same things. There will be found nearly as great extremes of
+taste in one sex as in the other during those years to which this set is
+adapted. Whatever difference there is in the sexes will manifest itself
+in what each selects for his or her own from the masterpiece that both
+read. That we get from our reading what we put into it, is as true of us
+when we are young as it is when we have grown older. To as great an
+extent as Alice is different from Fred will what she gets from reading
+_Rab and His Friends_ differ from what he absorbs.
+
+In the books of this series the love story has little place, and into it
+sex problems do not enter. Its readers have not reached an age when such
+things are of serious moment, and there is enough good literature for
+them without dragging in or even admitting stories of passion and those
+that make their strongest appeal to the attraction of one sex for
+another. However, there is an abundance of sentiment, and the home
+feelings are recognized again and again; the love of parents for each
+other and for their offspring, the love of brother and sister,
+friendship, the pure affection of young people, love of home, of God, of
+country, all are subjects of the finest selections the language
+contains. Such are to be found in abundance.
+
+In the lists more latitude has been allowed, and while nothing has been
+included that may excite anything but the purest emotions, yet room has
+been made for many of the great novels that are real studies of the
+lives and characters of adults. These books, really written for older
+people, will have their message for the young, a message that will be
+amplified and perhaps changed entirely, when, after many years, the book
+is read again with no lessened interest. _Les Miserables_ was read once
+by a young boy whose attention was caught and held so strongly by the
+exciting story that he held himself through all the long, prosy
+meanderings with which Hugo has delayed the march of his plot. Some
+years later the same boy, grown to a college student, read _Les
+Miserables_ again with even greater interest. He remembered the story
+quite well, but the prosy meanderings had to his broadened intelligence
+become wonderful pictures of life, and even the book-long description of
+the Battle of Waterloo was fascinating, though its only function in the
+story was to say that one man saved another man's life. The boy, now a
+man in middle life, read Hugo's masterpiece a third time. Story and
+description were now secondary in interest, but the author's deep
+insight into human nature, his brilliant style and shrewd, kindly
+philosophy held the old reader more closely than had anything before. So
+will it be with many of the books in the list. If we are to make
+friends, let us meet them as early as we can, see them as often as we
+can, and cling to them as long as we can.
+
+In recommending books to children, parents will do well to remember that
+books in which young people are not interested will not be read in such
+a way as to be profitable. The books in these lists are all interesting
+in themselves, and there need be no fear that they will not be read. The
+child who has been trained after the manner indicated in these talks
+will need little further assistance in mastering these books.
+
+  [Illustration: CHARLES KINGSLEY
+  THOMAS MOORE
+  JOHN TYNDALL
+  ALEXANDER POPE
+  THOMAS CAMPBELL
+  DAVID LIVINGSTONE
+  GEORGE MACDONALD]
+
+
+_Volume I_
+
+     AESOP'S FABLES.
+        There are many good editions published by the various schoolbook
+        houses. That edited by J. H. Stickney and published by Ginn &
+        Co. is as good as any, and contains also a supplement with
+        fables from La Fontaine and Krilof.
+
+     A CHILD'S GARDEN OF VERSES, by _Robert Louis Stevenson_.
+        The edition illustrated by E. Mars and H. M. Squire and
+        published by Rand, McNally & Co. is excellent. Jessie Wilcox
+        Smith illustrates an edition for Charles Scribner's Sons.
+
+     LULLABY LAND, by _Eugene Field_.
+        This is published in beautiful form by Charles Scribner's Sons.
+
+     FAIRY TALES, by _Hans Christian Andersen_.
+        The schoolbook houses publish selections in an attractive form;
+        Blackie and Son, London, a cheap edition.
+
+     FAIRY TALES, by _Wilhelm_ and _Jakob Grimm_.
+        Selections, such as those edited by Sarah E. Wiltse for Ginn &
+        Co., are better than the complete editions, for many of the
+        Grimm tales are coarse and valueless.
+
+     BLUE FAIRY BOOK and GREEN FAIRY BOOK, by _Andrew Lang_.
+        Besides some of the Grimm tales these books contain folklore
+        stories from many nations. Lang has edited other books in this
+        series, but two are probably enough.
+
+     THE ADVENTURES OF A BROWNIE, by _Dinah Maria (Mulock) Craik_.
+        This is a charming little tale, much loved by children.
+
+     PINOCCHIO, by _C. Collodi_.
+        Walter Cramp's translation of this little Italian classic will
+        be highly appreciated. Ginn and Company.
+
+     OLD GREEK STORIES, by _James Baldwin_.
+        American Book Company. This contains the stories of Arachne, the
+        Gorgon's Head, Prometheus and Theseus.
+
+     LETTERS FROM A CAT, by _Helen Hunt Jackson_.
+        Amusing letters which a cat writes to its mistress. Helpful in
+        teaching kindness to animals.
+
+     THE BOOK OF JOYOUS CHILDREN, by _James Whitcomb Riley_.
+        Charles Scribner's Sons; _Child Rhymes_, Bobbs-Merrill Co.;
+        _Child World_, Bobbs-Merrill Co. Three books with delightful
+        poems for children and about them.
+
+
+_Volume II_
+
+While the books mentioned in these lists seem most closely connected to
+the volume to which they are ascribed, yet no hard and fast lines can be
+drawn. Children will read in the second volume of this set before they
+have finished the first, and the books in the lists are suitable
+whenever interest is ripe in the kind of literature which the books
+contain. Several of the titles given in the list for the first volume
+should be considered with the second volume.
+
+     WONDER BOOK FOR BOYS AND GIRLS, by _Nathaniel Hawthorne_.
+        This contains many other stories than those given in these
+        volumes.
+
+     TANGLEWOOD TALES, by _Nathaniel Hawthorne_.
+        A second wonder book of classic myths. Houghton, Mifflin Co. are
+        the authorized publishers of the wonder books.
+
+     THE HEROES, OR GREEK FAIRY TALES, by _Charles Kingsley_.
+        Published by E. P. Dutton & Co., with pictures by Rose Le
+        Quesne.
+
+     THREE FAIRY TALES, by _Jean Ingelow_.
+        Illustrated by A. J. Ripley. D. C. Heath & Co.
+
+     THE STORY OF AENEAS, by _Michael Clarke_.
+        American Book Company. Fine illustrations. This contains the
+        story of the _Aeneid_ for young American readers.
+
+     THE LITTLE LAME PRINCE, _by Dinah Maria (Mulock) Craik_.
+        D. C. Heath & Co. An allegorical fairy tale of great beauty,
+        teaching the lesson of patience and true manhood.
+
+     LITTLE MR. THIMBLEFINGER AND HIS QUEER COUNTRY, by _Joel Chandler
+     Harris_.
+        Illustrations by Oliver Herford. Houghton, Mifflin Co.
+
+     MR. RABBIT AT HOME, by _Joel Chandler Harris_.
+        A sequel to _Little Mr. Thimblefinger_.
+
+     NONSENSE SONGS AND STORIES, by _Edward Lear_.
+        F. Warne & Co.
+
+     COMPLETE POETICAL WORKS of _Henry Wadsworth Longfellow_.
+        This is one of the books that every family ought to own, there
+        is so much in it for every age. Besides the lyrics children love
+        so well, there are _Hiawatha_, _Evangeline_, _Miles Standish_
+        and other poems, which belong to children as well as to the
+        adults. The Cambridge edition published by Houghton, Mifflin Co.
+        is a cheap, serviceable book, though the print is necessarily
+        rather small.
+
+     THE WONDERFUL CHAIR AND THE TALES IT TOLD, by _Frances R.
+     Browne_.
+        D. C. Heath & Co.
+
+     THE BLUE BIRD FOR CHILDREN, by _Maurice Maeterlinck_.
+        The story of the play, beautifully told. Silver, Burdett & Co.
+
+     THE JUNGLE BOOK, by _Rudyard Kipling_.
+        The hero is a child brought up among the wolves. A delightful
+        story to create interest in wild animals. The Century Company.
+
+     THE SECOND JUNGLE BOOK, by _Rudyard Kipling_.
+        The Century Company.
+
+     JUST SO STORIES, by _Rudyard Kipling_.
+
+     WILD ANIMALS I HAVE KNOWN, by _Ernest Thompson Seton_.
+        A delightful series of stories full of human interest.
+
+
+_Volume III_
+
+This volume contains selections from several books which it is felt will
+be read in their entirety by most children. They are:
+
+     ALICE'S ADVENTURES IN WONDERLAND and THROUGH THE LOOKING-GLASS.
+        Two modern fairy tales by Lewis Carroll (Charles Lutwidge
+        Dodgson). The amusing pictures are by Sir John Tenniel. The
+        Macmillan Company. These fantastic stories delight everyone who
+        reads them.
+
+     ROBINSON CRUSOE, by _Daniel Defoe_.
+        There are many editions of this old and popular story for boys,
+        from an abbreviated form in words of one syllable to the
+        original work in full. W. H. Lambert has edited a school edition
+        in excellent manner for Ginn & Co.
+
+     THE SWISS FAMILY ROBINSON, by _Johann Rudolph Wyss_.
+        Though not of such literary merit as _Robinson Crusoe_, it is
+        similar in plot and usually more popular. Ginn & Co. publish a
+        good, cheap edition, edited by J. H. Stickney.
+
+     ARABIAN NIGHTS' ENTERTAINMENT.
+        The complete editions are not suitable for children to read, but
+        the edition edited by Andrew Lang is excellent. Several
+        schoolbook houses publish good selections, including the most
+        popular tales.
+
+Besides the books mentioned in the lists for Volumes I and II, the
+following might be suggested here:
+
+     THE COMPLETE POETICAL WORKS of _John Greenleaf Whittier_.
+        Houghton, Mifflin Company's Cambridge edition is perhaps the
+        best. Whittier did not write as much for children as Longfellow
+        did, but his _Snow-Bound_ is a classic that every child will
+        love if he is helped a little in reading it. Other poems will
+        appeal to the older members of the family.
+
+     THE BOOK OF LEGENDS TOLD OVER AGAIN, by _Horace E. Scudder_.
+        Houghton, Mifflin Co. _The Flying Dutchman_, _St. Christopher_,
+        _William Tell_, and _The Wandering Jew_ are some of the names.
+
+     THE ADVENTURES OF ULYSSES, by _Charles Lamb_.
+        D. C. Heath & Co.
+
+     NORSE STORIES RE-TOLD FROM THE SAGAS, by _Hamilton Wright Mabie_.
+        Rand, McNally & Co.
+
+     THE BIOGRAPHY OF A GRIZZLY, by _Ernest Thompson Seton_.
+        The Century Company.
+
+     SOME MERRY ADVENTURES OF ROBIN HOOD.
+        Written and illustrated by Howard Pyle. Charles Scribner's Sons.
+
+     THE STORY OF ROLAND, by _James Baldwin_.
+        Illustrated by R. B. Birch. Charles Scribner's Sons.
+
+     THE STORY OF SIEGFRIED, by _James Baldwin_.
+        Illustrated by Howard Pyle. Charles Scribner's Sons.
+
+
+_Volume IV_
+
+     STORY OF THE CID.
+        Retold by Calvin Dill Wilson. Lathrop, Lee and Shepard.
+
+     OLD INDIAN LEGENDS.
+        Retold graphically by Zitkala Sa, one of the tribe of the
+        Dakotahs, and illustrated by Angel de Cora
+        (Hin-ook-Mahiroi-Kilinaka), the Indian artist. Ginn & Co.
+
+     INDIAN BOYHOOD, by _Charles Eastman_, a Sioux Indian.
+        Full of the manners and customs of the Indians, and containing
+        as well some good stories of adventure. Little, Brown & Co.
+
+     GRANDFATHER'S CHAIR, by _Nathaniel Hawthorne_.
+        Houghton, Mifflin Co. This book contains, besides the stories
+        printed in this set, many other interesting historical tales.
+
+     THE BOYS OF '76, by _Charles Carleton Coffin_.
+        Harper and Bros. A fine book that will interest any child in the
+        story of the Revolution. There are other books in a similar vein
+        by the same author.
+
+     THE STORY OF THE GREEKS,
+     THE STORY OF THE ROMANS, and
+     THE STORY OF THE ENGLISH
+        are three good books by H. A. Guerber, which will help to create
+        an interest in the history of those peoples and at the same time
+        give information valuable in reading literature. All are
+        published for school use by the American Book Company.
+
+     CHILD'S HISTORY OF ENGLAND, by _Charles Dickens_.
+        This book is always interesting to children, and is such good
+        reading that we need not feel afraid of Dickens' inexactness and
+        apparent prejudices. Read it as literature, not so much as
+        history.
+
+     BIRDS AND BEES, SHARP EYES AND OTHER PAPERS, by _John Burroughs_.
+        Houghton, Mifflin Co. Though this may seem rather hard reading
+        to some, it is delightful literature, and full of good lessons
+        in observation for children. Other books by the same author are
+        equally entertaining. An excellent book to read to children.
+
+     INDIAN DAYS OF THE LONG AGO, by _E. S. Curtis_.
+        World Book Co.
+
+     THE MAGIC FOREST, by _Stewart Edward White_.
+        Macmillan Co.
+
+     THE WORLD OF THE GREAT FOREST, by _Paul Du Chaillu_.
+        Harper and Bros. An interesting account of animal life, not
+        without some literary merit. Other books by the same author will
+        delight the adventurous.
+
+     SHARP EYES, and
+     MY STUDIO NEIGHBORS
+        are two beautiful books, illustrated by the author, William
+        Hamilton Gibson. Harper and Bros. They are as interesting and as
+        charmingly written as any of the multitudinous nature books.
+
+
+_Volume V_
+
+     THE BOYS' KING ARTHUR, edited by _Sidney Lanier_.
+        Illustrated by Alfred Kappes. Charles Scribner's Sons.
+
+     THE VISION OF SIR LAUNFAL, by _James Russell Lowell_.
+        One of the finest poems in the language. Best read in connection
+        with the stories of King Arthur. Houghton, Mifflin Co.
+
+     THE BOYS' FROISSART.
+        The chronicles retold in simple English by Sidney Lanier.
+        Scribners.
+
+     TRAVELS OF MARCO POLO, abridged by _Thomas W. Knox_.
+        The touch of fiction does not injure these old tales.
+
+     LITTLE SMOKE, by _William Osborn_.
+        An exciting story of Sioux life.
+
+     TEN BIG INDIANS, by _Mary Hazelton Wade_.
+        W. A. Wilde & Co. An interesting introduction to Indian history.
+
+     HANS BRINKER; OR THE SILVER SKATES, by _Mary Mapes Dodge_.
+        A delightful story of child life in Holland. A valuable picture
+        of manners and customs.
+
+     THE HOOSIER SCHOOL BOY, by _Edward Eggleston_.
+        Charles Scribner's Sons. An interesting story of pioneer times.
+
+     THE PETERKIN PAPERS, by _Lucretia Peabody Hale_.
+        Houghton, Mifflin Co. One of the few good humorous stories for
+        children.
+
+     TOBY TYLER, OR TEN WEEKS WITH A CIRCUS, and
+     MR. STUBBS'S BROTHER
+        are two wholesome stories full of humor and pathos. Harper and
+        Bros.
+
+     THE STORY OF A NUeRNBERG STOVE, by _Louise De la Ramee (Ouida)_.
+        Educational Publishing Company.
+
+     BETTY LEICESTER, by _Sarah Orne Jewett_.
+        A fine story for girls. Houghton, Mifflin Co.
+
+     THE BIRDS' CHRISTMAS CAROL, by _Kate Douglas Wiggin (Riggs)_.
+        Houghton, Mifflin Co. A charming story which will delight
+        everybody. By the same author, _The Story of Patsy_, _Timothy's
+        Quest_ and _Rebecca of Sunnybrook Farm_ are all wholesome and
+        entertaining.
+
+     REBECCA OF SUNNYBROOK FARM, by _Kate Douglas Wiggin_.
+        Houghton, Mifflin Co.
+
+     THE PRINCE AND THE PAUPER, A TALE FOR YOUNG PEOPLE OF ALL AGES,
+        by _Mark Twain (Samuel Langhorne Clemens)_. Harper and Bros. The
+        story relates to England in the sixteenth century.
+
+     THE MAN WITHOUT A COUNTRY, by _Edward Everett Hale_.
+        Little, Brown & Co. The style and language are mature, but the
+        story is one of the best lessons in patriotism ever written.
+
+
+_Volume VI_
+
+     TALES OF A GRANDFATHER, by _Sir Walter Scott_.
+        An abridged edition, published by Ginn & Co., contains the best
+        tales, but many children will like them all.
+
+     THE AUTOBIOGRAPHY OF BENJAMIN FRANKLIN.
+        An excellent book for young people on account of its interest
+        and its clear literary style. An edition by Houghton, Mifflin
+        Co., contains a sketch of Franklin's life subsequent to the time
+        when his autobiography ends.
+
+     LAYS OF ANCIENT ROME, by _Thomas Babington Macaulay_.
+        Inspiring tales in verse such as children love to hear.
+        _Horatius_ is among them.
+
+     IVANHOE, by _Sir Walter Scott_.
+        Houghton, Mifflin Co. publish a cheap school edition.
+
+     THE TALISMAN, by _Sir Walter Scott_.
+
+     SCOTTISH CHIEFS, by _Jane Porter_.
+        This is one of the stories that young people enjoyed years ago.
+        It helps to the reading of Scottish history, and is a good type
+        of the romantic novel.
+
+     ENOCH ARDEN, by _Alfred Tennyson_.
+
+     IDYLS OF THE KING, by _Alfred Tennyson_.
+
+     THE COMPLETE POETICAL WORKS of _Oliver Wendell Holmes_.
+        Cambridge edition of Houghton, Mifflin Co. _The Grandmother's
+        Story of Bunker Hill_, _A Ballad of the Boston Tea Party_, _Ode
+        for Washington's Birthday_, _Old Ironsides_, _Lexington_ and
+        others have historical value. The humorous poems like _The
+        One-Hoss Shay_, _How the Old Horse Won the Bet_, and such
+        beautiful poems as _The Chambered Nautilus_ and _The Last Leaf_
+        always appeal to young folks.
+
+     THE SPY, by _James Fenimore Cooper_.
+        This is a thrilling story of the Revolution.
+
+     THE PILOT, by _James Fenimore Cooper_.
+        This also is a story of the Revolution, and it has Paul Jones as
+        its hero.
+
+     MEN OF IRON, by _Howard Pyle_.
+        Harper and Bros. The "men of iron" are Henry IV of England and
+        the men of his court.
+
+     THE STORY OF A BAD BOY, by _Thomas Bailey Aldrich_.
+        Houghton, Mifflin Co. An amusing and frank story of New England
+        boy life.
+
+
+_Volume VII_
+
+     THE CRICKET ON THE HEARTH, by _Charles Dickens_.
+        This is one of the Christmas stories, and is written in the best
+        vein of the fascinating author.
+
+     DAVID COPPERFIELD, by _Charles Dickens_.
+        This is usually considered the masterpiece of the author.
+
+     A TALE OF TWO CITIES, by _Charles Dickens_.
+        A thrilling story of the French Revolution, rather full of
+        terrible happenings, and rather mature.
+
+     THE LADY OF THE LAKE, and
+     MARMION, by _Sir Walter Scott_,
+        the two best of his longer poems, rarely fail to interest young
+        people.
+
+     TALES FROM SHAKESPEARE, by _Charles and Mary Lamb_.
+
+     THE TEMPEST,
+     A MIDSUMMER NIGHT'S DREAM, and
+     THE MERCHANT OF VENICE,
+        are the three Shakespearean plays that first interest children.
+        Care should be taken in the selection of the edition, as none of
+        the plays in their original form are suitable for children.
+        School editions with notes are excellent. _The Tempest_ is
+        printed in Volume VIII of this set, and is deferred to that
+        point on account of the very full notes and comments that
+        accompany it. The play itself may be read quite early, and
+        children should be encouraged to try their skill on Shakespeare
+        as soon as they show signs of interest.
+
+     UNDINE, by _Baron de la Motte Fouque_,
+        is a beautiful fairy tale from the German, with interest for
+        older children than those who read Andersen and Grimm.
+
+     PLUTARCH'S LIVES.
+        White's _Boys' and Girls' Plutarch_ is recommended. The lives of
+        Brutus, Julius Caesar, Themistocles, Pericles and Alexander are
+        among the more interesting.
+
+     THE BURNING OF ROME, by _A. J. Church_,
+        is a thrilling story of that event.
+
+     CUORE, by _Edmondo De Amicis_.
+        The journal of an Italian schoolboy. Useful and moral, but not
+        always interesting to American boys.
+
+     IN HIS NAME, by _Edward Everett Hale_.
+        A tale of religious persecution.
+
+     THE PEASANT AND THE PRINCE, by _Harriet Martineau_.
+        An intensely interesting picture of France just before the
+        Revolution.
+
+     PICCIOLA, by _X. B. Santine_.
+        A touching story whose scene is laid in France in the time of
+        Napoleon.
+
+     LIFE OF DANIEL BOONE, by _J. and J. C. Abbott_.
+
+     THE ILIAD, _Bryant's_ translation.
+
+
+_Classified Lists_
+
+When boys and girls can read the first seven volumes of this set
+intelligently and with pleasure they are thinking for themselves. Their
+tastes are forming rapidly, and they have learned how to read nearly
+everything that comes to them. They know how to use reference books, and
+can "make out the meaning" of difficult passages. They are reading for
+information and culture. What they lack is experience in life, and so
+they are unable to interpret what they read as fully as can those who
+have lived longer, seen more of the world, enjoyed more, suffered more.
+Where they are liable to fail and go astray is in the lack of judgment.
+They know right and wrong, but they cannot always see the difference.
+They are apt to be misled by their feelings and to be ruled by their
+emotions.
+
+The studies and selections of the last three volumes are varied and
+highly suggestive. They will open new lines of thought and prompt to
+wider reading in many directions. The contents vary in difficulty as in
+character, but are not graded in a strict sense of the term. They are
+meant for independent readers, readers who are governed by mood or
+purpose and no longer rely upon outside guidance.
+
+Accordingly, lists of books suitable for readers of these volumes will
+cover every department of literature and lead into the reading favored
+by adults. The majority of these lists deal with literature. They
+contain the names of those books which are distinctly helpful, and from
+which young readers may derive nothing to corrupt taste or give false
+impressions of life. They are the standard books of the language. The
+lists might have been longer; they do contain, however, the names of
+those best books that every cultured person should know. For convenience
+in reference the arrangement is the alphabetical order of authors'
+names.
+
+
+Fiction
+
+     AINSWORTH, WILLIAM HARRISON: _The Tower of London_, the story of
+        Lady Jane Grey, and the plots and intrigues that centered about
+        her.
+
+     ALCOTT, LOUISA M.: _Little Men_ and _Little Women_, two interesting
+        and thoroughly wholesome books for boys and girls.
+
+     AUSTEN, JANE: _Pride and Prejudice_, an old-fashioned story,
+        interesting, but liable to be called dull by those who read only
+        the lively stories of the day.
+
+     BLACKMORE, R. D.: _Lorna Doone_, a delightful romance, the scene of
+        which is laid in Exmoor, England, in the beginning of the
+        eighteenth century.
+
+     BULWER-LYTTON, SIR EDWARD: _The Last Days of Pompeii_, the author's
+        greatest novel; _The Last of the Barons_, the story of the Earl
+        of Warwick; _Harold, The Last of the Saxons_, a tale of the
+        Norman Conquest of England.
+
+     DOYLE, A. CONAN: _The White Company_, an exciting fourteenth
+        century story.
+
+     ELIOT, GEORGE: _Silas Marner_, an intensely human story, a heart
+        history; _Romola_, a thrilling story of Florence in the days of
+        Savonarola, a study in the degeneration of character that comes
+        from doing only the agreeable things in life.
+
+     GOLDSMITH, OLIVER: _The Vicar of Wakefield_, an amusing and at
+        times pathetic picture of English country life in the eighteenth
+        century.
+
+     HAWTHORNE, NATHANIEL: _The Scarlet Letter_, a tale of sin and its
+        punishment in Puritan New England; _The Marble Faun_, an Italian
+        story full of the art and culture of Rome.
+
+     HUGO, VICTOR: _Les Miserables_, one of the greatest novels of the
+        world, but its digressions and its philosophy make it difficult
+        reading for the young. Interesting abridgements of it may be had
+        from the schoolbook houses.
+
+     SAINT PIERRE, BERNARDIN DE: _Paul and Virginia_, a pretty love
+        story from the French.
+
+     SCOTT, SIR WALTER: _Kenilworth_, a tale of the days of Queen
+        Elizabeth; _Old Mortality_, a story of the Covenanters; _Guy
+        Mannering_, an eighteenth century tale, with Meg Merrilies,
+        Dominic Sampson and others of Scott's most famous characters;
+        _The Heart of Midlothian_, a tale of sin and its punishment,
+        with a wonderful picture of a sister's love and devotion.
+
+     STOWE, HARRIET BEECHER: _Uncle Tom's Cabin_, an interesting story,
+        but like most books written for partisan purposes, its influence
+        is not now wholesome.
+
+     THACKERAY, WILLIAM MAKEPEACE: _Henry Esmond_, _Pendennis_ and _The
+        Newcomes_ may be read in the order named. _Vanity Fair_ is
+        better appreciated by adults.
+
+     TWAIN, MARK: _Tom Sawyer_ and _Huckleberry Finn_, two stories whose
+        fun every boy will appreciate.
+
+     WALLACE, LEW: _Ben Hur, a Tale of the Christ_. An admirable
+        historical novel.
+
+
+Poetry and Drama
+
+     BROWNING, ROBERT: Besides the poems given in these books, _The Lost
+        Leader_ and _Rabbi Ben Ezra_ are enjoyed by boys and girls.
+
+     BRYANT, WILLIAM CULLEN: _The Poetical Works_ (Household Edition),
+        D. Appleton & Co. _The Song of Marion's Men_, _The Green
+        Mountain Boys_, _Thanatopsis_, _Sella_, _The Death of the
+        Flowers_, _The Planting of the Apple Tree_ and _Robert of
+        Lincoln_ are among his best poems.
+
+     SHAKESPEARE, WILLIAM: _Julius Caesar and Coriolanus_, two plays
+        based on Roman history and excellent for reading purposes;
+        _Richard II_ (1398-1399), _Henry IV_ (1402-1413), _Henry V_
+        (1414-1420), _Henry VI_ (1422-1471), _Richard III_ (1471-1485),
+        all based on English history; _As You Like It_, a great comedy;
+        _Hamlet_ and _King Lear_, perhaps the two greatest tragedies.
+        All these are excellent reading, especially in such an edition
+        as the _Temple Classics_. Other plays may well be read, but
+        everyone should know the foregoing list.
+
+
+Essays
+
+     EMERSON, RALPH WALDO: _The American Scholar_, _Self-Reliance_,
+        _Culture_ and _Behavior_ may be read with profit by the young,
+        even if they do not fully understand the philosophy.
+
+     HALE, EDWARD EVERETT: _American Essays_ and _English Essays_, two
+        books edited by Hale. They contain selections from the writings
+        of George William Curtis, Ralph Waldo Emerson, Washington
+        Irving, James Russell Lowell, Addison, Goldsmith, Lamb and
+        Thackeray.
+
+     HOLMES, OLIVER WENDELL: _The Autocrat of the Breakfast Table_, a
+        charming series of talks which embody the best of Holmes's wit,
+        wisdom and philosophy. One of those things everybody must read.
+
+     IRVING, WASHINGTON: _The Sketch Book_ contains such perfect stories
+        as _Rip Van Winkle_ and _The Legend of Sleepy Hollow_, as well
+        as a number of fine essays for later reading.
+
+     ROOSEVELT, THEODORE: _American Ideals and Other Essays_. Putnam.
+
+     RUSKIN, JOHN: _Sesame and Lilies_. In spite of its seeming
+        difficulty, this book contains some of the most inspiring words
+        ever spoken on books and reading.
+
+     WARNER, CHARLES DUDLEY: _A-Hunting of the Deer and Other Essays_, a
+        delightful little collection that young people will enjoy and
+        that has fine literary qualities. Houghton, Mifflin Co.
+
+
+Nature
+
+     THOREAU, HENRY DAVID: _Walden_, a vivid book of outdoor life. Such
+        also are _A Week on the Concord and Merrimac Rivers_ and
+        _Excursions in Field and Forest_.
+
+
+Biography
+
+     FABRE, JEAN-HENRI: _Our Humble Helpers_, familiar talks on the
+        domestic animals. The Century Co.
+
+     BOSWELL, JAMES: _Life of Samuel Johnson_. The first great
+        biography, and still the most remarkable in its intimacy. Not of
+        general interest to young people.
+
+     BROOKS, ELDRIDGE STREETER: _Historic Girls_. G. P. Putnam's Sons.
+
+     BROOKS, NOAH: _Life of Abraham Lincoln_. G. P. Putnam's Sons.
+
+     BURROUGHS, JOHN: _John James Audubon_. Small, Maynard & Co.
+
+     GOLDING, VAUTIER: _The Story of Henry M. Stanley_. E. P. Dutton &
+        Co.
+
+     HARRISON, FREDERICK: _Oliver Cromwell_. Macmillan.
+
+     IRVING, WASHINGTON: _Washington_, and _Mahomet_.
+
+     LODGE, HENRY CABOT: _Alexander Hamilton_. Houghton, Mifflin Co.
+
+     NICOLAY, JOHN G.: _Boys' Life of Abraham Lincoln_.
+
+     OBER, FREDERICK O.: _Pizarro_. Harper.
+
+     RIIS, JACOB A.: _The Making of an American_. Macmillan.
+
+     SCHURZ, CARL: _Life of Henry Clay_. Houghton, Mifflin Co.
+
+     SCUDDER, HORACE ELISHA: _George Washington_. Houghton, Mifflin Co.
+
+     TRENT, W. P.: _Robert E. Lee_.
+
+     WISTER, OWEN: _U. S. Grant_. Beacon Biography.
+
+
+History
+
+     BANCROFT, GEORGE: _History of the United States_ (to the
+        inauguration of Washington). A voluminous history with
+        interesting passages, but tedious to young readers.
+
+     DRAPER, ANDREW SLOAN: _The Rescue of Cuba_. Silver, Burdett & Co.
+
+     FISKE, JOHN: _The War of Independence_. Houghton, Mifflin Co.
+
+     LODGE, HENRY CABOT, and ROOSEVELT, THEODORE: _Hero Tales from
+        American History_. The Century Company.
+
+     MOTLEY, JOHN LOTHROP: _The Rise of the Dutch Republic_. This, with
+        other histories by the same writer, is a long and brilliant
+        account, full of interest to the older youths who have a taste
+        for history.
+
+     PARKMAN, FRANCIS: _La Salle and the Northwest_, _The Conspiracy of
+        Pontiac_, and _Montcalm and Wolfe_ are three histories of a
+        brilliant series on the French explorations and colonizations in
+        the Northwest. Parkman is one of our finest historical writers,
+        and his graphic style has given many a young man a deep interest
+        in history.
+
+     PRESCOTT, WILLIAM HICKLING: _The Conquest of Mexico_ and _The
+        Conquest of Peru_ are two interesting histories of the longer
+        type, written in an interesting style that many youths will
+        enjoy. Prescott's work lies with the Spanish, as Motley's with
+        the Dutch and Parkman's with the French.
+
+     ROOSEVELT, THEODORE (see LODGE, HENRY CABOT).
+
+
+Travel and Geography
+
+     BUTTERWORTH, HEZEKIAH: _Zig-Zag Journeys in Classic Lands_. There
+        are other interesting Zig-Zag Journeys by the same author.
+
+     DANA, RICHARD HENRY: _Two Years Before the Mast_.
+
+     DARWIN, CHARLES: _Voyage of a Naturalist_.
+
+     DU CHAILLU, PAUL: _The Land of the Long Night_. A winter journey
+        through Northern Europe.
+
+     INGERSOLL, ERNEST: _The Book of the Ocean_.
+
+     JENKS, TUDOR: _The Boy's Book of Exploration_. Deals principally
+        with Africa.
+
+     KNOX, THOS.: _The Boy Travelers in South America_. There are other
+        interesting books in the same series.
+
+     ROOSEVELT, THEODORE: _Stories of the Great West_. Century Co.
+
+     STANLEY, HENRY M.: _In Darkest Africa_.
+
+     STOCKTON, FRANK RICHARD: _Personally Conducted_. Interesting
+        descriptions of places in Europe.
+
+     TAYLOR, BAYARD: _Views Afoot_.
+
+     TWAIN, MARK (Samuel Langhorne Clemens): _Innocents Abroad_. An
+        amusing account of European travel with good descriptions.
+
+     WARNER, CHARLES DUDLEY: _My Winter on the Nile_.
+
+
+Miscellaneous
+
+The books in the following list have not been selected because of their
+literary qualities, but because they contain things that are of interest
+and value to young people. It is thought that parents may wish some
+information concerning such books as are mentioned, and those given in
+the list can be relied upon as being interesting, instructive and not
+expensive. The arrangement is by title.
+
+     AMERICAN BOYS' HANDY BOOK OF CAMP LORE AND WOODCRAFT, by _Daniel
+        Cortes Beard_. Tells how to fish, hunt, camp, and how to make a
+        great variety of things.
+
+     AMERICAN GIRLS' HANDY BOOK, by _Adelia B. Beard_. Directions for
+        making and doing. A companion to _American Boys' Handy Book_.
+
+     AMERICAN GIRLS' HOME BOOK OF WORK AND PLAY, by _Helen Campbell_.
+        Outdoor and indoor games and amusements, Christmas gifts,
+        cooking, etc.
+
+     AMONG THE LAW MAKERS, by _Edmund Alton Bailey_. Deals with the
+        national Congress, largely the recollections of a former page.
+
+     BEGINNER'S GARDEN BOOK, THE, by _Allen French_.
+
+     BOYS' BOOK OF INVENTIONS, THE, by _Ray Stannard Baker_.
+        Descriptions of our latest inventions.
+
+     BOYS' SECOND BOOK OF INVENTIONS, THE, by _Ray Stannard Baker_.
+
+     BOY SCOUTS' BOOK OF STORIES, Edited by _Franklin K. Mathiews_.
+
+     CAREERS OF DANGER AND DARING, by _Cleveland Moffett_. Deals with
+        the dangerous occupations of man, steeple-climbing, fire
+        service, ballooning, etc.
+
+     CENTURY BOOK FOR YOUNG AMERICANS, THE, by _Eldridge Streeter
+        Brooks_. Deals with Washington and the government of the United
+        States.
+
+     COMPLETE HOUSEKEEPER, by _Emily Holt_.
+
+     ELECTRIC TOY-MAKING FOR AMATEURS, by _T. O'Connor Sloane_. A
+        practical book, interesting to boys.
+
+     EXPERIMENTAL SCIENCE, by _G. M. Hopkins_. A large and rather
+        expensive book on experimental physics.
+
+     FLAME, ELECTRICITY AND THE CAMERA. An account of man's progress
+        from the first kindling of fire to the present time.
+
+     GARDEN MAKING, by _Liberty Hyde Bailey_. A practical book for
+        school and house.
+
+     HANDYCRAFT FOR HANDY GIRLS, by _A. Neely Hall_ and _Dorothy
+        Perkins_. Practical plans for work and play.
+
+     HARPER'S INDOOR BOOK FOR BOYS, and HARPER'S OUTDOOR BOOK FOR BOYS,
+        by _J. H. Adams_. Practical directions for work and play.
+
+     MARY FRANCES SEWING-BOOK, by _Jane Eyre Foyer_.
+
+     OUTLINES OF THE EARTH'S HISTORY, by _N. S. Shaler_. A popular book
+        on physiography.
+
+     PRACTICAL TRACK AND FIELD ATHLETICS, by _John Graham_ and _Ellery
+        H. Clark_.
+
+     RULES OF ORDER (Pocket Manual), by _General Henry M. Roberts_.
+        Deals with rules of practice in deliberating assemblies.
+
+     YOUNG PEOPLE'S STORY OF ART, by _Ida Prentice Whitcomb_.
+
+     YOUNG AMERICAN, by _Harry Pratt Judson_. An outline of our system
+        of government.
+
+     WITH MEN WHO DO THINGS, by _A. Russell Bond_. "Scientific American"
+        Series.
+
+
+
+
+HANDY TABLE OF ENGLISH WRITERS
+
+  A. PERIOD OF PREPARATION. From Caedmon's _Paraphrase_, (670),
+     to the death of Chaucer (1400).
+     I. Prior to Chaucer's birth (1340?).
+        _Beowulf._
+        Caedmon, ?-680.
+        Bede, 673-735.
+
+    II. During Chaucer's life.
+        Sir John Mandeville, 1300-1372.
+        John Wyclif, 1324-1384.
+        William Langland, _Piers Plowman_, 1332-?.
+        CHAUCER, 1340?-1400.
+
+  B. PERIOD OF ACCOMPLISHMENT. From the death of Chaucer to present time.
+     I. The Period of Italian Influence. From the death of Chaucer to the
+        Restoration of Charles II (1660).
+        1. The Age of Reaction. From the death of Chaucer to the
+           Accession of Queen Elizabeth (1558).
+           Malory, _Morte d'Arthur_.
+           William Tyndale, 1449-1536.
+        2. The Age of Elizabeth. From 1558 to 1603,
+           the Accession of James I.
+           John Lyly, 1554?-1606.
+           FRANCIS BACON, 1561-1626.
+           Sir Philip Sidney, 1554-1586.
+           Sir Walter Raleigh, 1552-1618.
+           EDMUND SPENSER, 1552-1599.
+           Christopher Marlowe, 1564-1593.
+           WILLIAM SHAKESPEARE, 1564-1616.
+           Ben Jonson, 1573-1637.
+           Francis Beaumont, 1584-1616.
+           John Fletcher, 1579-1625.
+
+        3. The Puritan Age. From the Accession of James I to the
+           Restoration of Charles II (1660).
+             Izaak Walton, 1593-1683.
+             Jeremy Taylor, 1613-1667.
+             Sir Thomas Browne, 1605-1682.
+             John Bunyan, 1628-1688.
+             JOHN MILTON, 1608-1674.
+             Robert Herrick, 1591-1674.
+
+    II. The Period of French Influence. From the Restoration of Charles
+        II to the death of Pope (1744).
+        1. Age of the Restoration. From the Restoration of Charles II
+           to the Accession of Queen Anne (1702).
+             Samuel Butler, 1612-1680.
+             JOHN DRYDEN, 1631-1700.
+             John Locke, 1632-1704.
+             Samuel Pepys, 1633-1703.
+             Sir Isaac Newton, 1642-1727.
+
+        2. The Age of Queen Anne. From the Accession of Queen Anne to
+           the death of Pope.
+             Jonathan Swift, 1667-1745.
+             Daniel De Foe, 1661?-1731.
+             Richard Steele, 1672-1729.
+             JOSEPH ADDISON, 1662-1745.
+             ALEXANDER POPE, 1688-1744.
+
+   III. The Modern English Period. From the death of Pope to the present
+        time.
+        1. The Beginnings. From the death of Pope to 1780.
+             Samuel Richardson, 1689-1761.
+             Henry Fielding, 1707-1754.
+             Dr. Samuel Johnson, 1709-1784.
+             David Hume, 1711-1776.
+             Laurence Sterne, 1713-1768.
+             Thomas Gray, 1716-1771.
+             Tobias George Smollett, 1721-1771.
+             OLIVER GOLDSMITH, 1728-1774.
+             Edmund Burke, 1729-1797.
+             Edward Gibbon, 1737-1794.
+
+        2. The Romantic School. From 1780 to 1837,
+           the Accession of Queen Victoria.
+             William Cowper, 1731-1800.
+             Robert Burns, 1759-1796.
+             WILLIAM WORDSWORTH, 1770-1850.
+             SIR WALTER SCOTT, 1771-1832.
+             Samuel Taylor Coleridge, 1772-1834.
+             Robert Southey, 1774-1843.
+             Charles Lamb, 1775-1834.
+             Lord Byron, 1788-1824.
+             Percy Bysshe Shelley, 1792-1822.
+             John Keats, 1795-1821.
+
+        3. The Victorian Age. From the Accession of Victoria to the
+           present time.
+             Thomas Carlyle, 1795-1881.
+             Thomas Macaulay, 1800-1859.
+             Elizabeth Barrett Browning, 1806-1861.
+             ALFRED TENNYSON, 1809-1892.
+             William Makepeace Thackeray, 1811-1863.
+             Charles Dickens, 1812-1870.
+             Robert Browning, 1812-1889.
+             John Ruskin, 1819-1900.
+             GEORGE ELIOT, 1819-1880.
+             Matthew Arnold, 1822-1888.
+             Robert Louis Stevenson, 1850-1894.
+
+
+
+
+HANDY TABLE OF AMERICAN WRITERS
+
+  A. The Colonial Period. The seventeenth and eighteenth century writers.
+       Anne Bradstreet, 1612-1672.
+       Cotton Mather, 1663-1728.
+       BENJAMIN FRANKLIN, 1706-1790.
+
+  B. The National Period. The nineteenth century writers.
+      I. The Earlier Group.
+           William Ellery Channing, 1780-1842.
+           WASHINGTON IRVING, 1783-1859.
+           James Fenimore Cooper, 1789-1851.
+           William Cullen Bryant, 1794-1878.
+           William Hickling Prescott, 1796-1859.
+           Edgar Allan Poe, 1809-1849.
+
+     II. The Civil War Group.
+           George Bancroft, 1800-1891.
+           RALPH WALDO EMERSON, 1803-1882.
+           NATHANIEL HAWTHORNE, 1804-1864.
+           HENRY WADSWORTH LONGFELLOW, 1807-1882.
+           JOHN GREENLEAF WHITTIER, 1807-1892.
+           OLIVER WENDELL HOLMES, 1809-1894.
+           John Lothrop Motley, 1814-1877.
+           Henry David Thoreau, 1817-1862.
+           JAMES RUSSELL LOWELL, 1819-1891.
+           Francis Parkman, 1823-1893.
+
+    III. Later Writers.
+           Walt Whitman, 1819-1892.
+           Richard Henry Stoddard, 1825-1903.
+           Bayard Taylor, 1825-1878.
+           Edmund Clarence Stedman, 1833-1908.
+           Mark Twain, 1835-1910.
+           Eugene Field, 1850-1895.
+
+
+
+
+GENERAL INDEX
+
+
+  A
+
+  _Abou Ben Adhem_: IX, 11.
+
+  _Abraham Lincoln_: IX, 324.
+
+  ADDISON, JOSEPH.
+    Selections: _The Vision of Mirza_: IX, 285.
+      _Sir Roger de Coverley_: IX, 371.
+
+  ADVENTURE.
+    _Robinson Crusoe_: III, 45.
+    _The Swiss Family Robinson_: III, 99.
+    _The Escape from Prison_: IV, 130.
+    _The Sunken Treasure_: IV, 199.
+    _The Arickara Indians_: IV, 472.
+    _Gulliver's Travels_: V, 6.
+    _Reminiscences of a Pioneer_: V, 340.
+    _The Buccaneers_: V, 359.
+    _Captain Morgan at Maracaibo_: V, 365.
+    _The Lion and the Missionary_: VI, 93.
+    _The Shipwreck_: VI, 371.
+    _Elephant Hunting_: VI, 385.
+    _An Exciting Canoe Race_: VII, 79.
+    _The Buffalo_: VII, 96.
+    _A Gorilla Hunt_: VII, 247.
+    _The Recovery of the Hispaniola_: VII, 352.
+    _Ringrose and His Buccaneers_: VIII, 1.
+    _David Crockett in the Creek War_: VIII, 37.
+    _A Descent into the Maelstrom_: VIII, 95.
+    _How They Took the Gold-Train_: VIII, 180.
+    _Ascent of the Jungfrau_: IX, 1.
+    _The Gold-Bug_: IX, 232.
+    _Modestine_: IX, 403.
+
+  AESOP.
+    Biography: II, 1.
+
+  _Afterwhile_: II, 123.
+
+  _Aladdin, The Story of._ See _Story of Aladdin_.
+
+  ALEXANDER, CECIL FRANCES.
+    Selection: _The Burial of Moses_: IV, 266.
+
+  _Alfred the Great_: IV, 260.
+
+  _Alhambra, The_: VIII, 153.
+
+  ALLEN, GRANT.
+    Selection: _A Bed of Nettles_: VIII, 209.
+
+  ALLINGHAM, WILLIAM.
+    Selections: _Fairies, The_: I, 405.
+      _Four Ducks on a Pond_: VI, 98.
+      _Leprecaun, The_: III, 33.
+
+  ALLSTON, WASHINGTON.
+    Selection: _Boyhood_: VI, 122.
+
+  _America_: VIII, 60.
+
+  _American Flag, The_: V, 396.
+
+  _American Writers, Handy Table of_: X, 473.
+
+  _Ancient Mariner, The Rime of the._ See _Rime of the Ancient
+     Mariner, The_.
+
+  ANDERSEN, HANS CHRISTIAN.
+    Biography: II, 81.
+    Selections: _Darning-Needle, The_: II, 463.
+      _Fir Tree, The_: II, 68.
+      _Flax, The_: I, 378.
+      _Hardy Tin Soldier, The_: I, 148.
+      _Holger Danske_: II, 377.
+      _Pea Blossom, The_: I, 205.
+      _Snow Queen, The_: II, 124.
+      _"Something:"_ I, 395.
+      _Ugly Duckling, The_: I, 414.
+      _What the Old Man Does Is Always Right_: II, 387.
+
+  _Annabel Lee_: VII, 341.
+
+  _Annie Laurie_: VI, 119.
+
+  _Apostrophe_: X, 266.
+
+  _Arabian Nights._
+    Selections: _Falcon and the Partridge, The_: II, 6.
+      _Second Voyage of Sinbad the Sailor, The_: III, 340.
+      _Sparrow and the Eagle, The_: II, 8.
+      _Story of Aladdin, The_: III, 288.
+
+  ARCHIBALD, MRS.
+    Selection: _John's Pumpkin_: III, 1.
+
+  _Arickara Indians, The_: IV, 472.
+
+  ARNOLD, MATTHEW.
+    Selections: _Forsaken Merman, The_: VII, 180.
+      _Sohrab and Rustum_: VI, 173.
+
+  _Arthur, King_: V, 113.
+
+  ARTON, BERNARD.
+    Selection: _Bruce and the Spider_: V, 314.
+
+  _Ascent of the Jungfrau_: IX, 1.
+
+  _Ass in the Lion's Skin, The_: I, 65.
+
+  _Atalanta's Race_: I, 386.
+
+  _Attack on the Castle, The_: IV, 322.
+
+  _At the Seaside_: I, 129.
+
+  _Auld Lang Syne_: VI, 228.
+
+  _Autumn Fires_: I, 394.
+
+  _Away_: IV, 460.
+
+  AYTOUN, WILLIAM E.
+    Selection: _The Heart of Bruce_: V, 316.
+
+
+  B
+
+  _Baby, The_: II, 11.
+
+  BACON, SIR FRANCIS.
+    Biography: IX, 395.
+    Selections: _Of Expence_: IX, 397.
+      _Of Studies_: IX, 400.
+
+  BAKER, SIR SAMUEL W.
+    Selection: _The Escape from Prison_: IV, 130.
+
+  _Bald Knight, The_: I, 385.
+
+  _Balin and Balan_: V, 130.
+
+  _Ballad of Agincourt, The_: V. 95.
+
+  BALLADS.
+    _Lochinvar_: III, 432.
+    _Robin Hood_: III, 436.
+    _Robin Hood and Little John_: III, 437.
+    _Robin Hood and the Stranger_: III, 444.
+    _Robin Hood and the Widow's Three Sons_: III, 449.
+    _Robin Hood and Allin a Dale_: III, 454.
+    _The Wreck of the Hesperus_: IV, 89.
+    _Chevy-Chase_: IV, 312.
+    _The Ballad of Agincourt_: V, 95.
+    _The Heart of Bruce_: V, 316.
+    _The Inchcape Rock_: V, 465.
+    _Lord Ullin's Daughter_: VI, 23.
+    _Herve Riel_: VIII, 168.
+
+  _Bannockburn_: VII, 15.
+
+  _Barbara Frietchie_: III, 347.
+
+  _Barefoot Boy, The_: IV, 3.
+
+  _Baron Munchausen._ See _Munchausen, Baron_.
+
+  _Bat and the Two Weasels, The_: I, 154.
+
+  _Battle Hymn of the Republic_: V, 399.
+
+  _Battle of Cressy, The_: IX, 161.
+
+  _Battle of Hastings, The_: IX, 330.
+
+  _Battle of Ivry_: VIII, 76.
+
+  _Battle of Saratoga, The_: IX, 176.
+
+  _Battle of Thermopylae, The_: VIII, 81.
+
+  _Battle of Trafalgar, The_: VIII, 284.
+
+  _Battle of Waterloo, The_: VIII, 176.
+
+  _Baucis and Philemon_: I, 431.
+
+  _Beauty and the Beast_: I, 318.
+
+  _Bed in Summer_: I, 173.
+
+  _Bed of Nettles, A_: VIII, 209.
+
+  BEERS, MRS. ETHEL LYNN.
+    Selection: _The Picket Guard_: VII, 177.
+
+  BELT, THOMAS.
+    Selections: _Some Clever Monkeys_: VI, 402.
+      _Trees and Ants That Help Each Other_: VII, 306.
+
+  _Beowulf and Grendel_: III, 350.
+
+  _Bernardo del Carpio_: IV, 270.
+
+  _Beth Gelert_: III, 42.
+
+  _Better Than Gold_: IV, 1.
+
+  BIOGRAPHY.
+    _Robert Louis Stevenson_: I, 128.
+    _Eugene Field_: I, 242.
+    _AEsop_: II, 1.
+    _Hans Christian Andersen_: II, 81.
+    _Henry Wadsworth Longfellow_: IV, 62.
+    _Alice Cary_: IV, 116.
+    _Phoebe Cary_: IV, 116.
+    _Nathaniel Hawthorne_: IV, 180.
+    _Alfred the Great_: IV, 260.
+    _John Bunyan_: IV, 417.
+    _Jonathan Swift_: V, 1.
+    _Sir Walter Scott_: VI, 26.
+    _Matthew Arnold_: VI, 204.
+    _John Howard Payne_: VI, 221.
+    _Charles Dickens_: VI, 232.
+    _Thomas Gray_: VI, 369.
+    _George Rogers Clark_: VI, 422.
+    _Queen Victoria_: VII, 152.
+    _William Cowper_: VII, 331.
+    _John Greenleaf Whittier_: VII, 381.
+    _William Cullen Bryant_: VII, 391.
+    _Oliver Wendell Holmes_: VII, 398.
+    _James Russell Lowell_: VII, 411.
+    _Elizabeth Barrett Browning_: VII, 419.
+    _David Crockett_: VIII, 29.
+    _Pere Marquette_: VIII, 121.
+    _Washington Irving_: VIII, 216.
+    _Charles Lamb_: VIII, 328.
+    _Mary Lamb_: VIII, 328.
+    _William Shakespeare_: VIII, 468.
+    _Florence Nightingale_: IX, 13.
+    _Julius Caesar_: IX, 155.
+    _Geoffrey Chaucer_: IX, 201.
+    _Samuel Johnson_: IX, 216.
+    _Sir Francis Bacon_: IX, 395.
+    _John Keats_: IX, 457.
+    See LEGENDARY HEROES; HISTORY.
+
+  BJORNSON, BJORNSTJERNE.
+    Selection: _The Tree_: I, 301.
+
+  _Black Hawk Tragedy, The_: VII, 58.
+
+  BLAKE, WILLIAM.
+    Selection: _Infant Joy_: II, 10.
+
+  _Blind Lassie, The_: VI, 120.
+
+  _Block City_: I, 196.
+
+  _Bluebeard_: II, 22.
+
+  _Boat Song_: VII, 17.
+
+  _Book Lists, Supplementary_: X, 451.
+
+  _Boston Massacre, The_: IV, 217.
+
+  BOSWELL, JAMES.
+    Selection: From _The Life of Johnson_: IX, 216.
+
+  _Boy and the Nettle, The_: I, 65.
+
+  _Boyhood_: VI, 122.
+
+  _Boys and the Frogs, The_: I, 63.
+
+  _Braddock's Defeat_: V, 379.
+
+  BRANCH, MARY BOLLES.
+    Selection: _The Petrified Fern_, VII, 77.
+
+  _Breathes There the Man_: VII, 151.
+
+  _Brook, The._ See _Song of the Brook_.
+
+  _Brother and Sister, The_: I, 410.
+
+  BROWN, JOHN, M. D.
+    Selection: _Rab and His Friends_: VI, 99.
+
+  BROWNING, ELIZABETH BARRETT.
+    Biography: VII, 419.
+    Selections: _Child's Thought of God, A_: VII, 418.
+      _Romance of the Swan's Nest, The_: VIII, 315.
+
+  BROWNING, ROBERT.
+    Selections: _Herve Riel_: VIII, 168.
+      _How They Brought the Good News from Ghent to Aix_: V, 335.
+      _Incident of the French Camp_: IV, 174.
+      _Pied Piper of Hamelin, The_: III, 384.
+      _Pippa Passes_: IX, 293.
+
+  _Brown Thrush, The_: I, 147.
+
+  _Bruce, Robert, The Rise of._ See _Rise of Robert Bruce, The_.
+
+  _Bruce and the Spider_: V, 314.
+
+  _Brute Neighbors_: VII, 260.
+
+  BRYANT, WILLIAM CULLEN.
+    Biography: VII, 391.
+    Selections: _Robert of Lincoln_: IX, 444.
+      _To a Waterfowl_: VII, 395.
+      _To the Fringed Gentian_: VII, 4.
+
+  _Buccaneers, The_: V, 359.
+
+  _Buffalo, The_: VII, 96.
+
+  _Bugle Song, The_: VI, 133.
+
+  BUNYAN, JOHN.
+    Biography: IV, 417.
+    Selection: _The Pilgrim's Progress_: IV, 423.
+
+  _Burial of Moses_: IV, 266.
+
+  BURNS, ROBERT.
+    Selections: _Auld Lang Syne_: VI, 228.
+      _Bannockburn_: VII, 15.
+      _Cotter's Saturday Night, The_: VIII, 319.
+      _For A' That and A' That_: VII, 149.
+      _To a Mountain Daisy_: VII, 8.
+      _To a Mouse_: VII, 5.
+
+  BYRON, GEORGE GORDON, LORD.
+    Selections: _Battle of Waterloo, The_: VIII, 176.
+      _Destruction of Sennacherib, The_: VI, 141.
+      _Vision of Belshazzar, The_: VI, 153.
+      _Call to Arms, A_: IX, 475.
+
+
+  C
+
+  CAMPBELL, THOMAS.
+    Selections: _Lord Ullin's Daughter_: VI, 23.
+      _Rainbow, The_: VI, 91.
+      _Soldier's Dream, The_: VII, 170.
+
+  _Captain Morgan at Maracaibo_: V, 365.
+
+  _Capture of Vincennes, The_: VI, 428.
+
+  CARROLL, LEWIS.
+    Selections: _Mock Turtle's Story, The_: III, 3.
+      _Queen Alice_: III, 23.
+      _Walrus and the Carpenter, The_: III, 36.
+
+  CARY, ALICE.
+    Biography: IV, 116.
+    Selection: _Pictures of Memory_: IV, 127.
+
+  CARY, PHOEBE.
+    Biography: IV, 116.
+    Selection: _Nearer Home_: IV, 126.
+
+  _Casabianca_: VIII, 313.
+
+  _Cat and the Chestnuts, The_: I, 142.
+
+  CERVANTES. (Miguel de Cervantes Saavedra.)
+    Selection: _Don Quixote_: VII, 431.
+
+  _Charge of the Light Brigade, The_: VII, 147.
+
+  _Chambered Nautilus, The_: IX, 454.
+
+  _Character, Influence of Reading in Formation of_: X, 88.
+
+  CHARACTER, _Selections in_ Journeys _Teaching Valuable
+    Lessons in_ (see also Chapter V, page 85, Volume X):
+    _Wisdom, Ignorance_:--
+      _The Ass in the Lion's Skin_: I, 65.
+      _The Fox and the Stork_: I, 73.
+      _The Fox and the Grapes_: I, 135.
+      _The Bat and the Two Weasels_: I, 154.
+      _The Horse and the Stag_: I, 388.
+      _The Fox, the Wolf and the Horse_: I, 377.
+      _The Bold Knight_: I, 385.
+      _The Wolf and the Lamb_: I, 455.
+      _Minerva and the Owl_: II, 7.
+      _The Country Squire_: VI, 474.
+
+    _Attention to Little Things_:--
+      _The Lion and the Mouse_: I, 75.
+      _The Reaper and the Flowers_: I, 410.
+      _The Daffodils_: VII, 1.
+      _The Petrified Fern_: VII, 77.
+
+    _Promptness, Industry, Perseverance_:--
+      _Time to Rise_: I, 340.
+      _The Hare and the Tortoise_: I, 71.
+      _The Lark and Her Young Ones_: I, 131.
+      _Industry and Sloth_: I, 300.
+      _Whittington and His Cat_: I, 442.
+      _Tom, the Water Baby_: II, 215.
+      _The Village Blacksmith_: IV, 86.
+      _Bruce and the Spider_: V, 314.
+
+    _Independence, Equality of Man_:--
+      _The Village Blacksmith_: IV, 86.
+      _For A' That and A' That_: VII, 149.
+
+    _Courage and Bravery_:--
+      _The Boy and the Nettle_: I, 65.
+      _The Mice and the Cat_: I, 197.
+      _Roland at Roncesvalles_: III, 460.
+      _Cid Campeador_: IV, 9.
+      _Ulysses_: IV, 398.
+      _Horatius_: VI, 1.
+
+    _Evil of Conceit_:--
+      _The Gnat and the Bull_: I, 70.
+      _The Cock and the Horses_: I, 146.
+      _The Pea Blossom_: I, 205.
+      _The Sparrow and the Eagle_: II, 8.
+      _The Milkmaid_: II, 374.
+
+    _Flattery as a Vice_:--
+      _The Fox and the Crow_: I, 64.
+      _The Spider and the Fly_: III, 19.
+
+    _Love of Home and Family_:--
+      _The Rock-a-By Lady_: I, 94.
+      _Little Birdie_: I, 142.
+      _Sleep, Baby, Sleep_: I, 204.
+      _Old Gaelic Lullaby_: I, 203.
+      _Lady Button-Eyes_: I, 366.
+      _The First Snowfall_: II, 403.
+      _Rain on the Roof_: IV, 7.
+      _Pictures of Memory_: IV, 127.
+      _Bernardo del Carpio_: IV, 270.
+      _Rab and His Friends_: VI, 99.
+      _Childhood_: VI, 124.
+      _Home, Sweet Home_: VI, 221.
+      _Home They Brought Her Warrior Dead_: VI, 231.
+      _A Christmas Carol_: VI, 244.
+      _To My Infant Son_: VI, 478.
+      _The Old Oaken Bucket_: VII, 11.
+      _My Old Kentucky Home_: VII, 179.
+      _The Forsaken Merman_: VII, 180.
+      _Tom and Maggie Tulliver_: VII, 186.
+      _The Family of Michael Arout_: VII, 314.
+      _My Mother's Picture_: VII, 335.
+      _Snowbound_ (Extract from): VII, 388.
+      _The Cotter's Saturday Night_: VIII, 319.
+      _Dream Children_: VIII, 335.
+
+    _Honesty and Truthfulness_:--
+      _The Shepherd Boy and the Wolves_: I, 92.
+      _The Falcon and the Partridge_: II, 6.
+      _The Pied Piper of Hamelin_: III, 384.
+      _The Cubes of Truth_: VII, 406.
+
+    _Friendliness, Kindness, Consideration of Others_:--
+      _The Two Travelers_: I, 109.
+      _Cinderella_: I, 224.
+      _Baucis and Philemon_: I, 431.
+      _The Snow Queen_: II, 124.
+      _The King of the Golden River_: II, 405.
+      _Auld Lang Syne_: VI, 228.
+      _A Christmas Carol_: VI, 244.
+      _Florence Nightingale_: IX, 13.
+
+    _Generosity_:--
+      _The Two Travelers_: I, 109.
+      _The Two Travelers and the Oyster_: I, 111.
+      _The Cat and the Chestnuts_: I, 142.
+      _Baucis and Philemon_: I, 431.
+
+    _Kindness to Animals_:--
+      _The Boys and the Frogs_: I, 63.
+      _The Brown Thrush_: I, 147.
+      _Mercy to Animals_: I, 413.
+      _The Ugly Duckling_: I, 414.
+      _Tom, the Water Baby_: II, 215.
+      _Who Stole the Bird's Nest?_: II, 399.
+      _A Dog of Flanders_: IV, 93.
+      _Rab and His Friends_: VI, 99.
+      _The Rime of the Ancient Mariner_: VII, 29.
+
+    _Patience and Gentleness_:--
+      _The Wind and the Sun_: I, 95.
+      _Cinderella_: I, 224.
+      _Rab and His Friends_: VI, 99.
+
+    _Faithfulness_:--
+      _"Something"_: I, 395.
+      _Whittington and His Cat_: I, 442.
+      _The Mirror of Matsuyana_: II, 36.
+      _The Snow Queen_: II, 124.
+      _Casabianca_: VIII, 313.
+
+    _Envy and Covetousness as Evils_:--
+      _The Dog and His Shadow_: I, 63.
+      _The Frog Who Wished to Be as Big as an Ox_: I, 66.
+      _The Golden Touch_: II, 43.
+
+    _Contentment, Hopefulness_:--
+      _The Town Mouse and the Country Mouse_: I, 199.
+      _The Pea Blossom_: I, 205.
+      _The Flax_: I, 378.
+      _The Discontented Stonecutter_: II, 12.
+      _The Fir Tree_: II, 68.
+      _The Blind Lassie_: VI, 120.
+      _Pippa Passes_: IX, 293.
+
+    _Patriotism--Love of Country_:--
+      _Holger Danske_: II, 377.
+      _Incident of the French Camp_: IV, 174.
+      _The American Flag_: V, 396.
+      _Battle Hymn of the Republic_: V, 399.
+      _Stonewall Jackson's Way_: V, 400.
+      _Horatius_: VI, 1.
+      _Bannockburn_: VII, 15.
+      _Breathes There the Man_: VII, 151.
+      _How Sleep the Brave_: VII, 151.
+      _Make Way for Liberty_: VII, 172.
+      _The Old Continentals_: VII, 175.
+      _America_: VIII, 60.
+      _The Battle of Thermopylae_: VIII, 81.
+      _The Fall of the Alamo_: VIII, 141.
+      _Herve Riel_: VIII, 168.
+      _The Battle of Trafalgar_: VIII, 284.
+      _The Gettysburg Address_: IX, 321.
+
+    _Religious Feeling--Devotion to God_:--
+      _A Thought_: I, 66.
+      _The First Snowfall_: II, 403.
+      _Nearer Home_: IV, 126.
+      _Stonewall Jackson's Way_: V, 400.
+      _The Rainbow_: VI, 91.
+      _A Child's Thought of God_: VII, 418.
+
+  _Character, The Building of_: X, 85.
+
+  _Chaucer, Geoffrey_: IX, 201.
+
+  _Chevy-Chase_: IV, 312.
+
+  CHILD, L. MARIA.
+    Selection: _Who Stole the Bird's Nest?_: II, 399.
+
+  _Childhood_: VI, 124.
+
+  _Children's Books of the Past, Some._ See _Some Children's Books
+     of the Past_.
+
+  _Child's Thought of God, A_: VII, 418.
+
+  _Child's World, The_: II, 66.
+
+  _Chimera, The_: II, 173.
+
+  _Christmas Carol, A_: VI, 244.
+
+  _Christmas in Old Time_: VI, 356.
+
+  _Cid Campeador_: IV, 9.
+
+  _Cinderella_: I, 224.
+
+  CLARK, GEORGE ROGERS.
+    Biography: VI, 422.
+    Selection: _The Capture of Vincennes_: VI, 428.
+
+  _Classification of Masterpieces, Graphic_: X, 12.
+
+  CLEVELAND, HENRY R.
+    Selection: _Henry Hudson's Fourth Voyage_: V, 254.
+
+  _Close Reading or Study_: X, 224.
+
+  _Cloud, The_: VII, 257.
+
+  _Cock and the Horses, The_: I, 146.
+
+  COE, EDWIN D.
+    Selections: _Black Hawk Tragedy, The_: VII, 58.
+      _Reminiscences of a Pioneer_: V, 340.
+
+  COLERIDGE, SAMUEL TAYLOR.
+    Selection: _The Rime of the Ancient Mariner_: VII, 29.
+
+  COLLINS, WILLIAM.
+    Selection: _How Sleep the Brave_: VII, 151.
+
+  _Comic Songs, On._ See _On Comic Songs_.
+
+  _Contrast, A_: II, 42.
+
+  COOPER, JAMES FENIMORE.
+    Selection: _An Exciting Canoe Race_: VII, 79.
+
+  _Correlation of_ Journeys _with the School_: X, 345.
+    _Reading_: X, 315, 348.
+    _Language_: X, 345, 349.
+    _Nature Study_: X, 380.
+    _Geography and History_: X, 400.
+    _High School_: X, 425.
+
+  _Cortes, The Retreat of._ See _Retreat of Cortes, The_.
+
+  _Cotters Saturday Night, The_: VIII, 319.
+
+  _Country Squire, The_: VI, 474.
+
+  _Cow, The_: I, 106.
+
+  COWPER, WILLIAM.
+    Biography: VII, 331.
+    Selections: _Mercy to Animals_: I, 413.
+      _My Mother's Picture_: VII, 335.
+
+  CREASY, E. S.
+    Selections: _Battle of Hastings, The_: IX, 330.
+      _Battle of Saratoga, The_: IX, 176.
+
+  _Creation, Stories of the._ See _Stories of the Creation_.
+
+  CROCKETT, DAVID.
+    Biography: VIII, 29.
+    Selections: _David Crockett in the Creek War_: VIII, 37.
+      _Fiddling Parson, The_: V, 440.
+      _Knock-Out, The_: VI, 471.
+
+  _Cubes of Truth, The_: VII, 406.
+
+  CUMMING, ROUALEYN GORDON.
+    Selection: _Elephant Hunting_: VI, 385.
+
+  _Cupid and Psyche_: III, 365.
+
+
+  D
+
+  _Daffodils, The_: VII, 1.
+
+  _Darning-Needle, The_: II, 463.
+
+  _David_: IV, 274.
+
+  _David Crockett in the Creek War_: VIII, 37.
+
+  _Death of Balder, The_: II, 99.
+
+  _Death of Caesar, The_: IX, 126.
+
+  _Death of Caesar, The_: IX, 143.
+
+  _Death of Hector, The_: IV, 364.
+
+  _Definition of a Gentleman_: IV, 170.
+
+  DEFOE, DANIEL.
+    Selection: _Robinson Crusoe_: III, 45.
+
+  DEKKER, THOMAS.
+    Selection: _Lullaby_: I, 96.
+
+  DE QUINCEY, THOMAS.
+    Selection: _Joan of Arc_: IV, 225.
+
+  _Descent into the Maelstrom, A_: VIII, 95.
+
+  _Destruction of Sennacherib, The_: VI, 141.
+
+  DICKENS, CHARLES.
+    Biography: VI, 232.
+    Selections: _Alfred the Great_: IV, 260.
+      _Christmas Carol, A_: VI, 244.
+      _Pickwick and Sam Weller_: IX, 76.
+
+  DIMOND, WILLIAM.
+    Selection: _The Mariner's Dream_: III, 95.
+
+  _Discontented Stonecutter, The_: II, 12.
+
+  _Discreet Hans_: II, 15.
+
+  _Dissensions at King Arthur's Court_: V, 232.
+
+  _Dissertation upon Roast Pig, A_: IX, 56.
+
+  DOBELL, SYDNEY.
+    Selection: _How's My Boy?_: VII, 169.
+
+  _Dog and his Shadow, The_: I, 63.
+
+  _Dog in the Manger, The_: I, 134.
+
+  _Dog of Flanders, A_: IV, 93.
+
+  _Don Quixote_: VII, 431.
+
+  DOUGLAS, WILLIAM.
+    Selection: _Annie Laurie_: VI, 119.
+
+  DRAKE, JOSEPH RODMAN.
+    Selection: _The American Flag_: V, 396.
+
+  DRAMA.
+    _The Tempest_: VIII, 364.
+    _The Death of Caesar_: IX, 143.
+
+  _Drama, Definition and Study of_: X, 325.
+
+  _Dramatic Poetry, Definition of_: X, 339.
+
+  DRAYTON, MICHAEL.
+    Selection: _The Ballad of Agincourt_: V, 95.
+
+  _Dream Children: A Revery_: VIII, 335.
+
+  _Drummer, The_: I, 303.
+
+  DU CHAILLU, PAUL.
+    Selection: _A Gorilla Hunt_: VII, 247.
+
+  _Duel, The_: I, 384.
+
+  DUFFERIN, LADY.
+    Selection: _Katey's Letter_: IV, 470.
+
+
+  E
+
+  _Echo_: III, 286.
+
+  _Education, Forces in_: X, 3.
+
+  _Elegy on the Death of a Mad Dog_: IV, 57.
+
+  _Elegy Written in a Country Churchyard_: VI, 360.
+
+  _Elephant Hunting_: VI, 385.
+
+  ELIOT, GEORGE.
+    Selection: _Tom and Maggie Tulliver_: VII, 186.
+
+  _Emotional Power in Fiction_: X, 176.
+
+  _Enchanted Stag, The_: I, 341.
+
+  _English Robin, The_: II, 214.
+
+  _English Writers, Handy Table of_: X, 469.
+
+  _Epic Poetry, Definition of_: X, 331.
+
+  _Escape from Prison, The_: IV, 130.
+
+  _Essay, Definition and Study of the_: X, 322, 431.
+
+  ESSAYS.
+    _Some Children's Books of the Past_: V, 101.
+    _Childhood_: VI, 124.
+    _Poor Richard's Almanac_: VI, 407.
+    _Cubes of Truth_: VII, 406.
+    _The Alhambra_: VIII, 153.
+    _Dream Children_: VIII, 335.
+    _The Impeachment of Warren Hastings_: IX, 32.
+    _A Dissertation upon Roast Pig_: IX, 56.
+    _The Praise of Chimney Sweepers_: IX, 66.
+    _The Vision of Mirza_: IX, 285.
+    _Sir Roger de Coverley_: IX, 371.
+    _Of Expense_: IX, 397.
+    _Of Studies_: IX, 400.
+    _Modestine_: IX, 403.
+
+  _Esther, The Story of_: II, 448.
+
+  _Exciting Canoe Race, An_: VII, 79.
+
+  _Expense, Of_: IX, 397.
+
+
+  F
+
+  FABLES.
+    _The Boys and the Frogs_: I, 63.
+    _The Dog and His Shadow_: I, 63.
+    _The Fox and the Crow_: I, 64.
+    _The Ass in the Lion's Skin_: I, 65.
+    _The Boy and the Nettle_: I, 65.
+    _The Frog Who Wished to Be as Big as an Ox_: I, 66.
+    _The Gnat and the Bull_: I, 70.
+    _The Hare and the Tortoise_: I, 71.
+    _The Fox and the Stork_: I, 73.
+    _The Lion and the Mouse_: I, 75.
+    _The Old Man and His Sons_: I, 78.
+    _The Shepherd Boy and the Wolves_: I, 92.
+    _The Wind and the Sun_: I, 95.
+    _The Wolf and the Crane_: I, 96.
+    _The Two Travelers_: I, 109.
+    _The Two Travelers and the Oyster_: I, 111.
+    _The Lark and Her Young Ones_: I, 131.
+    _The Goose That Laid the Golden Eggs_: I, 173.
+    _The Dog in the Manger_: I, 134.
+    _The Fox and the Grapes_: I, 135.
+    _The Cat and the Chestnuts_: I, 142.
+    _The Cock and the Horses_: I, 146.
+    _The Bat and the Two Weasels_: I, 154.
+    _The Mice and the Cat_: I, 197.
+    _The Town Mouse and the Country Mouse_: I, 199.
+    _The Lion, the Fox and the Ass_: I, 223.
+    _Industry and Sloth_: I, 300.
+    _The Horse and the Stag_: I, 338.
+    _The Fox, the Wolf and the Horse_: I, 377.
+    _The Bald Knight_: I, 385.
+    _The Brother and Sister_: I, 410.
+    _The Wolf and the Lamb_: I, 455.
+    _AEsop_: II, 1.
+    _Minerva and the Owl_: II, 7.
+    _The Falcon and the Partridge_: II, 6.
+    _The Sparrow and the Eagle_: II, 8.
+    _The Old Man and Death_: II, 9.
+
+  _Fairies, The_: I, 405.
+
+  _Fairies of the Caldon-Low, The_: II, 395.
+
+  _Fairy Bread_: I, 198.
+
+  FAIRY LORE AND FOLK LORE.
+    _Little Red Riding Hood_: I, 79.
+    _Tom Thumb_: I, 84.
+    _The Little Old Woman and Her Pig_: I, 97.
+    _Silver-Locks and the Three Bears_: I, 101.
+    _The Ladybird and the Fly_: I, 107.
+    _Hop-O'-My-Thumb_: I, 112.
+    _The Three Little Pigs_: I, 136.
+    _The Hardy Tin Soldier_: I, 148.
+    _Jack and the Beanstalk_: I, 156.
+    _Jack the Giant-Killer_: I, 174.
+    _The Pea Blossom_: I, 205.
+    _Hansel and Grethel_: I, 210.
+    _Cinderella_: I, 224.
+    _The Three Tasks_: I, 247.
+    _The Snow Maiden_: I, 257.
+    _The Twin Brothers_: I, 264.
+    _The Drummer_: I, 303.
+    _Beauty and the Beast_: I, 318.
+    _The Enchanted Stag_: I, 341.
+    _The Golden Bird_: I, 352.
+    _The Flax_: I, 378.
+    _"Something"_: I, 395.
+    _The Fairies_: I, 405.
+    _The Ugly Duckling_: I, 414.
+    _Whittington and His Cat_: I, 442.
+    _The Discontented Stonecutter_: II, 12.
+    _Discreet Hans_: II, 15.
+    _Bluebeard_: II, 22.
+    _Rumpelstiltzkin_: II, 33.
+    _Mirror of Matsuyana_, II, 36.
+    _The Fir Tree_: II, 68.
+    _The Snow Queen_: II, 124.
+    _Tom, The Water Baby_: II, 215.
+    _The Fairies of the Caldon-Low_: II, 395.
+    _The Darning-Needle_: II, 463.
+    _Why the Sea Is Salt_: II, 484.
+    _Origin of the Opal_: II, 480.
+    _What the Old Man Does Is Always Right_: II, 387.
+    _Holger Danske_: II, 377.
+    _The King and the Golden River_: II, 405.
+    _The Mock Turtle's Story_: III, 3.
+    _Queen Alice_: III, 23.
+    _The Leprecaun_: III, 33.
+    _The Walrus and the Carpenter_: III, 36.
+    _The Pied Piper of Hamelin_: III, 384.
+    _The Forsaken Merman_: VII, 180.
+    See MYTHS and LEGENDARY HEROES.
+
+  _Faithless Sally Brown_: III, 92.
+
+  _Falcon and the Partridge, The_: II, 6.
+
+  _Fall of the Alamo, The_: VIII, 141.
+
+  _Family of Michael Arout, The_: VII, 314.
+
+  _Farewell, A_: III, 22.
+
+  _Fate of the Indians, The_: IX, 466.
+
+  _Father and Son_: X, 107.
+
+  FICTION. See ADVENTURE; FABLES; FAIRY LORE AND FOLK LORE; NARRATIVE
+    POEMS; NOVELS; STORIES.
+
+  _Fiction, How to Read_: X, 143.
+
+  _Fiddling Parson, The_: V, 440.
+
+  FIELD, EUGENE.
+    Biography: I, 242.
+    Selections: _Duel, The_: I, 384.
+      _Lady Button-Eyes_: I, 366.
+      _Little Blue Pigeon_: I, 133.
+      _Norse Lullaby_: I, 246.
+      _Rock-a-By-Lady, The_: I, 94.
+      _Seein' Things_: I, 240.
+      _Shuffle-Shoon and Amber-Locks_: II, 121.
+      _Wynken, Blynken, and Nod_: I, 262.
+
+  _Figures of Speech_: X, 256.
+
+  _First Snowfall, The_: II, 403.
+
+  _Fir Tree, The_: II, 68.
+
+  _Flax, The_: I, 378.
+
+  _Florence Nightingale_: IX, 13.
+
+  FOLK LORE. See FAIRY LORE AND FOLK LORE.
+
+  FOLLEN, MRS. ELIZA LEE.
+    Selection: _Stop, Stop, Pretty Water_: I, 317.
+
+  _Footsteps of Angels_: IV, 82.
+
+  _For A' That and A' That_: VII, 149.
+
+  _Forces in Education_: X, 3.
+
+  _Foreign Children_: I, 351.
+
+  _Foreign Lands_: I, 130.
+
+  _Forsaken Merman, The_: VII, 180.
+
+  FOSTER, STEPHEN COLLINS.
+    Selection: _My Old Kentucky Home_: VII, 179.
+
+  _Four Ducks on a Pond_: VI, 98.
+
+  _Fox and the Crow, The_: I, 64.
+
+  _Fox and the Grapes, The_: I, 135.
+
+  _Fox and the Stork, The_: I, 73.
+
+  _Fox, the Wolf, and the Horse, The_: I, 377.
+
+  FRANKLIN, BENJAMIN.
+    Selections: _Braddock's Defeat_: V, 379.
+      _Poor Richard's Almanac_: VI, 407.
+
+  _Frithiof the Bold_: III, 394.
+
+  _Frog Who Wished to be as Big as an Ox, The_: I, 66.
+
+  FROISSART, JEAN.
+    Selection: _The Battle of Cressy_: IX, 161.
+
+  _From a Railway Carriage_: I, 198.
+
+  FROUDE, JAMES ANTHONY.
+    Selection: _Julius Caesar_: IX, 155.
+
+
+  G
+
+  _Geography, Analysis and Classification of Selections Correlated
+     with_: X, 402.
+
+  _Geography, The Teaching of_: X, 400.
+
+  _Geraint and Enid_: V, 148.
+
+  _Gettysburg Address, The_: IX, 321.
+
+  GILBERT, W. S.
+    Selection: _The Yarn of the "Nancy Bell"_: IV, 466.
+
+  _Gnat and the Bull, The_: I, 70.
+
+  _Gold-Bug, The_: IX, 232.
+
+  _Golden Bird, The_: I, 352.
+
+  _Golden Touch, The_: II, 43.
+
+  GOLDSMITH, OLIVER.
+    Selection: _Elegy on the Death of a Mad Dog_: IV, 57.
+
+  _Goose That Laid the Golden Eggs, The_: I, 173.
+
+  _Gorilla Hunt, A_: VII, 247.
+
+  _Governor and the Notary, The_: VII, 20.
+
+  _Graphic Classification of Masterpieces_: X, 12.
+
+  GRAY, THOMAS.
+    Selection: _Elegy Written in a Country Churchyard_: VI, 360.
+
+  GRIFFIN, GERALD.
+    Selection: _Limestone Broth_: VI, 467.
+
+  GRIMM, JAKOB AND WILHELM.
+    Selections: _Discreet Hans_: II, 15.
+      _Drummer, The_: I, 303.
+      _Enchanted Stag, The_: I, 341.
+      _Golden Bird, The_: I, 352.
+      _Hansel and Grethel_: I, 210
+      _Ladybird and the Fly, The_: I, 107.
+      _Three Tasks, The_: I, 247.
+      _Twin Brothers, The_: I, 264.
+      _Rumpelstiltzken_: II, 33.
+
+  _Gulliver's Travels_: V, 6.
+
+
+  H
+
+  HALLECK, FITZ-GREENE.
+    Selection: _Marco Bozzaris_: VIII, 90.
+
+  _Handy Tables of American Writers_: X, 473.
+
+  _Handy Tables of English Writers_: X, 469.
+
+  _Hansel and Grethel_: I, 210.
+
+  _Hardy Tin Soldier, The_: I, 148.
+
+  _Hare and the Tortoise, The_: I, 71.
+
+  HAWTHORNE, NATHANIEL.
+    Biography: IV, 180.
+    Selections: _Boston Massacre, The_: IV, 217.
+      _Chimera, The_: II, 173.
+      _Golden Touch, The_: II, 43.
+      _Hutchinson Mob, The_: IV, 208.
+      _Pine-Tree Shillings, The_: IV, 192.
+      _Sunken Treasure, The_: IV, 199.
+
+  HAY, JOHN.
+    Selection: _Little Breeches_: IV, 462.
+
+  _Heart of Bruce, The_: V, 316.
+
+  HEMANS, FELICIA BROWNE.
+    Selections: _Bernardo del Carpio_: IV, 270.
+      _Casabianca_: VIII, 313.
+      _Landing of the Pilgrim Fathers in New England_: IV, 197.
+
+  HENRY, PATRICK.
+    Selection: _A Call to Arms_: IX, 475.
+
+  HEROES. See LEGENDARY HEROES.
+
+  _Herve Riel_: VIII, 168.
+
+  _High School, Correlation of_ Journeys _with_: X, 425.
+
+  HISTORY.
+    _The Story of Joseph_: I, 456.
+    _The Hutchinson Mob_: IV, 208.
+    _The Boston Massacre_: IV, 217.
+    _Joan of Arc_: IV, 226.
+    _Alfred the Great_: IV, 260.
+    _Henry Hudson's Fourth Voyage_: V, 254.
+    _The Arickara Indians_: IV, 472.
+    _The Rise of Robert Bruce_: V, 278.
+    _The Buccaneers_: V, 359.
+    _Captain Morgan at Maracaibo_: V, 365.
+    _Braddock's Defeat_: V, 379.
+    _The Capture of Vincennes_: VI, 428.
+    _The Black Hawk Tragedy_: VII, 58.
+    _Ringrose and His Buccaneers_: VIII, 1.
+    _David Crockett in the Creek War_: VIII, 37.
+    _The Retreat of Cortes_: VIII, 63.
+    _The Battle of Thermopylae_: VIII, 81.
+    _Pere Marquette_: VIII, 121.
+    _The Fall of the Alamo_: VIII, 141.
+    _The Battle of Trafalgar_: VIII, 284.
+    _The Impeachment of Warren Hastings_: IX, 32.
+    _The Death of Caesar_: IX, 126.
+    _The Death of Caesar_: IX, 143.
+    _The Battle of Cressy_: IX, 161.
+    _The Battle of Saratoga_: IX, 176.
+    _The Battle of Hastings_: IX, 330.
+
+  _History, Analysis and Classification of Selections Correlated with_:
+     X, 403-410.
+
+  _History, The Teaching of_: X, 400.
+
+  _Holger Danske_: II, 377.
+
+  HOLMES, OLIVER WENDELL.
+    Biography: VII, 398.
+    Selections: _The Cubes of Truth_: VII, 406.
+      _The Chambered Nautilus_: IX, 454.
+
+  _Holy Grail, The_: V, 207.
+
+  _Home, Sweet Home_: VI, 221.
+
+  _Home They Brought Her Warrior Dead_: VI, 231.
+
+  HOMER.
+    Selection: _The Death of Hector_: IV, 364.
+
+  HOOD, THOMAS.
+    Selections: _Faithless Sally Brown_: III, 92.
+      _To My Infant Son_: VI, 478.
+
+  _Hop-O'-My-Thumb_: I, 112.
+
+  _Horatius_: VI, 1.
+
+  _Horse and the Stag, The_: I, 338.
+
+  HOWE, JULIA WARD.
+    Selection: _Battle Hymn of the Republic_: V, 399.
+
+  HOWITT, MARY.
+    Selections: _Fairies of the Caldon-Low, The_: II, 395.
+      _Spider and the Fly, The_: III, 19.
+      _Why the Sea Is Salt_: II, 484.
+
+  _How Sleep the Brave_: VII, 151.
+
+  _How's My Boy?_: VII, 169.
+
+  _How the Wolf Was Bound_: II, 91.
+
+  _How They Brought the Good News from Ghent to Aix_: V, 335.
+
+  _How They Took the Gold-Train_: VIII, 180.
+
+  _How to Read Aloud_: X, 311.
+
+  _How to Read Fiction_: X, 143.
+
+  _How to Read Poetry_: X, 272.
+
+  _How to Read Stories_: X, 145.
+
+  _Hudson's Fourth Voyage_: V, 254.
+
+  HUGHES, THOMAS.
+    Selection: _Tom Brown at Rugby_: V, 469.
+
+  HUMOR. See WIT AND HUMOR.
+
+  HUNT, LEIGH.
+    Selection: _Abou Ben Adhem_: IX, 11.
+
+  _Hutchinson Mob, The_: IV, 208.
+
+
+
+  I
+
+  _Imitation of Christ_: VI, 134.
+
+  _Impeachment of Warren Hastings, The_: IX, 32.
+
+  _Inchcape Rock, The_: V, 465.
+
+  _Incident of the French Camp_: IV, 174.
+
+  _Industry and Sloth_: I, 300.
+
+  _Infant Joy_: II, 10.
+
+  INGELOW, JEAN.
+    Selection: _Seven Times One_: II, 119.
+
+  _Interpretations._ See STUDIES.
+
+  _In Time's Swing_: II, 481.
+
+  IRVING, WASHINGTON.
+    Biography: VIII, 216.
+    Selections: _Alhambra, The_: VIII, 153.
+      _Arickara Indians, The_: IV, 472.
+      _Governor and the Notary, The_: VII, 20.
+      _Knickerbocker History of New York, The_: VIII, 224.
+
+
+  J
+
+  _Jack and the Beanstalk_: I, 156.
+
+  _Jack the Giant-Killer_: I, 174.
+
+  JEROME, JEROME K.
+    Selections: _On Comic Songs_: V, 455.
+      _We Plan a River Trip_: V, 443.
+
+  _Joan of Arc_: IV, 226.
+
+  _Johnson, Samuel, The Life of_: IX, 216.
+
+  _John's Pumpkin_: III, 1.
+
+  _Joseph, The Story of_: I, 456.
+
+  _Julius Caesar_: IX, 155.
+
+
+  K
+
+  _Katey's Letter_: IV, 470.
+
+  KEATS, JOHN.
+    Biography: IX, 457.
+    Selection: _Ode on a Grecian Urn_: IX, 462.
+
+  _Keepsake Mill_: I, 349.
+
+  KEMPIS, THOMAS A.
+    Selection: From _Imitation of Christ_: VI, 134.
+
+  KEY, FRANCIS SCOTT.
+    Selection: _Star-Spangled Banner, The_: VII, 167.
+
+  _King Arthur._ See _Arthur, King_.
+
+  _King of the Golden River, The_: II, 405.
+
+  KINGSLEY, CHARLES.
+    Selections: _A Farewell_: III, 22.
+      _How They Took the Gold-Train_: VIII, 180.
+      _Sands of Dee, The_: I, 412.
+      _Three Fishers, The_: VII, 343.
+      _Tom, the Water Baby_: II, 215.
+
+  KINNEY, COATES.
+    Selection: _Rain on the Roof_: IV, 7.
+
+  KIPLING, RUDYARD.
+    Selections: _Recessional, The_: VII, 164.
+      _Salmon Fishing_: VII, 285.
+
+  _Knickerbocker History of New York, The_: VIII, 224.
+
+  _Knock-Out, The_: VI, 471.
+
+  KRAUT, MARY HANNAH.
+    Selection: _Little Brown Hands_: I, 441.
+
+  KRUMMACHER.
+    Selection: _The Moss Rose_: VI, 98.
+
+
+  L
+
+  _Ladybird and the Fly, The_: I, 107.
+
+  _Lady Button-Eyes_: I, 366.
+
+  LAMB, CHARLES.
+    Biography: VIII, 328.
+    Selections: _Dissertation upon Roast Pig, A_: IX, 56.
+      _Dream Children: A Revery_: VIII, 335.
+      _Praise of Chimney Sweepers, The_: IX, 66.
+      _Tempest, The_: VIII, 348.
+
+  LAMB, MARY.
+    Biography: VIII, 328.
+    Selection: _The Tempest_: VIII, 348.
+
+  _Landing of the Pilgrim Fathers in New England_: IV, 197.
+
+  _Land of Counterpane, The_: I, 144.
+
+  _Language, Analysis and Classification of Selections for the Study of_:
+    X, 354, 378.
+
+  _Language, Correlation of_ Journeys _with Study of_: X, 345, 349.
+
+  _Language, The Teaching of_: X, 349.
+
+  LARCOM, LUCY.
+    Selections: _Brown Thrush, The_: I, 147.
+      _In Time's Swing_: II, 481.
+
+  _Lark and Her Young Ones, The_: I, 131.
+
+  LATTO, T. C.
+    Selection: _The Blind Lassie_: VI, 120.
+
+  _Lead, Kindly Light_: V, 110.
+
+  LEAR, EDWARD.
+    Selection: _The Owl and the Pussy-Cat_: I, 339.
+
+  LEGENDARY HEROES.
+    _Beowulf and Grendel_: III, 350.
+    _Frithiof the Bold_: III, 394.
+    _The Story of Siegfried_: III, 410.
+    _Roland at Roncesvalles_: III, 460.
+    _Cid Campeador_: IV, 9.
+    _The Death of Hector_: IV, 364.
+    _The Wooden Horse_: IV, 383.
+    _Ulysses_: IV, 398.
+    _King Arthur_: V, 113.
+    _Balin and Balan_: V, 130.
+    _Geraint and Enid_: V, 148.
+    _The Holy Grail_: V, 207.
+    _Dissensions at King Arthur's Court_: V, 232.
+    _The Passing of Arthur_: V, 237.
+    _Horatius_: VI, 1.
+    _Sohrab and Rustem_: VI, 157.
+    _Sohrab and Rustum_: VI, 173.
+
+  _Leprecaun, The_: III. 33.
+
+  _Lesson and the Author's Purpose, in Fiction, The_: X, 170.
+
+  _Let Something Good Be Said_: V, 111.
+
+  _Life of Samuel Johnson, The_: IX, 216.
+
+  _Limestone Broth_: VI, 467.
+
+  LINCOLN, ABRAHAM.
+    Selection: _The Gettysburg Address_: IX, 321.
+
+  _Lincoln, Abraham._ See _Abraham Lincoln_.
+
+  _Lion and The Missionary, The_: VI, 93.
+
+  _Lion and the Mouse, The_: I, 75.
+
+  _Lion, the Fox and the Ass, The_: I, 223.
+
+  _Literature and Its Forms_: X, 317.
+
+  _Literature, Different Kinds of_: X, 143.
+
+  _Little Birdie_: I, 142.
+
+  _Little Blue Pigeon_: I, 133.
+
+  _Little Breeches_: IV, 462.
+
+  _Little Brown Hands_: I, 441.
+
+  _Little Giffin of Tennessee_: IV, 461.
+
+  _Little Old Woman and Her Pig, The_: I, 97.
+
+  _Little Red Riding-Hood_: I, 79.
+
+  LIVINGSTONE, DAVID.
+    Selection: _The Lion and the Missionary_: VI, 93.
+
+  _Lochinvar_: III, 432.
+
+  LONGFELLOW, HENRY WADSWORTH.
+    Biography: IV, 62.
+    Selections: _Footsteps of Angels_: IV, 82.
+      _Reaper and the Flowers, The_: I, 410.
+      _Skeleton in Armor, The_: V, 327.
+      _Village Blacksmith, The_: IV, 86.
+      _Wreck of the Hesperus, The_: IV, 89.
+
+  _Looking Forward_: I, 106.
+
+  _Lord Ullin's Daughter_: VI, 23.
+
+  _Lost Child, The_: VII, 409.
+
+  LOVER, SAMUEL.
+    Selection: _Widow Machree_: VI, 464.
+
+  LOWELL, JAMES RUSSELL.
+    Biography: VII, 411.
+    Selections: _First Snowfall, The_: II, 403.
+      _Lost Child, The_: VII, 409.
+      _To H. W. L._: IV, 84.
+
+  LULLABIES.
+    _The Rock-a-By Lady_: I, 94.
+    _Little Blue Pigeon_: I, 133.
+    _Sleep, Baby, Sleep_: I, 204.
+    _Old Gaelic Lullaby_: I, 203.
+    _Norse Lullaby_: I, 246.
+    _Wynken, Blynken, and Nod_: I, 262.
+    _Lady Button-Eyes_: I, 366.
+    _Lullaby_: I, 96, II, 32.
+
+  _Lyric Poetry, Definition of_: X, 333.
+
+  LYRICS.
+    _A Thought_: I, 66.
+    _The Swing_: I, 67.
+    _The Sun's Travels_: I, 68.
+    _Singing_: I, 88.
+    _Looking Forward_: I, 106.
+    _The Cow_: I, 106.
+    _Rain_: I, 110.
+    _System_: I, 111.
+    _My Bed Is a Boat_: I, 126.
+    _Foreign Lands_: I, 130.
+    _At the Seaside_: I, 129.
+    _The Land of Counterpane_: I, 144.
+    _Bed in Summer_: I, 173.
+    _Block City_: I, 196.
+    _From a Railway Carriage_: I, 198
+    _Fairy Bread_: I, 198.
+    _Seein' Things_: I, 240.
+    _Whole Duty of Children_: I, 301.
+    _The Tree_: I, 301.
+    _Young Night Thought_: I, 302.
+    _Where Go the Boats?_: I, 256.
+    _Stop, Stop, Pretty Water_: I, 317.
+    _Time to Rise_: I, 340.
+    _Keepsake Mill_: I, 349.
+    _Foreign Children_: I, 351.
+    _The Duel_: I, 384.
+    _Autumn Fires_: I, 394.
+    _The Reaper and the Flowers_: I, 410.
+    _The Wind_: I, 440.
+    _Little Brown Hands_: I, 441.
+    _Infant Joy_: II, 10.
+    _The Baby_: II, 11.
+    _Poppyland Express_: II, 21.
+    _A Contrast_: II, 42.
+    _The Child's World_: II, 66.
+    _Afterwhile_: II, 123.
+    _Windy Nights_: II, 123.
+    _Shuffle-Shoon and Amber-Locks_: II, 121.
+    _Picture-Books in Winter_: II, 87.
+    _Seven Times One_: II, 119.
+    _The First Snowfall_: II, 403.
+    _In Time's Swing_: II, 481.
+    _A Farewell_: III, 22.
+    _Night_: III, 431.
+    _Better Than Gold_: IV, 1.
+    _The Barefoot Boy_: IV, 3.
+    _Rain on the Roof_: IV, 7.
+    _Mother's Way_: IV, 58.
+    _Footsteps of Angels_: IV, 82.
+    _The Village Blacksmith_: IV, 86.
+    _Pictures of Memory_: IV, 127.
+    _Landing of the Pilgrim Fathers in New England_: IV, 197.
+    _Away_: IV, 460.
+    _Lead, Kindly Light_: V, 110.
+    _Let Something Good be Said_: V, 111.
+    _Boyhood_: VI, 122.
+    _The Rainbow_: VI, 91.
+    _Four Ducks on a Pond_: VI, 98.
+    _The Blind Lassie_: VI, 120.
+    _Home They Brought Her Warrior Dead_: VI, 231.
+    _Elegy Written in a Country Churchyard_: VI, 360.
+    _The Daffodils_: VII, 1.
+    _The Recessional_: VII, 164.
+    _The Cloud_: VII, 257.
+    _My Mother's Picture_: VII, 335.
+    _Annabel Lee_: VII, 341.
+    _The Lost Child_: VII, 409.
+    _A Child's Thought of God_: VII, 418.
+    _Robert of Lincoln_: IX, 444.
+    _The Chambered Nautilus_: IX, 454.
+
+
+  M
+
+  MACAULAY, THOMAS BABINGTON.
+    Selections: _Battle of Ivry_: VIII, 76.
+      _Horatius_: VI, 1.
+      _Impeachment of Warren Hastings, The_: IX, 32.
+
+  MCCALEB, ANNA.
+    Adaptations: _Atalanta's Race_: I, 386.
+      _Baucis and Philemon_: I, 431.
+      _Cupid and Psyche_: III, 365.
+      _Death of Balder, The_: II, 99.
+      _How the Wolf Was Bound_: II, 91.
+      _Punishment of Loki, The_: II, 111.
+      _Queen of the Underworld, The_: II, 468.
+      _Story of Phaethon, The_: II, 245.
+      _Wonderful Gifts, The_: I, 368.
+    Selections: _Battle of Thermopylae, The_: VIII, 81.
+      _Browning, Elizabeth Barrett_: VII, 419.
+      _Cary, Alice and Phoebe_: IV, 116.
+      _Dickens, Charles_: VI, 232.
+      _Nightingale, Florence_: IX, 13.
+      _Queen Victoria_: VII, 152.
+
+  MACDONALD, GEORGE.
+    Selection: _The Baby_: II, 11.
+
+  MCMASTER, GUY HUMPHREY.
+    Selection: _The Old Continentals_: VII, 175.
+
+  _Make Way for Liberty_: VII, 172.
+
+  MALORY, SIR THOMAS.
+    Selection: (Abridgment of) _The Holy Grail_: V, 207.
+
+  _Mandeville, The Travels of Sir John_: IX, 207.
+
+  _Marching Song_: I, 155.
+
+  _Marco Bozzaris_: VIII, 90.
+
+  _Mariner's Dream, The_: III, 95.
+
+  _Marquette, Pere._ See _Pere Marquette_.
+
+  MARVEL, IK. See MITCHELL, DONALD G.
+
+  _Masterpieces, Graphic Classification of_: X, 12.
+
+  _Memorizing_: X, 128.
+
+  _Mercy to Animals_: I, 413.
+
+  _Metaphor, The_: X, 264.
+
+  _Method and Style of the Authors, in Fiction_: X, 174.
+
+  _Metonymy_: X, 265.
+
+  _Mice and the Cat, The_: I, 197.
+
+  _Milkmaid, The_: II, 374.
+
+  _Minerva and the Owl_: II, 7.
+
+  _Mirror of Matsuyana, The_: II, 36.
+
+  MITCHELL, DONALD G.
+    Selection: _Childhood_: VI, 124.
+
+  _Mock Turtle's Story, The_: III, 3.
+
+  _Modern Belle, The_: VI, 463.
+
+  _Modestine_: IX, 403.
+
+  MONTGOMERY, JAMES.
+    Selection: _Make Way for Liberty_: VII, 172.
+
+  MOORE, CLEMENT C.
+    Selection: _A Visit from Saint Nicholas_: II, 202.
+
+  MOORE, THOMAS.
+    Selections: _Potato, The_: II, 467.
+      _Those Evening Bells_: VII, 340.
+
+  _Moral Instruction_: X, 126.
+
+  _Moss Rose, The_: VI, 98.
+
+  _Mother's Way_: IV, 58.
+
+  _Munchausen, Baron_: V, 403.
+
+  _My Bed Is a Boat_: I, 126.
+
+  _My Heart Leaps Up_: IV, 2.
+
+  _My Mother's Picture_: VII, 335.
+
+  _My Old Kentucky Home_: VII, 179.
+
+  MYTHS.
+    _The Wonderful Gifts_: I, 368.
+    _Atalanta's Race_: I, 386.
+    _Baucis and Philemon_: I, 431.
+    _The Golden Touch_: II, 43.
+    _How the Wolf Was Bound_: II, 91.
+    _The Death of Balder_: II, 99.
+    _The Punishment of Loki_: II, 111.
+    _The Chimera_: II, 173.
+    _The Story of Phaethon_: II, 206.
+    _The Queen of the Underworld_: II, 468.
+    _Cupid and Psyche_: III, 365.
+    _Stories of the Creation_: IV, 159.
+
+
+  N
+
+  NARRATIVE POEMS.
+    _The Sands of Dee_: I, 412.
+    _A Visit from Saint Nicholas_: II, 202.
+    _The Spider and the Fly_: III, 19.
+    _Beth Gelert_: III, 42.
+    _The Mariner's Dream_: III, 95.
+    _The Pied Piper of Hamelin_: III, 384.
+    _Incident of the French Camp_: IV, 174.
+    _Sheridan's Ride_: IV, 223.
+    _Burial of Moses_: IV, 266.
+    _Bernardo del Carpio_: IV, 270.
+    _The Death of Hector_: IV, 364.
+    _The Wooden Horse_: IV, 383.
+    _Little Giffin of Tennessee_: IV, 461.
+    _Little Breeches_: IV, 462.
+    _Geraint and Enid_: V, 148.
+    _The Passing of Arthur_: V, 237.
+    _Bruce and the Spider_: V, 314.
+    _The Skeleton in Armor_: V, 327.
+    _How They Brought the Good News from Ghent to Aix_: V, 335.
+    _Horatius_: VI, 1.
+    _The Destruction of Sennacherib_: VI, 141.
+    _The Vision of Belshazzar_: VI, 153.
+    _Sohrab and Rustum_: VI, 173.
+    _The Rime of the Ancient Mariner_: VII, 29.
+    _How's My Boy?_: VII, 169.
+    _The Soldier's Dream_: VII, 170.
+    _The Forsaken Merman_: VII, 180.
+    _The Reaper's Dream_: VII, 345.
+    _Battle of Ivry_: VIII, 76.
+    _The Battle of Waterloo_: VIII, 176.
+    _Casabianca_: VIII, 313.
+    _The Romance of the Swan's Nest_: VIII, 315.
+    _The Cotter's Saturday Night_: VIII, 319.
+    _Abou Ben Adhem_: IX, 11.
+    _Pippa Passes_: IX, 293.
+    See BALLADS.
+
+  NATURE.
+    _The Brown Thrush_: I, 147.
+    _Mercy to Animals_: I, 413.
+    _The English Robin_: II, 214.
+    _Who Stole the Bird's Nest?_: II, 399.
+    _The Lion and the Missionary_: VI, 93.
+    _The Moss Rose_: VI, 98.
+    _Elephant Hunting_: VI, 385.
+    _Some Clever Monkeys_: VI, 402.
+    _The Petrified Fern_: VII, 77.
+    _The Buffalo_: VII, 96.
+    _A Gorilla Hunt_: VII, 247.
+    _Brute Neighbors_: VII, 260.
+    _The Pond in Winter_: VII, 280.
+    _Salmon Fishing_: VII, 285.
+    _Winter Animals_: VII, 293.
+    _Trees and Ants That Help Each Other_: VII, 306.
+    _A Bed of Nettles_: VIII, 209.
+    _Owls_: IX, 229.
+    _Robert of Lincoln_: IX, 444.
+
+  _Nature Study_: X, 380.
+
+  _Nature Study, Analysis and Classification of Selections related to_:
+    X, 381-393.
+
+  _Nearer Home_: IV, 126.
+
+  NEWMAN, JOHN HENRY (Cardinal).
+    Selections: _Definition of a Gentleman_: IV, 170.
+      _Lead, Kindly Light_: V, 110.
+
+  _Night_: III, 431.
+
+  NIGHTINGALE, FLORENCE.
+    Biography: IX, 13.
+
+  _Norse Lullaby_: I, 246.
+
+  NOVELS (Selections from).
+    _Robinson Crusoe_: III, 45.
+    _The Swiss Family Robinson_: III, 99.
+    _Cast Up by the Sea_:--
+      _The Escape from Prison_: IV, 130.
+    _Fabiola_:--
+      _Pancratius_: IV, 245.
+    _Ivanhoe_:--
+      _The Attack on the Castle_: IV, 322.
+      _The Tournament_: VI, 38.
+    _Tom Brown's School Days_:--
+      _Tom Brown at Rugby_: V, 469.
+    _An Attic Philosopher in Paris_:--
+      _The Poet and the Peasant_: VI, 206.
+      _The Family of Michael Arout_: VII, 314.
+    _Kidnapped_:--
+      _The Shipwreck_: VI, 371.
+    _The Last of the Mohicans_:--
+      _An Exciting Canoe Race_: VII, 79.
+    _The Mill on the Floss_:--
+      _Tom and Maggie Tulliver_: VII, 186.
+    _Treasure Island_:--
+      _The Recovery of the Hispaniola_: VII, 352.
+    _Don Quixote_:--
+      _Don Quixote Prepares to Set Out on His Adventures_: VII, 433.
+      _The Adventure of the Windmills_: VII, 438.
+      _Mambrino's Helmet_: VII, 441.
+      _Don Quixote's Encounter with the Lions_: VII, 448.
+      _The Adventure of the Enchanted Bark_: VII, 459.
+      _The Adventure of the Wooden Horse_: VII, 467.
+      _The Story of the Lashes_: VII, 480.
+    _Westward Ho!_:--
+      _How They Took the Gold-Train_: VIII, 180.
+    _Pickwick Papers_:--
+      _Mr. Pickwick and Sam Weller_: IX, 76.
+
+  NURSERY RHYMES: I, 3.
+
+  _Nursery Rhymes, Analysis of_: X, 18.
+
+
+  O
+
+  ODES.
+    _To H. W. L._: IV, 84.
+    _To the Fringed Gentian_: VII, 4.
+    _To a Mouse_: VII, 5.
+    _To a Mountain Daisy_: VII, 8.
+    _Ode to a Skylark_: VII, 275.
+    _To a Waterfowl_: VII, 395.
+    _Ode on a Grecian Urn_: IX, 462.
+
+  _Ode on a Grecian Urn_: IX, 462.
+
+  _Ode to a Skylark_: VII, 275.
+
+  _Old Continentals, The_: VII, 175.
+
+  _Old Gaelic Lullaby_: I, 203.
+
+  _Old Man and Death, The_: II, 9.
+
+  _Old Man and His Sons, The_: I, 78.
+
+  _Old Oaken Bucket, The_: VII, 11.
+
+  _On Comic Songs_: V, 455.
+
+  _On the Receipt of My Mother's Picture_: VII, 331.
+
+  _Oration, Definition and Study of_: X, 324.
+
+  _Oration, Illustrative Study of "A Call to Arms," as a type of_: IX, 481.
+
+  ORATIONS.
+    _The Gettysburg Address_: IX, 321.
+    _Abraham Lincoln_: IX, 324.
+    _The Fate of the Indians_: IX, 466.
+    _A Call to Arms_: IX, 475.
+
+  _Origin of the Opal_: II, 480.
+
+  _Owl and the Pussy-Cat, The_: I, 339.
+
+  _Owls_: IX, 229.
+
+
+  P
+
+  PALMER, J. W.
+    Selection: _"Stonewall" Jackson's Way_: V, 400.
+
+  _Pancratius_: IV, 245.
+
+  PARKMAN, FRANCIS.
+    Selection: _The Buffalo_: VII, 96.
+
+  _Passing of Arthur, The_: V, 237.
+
+  PATRIOTIC POEMS.
+    _The American Flag_: V, 396.
+    _"Stonewall" Jackson's Way_: V, 400.
+    _Bannockburn_: VII, 15.
+    _The Charge of the Light Brigade_: VII, 147.
+    _Breathes There the Man_: VII, 151.
+    _For A' That and A' That_: VII, 149.
+    _Make Way for Liberty_: VII, 172.
+    _The Old Continentals_: VII, 175.
+    _The Picket Guard_: VII, 177.
+    _Marco Bozzaris_: VIII, 90.
+
+  PAYNE, JOHN HOWARD.
+    Biography: VI, 221.
+    Selection: _Home, Sweet Home_: VI, 224.
+
+  _Pea Blossom, The_: I, 205.
+
+  _Pere Marquette_: VIII, 121.
+
+  PERRAULT, CHARLES.
+    Adaptations from _Cinderella_: I, 224.
+      _Hop-O'-My-Thumb_: I, 112.
+      _Little Red Riding-Hood_: I, 79.
+
+  _Personification_: X, 266.
+
+  _Persons, in Fiction, Study of_: X, 156.
+
+  _Petrified Fern, The_: VII, 77.
+
+  _Phaethon, The Story of_: II, 206.
+
+  _Picket-Guard, The_: VII, 177.
+
+  _Pickwick and Sam Weller_: IX, 76.
+
+  _Picture Books in Winter_: II, 87.
+
+  _Pictures and Their Use_: X, 36.
+
+  _Pictures and Their Value in Literature_: X, 44.
+
+  _Pictures in_ Journeys, _On the Use of_: X, 48.
+
+  _Pictures of Memory_: IV, 127.
+
+  _Pied Piper of Hamelin, The_: III, 384.
+
+  _Pilgrim's Progress, The_: IV, 423.
+
+  _Pine-Tree Shillings, The_: IV, 192.
+
+  _Pippa Passes_: IX, 293.
+
+  _Plan and Contents of_ Journeys: X, 7.
+
+  _Plan and Contents of Each Volume_: X, 24.
+
+  _Plot, in Fiction, Study of_: X, 149.
+
+  PLUTARCH.
+    Selection: _The Death of Caesar_: IX, 126.
+
+  POE, EDGAR ALLAN.
+    Selections: _Annabel Lee_: VII, 341.
+      _Descent into the Maelstrom, A_: VIII, 95.
+      _Gold-Bug, The_: IX, 232.
+      _Three Sundays in a Week_: VI, 453.
+
+  _Poet and the Peasant, The_: VI, 206.
+
+  POETRY. See BALLADS; DRAMA; LULLABIES; LYRICS; NARRATIVE POEMS; ODES;
+    PATRIOTIC POEMS; SONGS; WIT AND HUMOR.
+
+  _Poetry, Kinds of_: X, 331.
+
+  _Poetry, Reading_: X, 272.
+
+  _Polonius' Advice_: V, 112.
+
+  _Pond in Winter, The_: VII, 280.
+
+  _Poor Richard's Almanac_: VI, 407.
+
+  POPE, ALEXANDER.
+    Selection: _The Universal Prayer_: IV, 172.
+
+  _Poppyland Express, The_: II, 21.
+
+  _Potato, The_: II, 467.
+
+  _Praise of Chimney Sweepers, The_: IX, 66.
+
+  PRESCOTT, WILLIAM HICKLING.
+    Selection: _The Retreat of Cortes_: VIII, 63.
+
+  PRONUNCIATION OF PROPER NAMES:
+    Volume I, 487.
+    Volume II, 491.
+    Volume III, 487.
+    Volume IV, 491.
+    Volume V, 497.
+    Volume VI, 481.
+    Volume VII, 485.
+    Volume VIII, 489.
+    Volume IX, 489.
+
+  _Prose, Kinds of_: X, 318.
+
+  _Punishment of Loki, The_: II, 111.
+
+
+  Q
+
+  _Queen Alice_: III, 23.
+
+  _Queen of the Underworld, The_: II, 468.
+
+  QUEEN VICTORIA. See VICTORIA, QUEEN.
+
+  _Quotations, One Hundred Choice_: X, 131.
+
+
+  R
+
+  RAMEE, LOUISE DE LA.
+    Selection: _A Dog of Flanders_: IV, 93.
+
+  _Rab and His Friends_: VI, 99.
+
+  _Rain_: I, 110.
+
+  _Rainbow, The_: VI, 91.
+
+  _Rain on the Roof_: IV, 7.
+
+  RANDS, W. B.
+    Selection: _The Child's World_: II, 66.
+
+  READ, THOMAS BUCHANAN.
+    Selections: _Reaper's Dream, The_: VII, 345.
+      _Sheridan's Ride_: IV, 223.
+
+  _Reading, Correlation of_ Journeys _with Study of_: X, 345.
+
+  _Reading Aloud_: X, 123, 311.
+
+  _Reading and the Building of Character_: X, 85.
+
+  _Reading History_: V, 394.
+
+  _Reading Poetry_: X, 272.
+
+  _Reading Shakespeare_: VIII, 346.
+
+  _Reading Stories_: X, 145.
+
+  _Reaper and the Flowers, The_: I, 410.
+
+  _Reaper's Dream, The_: VII, 345.
+
+  _Recessional, The_: VII, 164.
+
+  _Recitations and Special Days in School_: X, 436.
+
+  _Recovery of the Hispaniola, The_: VII, 352.
+
+  _Reminiscences of a Pioneer_: V, 340.
+
+  _Retreat of Cortes, The_: VIII, 63.
+
+  _Riddles_: I, 72, 202, 245.
+
+  RILEY, JAMES WHITCOMB.
+    Selections: _Afterwhile_: II, 123.
+      _Away_: IV, 460.
+      _Let Something Good be Said_: V, 111.
+
+  _Rime of the Ancient Mariner, The_: VII, 29.
+
+  _Ringrose and His Buccaneers_: VIII, 1.
+
+  RINGROSE, BASIL.
+    Selection: _Ringrose and His Buccaneers_: VIII, 1.
+
+  _Rise of Robert Bruce, The_: V, 278.
+
+  _Robert of Lincoln_: IX, 444.
+
+  _Robin Hood_: III, 436.
+    _Robin Hood and Little John_: III, 437.
+    _Robin Hood and the Stranger_: III, 444.
+    _Robin Hood and the Widow's Three Sons_: III, 449.
+    _Robin Hood and Allin a Dale_: III, 454.
+
+  _Robinson Crusoe_: III, 45.
+
+  _Rock-a-by Lady, The_: I, 94.
+
+  _Roland at Roncesvalles_: III, 460.
+
+  _Romance of the Swan's Nest, The_: VIII, 315.
+
+  ROOSEVELT, THEODORE.
+    Selection: _Abraham Lincoln_: IX, 324.
+
+  _Rumpelstiltzkin_: II, 33.
+
+  RUSKIN, JOHN.
+    Selection: _The King of the Golden River_: II, 405.
+
+  _Ruth_: VI, 143.
+
+  RYAN, FATHER.
+    Selections: _Better Than Gold_: IV, 1.
+      _Mother's Way_: IV, 58.
+
+
+  S
+
+  _Salmon Fishing_: VII, 285.
+
+  _Sands of Dee, The_: I, 412.
+
+  SAXE, JOHN GODFREY.
+    Selection: _Echo_: III, 286.
+
+  _Scenes, in Fiction, Study of_: X, 162.
+
+  SCOTT, SIR WALTER.
+    Biography: VI, 26.
+    Selections: _Attack on the Castle, The_: IV, 322.
+      _Boat Song_: VII, 17.
+      _Breathes There the Man_: VII, 151.
+      _Christmas in Old Time_: VI, 356.
+      _Lochinvar_: III, 432.
+      _Rise of Robert Bruce, The_: V, 278.
+      _Tournament, The_: VI, 38.
+
+  _Second Voyage of Sinbad the Sailor, The_: III, 340.
+
+  _Seein' Things_: I, 240.
+
+  SELLON, GRACE E.
+    Adaptations: _Frithiof the Bold_: III, 394.
+      _Pippa Passes_: IX, 293.
+      _Snow Maiden, The_: I, 257.
+      _Story of Siegfried, The_: III, 410.
+    Selections: _Bryant, William Cullen_: VII, 391.
+      _Hawthorne, Nathaniel_: IV, 180.
+      _Holmes, Oliver Wendell_: VII, 398.
+      _Irving, Washington_: VIII, 216.
+      _Longfellow, Henry Wadsworth_: IV, 62.
+      _Lowell, James Russell_: VII, 411.
+      _Scott, Sir Walter_: VI, 26.
+      _Some Children's Books of the Past_: V, 101.
+      _Whittier, John Greenleaf_: VII, 381.
+
+  _Seven Times One_: II, 119.
+
+  SHAKESPEARE, WILLIAM.
+    Biography: VIII, 468.
+    Selections: _Death of Caesar, The_: IX, 143.
+      _Polonius' Advice_: V, 112.
+      _Tempest, The_: VIII, 364.
+
+  SHEALE, RICHARD.
+    Selection: _Chevy-Chase_: IV, 312.
+
+  SHELLEY, PERCY BYSSHE.
+    Selections: _Cloud, The_: VII, 257.
+      _Ode to a Skylark_: VII, 275.
+
+  _Shepherd Boy and the Wolves, The_: I, 92.
+
+  _Sheridan's Ride_: IV, 223.
+
+  _Shipwreck, The_: VI, 371.
+
+  _Shuffle-Shoon and Amber-Locks_: II, 121.
+
+  _Siegfried, The Story of_: III, 410.
+
+  _Silver-Locks and the Three Bears_: I, 101.
+
+  _Simile, The_: X, 263.
+
+  _Sinbad the Sailor, The Second Voyage of._ See _Second Voyage of
+    Sinbad the Sailor, The_.
+
+  _Singing_: I, 83.
+
+  _Sir Roger de Coverley_: IX, 371.
+
+  _Skeleton in Armor, The_: V, 327.
+
+  _Sleep, Baby, Sleep_: I, 204.
+
+  SMITH, SAMUEL FRANCIS.
+    Selection: _America_: VIII, 60.
+
+  _Snow Maiden, The_: I, 257.
+
+  _Snow Queen, The_: II, 124.
+
+  _Sohrab and Rustem_: VI, 157.
+
+  _Sohrab and Rustum_: VI, 173.
+
+  _Soldier's Dream, The_: VII, 170.
+
+  _Some Children's Books of the Past_: V, 101.
+
+  _Some Clever Monkeys_: VI, 402.
+
+  _"Something"_: I, 395.
+
+  _Song of the Brook_: IV, 60.
+
+  _Sonnet, Definition of_: X, 337.
+
+  SONGS.
+    _Singing_: I, 83.
+    _Little Birdie_: I, 142.
+    _Marching Song_: I, 155.
+    _The Owl and The Pussy Cat_: I, 339.
+    _Song of the Brook_: IV, 60.
+    _Nearer Home_: IV, 126.
+    _Lead, Kindly Light_: V, 110.
+    _Battle Hymn of the Republic_: V, 399.
+    _Annie Laurie_: VI, 119.
+    _Sweet and Low_: VI, 122.
+    _The Bugle Song_: VI, 133.
+    _Home, Sweet Home_: VI, 221.
+    _Auld Lang Syne_: VI, 228.
+    _The Old Oaken Bucket_: VII, 11.
+    _Boat Song_: VII, 17.
+    _The Star-Spangled Banner_: VII, 167.
+    _How Sleep the Brave_: VII, 151.
+    _My Old Kentucky Home_: VII, 179.
+    _Those Evening Bells_: VII, 340.
+    _The Three Fishers_: VII, 343.
+    _America_: VIII, 60.
+
+  SOUTHEY, ROBERT.
+    Selections: _Battle of Trafalgar, The_: VIII, 284.
+      _Inchcape Rock, The_: V, 465.
+      _Night_: III, 431.
+
+  SOUVESTRE, EMILE.
+    Selections: _Family of Michael Arout, The_: VII, 314.
+      _Poet and the Peasant, The_: VI, 206.
+
+  SPARKS, JARED.
+    Selection: _Pere Marquette_: VIII, 121.
+
+  _Sparrow and the Eagle, The_: II, 8.
+
+  SPENCER, WILLIAM R.
+    Selection: _Beth Gelert_: III, 42.
+
+  _Spider and the Fly, The_: III, 19.
+
+  SPRAGUE, CHARLES.
+    Selection: _The Fate of the Indians_: IX, 466.
+
+  _Star-Spangled Banner, The_: VII, 167.
+
+  STARK.
+    Selection: _The Modern Belle_: VI, 463.
+
+  STEVENSON, ROBERT LOUIS.
+    Biography: I, 128.
+    Selections: _At the Seaside_: I, 129.
+      _Autumn Fires_: I, 394.
+      _Bed in Summer_: I, 173.
+      _Block City_: I, 196.
+      _Cow, The_: I, 106.
+      _Fairy Bread_: I, 198.
+      _Foreign Children_: I, 351.
+      _Foreign Lands_: I, 130.
+      _From a Railway Carriage_: I, 198.
+      _Keepsake Mill_: I, 349.
+      _Land of Counterpane, The_: I, 144.
+      _Looking Forward_: I, 106.
+      _Marching Song_: I, 155.
+      _Modestine_: IX, 403.
+      _My Bed Is a Boat_: I, 126.
+      _Picture-Books in Winter_: II, 87.
+      _Rain_: I, 110.
+      _Recovery of the Hispaniola, The_: VII, 352.
+      _Shipwreck, The_: VI, 371.
+      _Singing_: I, 83.
+      _Sun's Travels, The_: I, 68.
+      _Swing, The_: I, 67.
+      _System_: I, 111.
+      _Thought, A_: I, 66.
+      _Time to Rise_: I, 340.
+      _Where Go the Boats?_: I, 256.
+      _Whole Duty of Children_: I, 301.
+      _Wind, The_: I, 440.
+      _Windy Nights_: II, 123.
+      _Young Night Thought_: I, 302.
+
+  _"Stonewall" Jackson's Way_: V, 400.
+
+  _Stop, Stop, Pretty Water_: I, 317.
+
+  STORIES.
+    _A Dog of Flanders_: IV, 93.
+    _The Pine-Tree Shillings_: IV, 192.
+    _Gulliver's Travels_: V, 6.
+    _Rab and His Friends_: VI, 99.
+    _A Christmas Carol_: VI, 244.
+    _Three Sundays in a Week_: VI, 453.
+    _The Governor and the Notary_: VII, 20.
+    _A Descent into the Maelstrom_: VIII, 95.
+    _The Tempest_: VIII, 364.
+    _The Gold-Bug_: IX, 232.
+    See ADVENTURE; FAIRY LORE AND FOLK LORE; NOVELS.
+
+  STORIES OF ADVENTURE. See ADVENTURE.
+
+  _Stories, Reading_: X, 145.
+
+  _Stories, Telling_: X, 63.
+
+  _Stories of the Creation_: IV, 159.
+
+  _Story of Aladdin, or the Wonderful Lamp, The_: III, 288.
+
+  _Story of Esther, The._ See _Esther, The Story of_.
+
+  _Story of Joseph, The._ See _Joseph, The Story of_.
+
+  _Story of Phaethon, The._ See _Phaethon, The Story of_.
+
+  _Story of Ruth, The._ See _Ruth, The Story of_.
+
+  _Story of Siegfried, The._ See _Siegfried, The Story of_.
+
+  _Studies, Of_: IX, 400.
+
+  STUDIES. (The following are selections upon which the studies are
+  based. In chapter XIX of Volume X the more important studies are
+  arranged in the order in which the selections appear in the several
+  volumes.)
+    _Alfred the Great_: IV, 260.
+       (Study in History--X, 414.)
+    _America_: VIII, 60.
+    _American Flag, The_: V, 396.
+    _Annie Laurie_: VI, 119.
+       (Study in Close Reading--X, 243.)
+    _Ballad of Agincourt_: V, 95.
+       (Story Told--X, 74.)
+    _Bannockburn_: VII, 15.
+    _Barefoot Boy, The_: IV, 3.
+       (Study--X, 286.)
+    _Battle of Saratoga_: IX, 176.
+       (Study in History--X, 419.)
+    _Boat Song_: VII, 17.
+    _Boston Massacre, The_: IV, 217.
+       (Study in Argument--X, 370.)
+    _Braddock's Defeat_: V, 379.
+       (Study in Close Reading--X, 227.)
+    _Brown Thrush, The_: I, 147.
+       (Study--X, 276.)
+    _Brute Neighbors_: VII, 260.
+       (Nature Study--X, 383.)
+    _Bugle Song, The_: VI, 133.
+       (Study--X, 287.)
+    _Call to Arms, A_: IX, 475.
+    _Chambered Nautilus, The_: IX, 454.
+    _Child's World, The_: II, 66.
+       (Study--X, 277.)
+    _Christmas Carol, A_: VI, 244.
+       (Study in Scene--X, 168.)
+       (Study of Picture, _Bob and Tiny Tim_--X, 41.)
+    _Christmas in Old Time_: VI, 356.
+    _Cid Campeador_: IV, 9.
+       (Study in Exposition--X, 368.)
+    _Cinderella_: I, 224.
+       (Character Study--I, 238.)
+       (Complete Study--X, 150.)
+    _Cloud, The_: VII, 257.
+       (Study--X, 301.)
+    _Country Squire, The_: VI, 474.
+    _Cubes of Truth, The_: VII, 406.
+    _Cupid and Psyche_: III, 365.
+    _Daffodils, The_: VII, 1.
+    _David Crockett in the Creek War_: VIII, 37.
+       (Study--X, 244.)
+    _Death of Caesar, The_: IX, 143.
+       (Study--X, 253.)
+    _Definition of a Gentleman_: IV, 170.
+       (Study in Close Reading--X, 234)
+    _Descent into the Maelstrom, A_: VIII, 95.
+    _Dog and His Shadow, The_: I, 63.
+       (Study on Scene--X, 164.)
+    _Down Tumbled Wheelbarrow_: I, 46.
+       (Study of Picture--X, 58.)
+    _Dream Children: A Revery_: VIII, 335.
+    _Drummer, The_: I, 303.
+       (Complete Study--X, 193.)
+    _Exciting Canoe Race, An_: VII, 79.
+       (Study in Forms of Expression--X, 376.)
+    _Expense, Of_: IX, 397.
+    _Fairies, The_: I, 405.
+    _Fairies of Caldon-Low, The_: II, 395.
+       (Story Told--X, 68.)
+    _Faithless Sally Brown_: III, 92.
+       (Study in Close Reading--X, 232.)
+    _Fate of the Indians, The_: IX, 466.
+    _Fir Tree, The_: II, 68.
+       (Study of Picture, _The Swallow and the Stork Came_--X, 55.)
+       (Study in The Lesson and the Author's Purpose--X, 173.)
+    _First Snowfall, The_: II, 403.
+       (Study in Figures--X, 270.)
+       (Complete Study--X, 281.)
+    _Forsaken Merman, The_: VII, 180.
+       (Study--X, 295.)
+    _Fox and the Crow, The_: I, 64.
+       (Complete Study--X, 187.)
+    _Fox and the Stork, The_: I, 73.
+       (Study on Scene--X, 166.)
+    _Frithiof the Bold_: III, 394.
+    _Geraint and Enid_: V, 148.
+       (Study of Picture, _Geraint Hears Enid Singing_--X, 60.)
+    _Gettysburg Address, The_: IX, 321.
+    _Gold-Bug, The_: IX, 232.
+       (Study--IX, 283.)
+    _Golden Touch, The_: II, 43.
+    _Gulliver's Travels_: V, 6.
+       (Study in Close Reading on _Adventures in Lilliput_--X, 235.)
+    _Hardy Tin Soldier, The_: I, 148.
+       (Character Study--X, 158.)
+    _Hare and the Tortoise, The_: I, 71.
+       (Complete Study--X, 185.)
+    _Heart of Bruce, The_: V, 316.
+       (Study in Close Reading--X, 238.)
+    _Herve Riel_: VIII, 168.
+       (Story Told--X, 78.)
+    _Holger Danske_: II, 377.
+    _How They Brought the Good News from Ghent to Aix_: V, 335.
+    _Impeachment of Warren Hastings, The_: IX, 32.
+       (Study--X, 248.)
+    _In Time's Swing_: II, 481.
+    _Incident of the French Camp_: IV, 174.
+    _Industry and Sloth_: I, 300.
+       (Study in Close Reading--X, 229.)
+    _Jack and The Beanstalk_: I, 156.
+       (Study of Picture--X, 52.)
+    _Keepsake Mill_: I, 349.
+    _King of The Golden River, The_: II, 405.
+       (Study--II, 441.)
+       (Study in Description--X, 366.)
+       (Complete Study--X, 393.)
+    _Land of Counterpane_: I, 144.
+    _Lead, Kindly Light_: V, 110.
+       (Study--X, 98.)
+    _Little Blue Pigeon_: I, 133.
+    _Little Giffin of Tennessee_: IV, 461.
+       (Story Told--X, 71.)
+    _Lochinvar_: III, 432.
+    _Lost Child, The_: VII, 409.
+       (Study in Close Reading--X, 243.)
+    _Milkmaid, The_: II, 374.
+    _My Bed is My Boat_: I, 126.
+       (Study of Picture--X, 52.)
+    _My Mother's Picture_: VII, 331.
+       (Study in Description--X, 367.)
+    _Ode on a Grecian Urn_: IX, 462.
+    _Ode to a Skylark_: VII, 275.
+       (Study in Figures--X, 268.)
+       (Study in Reading Poetry--X, 306.)
+    _Old Gaelic Lullaby_: I, 203.
+    _Old Oaken Bucket_: VII, 11.
+    _Origin of the Opal_: II, 480.
+       (Study--X, 285.)
+    _Passing of Arthur, The_: V, 237.
+       (Complete Study--X, 214.)
+    _Petrified Fern, The_: VII, 77.
+       (Study--X, 291.)
+    _Phaethon, the Story of_: II, 206.
+    _Picture Books in Winter_: II, 87.
+    _Pippa Passes_: IX, 293.
+       (Study--IX, 316.)
+    _Pond in Winter, The_: VII, 280.
+       (Nature Study--X, 384.)
+    _Poor Richard's Almanac_: VI, 407.
+       (Study in Character Building--X, 101.)
+    _Potato, The_: II, 467.
+       (Study--X, 285.)
+    _Queen of The Underworld, The_: II, 468.
+    _Rab and His Friends_: VI, 99.
+       (Study in Emotional Power--X, 177.)
+       (Study in Close Reading--X, 225.)
+    _Reading History_: V, 394.
+    _Reading Shakespeare_: VIII, 346.
+    _Reaper and the Flowers, The_: I, 410.
+       (Study--X, 272.)
+    _Reapers Dream, The_: VII, 345.
+    _Recessional, The_: VII, 164.
+    _Recovery of the Hispaniola, The_: VII, 352.
+    _Reminiscences of a Pioneer_: V, 340.
+       (Study--X, 119.)
+    _Robert of Lincoln_: IX, 444.
+    _Robin Hood and the Stranger_: III, 444.
+       (Study in Narration--X, 363.)
+    _Robinson Crusoe_: III, 45.
+       (Nature Study--X, 382.)
+    _Rock-a-By Lady, The_: I, 94.
+    _Seven Times One_: II, 119.
+       (Study--X, 278.)
+    _Shuffle-Shoon and Amber-Locks_: II, 121.
+       (Study of Picture--X, 54.)
+    _Snow Queen, The_: II, 124.
+       (Study on Plot--II, 169.)
+    _Some Children's Books of the Past_: V, 101.
+    _"Something"_: I, 395.
+    _Sweet and Low_: VI, 122.
+    _Swiss Family Robinson_: III, 99.
+       (Nature Study--X, 382.)
+    _Tempest, The_: VIII, 364.
+       (Studies for The Tempest--VIII, 468.)
+    _To H. W. L._: IV, 84.
+    _To My Infant Son_: VI, 478.
+    _Tom, the Water Baby_: II, 215.
+       (Study of Picture, _Tom and the Dragon Fly_--X, 55.)
+       (Study of Story--X, 198.)
+       (Nature Study Lesson--X, 381.)
+    _Tom and Maggie Tulliver_: VII, 186.
+    _Town Mouse and the Country Mouse, The_: I, 199.
+    _Trees and Ants that Help Each Other_: VII, 306.
+       (Study--X, 385.)
+    _Twin Brothers, The_: I, 264.
+    _Ugly Duckling, The_: I, 414.
+    _Village Blacksmith, The_: IV, 86.
+    _Vision of Mirza, The_: IX, 285.
+       (Study in Notes.)
+    _Visit from St. Nicholas, A_: II, 202.
+       (Study in Figures--X, 270.)
+    _Who Stole the Bird's Nest?_: II, 399.
+       (Character Study--X, 95.)
+    _Why the Sea Is Salt_: II, 484.
+       (Study in Close Reading--X, 231.)
+    _Wind and the Sun, The_: I, 95.
+       (Lesson in Language--X, 357.)
+    _Winter Animals_: VII, 293.
+       (Study--X, 384.)
+    _Wynken, Blynken, and Nod_: I, 262.
+       (Study of Picture--X, 53.)
+
+  _Studies for The Tempest_: VIII, 468.
+
+  _Study, or Close Reading_: X, 224.
+
+  _Style and Method of the Author, in Fiction_: X, 174.
+
+  _Sunken Treasure, The_: IV, 199.
+
+  _Sun's Travels, The_: I, 68.
+
+  _Sweet and Low_: VI, 122.
+
+  SWIFT, JONATHAN.
+    Biography: V, 1.
+    Selection: _Gulliver's Travels_: V, 6.
+
+  _Swing, The_: I, 67.
+
+  _Swiss Family Robinson, The_: III, 99.
+
+  _Synecdoche_: X, 265.
+
+  _System_: I, 111.
+
+
+  T
+
+  TAYLOR, JEFFREYS.
+    Selection: _The Milkmaid_: II, 374.
+
+  _Telling Stories_: X, 63.
+
+  _Tempest, The_ (A Tale from Shakespeare): VIII, 348.
+
+  _Tempest, The_: VIII, 364.
+    Studies for: VIII, 468.
+
+  TENNYSON, ALFRED.
+    Selections: _Bugle Song, The_: VI, 133.
+      _Charge of the Light Brigade, The_: VII, 147.
+      _Geraint and Enid_: V, 148.
+      _Home They Brought Her Warrior Dead_: VI, 231.
+      _Little Birdie_: I, 142.
+      _Passing of Arthur, The_: V, 237.
+      _Song of the Brook_: IV, 60.
+      _Sweet and Low_: VI, 122.
+
+  THOREAU, HENRY DAVID.
+    Selections: _Brute Neighbors_: VII, 260.
+      _Pond in Winter, The_: VII, 280.
+      _Winter Animals_: VII, 293.
+
+  _Those Evening Bells_: VII, 340.
+
+  _Thought, A_: I, 66.
+
+  _Three Fishers, The_: VII, 343.
+
+  _Three Little Pigs, The_: I, 136.
+
+  _Three Sundays in a Week_: VI, 453.
+
+  _Three Tasks, The_: I, 247.
+
+  _Time to Rise_: I, 340.
+
+  _To a Mountain Daisy_: VII, 8.
+
+  _To a Mouse_: VII, 5.
+
+  _To a Waterfowl_: VII, 395.
+
+  _To H. W. L._: IV, 84.
+
+  _Tom and Maggie Tulliver_: VII, 186.
+
+  _Tom Brown at Rugby_: V, 469.
+
+  _Tom, the Water Baby_: II, 215.
+
+  _Tom Thumb_: I, 84.
+
+  _To My Infant Son_: VI, 478.
+
+  _To The Fringed Gentian_: VII, 4.
+
+  _Tournament, The_: VI, 38.
+
+  _Town Mouse and the Country Mouse, The_: I, 199.
+
+  _Travels of Sir John Mandeville, The_: IX, 207.
+
+  _Tree, The_: I, 301.
+
+  _Trees and Ants That Help Each Other_: VII, 306.
+
+  _Twin Brothers, The_: I, 264.
+
+  _Two Travelers, The_: I, 109.
+
+  _Two Travelers and the Oyster, The_: I, 111.
+
+  TYNDALL, JOHN.
+    Selection: _Ascent of the Jungfrau_: IX, 1.
+
+
+  U
+
+  _Ugly Duckling, The_: I, 414.
+
+  _Ulysses_: IV, 398.
+
+  _Universal Prayer, The_: IV, 172.
+
+
+  V
+
+  VERGIL.
+    Selection: _The Wooden Horse_: IV, 383.
+
+  VICTORIA, QUEEN.
+    Biography: VII, 152.
+
+  _Village Blacksmith, The_: IV, 86.
+
+  VILLENEUVE, MADAME.
+    _Beauty and the Beast_ (Adapted): I, 318.
+
+  _Vision of Belshazzar, The_: VI, 153.
+
+  _Vision of Mirza, The_: IX, 285.
+
+  _Visit from Saint Nicholas, A_: II, 202.
+
+
+  W
+
+  _Walrus and the Carpenter, The_: III, 36.
+
+  WEIR, HARRISON.
+    Selection: _The English Robin_: II, 214.
+
+  _We Plan a River Trip_: V, 443.
+
+  _What the Old Man Does Is Always Right_: II, 387.
+
+  _Where Go the Boats?_: I, 256.
+
+  WHITE, GILBERT.
+    Selection: _Owls_: IX, 229.
+
+  WHITTIER, JOHN GREENLEAF.
+    Biography: VII, 381.
+    Selections: _Barbara Frietchie_: III, 347.
+      _Barefoot Boy, The_: IV, 3.
+
+  _Whittington and His Cat_: I, 442.
+
+  _Whole Duty of Children_: I, 301.
+
+  _Who Stole the Bird's Nest?_: II, 399.
+
+  _Why the Sea Is Salt_: II, 484.
+
+  _Widow Machree_: VI, 464.
+
+  _Wind, The_: I, 440.
+
+  _Wind and the Sun, The_: I, 95.
+
+  _Windy Nights_: II, 123.
+
+  _Winter Animals_: VII, 293.
+
+  WISEMAN, CARDINAL.
+    Selection: _Pancratius_: IV, 245.
+
+  WIT AND HUMOR.
+    _Time to Rise_: I, 340.
+    _The Cow_: I, 106.
+    _System_: I, 111.
+    _Rain_: I, 110.
+    _Seein' Things_: I, 240.
+    _Whole Duty of Children_: I, 301.
+    _The Owl and the Pussy-Cat_: I, 339.
+    _The Duel_: I, 384.
+    _The Potato_: II, 467.
+    _The Milkmaid_: II, 374.
+    _John's Pumpkin_: III, 1.
+    _Faithless Sally Brown_: III, 92.
+    _Echo_: III, 286.
+    _Elegy on the Death of a Mad Dog_: IV, 57.
+    _The Yarn of the "Nancy Bell"_: IV, 466.
+    _Katey's Letter_: IV, 470.
+    _Baron Munchausen_: V, 403.
+    _The Fiddling Parson_: V, 440.
+    _We Plan a River Trip_: V, 443.
+    _On Comic Songs_: V, 455.
+    _The Modern Belle_: VI, 463.
+    _Widow Machree_: VI, 464.
+    _Limestone Broth_: VI, 467.
+    _The Knock-Out_: VI, 471.
+    _The Country Squire_: VI, 474.
+    _To My Infant Son_: VI, 478.
+    _The Knickerbocker History of New York_: VIII, 224.
+
+  _Wolf and the Crane, The_: I, 96.
+
+  _Wolf and the Lamb, The_: I, 455.
+
+  _Wonderful, Gifts, The_: I, 368.
+
+  _Wooden Horse, The_: IV, 383.
+
+  WOODWORTH, SAMUEL.
+    Selection: _the Old Oaken Bucket_: VII, 11.
+
+  WORDSWORTH, WILLIAM.
+    Selection: _My Heart Leaps Up_: IV, 2.
+      _The Daffodils_: VII, 1.
+
+  _Wreck of the Hesperus, The_: IV, 89.
+
+  _Wynken, Blynken, and Nod_: I, 262.
+
+  WYSS, JOHANN RUDOLPH.
+    Selection: _The Swiss Family Robinson_: III, 99.
+
+
+  Y
+
+  _Yarn of the "Nancy Bell," The_: IV, 466.
+
+  _Young Night Thought_: I, 302.
+
+  YRIARTE, THOMAS.
+    Selection: _The Country Squire_: VI, 474.
+
+
+
+       *       *       *       *       *
+
+
+
+
+Transcriber's Note
+
+
+The following corrections have been made:
+
+   60  made clear? changed to made clear?)
+   61  After the childen changed to After the children
+   75  long been forgotton changed to long been forgotten
+   94  _Something_, Volume, I changed to _Something_, Volume I
+  105  Pride breakfasted changed to "Pride breakfasted
+  121  Pere Marquette changed to Pere Marquette
+  126  you select changed to you to select
+  145  _2. Reading Stories_ changed to 2. _Reading Stories_
+  239  hundred years ago. changed to hundred years ago.)
+  239  What causes it? changed to What causes it?)
+  242  forty-sixth stanza. changed to forty-sixth stanza?
+  294  poet when he changed to poet when she
+  303  are the genii" changed to are the "genii"
+  303  mean: Wherever changed to  mean: "Wherever
+  313  person can forciby changed to person can forcibly
+  356  Pere Marquette changed to Pere Marquette
+  363  are easily modifed changed to are easily modified
+  363  rough and-tumble changed to rough-and-tumble
+  386  a. Nursery rhymes: changed to _a._ Nursery rhymes:
+  390  Fox, The Wolf changed to Fox, the Wolf
+  405  Pere Marquette changed to Pere Marquette
+  434  of his death. changed to of his death.)
+  452  to subject-matter, changed to to subject-matter.
+  473  Fennimore changed to Fenimore
+  479  The Forsken changed to The Forsaken
+  481  Psyche. changed to Psyche:
+  483  MYTHS AND LEGENDARY changed to MYTHS and LEGENDARY
+  485  Pere Marquette changed to Pere Marquette
+  489  SELECTIONS (under Macaulay) changed to Selections
+  491  a Grecian Urn, changed to a Grecian Urn: (twice)
+  491  Illustrative Study of "A Call to Arms," as a type of changed to
+       _Illustrative Study of "A Call to Arms," as a type of_
+  492  DRAMA: changed to DRAMA;
+  493  _Queen Victoria._ changed to QUEEN VICTORIA.
+  494  of the Past. changed to of the Past:
+
+The following words were inconsistently spelled or hyphenated:
+
+  AEsop / Aesop
+  archway / arch-way
+  Caesar / Caesar
+  clearcut / clear-cut
+  Cortes / Cortez
+  De la Ramee / de la Ramee
+  highborn / high-born
+  lifelike / life-like
+  mediaeval / medieval
+  Nowadays / Now-a-days
+  retelling / re-telling
+  rewritten / re-written
+  Rock-a-by Lady / Rock-a-By Lady / Rock-a-By-Lady
+  Rumpelstiltzkin / Rumpelstiltzken
+  subtitles / sub-titles
+  Thermopylae / Thermopylae
+  today / to-day
+
+
+
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