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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:15:10 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:15:10 -0700 |
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diff --git a/24974-h/24974-h.htm b/24974-h/24974-h.htm new file mode 100644 index 0000000..8a4bb93 --- /dev/null +++ b/24974-h/24974-h.htm @@ -0,0 +1,8779 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of Ontario Teachers' Manuals: Literature, Authorized by The Minister of Education. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p {margin-top: .75em; + text-align: justify; + text-indent: 1.25em; + margin-bottom: .75em; + } + img {border: 0;} + .tnote {border: dashed 1px; margin-left: 10%; margin-right: 10%; padding-bottom: .5em; padding-top: .5em; + padding-left: .5em; padding-right: .5em;} + ins {text-decoration:none; border-bottom: thin dotted gray;} + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + + .blockquot{margin-left: 5%; margin-right: 10%; text-align: justify;} + + .bbox {border: solid 2px; margin-left: 20%; margin-right: 20%; padding-bottom: .5em; padding-top: .5em; + padding-left: .5em; padding-right: .5em;} + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + + .caption {font-weight: bold;} + + .figcenter {margin: auto; text-align: center;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + + .figright {float: right; clear: right; margin-left: 1em; margin-bottom: 1em; + margin-top: 1em; margin-right: 0; padding: 0; text-align: center;} + + .unindent {margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + .right {text-align: right;} + .poem {margin-left: 30%; margin-right: 10%; text-align: left;} + .poem2 {margin-left: 15%; margin-right: 10%; text-align: left;} + .poem3 {margin-left: 5%; margin-right: 10%; text-align: left;} + + .sig {margin-right: 25%; text-align: right;} + .u {text-decoration: underline;} + .linenum {position: absolute; top: auto; left: 4%;} /* poetry number */ + .sidenote {width: 20%; padding-bottom: .5em; padding-top: .5em; + padding-left: .5em; padding-right: .5em; margin-left: 1em; + float: right; clear: right; margin-top: 1em; + font-size: smaller; color: black; background: #eeeeee; border: dashed 1px;} + + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .fnanchor {vertical-align:baseline; + position: relative; + bottom: 0.33em; + font-size: .8em; + text-decoration: none;} + .hang1 {text-indent: -3em; margin-left: 3em;} + .hang2 {text-indent: -3em; margin-left: 5em;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Ontario Teachers' Manuals: Literature, by +Ontario Ministry of Education + +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: Ontario Teachers' Manuals: Literature + +Author: Ontario Ministry of Education + +Release Date: April 2, 2008 [EBook #24974] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK ONTARIO TEACHERS MAN.: LITERATURE *** + + + + +Produced by Suzanne Lybarger, Emmy and the Online +Distributed Proofreading Team at https://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive/Canadian Libraries) + + + + + + +</pre> + +<p><span class='pagenum'><a name="Page_i" id="Page_i">[i]</a></span></p> + + + + +<h2>ONTARIO<br /> +TEACHERS' MANUALS</h2> + + + +<h1>LITERATURE<br /><br /><br /><br /><br /></h1> + + +<div class='center'>AUTHORIZED BY THE MINISTER OF EDUCATION<br /> +<br /><br /><br /><br /><br /> + + +<small>TORONTO</small><br /> + +THE COPP, CLARK COMPANY, <span class="smcap">Limited</span></div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_ii" id="Page_ii">[ii]</a></span></p> + +<div class='center'> +<span class="smcap"><small>Copyright, Canada, 1916, by</small></span><br /> +<span class="smcap"><small>The Minister of Education for Ontario</small></span><br /> +<span class="smcap"><small>Reprinted, 1916, 1917.</small></span><br /></div> + + + +<hr style="width: 65%;" /><p> +<span class='pagenum'><a name="Page_iii" id="Page_iii">[iii]</a></span></p> + +<h2>CONTENTS</h2> + + +<div class='center'> +<table border="0" cellpadding="0" cellspacing="0" summary="Contents"> +<tr><td align='left'> </td><td align='center'><small>PAGE</small></td></tr> +<tr><td align='left'><span class="smcap">Course of Study—Details</span></td><td align='right'><a href="#Page_1">1</a></td></tr> +<tr><td align='left'><br /><span class="smcap">Chapter</span> I</td></tr> +<tr><td align='left'><span style="margin-left: 1em;">Introduction</span></td></tr> +<tr><td align='left'><span style="margin-left: 1em;">What is Literature?</span></td><td align='right'><a href="#Page_5">5</a></td></tr> +<tr><td align='left'><span style="margin-left: 1em;">The Qualities that Appeal to Children at Different Ages</span></td><td align='right'><a href="#Page_7">7</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">In Junior Forms</span></td><td align='right'><a href="#Page_7">7</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">In Senior Forms (Books III and IV)</span></td><td align='right'><a href="#Page_10">10</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Complete Wholes versus Extracts</span></td><td align='right'><a href="#Page_11">11</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Correlation of Literature with Nature Study, Geography, History, and Art</span></td><td align='right'><a href="#Page_12">12</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Aims in Teaching Literature</span></td><td align='right'><a href="#Page_14">14</a></td></tr> +<tr><td align='left'><span style="margin-left: 1em;">General Principles Applicable in the Teaching of Literature</span></td><td align='right'><a href="#Page_16">16</a></td></tr> +<tr><td align='left'><br /><span class="smcap">Chapter</span> II</td></tr> +<tr><td align='left'><span style="margin-left: 1em;">Methods</span></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">In Junior Forms</span></td><td align='right'><a href="#Page_19">19</a></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">Memorization</span></td><td align='right'><a href="#Page_20">20</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">In Senior Forms</span></td><td align='right'><a href="#Page_22">22</a></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">Teacher's Preparation</span></td><td align='right'><a href="#Page_22">22</a></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">Preparation of Pupils</span></td><td align='right'><a href="#Page_23">23</a></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">Presentation</span></td><td align='right'><a href="#Page_26">26</a></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">Value of Oral Reading in the Interpretation and Appreciation of Literature</span></td><td align='right'><a href="#Page_27">27</a></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">Development of the Main Thought</span></td><td align='right'><a href="#Page_29">29</a></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">Minute Analysis</span></td><td align='right'><a href="#Page_31">31</a></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">Allusions</span></td><td align='right'><a href="#Page_32">32</a></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">Imagery</span></td><td align='right'><a href="#Page_33">33</a></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">Literature of Noble Thought</span></td><td align='right'><a href="#Page_35">35</a></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">Recapitulation</span></td><td align='right'><a href="#Page_36">36</a></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">Mistakes in Teaching Literature</span></td><td align='right'><a href="#Page_37">37</a></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">Extensive Reading</span></td><td align='right'><a href="#Page_39">39</a></td></tr> +<tr><td align='left'><br /><span class="smcap">Chapter</span> III</td></tr> +<tr><td align='left'><span style="margin-left: 1em;">Illustrative Lessons</span></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Pantomime</span></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">Little Miss Muffet</span></td><td align='right'><a href="#Page_42">42</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Dramatization</span></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">Little Boy Blue</span></td><td align='right'><a href="#Page_43">43</a></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">The Story of Henny Penny</span></td><td align='right'><a href="#Page_44">44</a></td></tr> +<tr><td align='left'><span style="margin-left: 3em;">Wishes</span></td><td align='right'><a href="#Page_46">46</a></td></tr> +<tr><td align='left'><span class='pagenum'><a name="Page_iv" id="Page_iv">[iv]</a></span><span style="margin-left: 3em;">Indian Lullaby</span></td><td align='right'><a href="#Page_47">47</a></td></tr> +<tr><td align='left'><br /><span class="smcap">Chapter IV. Form I: Senior</span></td></tr> +<tr><td align='left'><span style="margin-left: 1em;">Illustrative Lessons</span></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">The Wind and the Leaves</span></td><td align='right'><a href="#Page_50">50</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Piping Down the Valleys Wild</span></td><td align='right'><a href="#Page_52">52</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">The Baby Swallow</span></td><td align='right'><a href="#Page_54">54</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">The Brook</span></td><td align='right'><a href="#Page_56">56</a></td></tr> +<tr><td align='left'><br /><span class="smcap">Chapter V. Form II</span></td></tr> +<tr><td align='left'><span style="margin-left: 1em;">Illustrative Lessons</span></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">My Shadow</span></td><td align='right'><a href="#Page_59">59</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">One, Two, Three</span></td><td align='right'><a href="#Page_62">62</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Dandelions</span></td><td align='right'><a href="#Page_64">64</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">The Blind Men and the Elephant</span></td><td align='right'><a href="#Page_67">67</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">The Lord is my Shepherd</span></td><td align='right'><a href="#Page_71">71</a></td></tr> +<tr><td align='left'><br /><span class="smcap">Chapter VI. Form III</span></td></tr> +<tr><td align='left'><span style="margin-left: 1em;">Illustrative Lessons</span></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Hide and Seek</span></td><td align='right'><a href="#Page_74">74</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">An Apple Orchard in the Spring</span></td><td align='right'><a href="#Page_76">76</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Little Daffydowndilly</span></td><td align='right'><a href="#Page_78">78</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Moonlight Sonata</span></td><td align='right'><a href="#Page_83">83</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Lead, Kindly Light</span></td><td align='right'><a href="#Page_87">87</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Lead, Kindly Light</span></td><td align='right'><a href="#Page_89">89</a></td></tr> +<tr><td align='left'><br /><span class="smcap">Chapter VII. Form IV</span></td></tr> +<tr><td align='left'><span style="margin-left: 1em;">Illustrative Lessons</span></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Judah's Supplication to Joseph</span></td><td align='right'><a href="#Page_93">93</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Mercy</span></td><td align='right'><a href="#Page_98">98</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Morning on the Lièvre</span></td><td align='right'><a href="#Page_101">101</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Dickens in the Camp</span></td><td align='right'><a href="#Page_105">105</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Dost Thou Look Back on What Hath Been</span></td><td align='right'><a href="#Page_112">112</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Waterloo</span></td><td align='right'><a href="#Page_117">117</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">Three Scenes in the Tyrol</span></td><td align='right'><a href="#Page_122">122</a></td></tr> +<tr><td align='left'><br /><span class="smcap">Chapter VIII</span></td></tr> +<tr><td align='left'><span style="margin-left: 1em;">Supplementary Reading</span></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">South-West Wind, Esq.</span></td><td align='right'><a href="#Page_131">131</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">A Christmas Carol</span></td><td align='right'><a href="#Page_135">135</a></td></tr> +<tr><td align='left'><span style="margin-left: 2em;">The Lady of the Lake</span></td><td align='right'><a href="#Page_139">139</a></td></tr> +<tr><td align='left'><br /><span class="smcap">Chapter IX</span></td></tr> +<tr><td align='left'><span style="margin-left: 1em;">Selections for Memorization</span></td><td align='right'><a href="#Page_145">145</a></td></tr> +</table></div><p><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2>LITERATURE</h2> + +<h2>PUBLIC AND SEPARATE SCHOOL<br /> +COURSE OF STUDY</h2> + +<h3>DETAILS</h3> + +<h3>FORM I</h3> + + +<div class="hang1">A. <span class="smcap">Selections from The Ontario Readers</span><br /><br /></div> + +<div class="hang1">B. <span class="smcap">Supplementary Reading and Memorization</span>: Selection +may be made from the following:<br /><br /></div> + +<div class="hang1">I. <i>To be Read to Pupils:</i><br /><br /></div> + +<div class="hang2">1. <span class="smcap">Nursery Rhymes</span>: Sing a Song of Sixpence; I +Saw a Ship a-Sailing; Who Killed Cock Robin; +Simple Simon; Mary's Lamb, etc.<br /> +<br /> +Consult <i>Verse and Prose for Beginners in Reading;</i> +Riverside Literature Series, No. 59, 15 cents.<br /><br /></div> + +<div class="hang2">2. <span class="smcap">Fairy Stories</span>: Briar Rose, Snow-white and Rose-red—Grimm; +The Ugly Duckling—Andersen; +Cinderella, The Sleeping Beauty in the Wood—Perrault; +Beauty and the Beast—Madame de +Villeneuve; The Wonderful Lamp—Arabian +Nights' Entertainments.<br /> +<br /> +Consult <i>Fairy Tales Every Child Should Know</i>, +by H. W. Mabie. Grosset & Dunlap, 50c.</div> +<p><span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span></p> +<div class="hang2">3. <span class="smcap">Folk Stories</span>: Whittington and His Cat; The +Three Bears.<br /><br /></div> + +<div class="hang2">4. <span class="smcap">Fables</span>: Selections from Æsop and La Fontaine.<br /> +<br /> +Consult <i>Fables and Folk Stories</i>, by Scudder, Parts +I and II; Riverside Literature Series, Nos. 47, 48, +15 cents each.<br /><br /></div> + + +<div class="hang1">II. <i>To be Read by Pupils:</i><br /><br /></div> + +<div class="hang2">Fables and Folk Stories—Scudder; A Child's Garden +of Verses (First Part)—Stevenson; Readers of +a similar grade.<br /><br /></div> + + +<div class="hang1">III. <i>To be Memorized by Pupils:</i><br /><br /></div> + +<div class="hang2">1. <span class="smcap">Memory Gems</span>: Specimens of these may be found +in the Public School Manuals on Primary +Reading and Literature.<br /><br /></div> + +<div class="hang2">2. <span class="smcap">From the Readers</span>: Morning Hymn; Evening +Prayer; The Swing; What I Should Do; Alice.<br /><br /></div> + + + +<h3><br />FORM II</h3> + +<div class="hang1">A. <span class="smcap">Selections from Second Reader</span><br /><br /></div> + +<div class="hang1">B. <span class="smcap">Supplementary Reading and Memorization</span>: Selection +may be made from the following:<br /><br /></div> + + +<div class="hang1">I. <i>To be Read to Pupils:</i><br /><br /></div> + +<div class="hang2">1. <span class="smcap">Narrative Poems</span>: John Gilpin—Cowper; Lucy +Gray—Wordsworth; Wreck of the Hesperus—Longfellow; +Pied Piper of Hamelin—Browning; +May Queen—Tennyson; etc.<br /><br /> + +Consult <i>The Children's Garland</i>, Patmore. The +Macmillan Co., 35 cents.<br /><br /></div><p><span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span></p> + +<div class="hang2">2. <span class="smcap">Nature Stories</span>: Wild Animals I Have Known, +Lives of the Hunted—Thompson-Seton; The +Watchers of the Trails—Roberts.<br /><br /></div> + +<div class="hang2">3. <span class="smcap">Fairy Stories</span>: Fairy Tales Every Child Should +Know—H. W. Mabie.<br /><br /></div> + +<div class="hang2">4. <span class="smcap">Other Stories</span>: Selections from the Wonder +Book—Hawthorne; Jungle Book—Kipling; +Gulliver's Travels—Swift; Alice in Wonderland—Carroll; +Robinson Crusoe—Defoe; The +Hall of Heroes—Royal Treasury of Story and +Song, Part III, Nelson & Sons.<br /><br /></div> + + +<div class="hang1">II. <i>To be Read by Pupils:</i><br /><br /></div> + +<div class="hang2">A Child's Garden of Verses—Stevenson; The Seven +Little Sisters—Jane Andrews; Fifty Famous +Stories Retold—Baldwin.<br /><br /></div> + + +<div class="hang1">III. <i>To be memorized by Pupils:</i> (A minimum of six +lines a week)<br /><br /></div> + +<div class="hang2"><span class="smcap">From the Reader</span>:<br /><br /></div> + +<div class="hang2">A Wake-up Song; Love; The Land of Nod; One, Two, +Three; March; Abide with Me; The New Moon; +The Song for Little May; The Lord is my Shepherd; +Lullaby—Tennyson; Indian Summer; +proverbs, maxims, and short extracts found at +the bottom of the page in the Readers.<br /><br /></div> + + + +<h3><br />FORM III</h3> + +<div class="hang1">A. <span class="smcap">Selections from Third Reader</span><br /><br /></div> + +<div class="hang1">B. <span class="smcap">Supplementary Reading and Memorization</span>: Selection +may be made from the following:<br /><br /></div><p><span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span></p> + +<div class="hang2">The King of the Golden River—Ruskin; Tanglewood +Tales—Hawthorne; The Heroes—Kingsley; +Adventures of Ulysses—Lamb; Squirrels and +Other Fur-bearers—Burroughs; Ten Little Boys +who Lived on the Road from Long Ago till +Now—Jane Andrews; Hiawatha—Longfellow; +Rip Van Winkle—Irving; Water Babies—Kingsley.<br /><br /></div> + +<div class="hang1"><i>To be Memorized by Pupils:</i> (A minimum of ten lines a +week)<br /><br /></div> + +<div class="hang2"><span class="smcap">From the Reader</span>:<br /><br /></div> + +<div class="hang2">To-day—Carlyle; The Quest—Bumstead; Hearts of +Oak—Garrick; A Farewell—Kingsley; An Apple +Orchard in the Spring—Martin; The Charge +of the Light Brigade—Tennyson; Lead, Kindly +Light—Newman; The Bugle Song—Tennyson; +Crossing the Bar—Tennyson; The Fighting +Téméraire—Newbolt; Afterglow—Wilfred Campbell; +proverbs, maxims, and short extracts.<br /><br /></div> + + + +<h3><br />FORM IV</h3> + +<div class="hang1">A. <span class="smcap">Selections from Fourth Reader</span><br /><br /></div> + +<div class="hang1">B. <span class="smcap">Supplementary Reading and Memorization</span>: Selections +may be made from the list prepared annually +by the Department of Education.<br /><br /></div> + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span></p> + +<h2>LITERATURE</h2> + + + +<hr style="width: 65%;" /> +<h2>CHAPTER I</h2> + +<h3>INTRODUCTION</h3> + + +<p>It is the purpose of this Manual to present the general +principles on which the teaching of literature is based. It +will distinguish between the intensive and the extensive +study of literature; it will consider what material is suitable +for children at different ages; it will discuss the +reasons for various steps in lesson procedure; and it will +illustrate methods by giving, for use in different Forms, +lesson plans in literature that is diverse in its qualities. +This Manual is not intended to provide a short and easy +way of teaching literature nor to save the teacher from +expending thought and labour on his work. The authors +do not propose to cover all possible cases and leave nothing +for the teacher's ingenuity and originality.</p> + + +<h3><br />WHAT IS LITERATURE?</h3> + +<p>Good literature portrays and interprets human life, +its activities, its ideas and emotions, and those things about +which human interest and emotion cluster. It gives breadth +of view, supplies high ideals of conduct, cultivates the +imagination, trains the taste, and develops an appreciation +of beauty of form, fitness of phrase, and music of +language. The term <i>Literature</i> as used in this Manual<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span> +is applied especially to those selections in the <i>Ontario +Readers</i> which possess in some degree these characteristics. +Such selections are unlike the lessons in the text-books in +grammar, geography, arithmetic, etc. In these the aim +is to determine the facts and the conclusions to which they +lead. Even in the Readers, there are some lessons of +which this is partly true. For instance, the lesson on +<i>Clouds, Rains, and Rivers</i>, by Tyndall, is such as might +be found in a text-book in geography or science. Here +the information alone is viewed as valuable, and the pupil +will probably supplement what he has learned from the +book by the study of material objects and natural phenomena. +When this lesson is to be studied, the pupil should +be taught not only to understand thoroughly what the +author is expressing by his language, but also to appreciate +the clearness and force with which he has given his +message to the world. The pupil should be called upon +to examine the author's illustrations, his choice of words, +and his paragraph and sentence structure.</p> + +<p>Each literature lesson in the Reader has some particular +force, or charm of thought and expression. There +is found in these lessons, not only beauty of thought and +feeling, but artistic form as well. In the highest forms +of literature, the emotional element predominates, and it +should be one to which all mankind, to a greater or less +degree, are subject. It is the predominance of these emotional +and artistic elements which makes literature a +difficult subject to teach. The element of feeling is elusive +and can best be taught by the influence of contagion. +There is usually less difficulty about the intellectual element, +that is, about the meaning of words and phrases, +the general thought of the lesson, and the relation of the +thoughts to one another and to the whole.<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span></p> + +<h3><br />THE QUALITIES THAT APPEAL +TO CHILDREN AT DIFFERENT AGES</h3> + +<p>This is a psychological problem which can be solved +only by a study of the interests and capacities of the +children. These interests vary so greatly and make their +appearance at such diverse periods in different individuals +and in the two sexes, that it is a difficult matter to say +with any definiteness just what qualities of literature +appeal to children at any particular age. Moreover, the +children's environment and previous experiences have a +great deal to do in determining these interests and capacities. +There are, however, certain characteristics of different +periods of childhood which are fairly universal, and +which may, therefore, be taken as guiding, determining +factors in the selection of suitable literature.</p> + +<h3><br />JUNIOR FORMS</h3> + +<p>1. One of the most striking characteristics of young +children is the activity of their imagination. They endow +their toys with life and personality; they construct the +most fantastic and impossible tales; they accept without +question the existence of supernatural beings. The +problem for the teacher is to direct this activity of imagination +into proper fields, and to present material which will +give the child a large store of beautiful images—images +that are not only delightful to dwell upon, but are also +elevating and refining in their influence upon character. +The fairy tale, the folk tale, and the fable, owe their +popularity with young children to the predominance of +the imaginative element. The traditionary fairy tales +and folk stories are usually more suitable than those that +appear in teachers' magazines and modern holiday books<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span> +for children. The hardest thing for the educated mind +to do is to write down to the level of children without +coddling or becoming cynical. The old tales are sincere, +simple, and full of faith. They are not written for children, +but are the romance of the people with whom they +came into existence, and they have stood the test of ages.</p> + +<p>The myth is usually not suitable for young children, +as it is a religious story having a symbolic meaning which +is beyond their interpretation. If it is used at all, only +the story in it should be given.</p> + +<p>2. Stories of adventure, courage, and the defence of +the helpless appeal very strongly to young children. Even +the cruelties and crudities of <i>Bluebeard</i>, <i>Ali Baba and the +Forty Thieves</i>, and <i>Aladdin and his Wonderful Lamp</i> do +not alarm or repel children very much, owing to their lack +of experience in these matters. Stories based on the love +of the sexes are unsuitable for children of this age, +although it constitutes the chief element in stories for +older people.</p> + +<p>3. The child is also interested in stories of simple +games, of animals and birds, and of the material world +on which so much of his happiness depends. These stories +are corrective of the desire which characterizes some children +for too many fairy stories. The fairy story and the +nature story should be alternated, so that the child's interests +may be imaginative without becoming visionary, +and practical without becoming prosaic.</p> + +<p>4. Most children have a keen sense of the musical +qualities of verse. The child of two years of age will give +his attention to the rhythm of the nursery rhyme when +the prose story will not interest him. The consideration +and analysis of these musical qualities should be deferred<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span> +for years; but it is probable that the foundation for a +future appreciation of poetry is often laid by an acquaintance +with the rhymes of childhood.</p> + +<p>5. The element of repetition appeals strongly to children. +In this lies the attractiveness of the "cumulative +story", in which the same incident, or feature, or form +of expression is repeated again and again with some slight +modification; for example, the story of <i>Henny Penny</i>, <i>The +Gingerbread Boy</i>, and <i>The Little Red Hen</i>. The choruses +and the refrains of songs are pleasant for this reason.</p> + +<p><i>Silverlocks and the Three Bears</i> is an example of a +story that has many attractive features. Silverlocks is an +interesting girl, because she is mischievous and adventurous. +The pupils know a good deal about bears and +wild animals from picture books, stories, and perhaps the +travelling menageries. The bears have all proper names—Rough +Bruin, Mammy Muff, and Tiny; this gives an air +of reality to the story. The bears speak in short, characteristic +sentences.</p> + +<p>Silverlocks runs away from home, goes into the woods, +and finds a lonely house which is the home of the bears. +They are not at home, so she enters. These actions suggest +mystery and adventure.</p> + +<p>The construction of the story shows two chief divisions, +with three subdivisions. The second division begins with +the return of the bears. They find the soup has been +tasted, the chairs disturbed, and the beds rumpled; their +conversation is interesting, and their tones characteristic. +Tiny, the little bear, suffers most; he enlists the sympathy +of the children, as he has lost his dinner and his chair is +broken. He discovers Silverlocks, but she escapes and +"never runs away from home any more".<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span></p> + +<h3><br />SENIOR FORMS (BOOKS III AND IV)</h3> + +<p>1. In these Forms, the pupil's imagination is still +strong, though less fantastic and under better control, and +hence stories involving a large element of imagination +retain their charm at this stage. The myth, and longer +and more involved fairy tales, such as Ruskin's <i>King of +the Golden River</i>, Hawthorne's <i>Wonder Book</i>, and Kingsley's +<i>Greek Heroes</i>, are read with avidity.</p> + +<p>2. Stories involving <i>a number of incidents</i> are wonderfully +attractive. This is due to the pupil's instinctive +interest in action and personality. Children are more +deeply interested in persons who <i>do</i> things than in those +who <i>become</i> something else than they were. A description +of some evolution of character very soon palls, but +a stirring tale of heroic deeds exerts a powerful fascination. +This explains the attractiveness of the hero tale, +the story of adventure, and the stirring historical narrative. +The action should have the merit of artistic moderation. +Stories in which there is a carnival of action, for +example, the "dime thriller", under whose spell so many +boys fall, must be avoided. Literature that leaves the +mind so feverish that the pupil loses interest in other subjects +is worse than no literature. The easiest way to prevent +a taste for this injurious kind, is to give the pupil +an acquaintance with works descriptive of noble deeds +and virile character. An interest in epic poetry or the +historical novel may be developed from the child's instinctive +interest in action. Tennyson's <i>Passing of +Arthur</i>, Arnold's <i>Sohrab and Rustum</i>, Longfellow's <i>Evangeline</i> +and <i>King Robert of Sicily</i>, and Scott's <i>Ivanhoe</i> will +be read with keen enjoyment. The force and beauty of +the language, the faithfulness of the descriptions to life,<span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span> +the historical setting, the lofty imagery, and the logical +development will arouse a healthy mental appetite that will +find no pleasure in the worthless story of sensation and +vulgar incident, or even in some badly constructed compositions +of historical adventure.</p> + +<p>3. The pupils of the Senior Forms show even more +striking interest in animals, pets, and wild creatures than +do the pupils of the Junior Forms. To this natural interest +is due the engrossing character of nature study. +To it is also due the satisfaction arising from the reading +of some of the many nature stories that have appeared in +recent years.</p> + +<p>Thompson-Seton's <i>Wild Animals I have Known</i> and +<i>Lives of the Hunted</i>, and Roberts' <i>The Watchers of the +Trails</i> are excellent examples of this class.</p> + +<h3><br />COMPLETE WHOLES VERSUS EXTRACTS</h3> + +<p>Scattered throughout the <i>Ontario Readers</i> are to be +found extracts from larger works. These extracts are +placed there primarily because they have some special +literary value. They have fairly complete unity in themselves +and can be treated in detail in a way that would +be impossible with a whole story. The extract has an +advantage over the whole, in that it repays intensive study, +while, in many cases, such study of the whole work would +not be worth while. It is considered better to give the +pupil many of these passages where the author has shown +his greatest art, rather than to allow one long work to absorb +the very limited time which the pupil can devote to this +subject. The study of the extract will have accomplished +its mission if it induces the pupil to read the larger work +for himself in later years. If the treatment by the teacher<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span> +is made as interesting as it should be, it is hoped that the +pupil will obtain such delight from, and be inspired to +such enthusiasm by, these glimpses of literary treasures, +that he will not be satisfied until he has enjoyed in their +entirety such works as <i>The Lady of the Lake</i>, <i>Pickwick +Papers</i>, <i>Lorna Doone</i>, <i>The Mill on the Floss</i>, <i>Julius Cæsar</i>, +and <i>It is Never Too Late to Mend</i>. An extract may serve +as an introduction to the choicest work of an author, may +arouse an interest in his writings, and give the pupils a +taste of his quality, but, unless it whets their appetites +for the work as a whole, its chief purpose will not have +been accomplished. These extracts cannot give a panoramic +view of a great historical epoch. They do not +require that sustained attention that relates to-day's +readings with that of yesterday, and that takes a wider +survey of many parts in their relation to a central theme. +The larger work gives a culture and a liberal education, +when it is treated in the proper manner, that is very different +from the fragmentary knowledge of an author that +would be gained by even the intensive study of many short +extracts. The treatment of the extract, as we have said, +must be minute; while the whole work should be subsequently +read in a method that will be outlined later on +under the head of Supplementary Reading.</p> + +<h3><br />CORRELATION OF LITERATURE +WITH NATURE STUDY, GEOGRAPHY, HISTORY, AND ART</h3> + +<p>Many of the lessons in the <i>Ontario Readers</i> should be +preceded by preparatory work in geography, history, or +nature study. Poems such as <i>Jacques Cartier</i>, <i>The Charge +of the Light Brigade</i>, <i>The Burial of Sir John Moore</i>, and +<i>The Armada</i> cannot be fully appreciated unless the historical<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span> +setting is known. There are famous pictures that +will increase the pupil's interest in these poems. In the +lessons on art, there are studies of pictures that suggest +feelings and thoughts characterized by universality, permanency, +and nobility—pictures that stir men to nobler +thought and higher aspiration. Often, such pictures are +the painter's method of expressing in colours, thoughts +that the poet has expressed in words. Lessons such as +<i>Dandelions</i>, <i>Bob White</i>, and <i>The Sandpiper</i> require a preliminary +acquaintance with certain facts of nature, and +therefore should be taken, if possible, when these can be +obtained through personal observation by the pupils. +<i>Wolfe and Montcalm</i> and Drake's <i>Voyage Around the +World</i> demand, in addition to historical facts, certain +geographical data. These facts and data should be communicated +at some time before the lessons in literature are +taken, in order that the latter may not descend into lessons +in history, geography, or natural science. The extracts +mentioned above are not placed in the Readers to teach +certain historical, geographical, or scientific facts. They +are placed there, as has been said, primarily because they +have some value as literature. Hence the literature lesson +should require few digressions, the necessary preparatory +work having been done in previous periods.</p> + +<p>But while history, geography, nature study, and art +frequently assist in the interpretation of a poem or prose +selection, these subjects, on the other hand, may be reinforced +and strengthened by selections drawn from the +fields of literature. The facts of the history lesson will +be given an additional attractiveness if the pupil is directed +to some well-written biography or drama embodying the +same facts, or if the teacher reads or recites to the class +some spirited ballad, such as <i>Bonnie Dundee</i>, bearing upon<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span> +the lesson. The interest in the observations made in nature +study will be intensified by reading some nature story +written in good literary form.</p> + +<p>While these studies may go hand in hand with literature, +it is not necessary that they should be always taken +on the same day or even in the same week. The literature +lesson may be an effective agent in the recall of ideas +that have had time to be assimilated from previous nature +study, history, or geography lessons. In our enthusiasm +for literature we must not make these subjects the mere +soil and fertilizers out of which the flowers of poetry will +spring. Each of these subjects has its proper sphere, but +that teacher misses many golden opportunities who does +not frequently take a comprehensive survey of his material +in all these studies in order to find the element that will +give a unity to all our knowledge and experience. The +lessons in the Reader may be taken according to the conditions +existing in the class or the inclination of the +teacher. By no means is it necessary to follow the order +in the book.</p> + +<h3><br />AIMS IN TEACHING LITERATURE</h3> + +<p>The teacher should always have a clear and definite +aim in view in teaching a selection in literature, but +different teachers may have different aims in teaching the +same selection. There should, of course, always be the +general aim to create a taste for good literature by leading +the pupils to appreciate the beauty and power of clear +and artistic expression of thought and feeling; but this +aim must be specific according to the nature of the selection +to be taught. Some specific aims may be given as +suggestive:<span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span></p> + +<p>1. To appeal suitably to such instinctive tastes and +interests of childhood as are already awake and active; +for example, Second Reader, p. 3, <i>My Shadow;</i> p. 185, <i>A +Visit from St. Nicholas;</i> p. 125, <i>Little Gustava;</i> p. 215, +<i>The Children's Hour</i>.</p> + +<p>2. To awaken and develop interests and tastes that are +as yet dormant; for example, Second Reader, p. 42, <i>A Song +for Little May;</i> p. 88, <i>The Brown Thrush</i>.</p> + +<p>3. To develop and direct the imagination; for example, +Second Reader, p. 72, <i>The New Moon;</i> p. 117, <i>Little +Sorrow;</i> p. 45, <i>The Little Land;</i> p. 172, <i>The Wind</i>.</p> + +<p>4. To arouse and quicken the sense of beauty; for +example, Second Reader, p. 92, <i>Mother's World;</i> p. 155, +<i>Lullaby</i>.</p> + +<p>5. To exercise and cultivate the emotions; for example, +Second Reader, p. 94, <i>Androclus and the Lion;</i> p. 135, +<i>Ulysses;</i> p. 107, <i>A Night with a Wolf</i>.</p> + +<p>6. To develop manners and morals through examples +of character and conduct in action; for example, Second +Reader, p. 114, <i>Joseph II and the Grenadier</i>.</p> + +<p>7. To develop appreciation for the well-told story; for +example, Second Reader, p. 5, <i>The Pail of Gold;</i> p. 12, +<i>How I Turned the Grindstone;</i> p. 56, <i>The Blind Men and +the Elephant;</i> p. 211, <i>How the Greeks Took Troy</i>.</p> + +<p>8. To develop a true sense of humour; for example, +Second Reader, p. 50, <i>Change About</i>.</p> + +<p>9. To develop a sense of reverence; for example, +Second Reader, p. 203, <i>The Lord is my Shepherd;</i> p. 218, +<i>Abide With Me</i>.<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span></p> + +<h3><br />GENERAL PRINCIPLES APPLICABLE IN +THE TEACHING OF LITERATURE</h3> + +<p>There are four outstanding principles of general +method that apply particularly in the teaching of Literature.</p> + +<p>I. The pupil must, at the outset, be placed in a receptive +attitude toward the lesson if the best results are +to be secured. He must have some <i>purpose</i> in view if he +is to be induced to concentrate his attention upon it. His +purposes determine his interests, and hence the lesson +must, in some way, be related to interests that already +exist in his mind. Frequently his instinctive interest in +action, in personality, or in excitement is sufficient incentive +to secure his attention. A suspicion that a lesson +contains a good story is often sufficient to ensure a careful +reading of it, and a curiosity as to the writer's devices +to make the story interesting will lead to a closer examination +of it. But more frequently some special interest resulting +from the time of year, the surroundings, or the +work taken in some other subject, may be effectively +utilized by the teacher. These interests of children are +so numerous and so varied that there are few lessons in +the Readers for which a receptive attitude of mind cannot +be secured. It will be observed that the principle here +enunciated corresponds to the "statement of the aim" in +the Herbartian "Formal Steps".</p> + +<p>II. The pupil's mind must be suitably prepared for +the assimilation of the ideas contained in the lesson, by +recalling old ideas and feelings that are related to those +to be presented in the selection to be studied. He must +be placed in a proper intellectual attitude to interpret the +ideas and in a proper emotional attitude to appreciate the<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span> +feelings. Neglect of the former may make the selection +wholly meaningless to the pupil; neglect of the latter may +result in entire indifference toward it. A proper intellectual +attitude is necessary in any lesson, but in a lesson +in grammar or arithmetic the emotional attitude may be +almost completely absent. In literature, however, this +emotional attitude is often of the greatest importance, +and the neglect of it may mean an utter lack of appreciation +of some literary masterpiece. This preparatory work +may take the form of a recall of some of the common +experiences of the pupil's life or a review of some facts +taken, for instance, in a previous geography, history, or +nature study lesson. The apperceptive power of the +pupil's mind takes the new material of thought and feeling +contained in the selection and weaves it into the web of +his previous ideas and emotions.</p> + +<p>III. The mind always proceeds from a vague and indistinct +idea of a new presentation to a clear and defined +idea of it. The process is always analytic-synthetic. In +a literature lesson the order of procedure must be: (1) +Let the pupil get that somewhat indistinct grasp of the +thought and feeling which comes from a preliminary +reading of it; (2) make this more definite by a process +of analysis, by concentrating attention on the details; (3) +make the idea completely definite by a clear grasp of the +relations existing among the various details, that is, by a +process of synthesis.</p> + +<p>IV. No impression is complete without some form of +expression. An idea or emotion is a very incomplete and +useless thing until it is worked out in practice and conduct. +The thoughts and feelings gained from the literature +lesson must be given some kind of expression if they<span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span> +are to be fully realized. This expression may take many +different forms. The pupils may merely read the selection, +showing to the listeners their understanding and +appreciation of it. If it is a story, they may reproduce it +in their own words orally or in writing. They may sketch +a scene or a situation with pencil, or with brush and +colours. They may dramatize it, or act it in pantomime. +They may create a story with a similar theme, or imitate +a poem by a creation of their own. The expression may +not be immediate but may be delayed for days or even +years, and come in some modification of future conduct.<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2>CHAPTER II</h2> + +<h3>METHODS</h3> + + +<h3>IN JUNIOR FORMS</h3> + +<p>To introduce children to the world of literature, it is +not necessary to wait until they have mastered the art of +reading. The introduction should come long before they +have learned to read, through listening to good stories +told or read to them by others, through hearing suitable +poems read or recited with spirit and feeling, and by +memorizing nursery rhymes and gems of poetry.</p> + +<p>The material to be used in primary grades has already +been described. Early work in literature should be correlated +with oral composition.</p> + +<p>As to the comparative merits of reading and telling, +much may be said on each side. In the early stages, +telling must, of course, be the predominant if not the +exclusive means of communicating the story. The matter +and language can thus be better adjusted to the capacity +of the individual pupil. The teacher who is familiar with +the pupil's home life and surroundings has within his +power a means of adapting the story to the attainments +of the pupil that even the best writer of children's stories +can hardly command. A situation in a story can frequently +be made intelligible by reference to the pupil's +own experience. Moreover, in telling the story, the +teacher's gestures, facial expression, and tone of voice are +likely to be more spontaneous and natural than would be +the case in reading, and this gives immense assistance in +interpreting aright the meaning and spirit of the selection.<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span></p> + +<p>Some teachers say that the incident, as in the case of +Hawthorne's Tales, is so meagre and the language so +exquisite, that the telling seems to be quite inadequate +and inferior to the reading of the story. In such cases, +variety may be afforded by reading, but generally speaking, +it is more effective to tell the story.</p> + +<p>The teacher should strive to become a good story-teller. +This requires a good voice, animated gesture and facial +expression, a good command of English words, power of +graphic description and narration, restraint from digression +and superfluous detail, and concentration of aim +upon some definite point.</p> + +<p>In teaching poetry to primary classes, the main object +is to lead the pupils to feel the music and realize the +imagery. To attain this end, the best beginning is made +by a sympathetic and expressive rendering of the passage +by the teacher. It can be recited many times incidentally, +while he is asking the pupils to look at the pretty pictures +suggested by the text. It is not necessary to enter at any +length into an analysis of the poem, unless the pictures +are arranged in an easy order, such as spring, summer, +autumn, winter.</p> + +<h3><br />MEMORIZATION</h3> + +<p>One of the most valuable means of securing an appreciation +of literature is the memorization of fine passages +of prose and poetry. Pupils from the primary grades +upward should be required to memorize systematically +several lines of prose and poetry every week of the school +year. During childhood the mind is at its most impressionable +stage, and what is committed to memory is then +retained longer and more accurately than what is memorized +at any later period. The passages should be carefully<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span> +selected and should be suited to the capacity and interests +of the pupils. Nothing should be memorized that has not +<i>some</i> meaning for them, but it would be impossible to +require that every selection should be <i>fully</i> understood. +The selections which children commit to memory in the +most plastic period of their lives will often reveal a new +and unexpected meaning and beauty in later years and +will be a source of keen delight and satisfaction. The +passages memorized will form a standard, unconscious it +may be, by which to test the excellence of other selections.</p> + +<p>It is of the greatest importance that the passages +chosen should have artistic excellence in thought, feeling, +music, imagery, and language. Moreover, these qualities +must be present in such a form that they will, when +properly presented by the teacher's reading or reciting, +appeal, in some considerable measure, to the pupils' capacities +and interests. Since there are so many noble passages +in English literature, nothing of doubtful value +should be memorized.</p> + +<p>It is also very important that the teacher himself +should have committed to memory and be able to recite +freely and expressively every selection he requires his +pupils to memorize. It is clear that, if he has memorized +it himself, the pupils will be more likely to feel it worth +while to do the same.</p> + +<p>In conducting a lesson in memorization, it is well for +the teacher to arouse the interest of the pupils in the +selection as a whole by reciting it himself with expression. +Next, he should see that the pupils understand as clearly +as possible the meaning, and realize and appreciate, as +far as they are able, the feeling of the passage. It should +be treated first as an ordinary literature lesson, after the +manner already described. It should then be read aloud<span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span> +several times by individual pupils, all trying meanwhile +to commit it to memory by concentration of attention on +the ideas and their relations, the words and their meanings. +The principles of all habit formation apply here—attention +to the thing to be learned, so as to get a clear understanding +of it, and then repetition with attention. When +it has been read several times, individual pupils should be +asked to recite it without any aid. It will be found more +satisfactory to memorize a complete stanza at a time, or +at least a part that expresses a complete thought, rather +than to commit to memory a line at a time. With young +pupils, however, it is well to take small units and let the +children repeat one or two lines at a time till they can +give the whole stanza with ease and accuracy.</p> + +<p>It is important that all repetition should be individual, +not simultaneous. Where the latter method is in use, it +is noticeable that pupils adopt a uniform tone and +measured rhythm, both of which are undesirable. Moreover, +especially with young pupils, there is a danger that +absurd blunders made by individuals may pass unnoticed, +because the teacher has not the opportunity of detecting +them. When the passage has been memorized, it should +be repeated daily for a time and then repeated at longer +intervals, until there is little probability of its being forgotten.</p> + +<h3><br />IN SENIOR FORMS</h3> + +<div class='center'>THE TEACHER'S PREPARATION</div> + +<p>The teacher must make himself thoroughly acquainted +with the lesson that he has to teach. When it is an extract, +he should be familiar with the longer work from +which it is taken. He cannot teach the lesson "Maggie +Tulliver" with the highest appreciation if he has not<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span> +read <i>The Mill on the Floss</i>. But there is more than mere +information required for successful teaching. In poetry +the teacher should feel delight in the music, the expression, +the emotion, till he is eager to communicate his +feelings to the pupils. This enthusiasm, however, should +not have in it any insincerity, or extravagant commendation +of the poem or the author. The teacher who has +wide information and genuine interest in his work will +seldom fail to arouse a real pleasure in the literature +lesson.</p> + +<p>The relationship between the teacher and the pupils +must be cordial if the lesson is to be successful. This is +true in any subject, but the sympathetic bond must be +especially strong in the literature lesson.</p> + +<h3><br />PREPARATION OF PUPILS</h3> + +<p>It has already been pointed out that it is frequently +necessary to give preliminary lessons in nature study, +science, history, or geography before the lesson in literature +is presented. The pupil must have the right information +before the literature lesson can arouse the emotion +that the author wishes him to feel.</p> + +<p>Not only is the possession of the right information +necessary, but the pupil should be in the right mood for +the lesson. A class that has just returned to the room +after the games at recess is not in the proper state of +mind to appreciate, at once, the recitation by the teacher +of,</p> + +<div class='poem'> +Break, break, break,<br /> +On thy cold gray stones, O sea!<br /> +</div> + +<p>Even the enthusiasm and scholarship of the teacher +will fail to be effective under these circumstances. He<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span> +should arouse in the pupils the proper mental and emotional +state by a very short talk on friendship. He can +refer to the well-known stories of David and Jonathan, or +Damon and Pythias, and tell them of the friendship +existing between Arthur Hallam and Alfred Tennyson.</p> + +<p>Before studying <i>Lead, Kindly Light</i> (p. 315, Third +Reader) the teacher might ask the pupils to picture a +solitary traveller in the desert far from home. Night is +approaching; the darkness gathers, and the air grows +chill. What would be the nature of his feelings? Away +in the distance he discovers a faint light glimmering as +from a lantern. Now, how would he feel? Continue till +the pupils can see each part of the picture, the spiritual +significance of which they are to learn through the poem.</p> + +<p>To give an extended account of the author's life is a +poor introduction, unless there is something of unusual +interest about his personality or achievements. The pupils +usually do not know anything about him, and the teacher's +aim, in this preparatory work, is to relate the thought +and feeling of the poem to the properly assimilated +knowledge and experience of the pupils. In some cases, +they may have made a favourable acquaintance with the +author in another poem, and this may give the necessary +stimulus to their interest in his life. The best time, however, +to give a biography of an author, when that is helpful, +is after the lesson has been studied, for then the +pupils will appreciate what the teacher has to say about +him personally.</p> + +<p>In some poems, the circumstances under which they +are written will be the only introduction necessary, as in +the case of <i>Break, break, break</i> or <i>The Recessional</i>.</p> + +<p>There is often an appropriate time for the teaching +of a literature lesson. Sometimes it is the season of the<span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span> +year. The lesson on <i>An Apple Orchard in the Spring</i> +should come when the blossoms are stimulating every bird +and child with their loveliness, fragrance, and promise. +<i>The First Ploughing</i> and the various poems on birds and +flowers should come at this season. They can be followed, +in turn, by <i>A Midsummer Song</i> and <i>The Maple</i>. There +are poems in the Readers for September, November, +Indian Summer, and Winter; and a wealth of material +for the Christmas season. Yet the season may not always +determine the time for such lessons. The pupil who has +observed again and again an apple orchard in the spring, +and who knows birds and trees, has a store of memories +that will enable him to picture vividly what he reads about +these at any time.</p> + +<p>It may be objected that these methods of introduction +make the pupil depend too much on the teacher, and do +not throw him sufficiently on his own resources. It is +to be remembered, however, that the great object of +teaching literature is to cultivate a taste for it. When +the pupil approaches a selection with ideas and feelings +which are already, in his consciousness, related to those +presented in the poem, he is in the best possible mental +attitude to appreciate it, and the probability of his liking +it is much greater than if it were presented without any +such introduction. The pupil's first impressions of a +poem are all-important, and it is essential that his first +introduction to it should be made under the most favourable +circumstances. If his first acquaintance with poetry +is made under pleasant conditions, he will inevitably +develop a taste for poetical literature, and that is the +object which the teacher has in view. When this taste +has been formed, it will not be necessary that the teacher +should be at hand in order to recall the proper experiences<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span> +for the interpretation of a passage. The pupil will read +appreciatively on his own account, without any such +assistance.</p> + +<p>In all cases, the preparation of the pupils for the +lesson must be short. Nothing more should be given +than will suffice to bring them into a suitable mood; +usually some simple experience of their lives is ample. +The time for the lesson is always limited, and the proportion +between the introduction and the main theme must +always be maintained.</p> + +<h3><br />PRESENTATION</h3> + +<p>The next step in the development of the lesson is the +presentation. How shall this be done? There are three ways: +The teacher may ask the pupils to read the lesson silently +at their seats or at home and come prepared to participate +in the discussion; or he may ask some of them to read the +lesson aloud; or he, himself, may read it to the pupils. +The merits of each of these methods will be considered.</p> + +<p>In prose, it is advisable to let the pupils read the selection +before the lesson is taken up by the teacher. The +pupils must have practice in getting the thought from +the symbols on the printed page and in grasping the +general trend of the story, the description, or the argument. +The work will be mainly intellectual, but the pupils +may also, at this stage, have practice in discovering the +emotional elements in some of the prose extracts.</p> + +<p>In the higher Forms, the teacher may occasionally +allow some of his best readers to read a poem aloud, where +the emotion is evident or the narrative plain. <i>The Barefoot +Boy</i>, p. 118, Fourth Reader; <i>The Homes of England</i>, +p. 375; and <i>Bernardo del Carpio</i>, p. 131, are examples of +this kind.<span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span></p> + +<p>It is usually a better plan for the teacher to read the +poem to the pupils. With many poems of exquisite music +and imagery, such as <i>The Bugle Song</i>, p. 337, Third +Reader, the reading by a pupil who has not yet caught +the meaning and spirit will be a failure, and the teacher +will see that the mood that he has prepared with care at +the opening is so certain to be dissipated that he must +intervene in order to prevent the spoiling of the lesson. +But the teacher who has studied the poem and whose +feelings have been deeply stirred by its music and pictures +can, through his reading, communicate to his pupils his +own appreciation; and it will be a dull pupil who does +not feel the contagion. It is, however, not well to insist +on too great uniformity in method; the spirit rather than +the form is vital.</p> + +<h3><br />VALUE OF ORAL READING IN +THE INTERPRETATION AND APPRECIATION OF LITERATURE</h3> + +<p>1. To the reader himself. Poetical literature is akin to +music. Poetry was originally sung by the minstrel, and +the thought and feeling were communicated to the +audience solely by the ear. The study of poetry by the +eye is artificial, modern, and contrary to our hereditary +instincts. We should not argue that the best way to +appreciate music is found in following the symbols on +the music sheet. It is only the highly educated musician +who can imagine the delights of music by an examination +of the written text. To some degree, it is the same with +poetry. The music of the words and the appropriateness +of the rhythm cannot be fully perceived by merely silent +reading. The eye alone would never detect the exquisite +music of such a poem as <i>Hide and Seek</i>, Third Reader, +p. 50, or <i>Break, break, break</i>, p. 201. Nor could it perceive<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span> +the suitability of the rhythm to the theme, as exhibited +in <i>How They Brought the Good News from Ghent +to Aix</i>, Fourth Reader, p. 351. In this poem, we can +hear in the rhythm the hoof beats of the horses as they +gallop along. How often have we felt a new meaning and +appropriateness that our voice alone has suggested!</p> + +<p>2. To the listeners. The contagious nature of emotion +has already been pointed out. The good reader, by +his sympathetic and expressive rendering of the poem, +may reveal to his listeners depths of feeling, the existence +of which they had not before suspected. We have often +been thrilled by a new emotion, upon hearing a familiar +passage read by another.</p> + +<p>Every teacher should be a good reader. His tone of +voice, his movement, his gestures are the signs by which +the pupils interpret his emotional attitude. If he is not +already a good reader, he should bend all his energies to +become one. Persevering practice, attention to mechanical +features, such as distinct articulation, pausing, flexibility +of voice, and, above all, a sympathetic appreciation of the +author's thought and feeling, will soon convert a poor +reader into a good one. He will soon find that his voice +will accommodate itself insensibly in pitch, tone, and +movement to the changing emotions of the poem. The +delight of the lesson will be greatly enhanced where the +reader lends to the rhyme of the poet the music of his +voice.</p> + +<p>The reading reveals the general thought of the poem. +In simpler poems, the pupils will recognize in the reading +the relationship and the intent of many of the subordinate +parts. But the intellectual side is only secondary. Literature, +in its finer forms, is not primarily an intellectual +subject, such as grammar or mathematics. The emotional<span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span> +tone, the spiritual meaning, and the artistic form—these +are the main elements, and these can be best developed +by good reading. The teacher should acquire +the habit of reading poetry aloud in his home, and should +induce his pupils to follow his example. Further, as two +senses will give a more vivid realization of thought than +one, the pupil, in the class, should follow with his eye +the reading of the teacher; and it is helpful for a church +congregation to follow with the eye the reading of the +scripture lesson by the minister.</p> + +<h3><br />THE DEVELOPMENT OF THE MAIN THOUGHT</h3> + +<p>The teacher should next assist the pupils to discover +the main thought of the lesson. In many cases the +meaning will be very vague, and the pupils will have +difficulty in formulating a terse and comprehensive statement +of the subject of the poem. If the question is asked +in a stereotyped form, such as "What is the main thought +of the poem?" the enthusiasm of the pupils is often chilled. +The teacher may, if it is a narrative poem, ask for the +main points in the story, and may assist the pupils by +calling attention to some pertinent passage, or by removing +difficulties by means of questions or explanations. In +all cases, it is well to accept a partially correct answer by +the pupils, and to try to improve its imperfection by +questioning, until a fairly complete and substantial statement +has been given. Every answer which contains even +a fragment of sound thought should receive due recognition. +In some cases it is sufficient, at the outset, to take +an imperfect statement of the main thought, since the +study of the poem will reveal its defects. The teacher +must keep before his pupils this statement, so that at the +conclusion of the lesson they will be quite ready to replace<span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span> +it by a more accurate one. The teacher should be careful +that the emotions aroused by the poem are not unduly +weakened or dissipated by the analysis of its intellectual +content. Many lessons by young teachers fail just at this +point, by reason of questioning unskilfully or by rejecting +answers that do not correspond to their own cut-and-dried +preconceptions.</p> + +<p>The teacher should follow a similar method in discovering +the leading thought of the subdivisions of the +poem. These often correspond to the stanza forms, but +the lesson may become very wearisome by insisting on too +great detail. The poem often falls into two or three main +divisions, into which the various stanzas may be grouped. +With Senior Forms it is a good exercise to ask the pupils +to make this grouping, but, with those not so advanced, +the teacher himself may make it and ask the pupils for +the central thought in each group. In the teacher's +anxiety to have these subjects clearly stated, he runs the +risk of wasting time and, worse than that, of killing whatever +interest the pupils may have had up to this point. +If the pupils could give these subjects with perfect clearness +now, there would be little else to do. The greatest +care must be exercised to prevent the work becoming +mechanical, thus destroying the interest and making the +selection distasteful.</p> + +<p>With some pupils, the logical sense is quite strong, +and they find their greatest delight in seeing the purpose +of each part in a complex mechanism. With others, this +work does not afford much pleasure. These are children +who, later, can take delight in the flimsy plot of a musical +comedy. Such pupils should be encouraged to do their<span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span> +best to discover some points of beauty or skill in the +arrangement of the selection. In different lessons there +is a difference in construction. In some, the logical connection +and development is so important that this quality +must be stressed, but the works of some authors have +merits which throw the arrangement into a very subordinate +position; for example, "Ring out, Wild Bells", +from <i>In Memoriam</i>.</p> + +<h3><br />MINUTE ANALYSIS</h3> + +<p>The next stage in the analysis is the examination of +the passage minutely. There is always a place in the +lesson for the study of words and phrases. The teacher +should ask questions on these, in order to ascertain if the +pupils have felt their force and vitality. They are to be +taken up only to illuminate and impress the main thoughts +and emotions of the poem.</p> + +<p>In some cases, as in prose lessons, the pupils may +acquire the dictionary habit. This develops and cultivates +a studious disposition and accuracy of statement. +But in poetry there are many subtle meanings that the +dictionary will not give, but which the pupil has learned +through contact with educated people and acquaintance +with books. Most of the words that people use have not +been learned from the dictionary, but from their context +in reading or conversation.</p> + +<p>On the other hand, many lessons are spoiled by too +constant inquiry into meanings. There is much mere +learning of meanings without reference to the thought +or emotion that they are intended to explain. Many +words are explained that are already understood. The +fault may be due to the teacher's experience with annotated +text-books of literature. The teacher, who has been prepared<span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span> +for his examination by this method, is disposed to +carry it into Elementary School work, till even <i>The +Recessional</i> becomes merely a theme for learning verbal +meanings.</p> + +<h3><br />ALLUSIONS</h3> + +<p>There are many references in the text-books to geographical, +scientific, and historical matters. If these +allusions. In poems such as <i>The Armada</i> there must be +a preliminary lesson such as has been indicated. Very +often the enthusiast in these subjects will make literature +a mere peg on which to hang much information. Teachers +often make long digressions in connection with these +allusions, till the mood of the poem is completely lost in +the mist of the disquisitions. The same method should +be adopted in teaching allusions as in teaching the +meanings of words. Only such explanation is necessary +as will show the purpose of the author in introducing the +allusions. In poems such as <i>The Armada</i> there must be +considerable explanation given, before the pupils will feel +the emotion that the author hopes to kindle by the mention +of the names that are used in it. With Canadian +children, the effect in the case of this poem cannot be so +great as with English children, who are more familiar +with the special geographical and historical associations.</p> + +<p>The teacher of young people cannot hope, by explanation +of the allusions, to arouse all the pleasure and the +vitality of emotion that will be induced in the reader who +has the culture that comes of wide reading; nor can the +teacher communicate this emotion when the information +is new. The pleasure comes, later on, from the recall of +information that was assimilated in earlier years.<span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span></p> + +<h3><br />THE IMAGERY</h3> + +<p>The language of poetry is generally concrete. The +artist may wish to give expression to a general truth, or +philosophical principle, or ethereal fancy. These appear +very abstract, but the artist embodies in material forms +the idea he wishes to convey. The poet expresses his +thought by the suggestion of material imagery, and emotion +is most readily aroused by these images.</p> + +<p>Antony, in his funeral oration after Cæsar's death, +knew how to arouse his audience to fury by showing them +Cæsar's wounds and holding before them Cæsar's mantle +with its rents. Not always can the real object be produced +for these emotional effects, but the teacher can +sometimes bring into the class-room, for the benefit of +young pupils, concrete material such as pictures and +work in manual training. He can also call attention, at +times, to the falling snow or the colour of the leaves or +the sky, by asking the pupils to look out of the class-room +windows. But in most cases, he has to be content with +trying to recall the memory of these natural things. This +shows how valuable has been the excursion of the boy +into the country, and his experience on holidays by the +river and in the harvest field. The nature study lesson +furnishes the material for future enjoyment of poetry.</p> + +<p>The pupils in our schools are very capable in realizing +visual imagery. They can see the visual image very +readily with its colour, form, and movement. They can +arrange the objects in the picture with foreground, background, +light, and shade.</p> + +<p>But it is quite a different matter when they try to +realize auditory imagery. In the poem <i>Waterloo</i>, Fourth +Reader, p. 311, they can see the picture in "bright the<span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span> +lamps shone o'er fair women and brave men". They see +the large ball-room with its glass chandeliers, the costumes +of handsome ladies, the scarlet uniforms and the +decorations of the officers and the nobility. But can they +realize the next imagery, that of sound, "and when music +arose with its voluptuous swell"? Do they hear the +squeaking of one or two fiddles or do they hear the +voluminous sound of regimental bands? Do they notice +the varying metre from the stately iambic to the sudden +"voluptuous swell" of the foot of three syllables in waltz +time?</p> + +<p>These images of sight and sound picture the gaiety +and magnificence of this festive scene, in order to make +more marked the contrast with the fear and pathos of +the farewells. This contrast is enforced by the two +auditory images:</p> + +<div class='poem'> +And all went merry as a marriage bell;<br /> +But hush! hark! a deep sound strikes like a rising knell!<br /> +</div> + +<p>Can your pupils image the wedding-bells chiming from +the cathedral some afternoon in June, when suddenly the +ear catches the sound of a death-bell tolling from another +church? Any reader who cannot realize the sounds of +those two bells with their discordant effects will miss the +intention of Byron.</p> + +<p>The pupils, through the stimulation of their senses, +must have experienced the luxurious effects of orchards, +flower gardens, and clover fields; the odours of apple +blossoms and the smell and taste of the "full-juiced apple +waxing over-mellow"; the perfumes and temperatures of +spring, midsummer, and winter if they are to read nature +literature intelligently and feel its charm. The words must +have meaning if they are to awaken the feeling that was +part of the original experience.<span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span></p> + +<h3><br />THE LITERATURE OF NOBLE THOUGHT</h3> + +<p>In literature, as in other arts, there is a great deal +that is merely decorative. It is not the purpose here to +disparage this form of art. "A thing of beauty is a joy +for ever. Its loveliness increases." Some of the most +famous portraits and landscapes in the picture galleries +afford infinite pleasure to the student of art by the +technique in colour, drawing, and arrangement. They +are greater than photography. "The light that never +was on sea or land, the consecration and the poet's dream" +have given them a beauty that is greater than the realism +of the actual person or natural scene. It is the same in +literature. The author's feelings, his language, the +rhythm of his words, and his delicate fancy afford the +reader greater delight than he has ever known when he has +met similar persons, scenes, or actions in real life. This +is genuine æsthetic pleasure, similar to the pleasure that +people derive from china, music, or landscape gardening.</p> + +<p>There is, however, a higher form of art in both pictures +and literature. There are pictures that suggest +some noble aspiration, some great universal truth, some +great conflict between duty and interest. We feel instinctively +that these are greater than pictures possessing +mere masterly technique. It is the same in literature. +There are poems in which we feel that the thoughts and +feelings are sublime. Perhaps the technique of these is +not equal to that of the poetry described in the preceding +paragraph, but the experienced teacher has felt his pupils +lifted above mundane affairs, when they begin to grasp +the true significance of such poems. The youngest pupils +show their appreciation by wide open eyes, when these +are read. They instinctively feel that this work is better +than the merely pretty and dainty things in poetry.<span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span></p> + +<p>In the <i>Ontario Readers</i> we have numerous poems of +this nature. In the First Reader, the pupils instinctively +feel that <i>Piping Down the Valleys Wild</i> is of different +calibre from <i>Three Little Kittens</i>. <i>The Lord is my +Shepherd</i>, <i>Lead, Kindly Light</i>, and <i>To a Waterfowl</i>, are +examples of this class.</p> + +<p>In teaching these lessons, the spiritual meaning should +be constantly emphasized.</p> + +<p>The mere statement of the thought is not impressive. +It is the presentation of it in poetical form that makes +its effect impressive and lasting. The pupils may be led +to discover how the author has accomplished this by +means of the concrete embodiment of imagery, language, +metaphor, and music.</p> + +<h3><br />RECAPITULATION</h3> + +<p>The lesson is often dropped just at this time, leaving +an impression somewhat like that of a science room, with +the petals and leaves on the desks and the floor, after +the class in botany has been dismissed. No act of analysis +is complete without a final synthesis. The examination of +the various phases of the whole must be followed by a +reconstruction in which are perceived the relations of the +various phases to each other and to the unity of the +whole. These various parts must be closely related to +one another if the final conception of the poem is to be +definite. When the analysis is in progress, the teacher +should not, of course, take each part by itself and examine +it as if it were an isolated thing, but its relation to what +has gone before should be more or less clearly perceived. +When the analysis is complete, there should be a final +synthesis in which the relations of the various parts stand +out definitely. This can be done by means of a statement<span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span> +of the main thought in concise but comprehensive terms. +If the teacher has accepted an imperfect statement at +the beginning, the pupils will now be in a position to +discover its inadequacy and supply the part that is lacking. +Then the subjects of the various subdivisions or stanzas +can be restated in suitable terms that will show the proper +relationships. This reconstruction may also take the form +of oral or written reproduction of the selection. This +is especially valuable after the prose lessons. There should +follow an oral reading of the passage by the pupils, which +will serve to show the teacher how much of the feeling +of the poem has been absorbed, how clearly the pupils +have understood the meaning, and what misconceptions +have arisen in their minds.</p> + +<h3><br />MISTAKES IN TEACHING LITERATURE</h3> + +<p>There are some mistakes in teaching literature that +are noted here, in order that they may be avoided:</p> + +<p>1. Teaching pupils about literature, instead of +teaching literature itself; for example, teaching biography, +etymology, history, geography, or science in the literature +lesson, because some feature of one or more of these +may be suggested by the language of the lesson. A +knowledge of such subjects is merely preparatory to the +study of literature itself.</p> + +<p>2. Teaching merely the meanings of words and phrases, +and omitting the greater things of imagery, thought, +beauty of language, and the spirit of the writer.</p> + +<p>3. Trying to force appreciation by telling the pupils +they must learn to like such and such works because +educated people like them. It is useless, at this time, +to try to develop the critical spirit, as the pupil has not<span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span> +a sufficiently wide acquaintance with literary works on +which to form a judgment.</p> + +<p>4. Doing for the pupil what he should be led to do +for himself. A literature lesson, in which the teacher +has been doing all the talking, or both asking and answering +questions, will be barren of good results.</p> + +<p>5. Paraphrasing. Short passages may be paraphrased, +in order to show whether the pupil has understood the +force and vitality of the metaphor or the condensed expression. +But paraphrasing must be used with great +discretion. The teacher will not make the pupils appreciate +the beauty of a fine literary selection by converting +refined gold into low grade ore.</p> + +<p>6. Attempting to draw some moral from every lesson. +Not all lessons are didactic. If the pupils have sympathized +with what is noble and just in the story, the +statement of a moral at the conclusion is unnecessary. +Yet in poems that are plainly didactic, for example, <i>To +a Waterfowl</i>, Fourth Reader, p. 377, the moral lesson +must occupy the first place. There the teacher should +show how the author has enforced the lesson of <i>confidence +in God's guidance</i> by the incident of the migrating +waterfowl, the imagery, the music, the arrangement of +parts, and the similarity of his own position to that of +the bird.</p> + +<p>7. Dwelling unnecessarily on the intellectual side of +a poem that is mainly emotional and musical; for example, +<i>The Bugle Song</i>, Third Reader, p. 337, and <i>The Solitary +Reaper</i>, Fourth Reader, p. 261. In the former case, the +pupils should be led to realize the visual imagery, should +hear, in imagination, the bugle calls and fading echoes, +and enjoy the rare and appropriate music. In the second +case, the teacher should call attention to the artistic suggestions<span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span> +of loneliness, distance, antiquity, sadness, and +vagueness that are suggested by "old, unhappy, far-off +things, and battles long ago", and by such possible situations +of English travellers in remote parts of the world, +and should show that these elements are suitable for the +circumstances under which the poet sees the girl. He +who questions merely to find out the meaning of the poem, +the relation to that of its subordinate parts, and the +meaning of the words and phrases, is using a very heavy +tool on a very delicate mechanism. Such works must be +treated deftly and lightly.</p> + +<h3><br />EXTENSIVE READING</h3> + +<p>The class of literature that we have described in the +preceding methods is condensed literature, where thought +is large in proportion to the number of the words. It must +be read by a process of close thinking, in an analytic, +exhaustive manner. There must be a clear comprehension +of the central ideas, and a strong grasp of minor +thoughts or details, and the relation of these to the central +ideas. While this power to grasp thought intensively is +very valuable, we should also have the power to grasp +the thought rapidly and comprehensively.</p> + +<p>In some works, the thought is not so condensed and +confined. Here, the main effort of the reader is to grasp +the thoughts successively in a rapid, clear, and comprehensive +manner. He must be able to read a book chapter +by chapter and grasp the central ideas, to hold paragraph +after paragraph, chapter after chapter, in his consciousness, +so that each gives added illumination to the main +thought and, at the end, the whole of the work stands +out in its entirety. He must learn to grasp the central +thought in each section as he proceeds—to sift the wheat<span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span> +from the chaff. The minor details have been of value in +giving him the main thought, but the real ability of the +good reader consists in dropping these minor details from +the mind and holding steadily on to the more important +facts.</p> + +<p>This method gives a greater power of sustained attention +and a wider acquaintance with good literature. Most +of our reading is done in this way. It would be impossible +otherwise to get a wide range, as time does not +permit of minute analysis, and many of our longer works +are so diffuse that they would not repay such careful +study.</p> + +<p>The supplementary, or extensive, reading may be +given as seat work or home work. As seat work, it can +come as a grateful relief from the arduous tasks in the +ungraded school and will keep many an active mind from +getting into mischief. By questioning about the main +facts the teacher can assure himself that the work has +actually been done. This questioning should not be used +only to catch the negligent; it should give pleasure to +the pupils as a conversation with them about their +pleasant occupation. It should be done very informally, +often as two intelligent people would discuss a book. The +questions should be broad in their scope and should not +dwell on matters of detail. If it is a story that is to be +considered, it should be examined as follows: Discover +what are the difficulties set up; how they are brought +about; how they are overcome; how many threads of +interest there are; why certain characters are introduced; +what would be the effect if certain parts were omitted; +to what extent the final solution is logical.</p> + +<p>When the examination is finished, a series of compositions +might be written on topics connected with the story.<span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span> +For instance, if <i>Rip Van Winkle</i> has been studied, a series +of three compositions might be assigned: (1) Rip's +domestic life; (2) his adventure in the mountain; (3) his +return to the village. Three compositions would be better +than a single one on the whole story, because too great condensation +usually detracts from the value, and because the +excellence of a school composition is usually in inverse +proportion to its length.</p> + +<p>It is exceedingly important that the teacher should +see that these written exercises are not made distasteful +to the pupil. They are very valuable if they are not considered +irksome. The object is not so much to give skill +in composition as to create a taste for wide and excellent +reading. It would be better to allow this written reproduction +to drop rather than to associate the pleasures of +literature with something disagreeable.<span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2>CHAPTER III</h2> + +<h3>ILLUSTRATIVE LESSONS</h3> + + +<p>In the lessons that follow, the answers given to questions +are those which pupils may be expected to give after corrections +and additions have been made by themselves and +the teacher.</p> + +<p>Professor Alexander has said:</p> + +<div class="blockquot"><p>It is impossible to exemplify on paper actual teaching. +Actual teaching, as all other practical matters, is in +large measure determined by circumstances and conditions +which are never twice the same. A large part of +a teacher's skill lies in the sympathetic perception of +these conditions and in the power of adapting himself +to them on the spur of the moment. The teacher should +have a definite aim in view, and a general conception +of the proper method to be followed; but these will be +modified by the character of the pupils before him, of +the answers given, of the manifestation of interest, and +the comprehension of the various points brought forward. +A question quite proper in one case will be quite +out of place in another. What knowledge should be +imparted by the instructor, what elicited from the pupils +themselves, what matters dwelt upon, what lightly passed +over—these things can only be determined by the actual +circumstances.</p></div> + + +<h3><br />PANTOMIME</h3> + +<h4>LITTLE MISS MUFFET</h4> + +<div class='center'>(Primer, page 75)</div> + +<p>Little Miss Muffet sits on a low chair eating from +an imaginary dish. The spider comes creeping softly +behind her. When he reaches her side, he sits quietly +down. Then she sees him and, in a great fright, jumps +up and runs away.<span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span></p> + +<h3><br />DRAMATIZATION</h3> + +<h4>LITTLE BOY BLUE</h4> + +<div class='center'>(Primer, page 68)</div> + +<p>The senior division of the primary class had read the +story of Little Boy Blue. Norman asked: "May we play +it? May I be Little Boy Blue?"</p> + +<p>Allan said: "I'd like to be the farmer".</p> + +<p>Dorothy wished to be the farmer's wife.</p> + +<p>Clara asked if the pupils of the highest class might +be the cows and the sheep.</p> + +<p>As Norman was enthusiastic and eager to express +himself, he was permitted to direct the movements of the +different characters.</p> + +<p>The farmer selected a horse and prepared to take him +to market, while Little Boy Blue could be seen tramping +along the road (the front part of the room). The cows +and sheep were grazing quietly near by.</p> + +<p>As Little Boy Blue approached the farmer, he removed +his cap and said: "Good morning, sir, do you want a +boy?"</p> + +<p><i>Farmer:</i> "Yes, I want one to watch the cows and +the sheep."</p> + +<p><i>Little Boy Blue:</i> "I can do that, sir."</p> + +<p><i>Farmer</i> (handing Little Boy Blue a toy horn that +had been brought to school for use during a drawing +lesson): "Here is a horn, then. If they try to go away, +blow this, and they will come back."</p> + +<p><i>Little Boy Blue:</i> "I will, sir."</p> + +<p>The farmer drove away, and Little Boy Blue watched +the cows and the sheep. Once they were about to wander +away (among the aisles), but Little Boy Blue blew the +horn, and they immediately returned. He soon grew tired<span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span> +of watching them; they seemed to be content to graze +quietly where they were. He leaned against a haystack +(a chair) and fell asleep. The cows were soon in the +corn and the sheep in the meadow, where the farmer saw +them as he was driving home. But he could not see +Little Boy Blue. He called:</p> + +<div class='poem'> +Little Boy Blue,<br /> +<span style="margin-left: 1em;">Come blow your horn,</span><br /> +The sheep are in the meadow,<br /> +<span style="margin-left: 1em;">The cows are in the corn.</span><br /> +</div> + +<p><i>Farmer:</i> "Wife, where is Little Boy Blue?"</p> + +<p><i>Wife:</i> "He is under the haystack, fast asleep."</p> + +<p><i>Farmer</i> (going to haystack):</p> + +<div class='poem'> +Little Boy Blue,<br /> +Come blow your horn.<br /> +</div> + +<p>The boy jumped up, blew a blast on the horn, and the +sheep and cows immediately came back.</p> + +<p><i>Little Boy Blue:</i> "It was my fault and I'm sorry."</p> + +<p><i>Farmer:</i> "All right, you'll take better care of them +next time."</p> + + +<h4><br />THE STORY OF HENNY PENNY</h4> + +<div class='center'>(Primer, page 48)</div> + +<p>When the teacher suggests that a game be played, +many pupils fairly project themselves backward in an +effort to look so well that they may be chosen to take part +in it.</p> + +<p>The teacher wrote "Dorothy" on the black-board. +Dorothy whispered that she would like to play the story +of Henny Penny. (The adventures of Henny Penny +had been recounted the day before.) The teacher wrote<span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span> +the story of Henny Penny. As Dorothy had sufficient +self-confidence and a good memory, she was allowed to +choose her part, which was certain to be that of the principal +character. Had she not possessed these qualities, +she would have been assigned a minor part during the +first attempt at dramatizing this story. The teacher +wrote "Rooster Pooster" on the black-board. "I should +like to be Rooster Pooster", said Albert. "Turkey +Lurkey", wrote the teacher. "I'd like to be Turkey +Lurkey", said another. In this or some similar way, the +parts were assigned.</p> + +<p>As the play began, Henny Penny was discovered +pecking at imaginary worms in the garden; suddenly she +jumped up in a great fright. "Oh, the sky is falling!" +she said, "I must run and tell the king". She ran down +the road (an aisle) till she met Rooster Pooster.</p> + +<p>When he saw her coming, he stopped crowing and +asked, "Where are you going, Henny Penny?" "Oh", +she said, "the sky is falling, and I am going to tell the +king". "I will go too", said Rooster Pooster. They +ran down the road till they met Turkey Lurkey gobbling +contentedly. The usual formula was repeated, and +Turkey Lurkey ran on with them.</p> + +<p>But the fox (villain) was waiting around the corner. +"Where are you going, Henny Penny, Rooster Pooster, +and Turkey Lurkey?" said he. "Oh, Fox Lox", they +said, "the sky is falling and we are going to tell the king". +"I will show you the way." "Oh, no, Fox Lox, we know +you. We will not go with you."</p> + +<p>So they ran and ran, but had to return home because +they did not find the king's house.<span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span></p> + + +<h4><br />WISHES</h4> + +<div class='center'>(Primer, page 52)</div> + +<p>The pupils knew by the pictures on page 52 that the +lesson would be a delightful one, but when they attempted +to read it, they found difficulties that lessened their +pleasure somewhat.</p> + +<p>They enjoyed reading "I wish I could find a little +fat fly", but "sad little sigh" and "an odd little shrug" +were very difficult to say and were meaningless until the +children imitated the teacher's "sad little sighs" and +"odd little shrugs".</p> + +<p>The pupils were then asked which little chicken they +would like to be. The first pupil to respond was chosen. +He went to the front of the room, which was then a +garden, and with a much bigger sigh than was necessary, +complained: "I wish I could find a little fat fly".</p> + +<p>The other pupils then eagerly studied the page, that +they might learn what the next little chicken said and +did. The teacher was always ready to tell them any +words they could not discover for themselves. One pupil +could make a shrug but could not remember the second +little chicken's words, so another was found who could +say what the second little chicken said in just the way he +would say it if he could talk. The other little chickens +and the mother hen were chosen in a similar manner.</p> + +<p>The mother hen could be seen busily scratching at one +end of the garden, while her little chickens were walking +aimlessly about.</p> + +<p><i>First Chicken</i> (after sighing):</p> + +<p>"I wish I could find a little fat fly."</p> + +<p><i>Second Chicken</i> (with a shrug):</p> + +<p>"I wish I could find a fat little bug."<span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span></p> + +<p><i>Third Chicken</i> (with a squeaky voice):</p> + +<p>"I wish I could feel some corn in my beak."</p> + +<p><i>Fourth Chicken</i> (sighing):</p> + +<p>"I wish I could find a fat worm on a leaf."</p> + +<p><i>Mother Hen</i> (impatiently):</p> + +<p>"See here, if you want things to eat, just come here +and scratch."</p> + + +<h4><br />INDIAN LULLABY</h4> + +<div class='poem'> +Rock-a-bye, my little owlet,<br /> +In the mossy, swaying nest,<br /> +With thy little woodland brothers,<br /> +Close thine eyes and take thy rest.<br /> +<br /> +Hush-a-bye, my little owlet,<br /> +Many voices sing to thee;<br /> +"Hush-a-bye," the water whispers,<br /> +"Hush!" replies the tall pine tree.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Longfellow</span><br /> +</div> + +<p>There had been language lessons on the habits of the +Indians; their way of living had been worked out, as +far as possible, on the sand-table, and pictures representing +Indian life had been shown. The pupils had +eagerly constructed an Indian home—"Dark behind it +rose the forest" (twigs from the pine and other evergreen +trees), "Bright before it beat the water".</p> + +<p>The lessons in drawing, painting, end modelling had +been connected with this work. From their boxes of +coloured crayons, the pupils had selected the colours used +in making the pine trees, the grass, the bark of the trees, +the owl in the tree, the wigwams, etc.</p> + +<p>From the many beautiful Indian lullabies that would +have been suitable, the teacher selected the <i>Indian Lullaby</i> +by Longfellow. During the periods set apart for music,<span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span> +the pupils had been taught the desired melody with the +syllable "loo".</p> + +<div class="blockquot"><p><i>Teacher.</i> "How does your mother put baby to sleep?"</p> + +<p><i>Pupils.</i> "My mother rocks the baby in her arms." "Mine +puts him on the bed and he falls asleep." "We rock our baby +in a cradle," etc.</p> + +<p><i>Teacher.</i> "The picture I give you will show you what +the Indian mother does with her baby."</p></div> + +<p>Each pupil was given a small picture showing an +Indian baby in his cradle suspended from a tree. These +pictures had been cut from a supplement to <i>Primary +Education</i>.</p> + +<div class="blockquot"><p><i>Teacher.</i> "What has the mother done?"</p> + +<p><i>Pupils.</i> "She has put her baby in a basket and hung it +on a tree."</p> + +<p><i>Teacher.</i> "Is the baby in the picture awake or asleep?"</p> + +<p><i>Pupils.</i> "He is asleep."</p> + +<p><i>Teacher.</i> "What could the baby see before he went to +sleep?"</p></div> + +<p>Here a picture—fourteen by twenty inches—was +shown. It was a good representation of an Indian home +and its surroundings. The pupils had made use of this +picture when working at the sand-table.</p> + +<div class="blockquot"><p><i>Pupils.</i> "He could see the pine trees, the water, the +wigwams, the canoes, the Indians," etc.</p> + +<p><i>Teacher.</i> "What could the baby hear while swinging in +his cradle?"</p> + +<p><i>Pupils.</i> "He could hear the Indians talking. He could +hear the wind among the trees; the water; the birds singing +in the woods; the cry of an owl; perhaps wolves, bears," etc.</p> + +<p><i>Teacher.</i> "What other babies lived in the woods?"</p> + +<p><i>Pupils.</i> "Birds, squirrels, owls, wolves," etc.<span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span></p> + +<p><i>Teacher.</i> "A man once wrote what he thought an Indian +mother might have sung to her baby. This is what he +thought she would sing." (The teacher recited the <i>Indian +Lullaby</i>.)</p></div> + +<p>Individual pupils then repeated one stanza at a time +with the assistance of the teacher.</p> + +<p>The pupils sang softly the melody they had learned +to "loo"; then all tried to sing the words with the +teacher. The purpose was to emphasize the rhythm and +interpret the spirit of the poem. The lesson occupied +twelve to fifteen minutes. At another time, hectographed +copies of the poem were given to the pupils, and as they +had already partly memorized it, they soon learned to +read it.<span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2>CHAPTER IV</h2> + +<h3>FORM I: SENIOR GRADE</h3> + + +<h4>THE WIND AND THE LEAVES</h4> + +<div class='center'>(First Reader, page 49)</div> + +<p>It is the aim of this lesson to help the pupils to appreciate +imaginative descriptions of some natural phenomena. +This lesson will be best appreciated if taken some day +in autumn when the leaves are falling. If the pupils +have recently noticed the wind rushing through the trees, +scattering the many-coloured leaves and driving them +before it along the ground, they will be in the best mood +to enter into the spirit of the poem.</p> + +<div class="blockquot"><p>What is the time of the year that the poem speaks about? +The autumn.</p> + +<p>Select all the things that tell you this. The leaves have +"dresses of red and gold"; "summer is gone"; "the days +grow cold"; the leaves come "fluttering" down; the "fields" +are "brown".</p> + +<p>What did the wind mean by "Come o'er the meadows +with me, and play"? It meant that they should come down +from the trees and be blown away by the wind across the +fields.</p> + +<p>What does it mean by "Put on your dresses of red and +gold"? Before they fall, the leaves have many beautiful +colours.</p> + +<p>What was the colour of their dresses in summer? When +do they begin to change colour very quickly?</p> + +<p>What leaves show the most beautiful colours? What +different colours have you noticed that leaves have?</p> + +<p>When does the wind call? When it blows loudly or +whistles.<span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span></p> + +<p>Do you know what the wind says when it calls? Why +not? We do not understand the language that it speaks.</p> + +<p>How did the leaves show that they understood? They +obeyed at once and came down from the trees.</p> + +<p>What is meant by "fluttering" down? They came down +slowly, moving from side to side, and turning over and over +as they fell. (This could be shown in the class-room quite +easily.)</p> + +<p>Which line in the first stanza corresponds in meaning +with the third line of the second? The second line.</p> + +<p>What makes the fields "brown"? It is the end of the +summer, and the grass and the plants have dried up.</p> + +<p>What colours have the fields at other seasons of the year? +Green in the spring, golden in the summer, white in the +winter.</p> + +<p>What are "the soft little songs" of the leaves? The +rustling sounds they make as they are blown about by the +wind.</p> + +<p>Why do we not understand their songs? For the same +reason that we do not understand the call of the wind—their +language is not ours.</p> + +<p>"Winter had called them." What is the voice of winter? +The cold winds that roar and whistle.</p> + +<p>What is meant by "content"? The leaves were quite +glad to answer the call.</p> + +<p>Why were they content? The work that they had been +doing all summer long was done; they were tired and sleepy +and glad to go to bed.</p> + +<p>When may it be said that the leaves are "fast asleep"? +When they lie quietly on the ground, no longer blown about +by the wind.</p> + +<p>How were they kept warm during their long sleep? The +snow came and covered them up warmly, like a "blanket".</p> + +<p>What does the whole lesson describe? The falling of the +leaves.</p> + +<p>What does the first stanza speak of? The call of the wind.</p> + +<p>The second? The answer of the leaves.</p> + +<p>The third? The leaves asleep.</p> + +<p>Tell the story of the poem in your own words.</p></div><p><span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span></p> + + +<h4><br />PIPING DOWN THE VALLEYS WILD</h4> + +<div class='center'>(First Reader, page 52)</div> + +<h3>AIM</h3> + +<p>To enable the pupils to appreciate the pretty pictures +and the music, and to learn how their pretty songs were +written.</p> + +<h3><br />PREPARATION</h3> + +<div class="blockquot"><p>In far-away countries there are many sheep, and they +require shepherds. These shepherds, as they can rest while +their sheep feed, sometimes amuse themselves by cutting +oat straws and making them into little flutes. They cut +holes in the straws, just as you see holes in flutes or in tin +whistles. They learn to play very pretty tunes. David, +king of Israel, was, in his youth, a shepherd boy, and he +learned to play beautiful music while he watched his sheep. +The Psalms that you find in the Bible were composed by him.</p></div> + +<h3><br />PRESENTATION</h3> + +<div class="blockquot"><p>Now let us read about a shepherd who was playing music. +(The teacher reads the poem.) While he was playing, what +did he see? He saw a little child sitting on a cloud.</p> + +<p>What was the child doing? He was laughing.</p> + +<p>Why? He liked the music.</p> + +<p>What kind of music was it? It was pleasant, full of joy.</p> + +<p>Where was the shepherd? In a valley.</p> + +<p>Tell what the valley was like. It was wild. It had big +rocks and hills on each side, and a cloud was over the valley.</p> + +<p>What did the child ask him to do? To play "a song about +a Lamb".</p> + +<p>Why did he do that? Because the sheep were pretty and +he thought he should like to hear pretty music about them.</p> + +<p>How did the child like it? He asked the shepherd to +play the tune again, and it was such beautiful music that +the keen enjoyment of it made the tears come to his eyes.</p> + +<p>What did the child next ask? He wished to have the +music put into words, so he asked the shepherd to "sing" it.<span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span></p> + +<p>How did the child enjoy it? It was so lovely that he +"wept with joy".</p> + +<p>What did he ask the shepherd to do? To "write" it +down.</p> + +<p>Why? The child thought it was so lovely that he wanted +other children to hear it, too.</p> + +<p>Yes, that is the way that we come to have all these pretty +poems in our books. If they were only played or sung, not +so many children could have the opportunity of enjoying +them.</p> + +<p>What do you need when you write? We need pens, and +paper, and ink.</p> + +<p>The shepherd had not steel pens, and white paper, and +black ink. He may have used the bark of trees to write on.</p> + +<p>How did he get a pen? He "plucked a hollow reed", and +he "made a rural pen".</p> + +<p>What does that mean? He took a hollow stalk, such as +an oat straw or a weed, and cut it in the form of a pen.</p> + +<p>What is a "rural pen"? "Rural" means belonging to +the country. The pen was not made as ours are. The shepherd +wrote about sheep and other things belonging to country +life.</p> + +<p>How did he get any ink? He took "water" from the +stream and "stained" it so that it would leave a mark something +like our ink.</p> + +<p>Yes, the paper, the pen, and the ink would not be so good +as at present, but they would serve as a beginning.</p></div> + + +<h3><br />REPRODUCTION</h3> + +<div class="blockquot"><p>1. Where was the musician?</p> + +<p>2. What kind of instrument was he playing?</p> + +<p>3. Where was the child?</p> + +<p>4. What was the child's second request?</p> + +<p>5. What was his third request?</p> + +<p>6. How was the shepherd able to write?</p> + +<p>7. Why did the child wish him to write?</p> + +<p>(The pupils may not understand "rural", "valley", +"pipes", so the teacher should give such further explanation +as the different cases demand.)</p></div><p><span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span></p> + + +<h4><br />THE BABY SWALLOW</h4> + +<div class='center'>(First Reader, page 103)</div> + +<p>The aim of this lesson is to teach, by means of a story, +the moral of trusting in God and trying to do one's best.</p> + +<p>The teacher should introduce the lesson by inquiring +of the pupils if they have ever watched a young bird +learning to fly. Its timidity and the anxiety of the mother-bird +should be especially emphasized. A brief reference +to the swallow might also be in place, though this is not +essential, as the poet has selected it merely as a type of +birds in general, and almost any other bird would answer +his purpose as well. The rapidity and grace of the +swallow's flight, and its habit of constructing its nest +of mud under the eaves and in other sheltered places +about buildings, are the main points to be noted.</p> + +<div class="blockquot"><p>What is the lesson about? About a baby swallow learning +to fly.</p> + +<p>What do the first four stanzas tell us? His fears.</p> + +<p>And the last three? The success of his effort.</p> + +<p>What do you see in the picture? A tower with a bell in it.</p> + +<p>What name is given here for tower? Turret ("Turret" +means a little tower.)</p> + +<p>From its sound, what do you think "belfry" means? +The place where the bell is.</p> + +<p>What, then, is a "belfry turret"? A tower where a bell +is hung.</p> + +<p>On what part of the tower had the bird its nest? The +front.</p> + +<p>What word does the poet use to express that? "Breast".</p> + +<p>What has been beating against the tower for years? The +wind, sun, rain, snow.</p> + +<p>What one word would stand for all these? Weather.</p> + +<p>Explain "weather-beaten".</p> + +<p>In perching on its nest, what does the baby swallow seem +ready to do? To fly.<span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span></p> + +<p>What other words might the Mother-Bird use instead of +"courage"? "Don't be afraid."</p> + +<p>How many wings are meant by "either wing"?</p> + +<p>In this stanza, what is the "Mother-Bird" doing? Giving +the little bird instructions in the way to begin flying.</p> + +<p>Describe how he is to begin.</p> + +<p>How does the baby feel about it? He feels afraid.</p> + +<p>What word tells you this? "Pauses."</p> + +<p>What does he think is deep? The distance between the +tower and the ground.</p> + +<p>Why is the bird afraid to attempt to fly? It is so far +to the ground and his "wings" seem very "small".</p> + +<p>Why is the "Mother" not afraid to let her baby try? +She knows that God will carry him safely.</p> + +<p>How does she know this? Because "He" had "carried" her.</p> + +<p>When? When she was as small as the baby swallow is now.</p> + +<p>Why does the "Mother" tell him this? To encourage +him to make the attempt.</p> + +<p>How does the baby swallow make his start? He "spreads +out his wings" as far as he can and "springs" out.</p> + +<p>Which stanza has almost the same form as this? The +second.</p> + +<p>What is he surprised to find? That he is able to fly.</p> + +<p>How does he feel after that about flying? He is no +longer afraid.</p></div> + +<h3><br />PREPARATION</h3> + +<div class="blockquot"><p>What is he able to do well? To steer.</p> + +<p>What does this mean? To fly in any direction he wishes.</p> + +<p>How does the "Mother" feel over her baby's success? +She feels glad.</p> + +<p>To whom does she give thanks? To God.</p> + +<p>How does she do so? By singing a song of thankfulness.</p> + +<p>What can we learn from this story? That, if we really +try to do a difficult thing, we can usually succeed; that sometimes +a thing that looks hard is really very easy when we +try to do it.</p> + +<p>Tell this story in your own words. Tell any similar story +you know.</p></div><p><span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span></p> + + +<h4><br />THE BROOK</h4> + +<div class='center'>(First Reader, page 110)</div> + +<h3>PREPARATION</h3> + +<div class="blockquot"><p>You stood on the bridge and looked at the stream. What +did you see? I saw some little fishes. I saw my image. I +saw some bright stones.</p> + +<p>It is no wonder you looked at the stream when it shows +you so many things. What were the fishes doing? They +were swimming. They would dart after some crumbs that +we dropped into the water.</p> + +<p>Why were the fishes there? That is their home.</p> + +<p>Yes, they like to live in the clear water. Mary says she +saw her image. What have you at home that shows you +your image? The mirror.</p> + +<p>Yes, the brook is somewhat like the mirror. Did you see +images of any other things? Yes, I saw images of the trees, +and some stones, and I saw the images of the ducks that +were swimming.</p> + +<p>Willie says that he saw some pretty pebbles. Does the +brook make any noise? Yes, it seems to sing when it runs +over the pebbles, but in the deep places it does not make a +noise.</p></div> + +<h3><br />PRESENTATION</h3> + +<div class="blockquot"><p>Now I shall read you a little poem about a brook. (Read +with emphasis, even with slight exaggeration.) Now, where +did this brook begin? In "a fountain".</p> + +<p>What is that? A spring of water.</p> + +<p>Where was the fountain? "In a mountain".</p> + +<p>What is that? A high hill.</p> + +<p>Was it very large where it started? No, the lesson says +it was only "Drops of water" and it trickled "through the +grasses".</p> + +<p>What does it mean by "Trickling through the grasses"? +It means that there was so little of it that the blades of grass +seemed almost to check its source.<span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span></p> + +<p>Did it run very fast at first? No, the lesson says that +it "started" "Slow".</p> + +<p>Did it run any faster after that? Yes, "Soon it darted", +and it was "Hurrying".</p> + +<p>What caused it to dart and hurry? The ground was +steeper, and it had to run more quickly.</p> + +<p>Where was it running? Down "to the sea", where it +would be lost in the other water.</p> + +<p>Did it grow any larger before it came to the sea? Yes, +it grew "Swift and strong", and it widened "very fast".</p> + +<p>What caused it to widen? Other little brooks ran into it +and made it wider.</p> + +<p>Now, the brook is said to be like a person. Can you +point out any words that make you think it was like a +person? Yes, it hurries just as children hurry.</p> + +<p>In the next stanza, the lesson says it was "Glad". Why +was it glad? It was glad that the "Children" came to play +on its banks.</p> + +<p>Yes, it felt just as you feel when your friends come over +to your house to play. Do you see any other words that +make you think it is like a person? Yes, it is "Swift and +strong and happy". It rushes and it sings.</p> + +<p>What is it like now? It is like a big, strong, happy boy.</p> + +<p>Why did the children come to play on its banks? They +came to pick the flowers.</p> + +<p>What line shows you that? "Blossoms floating." The +children picked the flowers and threw some on the stream +to watch the current carry them away.</p> + +<p>What else were the children doing? They were sailing +toy boats in the water.</p> + +<p>What words show you that? "Mimic boating."</p> + +<p>What else did the children enjoy? They liked to see the +"Fishes darting past" them. The fishes were timid.</p> + +<p>The brook makes some very pleasant sounds. What +words show you that? "Rippling", "Bubbling", "singing", +"ringing".</p> + +<p>When does the water make these sounds? When it is +running "over pebbles" or down the steep places.<span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span></p> + +<p>You must fancy you hear the brook make its gentle +music when it is running over the pebbles. What does the +water look like when it ripples? It is not smooth; it has +tiny waves upon it.</p> + +<p>You have heard the water bubble and gurgle, and then, +when the stream grows large and runs faster, you can hear +it "singing" and "ringing" in the distance. The poet tells +us some pretty things about the brook. Tell me some of +them. It was "Cool and clear and free".</p> + +<p>Why was it "Cool"? It had flowed among the grasses +and had come from a spring in a mountain.</p> + +<p>Why was it "clear"? It was such pure water that you +could see the stones at the bottom of the brook.</p> + +<p>Why does the poet say it was "free"? There were no +logs nor big stones to stop its course. It ran freely on its +way.</p> + +<p>Do you see any other words that describe its appearance? +It is "Flecked with shade and sun".</p> + +<p>Now "Flecked" is a hard word. It means <i>spotted</i> or +<i>striped</i>. Can you tell me what that means? Sometimes the +brook is bright and shining and, in some places, it is shaded +by the trees or by the clouds. You can see bright patches +on the water.</p> + +<p>Now you have told me many wonderful things about this +brook; where it began and where it ended, how it grew, how +it sang, how glad it was to see the children, and how the +children played with it, and how it looked. What does it +tell us at first? It tells us where it began.</p> + +<p>In the next stanza? It runs a little faster.</p> + +<p>In the next? It was glad to see the children.</p> + +<p>In the next? The children were playing with it.</p> + +<p>In the next? It ran bubbling and singing into the sea.</p></div> + + +<h3><br />MEMORIZATION</h3> + +<div class="blockquot"><p>Now we shall learn the words of this pretty lesson, taking +the first stanza to-day. Let us take the first three lines. +Now all the lines. Let each one be ready to repeat it. See +whether you can say the first stanza to-morrow, and then +we shall learn some more.</p></div><p><span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2>CHAPTER V</h2> + +<h3>FORM II</h3> + + +<h4>MY SHADOW</h4> + +<div class='center'>(Second Reader, page 3)</div> + +<h3>AIM</h3> + +<p>The aim of the lesson is to make the poem so lifelike that +it will seem to each pupil as though the shadow and the +words were his own.</p> + +<h3><br />PRESENTATION</h3> + +<p>After the poem has been read to give a general idea +of the story, the teacher should proceed with it in detail, +much in the same spirit as he would carry on a bright +conversation with the pupils about something in which +they were all equally interested.</p> + +<div class='center'><br />Stanza I</div> + +<div class="blockquot"><p>How do I know my shadow is very fond of me? He +"goes in and out with me".</p> + +<p>What does that mean? It means he goes wherever I go.</p> + +<p>What is "the use of him"? That "is more than I can +see".</p> + +<p>What is he like? He is just "like me from the heels up +to the head".</p> + +<p>What does he do when I go to bed? He jumps into bed +"before me".</p></div> + +<h3><br />MEMORIZATION</h3> + +<div class="blockquot"><p>Now, children, four of you may each recite one line. +What have you, Susie? "I have a little shadow that goes +in and out with me."<span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span></p> + +<p>What is the use of your shadow, John? "And what can +be the use of him is more than I can see."</p> + +<p>What is he like, Mary? "He is very, very like me from +the heels up to the head."</p> + +<p>When do you see him jump ahead of you? "And I see +him jump before me, when I jump into my bed."</p></div> + +<p><span class="smcap">Note.</span>—Each pupil's expression should reveal an +active imagination and hearty response to the spirit of +the selection. The whole should be very lifelike and real. +Some pupil should be asked to recite or read the whole +stanza.</p> + +<div class='center'><br />Stanza II</div> + +<div class="blockquot"><p>What is there funny about the shadow? "The funniest +thing about him is the way he likes to grow."</p> + +<p>How is that? "He sometimes shoots up" very tall all +at once, and then he dwindles down to nothing.</p> + +<p>How would you expect him "to grow"? I would expect +him "to grow" as I do.</p> + +<p>How is that? Oh, that is "very slow".</p> + +<p>The author says "like proper children". What does that +mean? That means like real children.</p> + +<p>What shows that he sometimes grows up very, very +quickly? The poet says he "shoots up".</p> + +<p>What other words tell the same thing? "Like an india-rubber +ball."</p> + +<p>How is that? The ball goes up quickly with a bounce, +and the shadow seems to spring up in the same way.</p></div> + +<h3><br />READING AND MEMORIZATION</h3> + +<p>Let two or three children read the stanza. In the +first line, the voice should show how funny it all is; in +the second, the demureness of the "proper" child and +the slowness of the growth should be revealed in the +reading; in the third and fourth lines, there should be +an imitative response to the sudden up-growth of the<span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span> +shadow and to the childish surprise at his dwindling into +nothing.</p> + +<p>Memorization should be conducted as shown in +Stanza I, above. There should be no evidence of task or +effort in the recitation; it is very necessary that it be +spontaneous and full of enjoyment for the pupils.</p> + + +<div class='center'><br />Stanza III</div> + +<div class="blockquot"><p>The shadow knows very little about one thing. What +is that? He has no "notion of how children ought to play".</p> + +<p>How does he "make a fool of me"? "In every sort of +way."</p> + +<p>Well, give one way. He mimics me.</p> + +<p>Where does he stay? He stays right "close beside me".</p> + +<p>Why does he do that? He does that because "he's a +coward".</p> + +<p>How would you feel about doing the same thing? I +would feel ashamed of myself.</p></div> + +<p>Reading and recitation of this stanza should now be +conducted as indicated in Stanzas I and II, above.</p> + + +<div class='center'><br />Stanza IV</div> + +<div class="blockquot"><p>Did you ever manage to get away from your shadow? +Yes, I did.</p> + +<p>Tell us about how you did it. Well, "One morning, very +early", I got up "before the sun" did, and went out in the +flower garden. I looked around for my shadow, and I found +he "had stayed at home behind me" in bed.</p> + +<p>What is he called for doing that? He is called "an +arrant sleepy-head".</p> + +<p>Give another word in place of "arrant" that will mean +the same thing. He was a thorough and shameless "sleepy-head".</p> + +<p>What was the real cause of his staying behind? There +was "none of him at all", because the sun was not up.<span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span></p> + +<p>What will happen when the sun does come up? Then my +shadow will suddenly show himself again.</p> + +<p>Now, if you would like to have another stanza, telling +about what happened when the sun came up, just try your +best to write one.</p></div> + +<p>Here is another that was written once at the end of +the lesson:</p> + +<div class='poem'> +But when the dear old sun came up above the trees,<br /> +My frisky little shadow came out into the breeze;<br /> +I didn't see him coming, but, when I turned around,<br /> +His head was at the window, and he lay along the ground.<br /> +</div> + + +<h4><br />ONE, TWO, THREE</h4> + +<div class='center'>(Second Reader, page 21)</div> + +<h3>AIM</h3> + +<p>To enable the pupils to understand the beauty and +pathos of the selection.</p> + +<p>To arouse in them a sympathy for those who are weak.</p> + +<h3><br />PREPARATION</h3> + +<div class="blockquot"><p>How many of you like to play games? Everybody.</p> + +<p>Name some of the games you play. Ball, tag, hide-and-seek, +etc.</p> + +<p>With whom do you like to play? With boys and girls of +our own age.</p></div> + +<h3><br />PRESENTATION</h3> + +<div class="blockquot"><p>Here is a story that tells about two people playing a +game. (The selection is read aloud by the teacher.)</p> + +<p>What is the story about? An "old lady" and a little +boy playing "Hide-and-Go-Seek".</p> + +<p>What relation were they? The old lady was the boy's +"Grandma".</p> + +<p>Let us look at the story again, and see if they enjoyed +their game as much as you do yours. Is there anything in<span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span> +the first stanza that tells us they were having a good time? +"The way that they played together was beautiful to see."</p> + +<p>What was beautiful about it? They were so kind to each +other. It was pleasant to see an old lady and a little boy +having such a happy time playing together, and understanding +each other so well.</p> + +<p>How do you feel, as you read the second stanza? I feel +sorry for the boy because he is lame.</p> + +<p>Any other reason for feeling sorry for him? He is "thin", +as though he had been sick a long time.</p> + +<p>In what way are he and his Grandma alike? Neither of +them can run or jump.</p> + +<p>Do you feel more sorry for the Grandma or for the little +boy? I feel more sorry for the boy, because he may never +be able to run around, and his Grandma could when she was +young.</p> + +<p>Describe the picture you see in the third stanza. I see +an old lady and a little boy sitting "under the maple tree". +The little boy has a pair of crutches beside him. The "sunlight" +is shining through the leaves, and it is a warm +summer's day, or they would not be sitting out. There is a +house near them.</p> + +<p>What game were they playing? "Hide-and-Go-Seek."</p> + +<p>Would you know it from looking at them? No, because +they are sitting still, and when we play the game, we run +around and hide.</p> + +<p>How did they play it? They thought in turn of some +place to hide and imagined they were hiding in it; they had +three guesses to find out the place.</p> + +<p>Whose turn was it to hide? The old lady's, because the +boy is guessing where she is.</p> + +<p>Where did he find her at last? In "Papa's big bed-room", +in "the clothes-press".</p> + +<p>Is there anything else spoken about that was in the bed-room? +There was a "little cupboard".</p> + +<p>Why does he mention the cupboard? He often thinks of +it. He likes it.</p> + +<p>Why? His mother's "things used to be" in it.<span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span></p> + +<p>Why does he say "used to be"? That tells us that they +are not there any longer.</p> + +<p>Why? I think his mother is dead.</p> + +<p>Who takes care of him now? His grandmother lives with +him and looks after him.</p> + +<p>Why does the boy say "It can't be the little cupboard"? +They both think too much of it to want to use it in connection +with their play.</p> + +<p>How did the boy enjoy the game? Very much, because +it says he laughed "with glee".</p> + +<p>How did the Grandma enjoy it? She was glad to see the +boy happy.</p> + +<p>Do old ladies usually like to play games? No, they generally +prefer to read or sew.</p> + +<p>Why was she playing with the boy? She loved him and +was sorry he was lame.</p> + +<p>Could he do anything for his Grandma? He could talk +to her, and keep her from being lonely. When he grows +older, he can read to her.</p> + +<p>Describe the picture you see in the ninth stanza. I see +the old lady, with her hands covering her face, while she +guesses where the boy is hidden.</p> + +<p>In the last stanza, why does the author use so many +"olds", in speaking of the Grandmother? He wants to +make us feel she is quite old.</p> + +<p>Why does he say "dear" so often? He wants to show +how very kind she was to the lame boy.</p> + +<p>Why does he say the boy was "half-past three", instead +of three and a half years old? It sounds better the way he +says it. It suggests the clock's time.</p> + +<p>Give me some other titles for this poem. "The Chums", +"A Queer Game", "The Two Playmates".</p></div> + + +<h4><br />DANDELIONS</h4> + +<div class='center'>(Second Reader, page 30)</div> + +<h3>AIM</h3> + +<p>To lead the pupils to perceive and appreciate how the +poet uses personification and comparison.<span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span></p> + + +<h3><br />PRESENTATION</h3> + +<p>This poem should be studied in the spring, when the +dandelions are in bloom. A nature study lesson should +precede the literature lesson. The pupils should be required +to observe when the dandelions begin to make +their appearance; at what time of the day they are most +conspicuous; after what kind of night they are to be +found in greatest profusion; what change occurs in the +structure of the flowers as they grow older; how long a +time usually elapses between the first appearance of the +flowers and this change; what the white, downy part +of the flower constitutes; what eventually becomes of this +part.</p> + +<p>Introduce the lesson by a brief conversation about +military operations. Describe how one army tries to seize +a strategic position, sometimes a hill, where the men +can fix their guns and command the surrounding country. +If this lesson could be presented without the pupils +knowing the title (by writing the poem on the black-board, +for instance), there would be the added interest +of solving a riddle, namely, what the poet is describing.</p> + +<div class="blockquot"><p>What is a real "trooper band"? A band of soldiers on +horseback.</p> + +<p>And what are real "veterans"? Old soldiers who have +seen much service in war.</p> + +<p>What is actually meant by the "trooper band"? The +dandelions when they first come out.</p> + +<p>What is the phrase that suggests that they are dandelions? +"Yellow coats."</p> + +<p>What does the author actually mean by the "veterans"? +The dandelions, when they have gone to seed.</p> + +<p>What phrase suggests this? "Their trembling heads and +gray."<span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span></p> + +<p>Where did the "trooper band" make their appearance? +On the hillside.</p> + +<p>When? On a "showery night and still".</p> + +<p>Why is such a night selected? Because it makes the +dandelions bloom in great numbers.</p> + +<p>To what is the coming of the dandelions compared? To +an army taking possession of a hill.</p> + +<p>What words tell how they came? "Without a sound of +warning", "surprised", "We were not waked by bugle +notes", "No cheer our dreams invaded".</p> + +<p>Explain "surprised the hill". Marched upon it when +they were least expected, and seized it.</p> + +<p>Give the meaning of "held it in the morning". Had +undisputed possession of it.</p> + +<p>Tell, in your own words, how the dandelions came. Suddenly +and unexpectedly.</p> + +<p>How did this attack differ from a real military attack? +There were no notes of the bugle or shouts of the soldiers +to announce the capture of the hill.</p> + +<p>Change "No cheer our dreams invaded" into prose order, +and explain the meaning. No cheer invaded our dreams. +Our sleep was not disturbed by the victorious shouts of +soldiers.</p> + +<p>How did the coats of the soldiers you have seen differ in +colour from those of the dandelions?</p> + +<p>What is the meaning of "at dawn"? The first appearance +of light in the morning.</p> + +<p>"Green slopes"? Grassy hillsides.</p> + +<p>"Paraded"? Marched up and down.</p> + +<p>About what time has elapsed between the incident of the +first stanza and that of the second? Probably a week or thereabouts.</p> + +<p>What deed is referred to in the first stanza? The seizure +of the hill.</p> + +<p>What is meant by "idly walking"? Without any definite +purpose in view.</p> + +<p>"Marked"? Noticed.</p> + +<p>About what were the veterans probably "talking"? About +their military exploits in years gone by.<span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span></p> + +<p>What words are suitably used in describing these veterans? +"Trembling" and "gray" suggest old age.</p> + +<p>Arrange "their trembling heads and gray" in ordinary +prose order. Their gray and trembling heads.</p> + +<p>Why should the veterans be filled with "pride"? Because of the brave deeds they had done.</p> + +<p>Why did they laugh? Perhaps, because of some amusing +occurrences they had seen.</p> + +<p>What characteristics of the dandelions suggest these +fancies regarding the veterans? The heads of the dandelions +are white. As they sway in the breeze on their slender +stalks, they incline their heads toward one another in much +the same way as people do in conversation.</p> + +<p>Why is the "laughter" said to be "noiseless"? Because +human beings could not be expected to hear the laughter of +the dandelions.</p> + +<p>What expression would you be likely to use, instead of +"welladay"? Alas!</p> + +<p>What is meant by "they blew away"? The seeds of the +flowers were scattered far and wide.</p> + +<p>What do you like about this poem? (1) Its charming +poetic fancies. (2) The fitness of the comparisons.</p></div> + +<p>Point out clearly how the appearance of the dandelions +resembled a military attack, and how, in the later stage +of their life history, they resembled veteran soldiers.</p> + + +<h4><br />THE BLIND MEN AND THE ELEPHANT</h4> + +<div class='center'>(Second Reader, page 56)</div> + +<h3>AIM</h3> + +<p>The aim of the lesson should be, not only to lead the +pupils to enjoy the humour of the poem, but also to +appreciate the lesson it teaches. It affords a fine opportunity +for the development of conversational powers in +the pupils.<span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span></p> + +<p>The pupils should be encouraged to talk freely, and +the questions should often call for quite lengthy answers.</p> + + +<h3><br />PREPARATION</h3> + +<div class="blockquot"><p>Who has seen an elephant? You have, Henry? Well, +tell us something about him. He was very large. One of +our barn doors is twelve feet high and six feet wide, and +father said the elephant would just be able to go through +that door. If he was in the school-room, his back would +reach almost to the ceiling. His ears were bigger than the +top of my desk. His trunk was twice as long as father's +cane, and was nearly as big around at the upper end as a +bag of wheat, and the lower end was as small as my leg is +below the knee. His tusks were hard and white, one on each +side of his trunk, and were longer than father's arm. His +tail was small. It did not seem to be as long as one of his +tusks. His legs were larger around than the trunk of the +biggest apple tree in our orchard. His skin was something +like a hog's skin, only thicker, and he had no hair. His +whole body was a dirty, dark colour.</p> + +<p>That is a fairly good description, Henry. You have helped +us to picture a very large elephant.</p></div> + + +<h3><br />PRESENTATION</h3> + +<div class="blockquot"><p>As you have read this poem to yourselves, tell me what +it is about. It is about six blind men "Who went to see the +elephant".</p> + +<p>As they were blind, how could they see him? They couldn't +see him as we do, but they could feel him, and that was to +them what seeing is to us.</p> + +<p>In what way was feeling the same to them as seeing is +to us? It was their way of knowing the animal, and that is +just what seeing is to us.</p> + +<p>Where did this happen? It happened in Indostan.</p> + +<p>I told you to look for Indostan in Asia. Point it out on +the map. (A pupil points to it.)</p> + +<p>What are we told about these men? They gave much of +their time to study.<span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span></p> + +<p>What do you suppose was their favourite way of finding +out things? This lesson makes me think that they liked to +find out things by their own efforts.</p> + +<p>Why do you think that? Because it says that they wanted +to "satisfy" their minds by their own "observations".</p> + +<p>In what other ways do boys and girls satisfy their minds +about new things? By asking questions about them until +the answers satisfy them.</p> + +<p>What other way do you use sometimes? We read books to +learn about many new things.</p> + +<p>What did the first man learn? He thought he had learned +that the elephant was "like a wall".</p> + +<p>Why do you say thought? He hadn't really learned it. +He stopped making observations just as soon as he had one +idea.</p> + +<p>Why do you think he did that? I think he was in a hurry +to be the first to state what he knew.</p> + +<p>What words in the poem suggest that idea to you? The +words "At once began to bawl".</p> + +<p>How did this man come to think the elephant was "like +a wall"? He fell against the animal's huge side, and it made +him think of a wall.</p> + +<p>What was the second man's opinion about the elephant? +He thought the animal was "like a spear".</p> + +<p>Account for that idea. He felt one of the elephant's +tusks, and formed his opinion without going any further.</p> + +<p>And what about the third man? The third man put his +hands on the elephant's trunk and felt it all over, but as he +did not go any further, he declared that the elephant was +"like a snake", because it was the only thing, as far as he +knew, that squirmed about as the trunk did.</p> + +<p>What did the fourth man do? The fourth man felt the +big front legs and declared the elephant was "like a tree".</p> + +<p>Tell us about the fifth man. The fifth man happened to +touch the ear. He felt all over it but nowhere else, so he said +the elephant was "like a fan".</p> + +<p>And what had the sixth man to say? The sixth man had +caught hold of the elephant's tail, and when he had felt all +over it, he declared the elephant was "like a rope".<span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span></p> + +<p>What conclusion did they come to in the end? They +didn't come to any conclusion. They argued and argued for +a long time, and each man was stubborn and stuck to "his +own opinion".</p></div> + + +<h3><br />GENERALIZATION</h3> + +<div class="blockquot"><p>In what respects were they all alike?</p> + +<p>1. Each one felt just one part of the animal and took the +part for the whole.</p> + +<p>2. Each was in a hurry to give his opinion and did not +take time to form a good one.</p> + +<p>3. Each man was stubborn and probably refused to feel +where the others had felt.</p> + +<p>If they could be in your place, how would they see themselves? +They would see how foolish they had been, and each +would see that the others were as nearly right as he himself +was.</p> + +<p>What lesson for ourselves can we learn from this? It +teaches us not to be in a hurry in giving our opinions.</p> + +<p>What do we learn from the dispute mentioned in the last +verse? We learn from it that, when our own opinions about +anything are firmly fixed, it does no good to argue about the +matter.</p> + +<p>In what way could they have arrived at the same conclusions? +If each had done all that each of the others did, +they would have agreed about the elephant.</p> + +<p>In what way were these men really blind? They could +not, or would not, see the viewpoint of others. There may +be a mental blindness, as well as a physical blindness.</p> + +<p>Here are two lines that you may memorize, as they fit the +lesson very well:</p> + +<div class='poem'> +Convince a man against his will,<br /> +He's of the same opinion still.<br /> +</div></div> +<p><span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span></p> + + +<h4><br />THE LORD IS MY SHEPHERD</h4> + +<div class='center'>(Second Reader, page 203)</div> + + +<h3>AIM</h3> + +<p>To lead the pupils to appreciate the beauty and power +of the language of this Biblical lesson, and to feel a confidence +in God's protection and support.</p> + + +<h3><br />PRESENTATION</h3> + +<p>The teacher should talk with the pupils about the +great flocks of sheep in Eastern lands. They require a +shepherd to lead them to pastures where the grass is long +and sweet, and to protect them from the wild animals.</p> + +<p>This Psalm is called the "Shepherd Psalm" because +it was written by David, after he became a king. He +remembered the time when he was a shepherd boy and +used to spend his days and nights in the fields with the +sheep, and how he once killed a lion and a bear that came +to attack his flock; and he thought to himself that God +had cared for him all his life just as he himself used to +care for his little lambs, so at last he put his thoughts into +the words of this Twenty-third Psalm.</p> + +<p>There are two metaphors in this Psalm. In the first +is developed, through the figure of a shepherd and his +flock, God's care of His people.</p> + +<div class="blockquot"><p>What are the feelings of the sheep toward the shepherd? +They feel confident that he will supply them with food; he +will lead them to the "green pastures" and to the "still +waters" by the wells and fountains, where they will neither +hunger nor thirst.</p> + +<p>What does the expression "lie down" infer? A sense of +rest and security. The sheep can lie down in the "green<span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span> +pastures" and feel confident that the shepherd is able and +willing to protect them from danger.</p> + +<p>In what way do we resemble the sheep? We are dependent +upon the Lord for our supply of spiritual and material needs, +and for guidance and protection along the path of everyday +life.</p> + +<p>What does the Psalmist mean when he says: "He restoreth +my soul"? "Soul" means, in Hebrew, the "life," +or "one's self". The Lord restores and brings back His +people, when wandering into forbidden places.</p> + +<p>Explain the next line. As the shepherd goes before and +leads his sheep by the right paths, avoiding all dangers, so +the Lord leads His people into "the paths of righteousness".</p> + +<p>What does "for His name's sake" mean? He has undertaken +to guide His people safely and will do it for the honour +of His name.</p> + +<p>In the next section, whom is the Psalmist addressing? +He is speaking to the Lord.</p> + +<p>What words show that he is still using the figure of the +shepherd and the sheep? "Through the valley"; "Thy rod +and thy staff".</p> + +<p>What does the first line mean? Some paths that are right +paths for us to walk in still lead through perilous places; and +this is the way the Psalmist refers to this fact in shepherd life.</p> + +<p>How should we feel? The Lord accompanies us, and we +should "fear no evil". The sheep follow the shepherd with +absolute confidence, and our attitude toward "the Good Shepherd" +should be the same.</p> + +<p>What words show that danger is sometimes close? Death +sometimes comes so close that it almost seems to cast a +shadow.</p> + +<p>What does the "rod" represent? The rod is the sign of +authority, and represents the defence and protection afforded +by the shepherd to the sheep, when in danger from robbers +or wild beasts.</p> + +<p>What does the "staff" represent? The staff denotes support +and guidance, and is used for aiding the sheep in places +of need, even along peaceful ways. The expression "Thy rod +and thy staff" covers the whole round of protecting care.</p></div><p><span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span></p> + +<p>Here the figure is changed. In the second metaphor +God is represented as a host with the Psalmist as a guest +at a banquet.</p> + +<div class="blockquot"><p>"Thou preparest a table before me." The Lord makes +provision for man's needs. He does so openly, publicly ("in +the presence of mine enemies").</p> + +<p>In what other way does the Lord show His care for His +people? The Psalmist says: "Thou hast anointed my head +with oil."</p> + +<p>To what does this refer? In the East, it was the custom +to pour an ointment of great fragrance on the heads of the +guests of honour at a feast.</p> + +<p>How does the Psalmist further picture the goodness of +God? He fills our "cup" till it is overflowing.</p> + +<p>What is the thought in the last two lines? The confidence +of the Psalmist in the Lord, that as He has led and +guided him in the past, so His "goodness and mercy" "shall +follow" him "all the days of his life," and he will live forever +in intimate communion with Him.</p> + +<p>What do you like about the selection? The spirit of gratitude +and confidence in those who enjoy God's benefits. The +nature of some of these benefits is made plain to us by the +pictures of the "green pastures", the "still waters", "the +rod and staff", and the prepared "table".</p></div><p><span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2>CHAPTER VI</h2> + +<h3>FORM III</h3> + + +<h4>HIDE AND SEEK</h4> + +<div class='center'>(Third Reader, page 50)</div> + + +<h3>AIM</h3> + +<p>To lead the pupils to appreciate the exquisite music +of the language and the pathos of the story.</p> + + +<h3><br />PRESENTATION</h3> + +<div class="blockquot"><p>What does the poem describe? It describes a father's love +for his son.</p> + +<p>There are two distinct parts. What does each part +describe? The first two stanzas describe a game of "Hide +and Seek" between the father and the boy, and the last +two, the father's intense longing for the boy whom he has +lost.</p> + +<p>What kind of day is described in the first stanza? A +bright and calm June day.</p> + +<p>What things suggest this? Sleeping trees, still winds, +wandering clouds, "noonday silence".</p> + +<p>What does the writer represent the trees and the winds +to be? Persons—the trees having the ability to sleep, and +the winds to move or keep still. This is called personification.</p> + +<p>What are "fleecy clouds"? Clouds that are white and +downy.</p> + +<p>The poet speaks of them as "flocks". What is the comparison +intended? The comparison of the clouds to flocks +of white sheep that, instead of wandering across a meadow, +are wandering across the sky.</p> + +<p>What does the word "wandered" suggest? That the clouds +are moving along slowly and leisurely without any purpose +in view. They are doing this because the "winds are still".<span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span></p> + +<p>What is meant by saying that they "Have wandered past +the hill"? They have gone below the horizon at the hilltop +and cannot be seen. The sky is thus clear of clouds.</p> + +<p>What causes "the noonday silence"? The heat of the +mid-day has silenced even the songs of the birds. Compare +Keats:</p> + +<div class='poem'> +When all the birds are faint with the hot sun<br /> +And hide in cooling trees.<br /> +</div> + +<p>How is the silence broken? By the voice of the little boy +hunting for his father.</p> + +<p>What do the words of the tune he is singing constitute? +The rules of the game. The one hiding must respond +"Coo-ee" each time the one searching calls.</p> + +<p>Where is his father? In a "leafy nook" in the woods.</p> + +<p>What does the question "Shall I let him pass?" seem to +indicate? That his father hesitates for a moment to reveal +himself.</p> + +<p>What does he do, however? He gives the boy the signal—a +"low, soft whistle". He cannot "let him pass".</p> + +<p>What is shown in the last long line of the stanza? That +the man enters into the spirit of the game with the same +zest as the boy.</p> + +<p>What feeling exists between the two? A feeling of perfect +good-fellowship and affection.</p> + +<p>Explain, "you're it". Your turn to hunt, mine to hide.</p> + +<p>What further rules of the game are given here? (Every +boy and girl will know these.)</p> + +<p>What change in feeling is there between the first two +stanzas and the last two? A sudden transition from gaiety +and light-heartedness to sorrow.</p> + +<p>What has happened? The boy is dead.</p> + +<p>Why is "Long ago" repeated? It emphasizes the idea and +adds to the pathos of the line. The time has seemed long +because of the intensity of the father's grief. Happiness +makes time pass quickly, not so grief.</p> + +<p>How does the poet suggest the idea that the game is still +being continued though it is now an inexpressibly sad one? +He speaks of the boy as having left his father as if to hide,<span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span> +of his father as seeking him "high and low", of his being +safely "hidden" "in some pleasant place", of the father as +being unable to hear his "Coo-ee".</p> + +<p>What is really meant by seeking him "high and low"? +The thought of his boy is ever with him. He unconsciously +looks for his face wherever he goes.</p> + +<p>What is the "pleasant place"? Paradise.</p> + +<p>How could you describe the short lines, "Far away", etc., +down to the end of the stanza? As the call of a broken heart +to the boy.</p> + +<p>Where is the idea contained in "Far away" expressed +before? In "Hidden safe and happy in some pleasant place".</p> + +<p>And where is the thought, "Many a day", repeated? +"Long ago he left me, long and long ago."</p> + +<p>How is the father continually reminded of his boy? By +the "Birds" and "Flowers"—everything that he loved is +charged with memories of him.</p> + +<p>What light is thrown upon the little fellow's interests? +He loved the out-of-doors, the things of nature.</p> + +<p>What ray of sunshine breaks through the clouds of the +father's grief? The conviction that his boy "is waiting" for +him till he comes.</p> + +<p>What is the meaning of the line, "Love may hide itself", +etc.? The little boy's love may for the moment be hidden, +but it is everlasting. The father's love is likewise everlasting. +This is sufficient ground for believing that they will some +day be united.</p></div> + +<p>The reading of this poem by the pupils will show +whether they feel its joy, its sadness, and its hope.</p> + + +<h4><br />AN APPLE ORCHARD IN THE SPRING</h4> + +<div class='center'>(Third Reader, page 60)</div> + +<h3>AIM</h3> + +<p>To lead the pupils to appreciate the beauty of an +apple orchard in the spring and the music of the language +used in describing it.<span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span></p> + + +<h3><br />PREPARATION</h3> + +<p>This lesson should be taken when the apple orchards +are in bloom. The teacher should prepare the pupils for +it, by asking them to observe the blossoms, their colours +and odours, the songs of the birds, and the sounds of the +streams.</p> + +<h3><br />PRESENTATION</h3> + +<div class="blockquot"><p>Read the poem describing these. What is the main theme +of the lesson? The poet tells us how much we have missed +if we have not "seen an apple orchard in the spring".</p> + +<p>What is his theme in the first three stanzas? The beauty +of an apple orchard.</p> + +<p>What, in the last stanza? His memory of it.</p> + +<p>In what order does he describe the blossoms? In the first +stanza, the buds are turning white; in the second, they are +unfolding; and in the third, the petals are dropping.</p> + +<p>Where does the author suppose the reader to be standing, +in the first stanza? Outside the orchard, where it is possible +to see "the spreading trees" and all the orchard at once.</p> + +<p>Where, in the next two stanzas, is he supposed to be? He +is plucking the blossoms and walking under the trees.</p> + +<p>What senses are appealed to in the first stanza? Sight—"seen +an apple orchard". Hearing—"mavis sings its story".</p> + +<p>What senses are appealed to in the second stanza? Touch—"plucked +the apple blossoms", "touch them a delight". +Smell—"caught their subtle odours". Sight—"Pink buds +pouting at the light", "Crumpled petals baby white".</p> + +<p>What senses are appealed to in the third? Sight—"pink +cascades". Hearing—"silver brooklets brawling", "cuckoo +bird soft calling".</p> + +<p>Show the appropriateness of "hoary", "wealth of promised +glory", "pouting", "pink cascades", "silver brooklets +brawling", "wonder of the spring", "precious", "tender".</p> + +<p>What Canadian birds could be substituted for the mavis +and the cuckoo? The robins, warblers, and goldfinches.</p></div><p><span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span></p> + +<p>Lead the pupils to examine the arrangement of the +rhythm and the refrain, so that they will appreciate the +music of the verse. Let each pupil show his appreciation +by reading the stanza he likes best.</p> + + +<h4><br />LITTLE DAFFYDOWNDILLY</h4> + +<div class='center'>(Third Reader, page 223)</div> + +<p>The teacher should require the pupils to read the +lesson through and then to reproduce its main incidents +without any regard to their allegorical significance. Such +headings as the following might be suggested by the +pupils, and these would serve to guide in this reproduction:</p> + +<p>1. Daffydowndilly's dislike of the schoolmaster</p> + +<p>2. His decision to run away from school</p> + +<p>3. His meeting with the stranger who accompanies +him on his journey</p> + +<p>4. The haymakers</p> + +<p>5. The carpenters</p> + +<p>6. The soldiers</p> + +<p>7. The merry-makers</p> + +<p>8. His discovery of his companion's identity</p> + +<p>9. The lesson that he learned.</p> + +<p>Having thus obtained the literal meaning of the story—a +matter of little difficulty—it remains to get its deeper +significance. It is hardly probable that many pupils will +be disposed to regard the story as literally true, yet few +will be likely, upon a first reading, to see the principle +that underlies it. In order to arrive at this, the teacher +may proceed as follows:<span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span></p> + +<div class="blockquot"><p>Are there any parts of the story that strike you as improbable? +(1) The reference to Mr. Toil's long residence +upon the earth. (2) The frequent meetings with Mr. Toil's +brothers. (3) Daffydowndilly's slowness in discovering +another brother in the person of his companion. (4) Their +travelling all day in a circle.</p> + +<p>If the story is literally untrue or improbable, what object +might Hawthorne have had in view in writing it? Perhaps +he wished to teach some lesson; perhaps there is a meaning +hidden beneath the story.</p> + +<p>Let us discover what that hidden meaning is? What +does the name "Toil" suggest to you? Work.</p> + +<p>What, then, may Mr. Toil represent? Work.</p> + +<p>And what may his brothers represent? Different kinds +of work.</p> + +<p>With this idea in mind, we shall now try to understand +what each adventure really means. How are we prepared +for Daffydowndilly's troubles with the schoolmaster and for +his later unpleasant experience? The author tells us that he +"took no delight in labour of any kind".</p> + +<p>What flower did he resemble? The daffodil. The boy's +name is another form of the name of the flower.</p> + +<p>In what respect is he said to resemble a flower? He +"loved to do only what was beautiful and agreeable, and +took no delight in labour of any kind".</p> + +<p>Why is Mr. Toil first represented as a schoolmaster? Because +it is at school that a boy is first introduced to real +work. (This might be given a still more extended meaning. +The school represents the preparation for our future vocation, +whether it be in the school-room, or in an apprenticeship, or +elsewhere. This involves hard work, and hence is, to some +extent, at least, unpleasant.)</p> + +<p>What is meant by saying that Mr. Toil "had done more +good ... than anybody else in the world"? Work does +everybody good: (1) It keeps us out of mischief. Criminals +often become so because of the lack of profitable employment. +(2) It improves character. The people of the best and +strongest character are those who have had to work hard.<span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span> +(3) It makes the world happier. The most miserable people +are those who have nothing to do.</p> + +<p>"A very worthy character." Is "character" used in its +usual sense here? It usually means what a person really <i>is</i>.</p> + +<p>(Distinguish "character" and "reputation".)</p> + +<p>Explain what is meant by saying that "he had dwelt upon +earth ever since Adam was driven from the garden of Eden". +Ever since that time man has had to work. God said to +Adam (Genesis iii, 19), "In the sweat of thy face shalt thou +eat bread".</p> + +<p>Why is Mr. Toil represented as being such a disagreeable +person? Because, to some people, work has many unpleasant +features.</p> + +<p>Any activity that has no compulsory elements in it is no +longer work, but play. What is the real meaning of the +paragraph describing the schoolmaster's method of discipline? +The work of the school-room, being compulsory, and therefore +disagreeable to idle boys, becomes exceedingly painful +when long continued.</p> + +<p>Contrast Daffydowndilly's previous life with his experience +at school. Brought up under the indulgence of his mother, +his life had been very pleasant. Now, introduced to real +work, he finds life very unpleasant.</p> + +<p>What gives us a suggestion as to the identity of the +stranger whom Daffydowndilly met on the road? We are +told that he was "trudging" "along the road", and that his +voice "seemed hard and severe".</p> + +<p>Why is "trudging" a better word than "walking"? It +suggests effort, and hence work.</p> + +<p>How does the form of the question, "Whence do you come +so early, and whither are you going?" harmonize with the +description of the stranger?</p> + +<p>We are told that he had a "grave and sedate appearance", +and the somewhat stilted form of the question is quite in +harmony with this description.</p> + +<p>Why had his voice "a sort of kindness in it"? Because +moderate work, such as this walking early in the day, is not +altogether unpleasant.<span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span></p> + +<p>Explain "ingenuous disposition". How does Daffydowndilly +show this?</p> + +<p>What made his discovery of Mr. Toil among the labourers +in the hayfield so unexpected? The circumstances and surroundings—"the +sunshine", "the blue sky", the singing +birds, the fragrant hay—were so pleasant that it was hard +to see how anything so unpleasant as work could intrude +there.</p> + +<p>Why is Mr. Toil recognized in the owner of the field +rather than among the labourers? In directing the activities +of the men, as well as working himself, he is performing the +most arduous labour of all.</p> + +<p>Why does the stranger say the farmer is a "more disagreeable +man" than his brother, the schoolmaster? Because +the activities of farm life are more laborious than those +of the school-room.</p> + +<p>What expression that takes the form of a proverb is used +in describing this incident? "To make hay while the sun +shone."</p> + +<p>Distinguish its meaning, as the author uses it, from its +meaning as a proverb. The author uses it in its literal +meaning. The farmer must make the most of fine weather +and sunshine in curing ("making") his hay, for, if rain +comes after it is cut, it will be more or less injured. Used +as a proverb, the expression means that one should seize +the opportunities presented and make the most of them.</p> + +<p>What does Hawthorne mean by placing a Mr. Toil at the +head of the company of soldiers? Military movements, +though very attractive to the eye, really involve work. +Soldiers find their activities very toilsome, especially after +the novelty has worn off.</p> + +<p>Why is Mr. Toil placed even among the dancers? The +pursuit of pleasure soon becomes wearisome, and hence toilsome.</p> + +<p>Why is the fiddler represented as a Frenchman? France, +as a whole, is reputed to be the gayest and sprightliest of +nations.</p> + +<p>What is meant by saying that "those who have known +him best think him still more disagreeable than his brothers"?<span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span> +Those who devote themselves entirely to the pursuit of +pleasure find it more toilsome and disagreeable than ordinary +work. People frequently say, after a day given up to pleasure, +that they are more tired than if they had worked hard all +day.</p> + +<p>In which of the incidents of the story does it seem least +likely that Mr. Toil would be met with? In the incident of +the merry-makers.</p> + +<p>In which, most likely? The incident of the haymakers.</p> + +<p>How has Hawthorne apparently arranged Daffydowndilly's +experiences? He has so arranged them that in each +successive incident we are more surprised at meeting with +Mr. Toil. Each one seems to promise less probability of his +presence than the preceding.</p> + +<p>Why had Daffydowndilly not recognized his companion +before? His voice had been kind and his manner agreeable +in the early stages of the journey.</p> + +<p>Interpret this as has been done in the case of the other +incidents. The early part of Daffydowndilly's journey had +been pleasant, owing to the freedom from school and the +interesting experiences by the way. But, as the day drew +on, he gradually grew tired, and then it was that he recognized +that walking is work.</p> + +<p>What lesson did he learn? That he could not get away +from work. It is to be found everywhere, in the most unexpected +places, and one cannot escape from it by changing +his occupation.</p> + +<p>What is meant by Daffydowndilly's finding Mr. Toil's +ways more agreeable upon better acquaintance? When he +grew accustomed to his work, he found that it was not so +very unpleasant after all; "that diligence is not a whit more +toilsome than sport or idleness".</p> + +<p>What is Mr. Toil's "smile of approbation"? The consciousness +of work well done.</p></div> + +<p>Tell the pupils that this story is an Allegory. They +have probably read other stories of a similar nature, and +may be asked to frame a simple definition. An Allegory +is a story, not literally true, containing incidents that<span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span> +have a deeper meaning than is apparent on the surface. +Its purpose is to teach some moral truth or universal +principle. It differs from the Parable in being longer +and more complex.</p> + +<p>When the pupils reproduce the story, it will be well +to adhere to the allegorical form, and not attempt to give +its significance.</p> + + +<h4><br />MOONLIGHT SONATA</h4> + +<div class='center'>(Third Reader, page 285)</div> + +<h3>AIM</h3> + +<p>To lead the pupils to appreciate the importance of +details in the construction of a story.</p> + +<h3><br />PREPARATION</h3> + +<p>The teacher will have told the pupils a few facts about +Beethoven and, if possible, will have shown them his +picture. He will also have asked them to read the lesson +at home and become familiar with the story.</p> + +<h3><br />PRESENTATION</h3> + +<div class="blockquot"><p>What is the main point in the story? The circumstances +under which the musician wrote the "Moonlight Sonata".</p> + +<p>What is a sonata? It is a musical composition which +consists of movements fast or slow, sad or playful, according +to the varying mood of the composer.</p> + +<p>Where was the scene? In Bonn in Prussia.</p> + +<p>When? On a moonlight winter's evening.</p> + +<p>Who were the two persons? Beethoven and the writer.</p> + +<p>Notice that these three important facts are all told briefly +at the beginning.</p> + +<p>Why had the writer called on the musician? He wished +to take him for a walk and afterwards take him home with +him to supper.<span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span></p> + +<p>Had he any reason except the desire for Beethoven's company? +Yes, Beethoven's health was not good, his hearing +was becoming impaired, and the writer evidently thought he +needed rest and recreation. These circumstances led to an +important result.</p> + +<p>What happened next? In passing through a narrow street, +Beethoven heard some one playing his "Sonata in F".</p> + +<p>What were his feelings? Surprise to hear it in such a +place and delight at the excellence of the playing.</p> + +<p>How did he show his feelings? By exclamations, questions, +and short sentences.</p> + +<p>What is told in the next three paragraphs? They describe +a conversation.</p> + +<p>Who are speaking? A brother and sister.</p> + +<p>What are they saying? The sister is lamenting that she +cannot "go to the concert at Cologne" and her brother reminds +her of their poverty. Then she wishes that "for once +in her life" she "could hear some really good music".</p> + +<p>What happens next? Beethoven decides to enter the house.</p> + +<p>How does the writer impress this fact on the reader? By +giving the argument between himself and Beethoven.</p> + +<p>What were the latter's reasons? The player had "feeling, +genius, understanding", and these qualities are so rarely +found that Beethoven could not neglect them.</p> + +<p>Explain these terms. The player showed refined feeling +in her interpretation of the music, genius in her skill on +the piano, and thorough understanding of the composer's +purposes in the composition.</p> + +<p>Was it only for his own pleasure that the composer +entered? No, he wished to give pleasure to one who could +so well appreciate his work.</p> + +<p>Describe the scene. A young shoemaker is seated at his +work. He is pale from the effects of confinement and toil. +A young girl with an abundance of light hair is leaning on +an "old-fashioned piano".</p> + +<p>What does this piano show? That their parents had very +probably been lovers of music, and the piano may have been +an heirloom.<span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span></p> + +<p>What comes next? The musician explains the reasons for +his intrusion.</p> + +<p>How did the brother look upon it? The young man +seemed annoyed at first.</p> + +<p>How was this annoyance overcome? The manner of +Beethoven was so comical and pleasant that the young man's +annoyance passed away.</p> + +<p>How had Beethoven addressed the brother and sister? +His manner was very confused. He wished to conceal his +name, and yet wished to give pleasure to the young girl.</p> + +<p>How does he show his confusion? The sentences "I, I +also ... play for you", are such halting ones. He does +not make his sentences complete.</p> + +<p>What was the next part of the conversation? The young +man tells Beethoven that the "piano is so wretched" and +they "have no music".</p> + +<p>What is the purpose of this statement in the story? It +shows Beethoven that the young girl is blind and plays these +difficult compositions by ear.</p> + +<p>How had she learned to play this Sonata? She had heard +a lady "practising" it, and "walked to and fro" in front of +the house in order "to listen to it".</p> + +<p>What does this show? What a love of music and wonderful +natural ability the young girl possessed.</p> + +<p>What is the next action in the story? Beethoven plays.</p> + +<p>Why did he play better than he had often done before +large audiences? He realized how greatly his work was +appreciated; and he was deeply touched by the thought of +the young girl's blindness, her poverty, her skill, and her +passion for good music.</p> + +<p>What trifling occurrence now affects the story? The last +candle in the house burned out, so the writer opened the +shutters and admitted "a flood of brilliant moonlight".</p> + +<p>What effect had this upon the composer? It changed the +current of his thoughts and feelings.</p> + +<p>How did he appear? "His head dropped upon his breast", +and "his hands rested upon his knees".</p> + +<p>What is the next action? The young shoemaker asks +Beethoven who he is.<span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span></p> + +<p>What did the composer answer? "He played the opening +bars of the Sonata in F." This revealed his name. The +writer says that the young people "covered his hands with +tears and kisses".</p> + +<p>What were their feelings? Their actions were expressions +of their affection and admiration.</p> + +<p>What takes place next? The brother and sister beseech +him to play "once more".</p> + +<p>What description is given here? Beethoven's appearance +in the moonlight.</p> + +<p>Describe him. He was very "massive" in size, his head +was large and his features strong, and the light from the +moon encircled his head. (Produce a picture, if possible, of +Beethoven.)</p> + +<p>Did he agree to play again? Yes, he said he would "improvise +a Sonata to the Moonlight".</p> + +<p>What does "improvise" mean? He would compose the +music as he played.</p> + +<p>Had this any relation to what goes before? Yes, the +writer has told us how thoughtful he had been when the +moonlight first streamed into the room. Now he is going +to express his thoughts and feelings through the tones of +the piano.</p> + +<p>We said at the beginning that a Sonata was a musical +composition consisting of various movements. What are the +movements? In this case there is first, "a sad and infinitely +lovely movement", then, "a wild, elfin passage in triple +time", and lastly, "a breathless, hurrying, trembling" close.</p> + +<p>Let us examine this description of the "Moonlight Sonata" +more closely. What did the moonlight suggest to Beethoven? +"Spirits" dancing in the moonlight.</p> + +<p>What does the first movement suggest? The "moonlight" +flowing "over the dark earth".</p> + +<p>What does the second movement suggest? The wild dance +of the "spirits on the lawn".</p> + +<p>What does the last suggest? "Flight", "uncertainty", +"impulsive terror".</p> + +<p>What was the effect upon the listeners? They were left +in a state of "wonder" and "emotion".<span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span></p> + +<p>What musical terms are used to describe this music? +<i>Interlude</i>, <i>triple time</i>, <i>agitato finale</i>.</p> + +<p>Explain them. <i>Interlude</i> is a piece of music played between +the main parts. <i>Triple time</i> is time, or rhythm, of +three beats, or of three times three beats in a bar.</p> + +<p>Give an example of triple time. It denotes sprightliness, +as in the waltz. The <i>agitato finale</i> means the close of the +passage with a hurrying movement.</p> + +<p>What takes place next? Beethoven rose quickly, promised +to come again, and hurried away.</p> + +<p>Why did he hurry? He wished to write out the "Sonata" +while it was still fresh in his mind.</p> + +<p>What does the last short paragraph state? It tells that +this was the origin of the "Moonlight Sonata".</p> + +<p>Where is the theme of the whole lesson found? In the +last sentence.</p> + +<p>What has the writer told us? He has given us all the +circumstances which combined to inspire Beethoven to compose +this great work.</p></div> + +<h3><br />RECAPITULATION</h3> + +<div class="blockquot"><p>Now let us review the story and collect these details. +What are they? The time, place, the persons going for a +walk, the narrow street, the wonderful playing, the conversation, +the appearance of the young people, the blindness of +the girl, her eagerness to hear "good music", the moonlight +admitted, the recognition of Beethoven.</p> + +<p>Yes, all these things had a combined effect upon the +musician. If he had gone straight to supper, there would +probably not have been a "Moonlight Sonata". This lesson +illustrates how time, place, persons, and action are arranged +to produce a well-told story.</p></div> + + +<h4><br />LEAD, KINDLY LIGHT</h4> + +<div class='center'>(Third Reader, page 315)</div> + +<h3>AIM</h3> + +<p>To aid in the culture of a sensitive response to the +spirit and language of the prayer.<span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span></p> + + +<h3><br />PREPARATION</h3> + +<p>The teacher should talk with the pupils about a +journey through the darkness, over dangerous bogs, +swollen streams, and beside precipices.</p> + + +<h3>PRESENTATION</h3> + +<div class="blockquot"><p>Read the poem. In what form is this lesson? A prayer.</p> + +<p>What is the prayer? The traveller asks for the guidance +of the Holy Spirit. See notes on this lesson in the Manual on +<i>The Ontario Readers</i>, pp. 166-7.</p> + +<p>Describe his journey. "The night is dark", he is "far +from home", he trusts to the light shining through the darkness +to keep his feet from stumbling; he does not trouble +himself about what lies far before him, he attends only to his +footsteps one by one. He feels he can pass safely over the +"moor", the "fen", the "crag", and the "torrent", by +trusting to the guidance of the light. With the dawning of +the day will come the reunion with his loved ones from +whom he has been separated.</p> + +<p>Explain the symbolism employed here. The poet speaks +of himself as going through life like a traveller on a long +journey, wherein he is constantly met by trials and temptations +and cannot always know what is the right course to +take. He acknowledges that he needs some stronger power +than his own to direct his life and asks for the guidance of +the Holy Spirit, content to trust himself to His leading in +any dangers and difficulties that may arise in this life, and +secure in the knowledge that "with the morn" he shall see +once more those whom he has "loved" and "lost awhile".</p> + +<p>What is the main thought of the first stanza? The +traveller prays for guidance.</p> + +<p>Of the second stanza? He states that he has not always +been willing to ask for guidance, but had relied on his own +reason.</p> + +<p>Of the third stanza? He expresses his belief in the power +and willingness of God to guide him aright.<span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span></p> + +<p>What is the relation of the second stanza to the first +one? It contrasts the poet's earlier attitude of mind toward +God with that of later years, thus emphasizing the change +that has taken place in his life.</p> + +<p>Is the poet stronger in the second case than in the first? +No; in the first, his ideal is higher and his humility greater, +as he relies absolutely on the guidance of the Holy Spirit. +In the second, relying only on his own reasoning powers to +guide him, he made many humiliating failures.</p> + +<p>Image the "moor", the "fen", the "crag", the "torrent", +and "with the morn".</p></div> + + +<h3>RECAPITULATION</h3> + +<p>Summarize the main thoughts and lead the pupils to +bring out clearly the comparison between the traveller +and the poet.</p> + +<p>Give a brief account of the author's life.</p> + + + + +<h4><br />LEAD, KINDLY LIGHT</h4> + +<div class="center">(Third Reader, page 315)</div> + + +<h3>AIM</h3> + +<p>To aid in the culture of a sensitive response to the +spirit and language of the prayer.</p> + + +<h3><br />TREATMENT</h3> + +<p>The teacher should read the poem aloud, to awaken +respect for the deep humility, complete open-mindedness, +and growing faith of the poet.</p> + +<div class="blockquot"><p>What may this poem be called? A prayer for guidance.</p></div> + + +<div class='center'><br />Stanza I</div> + +<div class="blockquot"><p>What are the poet's feelings? He feels very much depressed +in spirit, as a traveller would who was far from +home and alone in the gathering darkness.<span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span></p> + +<p>Whom does he address as "Kindly Light"? Why does +he use the term "Light"? He may remember that our +Saviour called Himself "the Light of the world", and it is +as his "Light" or Guide that the traveller feels his need of +Him. He may be thinking of the Pillar of Fire and the Pillar +of Cloud.</p> + +<p>What image is suggested by the words "Lead, kindly +Light"? It suggests something that has life (moves on before), +and sheds a beneficent light on the travellers' path.</p> + +<p>What is meant by the "gloom"? It means the condition +of his mind. He is seeking Truth and feels that he cannot +rely on reason alone to guide him.</p> + +<p>What do the last two lines show about him? They show +that he is humble and is content to be guided through the +darkness "one step" at a time.</p></div> + +<div class='center'><br />Stanza II</div> + +<div class="blockquot"><p>What more do we learn about his life in the second +stanza? In what language is his former "pride" contrasted +with his present humility? What is the meaning of "garish"? +What part of his life is called "the garish day"? Why is it +so called?</p></div> + +<p><span class="smcap">Note.</span>—"Garish" means dazzling, and by "garish +day" is meant the earlier care-free years when life seemed +all brightness and the author felt perfectly certain of his +ability to take care of himself.</p> + +<div class="blockquot"><p>What at times disturbed his life, even in those "past +years"? What made him hide these fears? What is meant +by saying "Pride ruled my will"? What now is his prayer +concerning these years? Why does he want them put out +of remembrance?</p> + +<p>What is the relation of the second stanza to the first one? +It contrasts the author's earlier attitude of mind toward +God with what it is in later years, thus emphasizing the +great change that has taken place in his life.<span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span></p> + +<p>Compare the dependence depicted in the first stanza with +the strength described in the second. In which case is the +man really the stronger? Account for the fact that when +he was strong, but not in his own strength, he really felt +his weakness more than when he was weak.</p></div> + +<p><span class="smcap">Note.</span>—The higher his ideal, the smaller he sees himself; +and the lower his ideal, the larger he sees himself. +Observe also how the prayer to be led "on" reveals the +man's progressive spirit. The unprogressive man would +pray simply for safety and protection.</p> + +<div class='center'><br />Stanza III</div> + +<div class="blockquot"><p>What lesson does the poet learn from the "past years"? +What confidence does this lesson give him for the future? +What phases of experiences of life are suggested by "moor", +"fen", "crag", and "torrent"?</p></div> + +<p><span class="smcap">Note.</span>—To answer this, there should be an effort to +image a moor, a fen, a crag, or a torrent clearly. Then +when the pupil sees the desolate, lonesome moor; the +miry, almost impassable fen; the sharp, out-jutting crag +which makes the ascent more forbidding and difficult; +and the rushing, unbridged torrent which must be forded +or breasted, even though it threatens destruction; it should +be easy to relate these to the experiences in life which +they typify, or represent.</p> + +<div class="blockquot"><p>How long does the poet believe this guidance will last? +In what words does he say that it will last as long as it will +be needed? What does he mean by "the night"? Beyond +"the night", what vision does he see? Whose are "those +angel faces"?</p> + +<p>What is the relation of the third stanza to the second? +It shows how the author's confidence in the Divine guidance<span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span> +to be granted him during future years is strengthened by +the lessons learned in former years.</p></div> + +<p>The teacher should again read the poem aloud. This +will impress upon the pupils, not only the truth and +beauty of the poem, but also furnish an ideal to stimulate +them in their preparation for the reading lesson which +is to follow.<span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2>CHAPTER VII</h2> + +<h3>FORM IV</h3> + + +<h4>JUDAH'S SUPPLICATION TO JOSEPH</h4> + +<div class='center'>(Fourth Reader, page 51)</div> + +<h3>INTRODUCTION</h3> + +<p>Review briefly the Scriptural account of Joseph's life, +and particularly the story of the visits of his brethren +to Egypt to buy corn. Note especially the following +points:</p> + +<p>1. The famine in the land of Canaan; the first visit +of Joseph's brothers to Egypt; their interview with +Joseph; the detention of Simeon; Joseph's demand that +Benjamin be brought down.</p> + +<p>2. The return to Canaan; Jacob's refusal to let +Benjamin go down into Egypt; Judah's becoming surety +for his safe return.</p> + +<p>3. The second visit of Joseph's brethren to Egypt, +this time with Benjamin; their entertainment by Joseph; +their homeward journey; the discovery of the silver cup +in Benjamin's sack; their return to Joseph.</p> + +<h3><br />Paragraph IV</h3> + +<p>After the selection has been read, the teacher should +proceed by some such method as the following:</p> + +<div class="blockquot"><p>With what does the passage deal? Judah's entreaty to +Joseph for Benjamin's safe return to his father, and the +effect it produced.<span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span></p> + +<p>Into how many parts is the selection naturally divided? +Into three parts, corresponding to the paragraphs as given +in the Reader.</p> + +<p>What is the principal idea in each part?</p> + +<p>1. Joseph's decision to keep the offender as a bondman. +(Paragraph I)</p> + +<p>2. Judah's supplication to Joseph that Benjamin be permitted +to return for his father's sake. (Paragraph +II)</p> + +<p>3. Joseph's revelation of his identity, and the provision +he makes for the maintenance of his kindred. +(Paragraph III)</p></div> + +<h3><br />DETAILED ANALYSIS</h3> + +<div class='center'><br />Paragraph I</div> + +<div class="blockquot"><p>Why did Joseph's brethren fall "before him on the +ground"? Prostration is the Eastern mode of signifying profound +respect, complete submission.</p> + +<p>What is the meaning of "divine"? In this sense, to look +into the future; to see what is hidden from ordinary people.</p> + +<p>Does Joseph claim explicitly to have this ability? No, he +merely suggests it, probably to impress them with the idea +of his power.</p> + +<p>What does Judah mean by "the iniquity of thy servants"? +Doubtless he has in mind the wrong that they committed +years before, in selling Joseph to the Ishmaelites and deceiving +their father. Verses 21 and 22 of the 42nd chapter of Genesis +go to show that the consciousness of this sin was ever before +them.</p> + +<p>What was Judah's attitude toward the accusation brought +against them? He frankly confesses the guilt of all—not of +Benjamin only.</p> + +<p>Why do you think he adopts this attitude, when he must +have been sure that all were guiltless? He perhaps believes +that they are victims of a conspiracy, the object of +which is to place them in the power of this Egyptian governor,<span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span> +and he thinks that this submissive attitude is best calculated +to secure mercy at his hands.</p> + +<p>How do you account for Joseph's apparent desire to keep +Benjamin in Egypt, with himself? Probably he thinks this +the best means of inducing his father, Jacob, to come to +Egypt. However, he may not really intend to keep Benjamin +at all. He may be making the threat only to test Judah. +It may be remembered that it was Judah who had counselled +the selling of Joseph years before. Joseph may now be trying +to see if Judah is the same kind of man he was when the +selling into Egypt took place—whether he will sacrifice +Benjamin in this extremity as he sacrificed Joseph himself.</p> + +<p>If the latter is Joseph's object, how does the experiment +succeed? It proves that Judah is a different man, that the +years that have elapsed have produced a remarkable change +in his character.</p></div> + +<div class='center'><br />Paragraph II</div> + +<div class="blockquot"><p>Of what does Judah's entreaty largely consist? Of a +recital of the governor's orders and of Jacob's attachment +to Benjamin, the son in whom all the thoughts, hopes, and +desires of his old age are centred.</p> + +<p>Upon what does Judah lay the greatest emphasis? Upon +the effect that Benjamin's detention will have upon his father. +Evidently the brothers are very anxious to spare their father +any unnecessary grief and pain.</p> + +<p>For what purpose is the whole speech specially adapted? +To stir the emotions. It is suited to appeal to the feelings +of anybody, but, particularly, to the feelings of Egypt's +governor, though his identity is still unknown.</p> + +<p>Which are the most pathetic sentences? The two beginning +with, "And we said unto my lord, We have a father, +an old man", and "Now, therefore, when I come to thy +servant, my father, and the lad be not with us".</p> + +<p>What features of the speech would make the strongest +appeal to Joseph? The reference to his father's old age and +his attachment to Benjamin; his belief in Joseph's untimely +end; the blow that separation from Benjamin would involve; +Judah's willingness to sacrifice himself.<span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span></p> + +<p>What light does the speech throw upon Judah's character? +It shows a capacity for intense feeling, a deep devotion to his +father, and a spirit of self-sacrifice. It might indicate also +a shrewd knowledge of human nature, for he apparently +knows how to present the case in the most effective manner.</p> + +<p>What is the meaning of "thou art even as Pharaoh"? +Thou art as mighty as the king of Egypt.</p> + +<p>Explain "thy servant became surety for the lad unto my +father". Judah had given Jacob a guarantee that Benjamin +should return safely.</p> + +<p>Select any figurative expression and give its meaning. +"Thy servants shall bring down the gray hairs of thy servant +our father with sorrow to the grave." The blow which +separation from Benjamin would involve will cause the aged +father to die of a broken heart.</p> + +<p>What are the main characteristics of the supplication? +The language is simple and direct, the feeling is of the loftiest +character, and the whole speech is highly eloquent. If the +test of true eloquence is the intensity of the appeal it makes +to worthy emotions, this passage may well be regarded as +one of the most eloquent in all literature.</p></div> + +<div class='center'><br />Paragraph III</div> + +<div class="blockquot"><p>Did Joseph purposely select this as the most fitting moment +to reveal himself? No. He revealed himself because he +could not help it and because Judah's appeal had so worked +upon his feelings. The first sentence of the paragraph indicates +this.</p> + +<p>Why did he send every man away except his brothers? +He did not wish others to see his own lack of self-control or +his brothers' shame and embarrassment. Moreover, it was +a solemn situation, too sacred for vulgar eyes to gaze upon.</p> + +<p>We are told that he "wept aloud", that "he fell upon +his brother Benjamin's neck, and wept", that "he kissed all +his brethren", etc. Is he unduly demonstrative? Eastern +people are much more emotional and demonstrative than +Western people.<span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span></p> + +<p>Why did he have to repeat his assurance that he was +Joseph? The first announcement was so amazing that it +seemed incredible to them. Moreover, all his previous communications +had been through an interpreter and, no doubt, +their amazement was increased by hearing him address them +in their own tongue.</p> + +<p>Upon what ground did Joseph tell his brothers that they +should not blame themselves for selling him into Egypt? +Upon the ground that God had brought good out of the evil +they had done.</p> + +<p>Is he quite right in telling them that they should not be +grieved for the wrong they did him? They were free agents; +God did not will that they should sin, though He brought +good out of it. From this point of view Joseph is wrong. +But he doubtless sees that his brothers have long ago repented +their action and does not wish them to continue to +blame themselves. His assurance is no doubt prompted by +a noble generosity induced, to some extent, by Judah's appeal.</p> + +<p>What seems to be Joseph's dominating motive? His love +for his father. His repeated references to him show this.</p> + +<p>We can understand his desire to provide for his father +and Benjamin, but why for his brothers who had wronged +him? Partly for his father's sake, perhaps. It was natural, +in those patriarchal days, that Jacob, if he migrated to +Egypt, should wish his family to do the same. Besides, +Joseph sees that his brothers are changed men.</p> + +<p>What inducements does he hold out to them? He shows +them that his own power in Egypt is sufficient to protect +them; he promises them the fertile land of Goshen, with +sufficient food for themselves and their flocks and herds; and +he points out that five years of famine are yet to be in the +land, and that they must inevitably suffer if the invitation +is rejected.</p> + +<p>Joseph frequently draws attention to his power in Egypt. +Is he at all vain-glorious? No, he does this to assure his +brothers that the wrong done him years before has had, +through the goodness of God, a beneficent result; to show +them that it has not been all suffering in his long exile; +and to induce his father to come down to Egypt.<span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span></p> + +<p>"After that his brethren talked with him." About what +would they probably talk? No doubt Joseph would ask many +things about what had occurred in Canaan since he left, and +would give his brothers an account of his own experiences in +Egypt.</p> + +<p>Does it not seem strange that Joseph, during all these +years, should never have taken measures to find out how his +kindred fared, or to assure them that he was still alive? He +was probably ever looking forward to such a situation as this, +confident that the dreams of his boyhood would still be +realized. It was, perhaps, this belief in the ultimate fulfilment +of his dreams that had kept him silent during these +years.</p> + +<p>What qualities of character does Joseph show in his +speech? A spirit of noble generosity and forgiveness, filial +devotion, and a desire to find good in the midst of seeming +evil.</p> + +<p>Point out passages that indicate these qualities. What +admirable characteristics does the whole selection exhibit? +Simplicity, directness, and eloquence of language, noble +emotion, loftiness of character, and high ideals.</p></div> + +<p>As a final synthesis of the lesson, let the pupils tell +the story in their own words, preserving, as far as possible, +the same order of ideas as is followed in the extract. +This will reveal to the teacher whether they have grasped +the ideas in their proper relationship.</p> + + +<h4><br />MERCY</h4> + +<div class='center'>(Fourth Reader, page 89)</div> + +<h4>THE SETTING OF THE SELECTION</h4> + +<p>This selection is taken from Shakespeare's play <i>The +Merchant of Venice</i>, iv. i. In this play, Shylock, a Jew +of Venice, had loaned Antonio three thousand ducats, repayable +on a certain date without interest, but if not so +paid, Antonio was to forfeit a pound of flesh from such<span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span> +part of his body as pleased the Jew. Antonio, not being +able to pay the money as agreed, Shylock sued for the fulfilment +of the bond, and in court refused to accept even +three times the amount borrowed, insisting on a pound +of the merchant's flesh. According to the law, there +appeared to be no help for Antonio, but the judge, Portia, +asked Shylock to show mercy. To this he answered, "On +what compulsion must I? Tell me that." This selection +is part of Portia's reply to Shylock's question. The +teacher should relate to the pupils the outline given above.</p> + +<h3><br />ANALYSIS OF THE THOUGHT</h3> + +<div class='hang1'>1. The qualities of mercy:</div> + +<div class='hang2'> +(1) It is not forced.<br /></div> +<div class='hang2'>(2) It is gentle.<br /></div> +<div class='hang2'>(3) It carries a twofold blessing.<br /></div> +<div class='hang2'>(4) It is the most powerful attribute in men of might.<br /></div> +<div class='hang2'>(5) It is divine in its nature.<br /> +</div> + +<div class='hang1'>2. Where mercy is found:</div> + +<div class='hang2'> +(1) It is found "enthroned in the hearts of kings".<br /></div> +<div class='hang2'>(2) It is found as a Divine attribute.<br /> +</div> + +<div class='hang1'>3. The results of showing mercy:</div> + +<div class='hang2'> +(1) It adds strength to strength.<br /></div> +<div class='hang2'>(2) It makes man God-like.<br /> +</div> + +<div class='blockquot'><p>Question, in order to develop the analysis of the thought, +and write on the board the topics, as given by the pupils.</p></div> + +<h3><br />THE DIFFICULTIES</h3> + +<div class="blockquot"><p>Quality of mercy. The nature of mercy is not strained, +is not forced. When the Jew asks "Upon what compulsion +must I?", Portia answers that compulsion has nothing to do +with mercy. It is not in the nature of mercy to be a result +of compulsion.<span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span></p> + +<p>Mightiest in the mightiest. This is capable of a double +interpretation—(1) the quality of mercy in a man of great +power must be strong in proportion as his power is great. +(2) Mercy is at its greatest when exhibited by the greatest. +Portia would wish to convey the first meaning, as that would +have the more weight with Shylock.</p> + +<p>Becomes the thronèd monarch. The possession of this +quality makes a man more truly kingly than the mere wearing +of a crown.</p> + +<p>Sceptre. The symbol of the monarch's authority.</p> + +<p>Temporal power. Power which belongs to this world only.</p> + +<p>Mercy—is enthronèd in the hearts of kings. The "hearts +of kings" are for mercy what the throne itself is for a king—the +most exalted position he can occupy.</p> + +<p>Mercy seasons justice. Mercy tempers justice, rendering +it less severe and making it more acceptable and pleasing.</p> + +<p>Develop the meaning through Illustration, when possible. +For example, to teach the meaning of "seasons" in "mercy +seasons justice", lead the pupils to use the word seasons in +such sentences as: We season our food with spices. Lead, +from the meaning in common or familiar use, to its use in +the lesson. Avoid mere dictionary meanings of words. Teach +the use of the word where it is found, never one of its +meanings apart from its use.</p></div> + +<h3><br />THE ARGUMENT</h3> + +<div class="blockquot"><p>There is no compulsion in mercy. Its course is always +from the higher to the lower. It is a blessing to both giver +and receiver. The greater the mercy shown, the greater will +be the giver. To show mercy does more to make a monarch +kingly than does his crown. The one stands for the exercise +of authority and power commanding obedience and awe; the +other comes from the heart and reveals the character. It is +more than kingly, it is God-like; for in exercising it, man's +power becomes more like God's than in any other way.</p> + +<p>Develop the above argument by questioning. Sum up the +result by requiring the whole argument to be given by a pupil +orally in his own language. Finally, require the pupils to +write, as forcibly as they can, the whole of Portia's argument.<span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span></p> + +<p>The remainder of Portia's speech as given in the play may +also be given to the pupils. In that case, the remainder of +the argument should be given as follows:</p> + +<p>You demand justice, Jew. Even so, require it as you hope +Heaven may require it of you. Consider that mercy is necessary +to salvation, and remember that, as we all pray for +mercy, that fact itself requires us all to show the deeds of +mercy.</p> + +<p>The speech containing this part of the argument is as +follows:</p> + +<div class='poem2'> +Therefore, Jew,<br /> +Though justice be thy plea, consider this,<br /> +That, in the course of justice, none of us<br /> +Should see salvation: We do pray for mercy;<br /> +And that same prayer doth teach us all to render<br /> +The deeds of mercy.<br /> +</div> + +<p>"We do pray for mercy", refers to the general prayer of +humanity for mercy. To have limited its reference to the +petition for mercy in the Lord's Prayer would have weakened +its force to the Jew.</p></div> + + +<h4><br />MORNING ON THE LIÈVRE</h4> + +<div class='center'>(Fourth Reader, page 228)</div> + +<h3>ASSIGNMENT</h3> + +<p>1. The teacher should explain to the pupils that the +Lièvre River (pronounced Lee-eh-vr) runs through a deep +gorge in the height of land on the Quebec side of the +Ottawa River, into which it flows not far from the +Capital. In some places, the banks of the Lièvre rise +abruptly to a great height; at others more gradually, the +slope being covered with a thick forest growth. As the +river nears the Ottawa, the banks become much lower. +The scenery, whether viewed from the height above or +from the river below, is very beautiful.<span class='pagenum'><a name="Page_102" id="Page_102">[102]</a></span></p> + +<p>2. The teacher should ask a few questions which can +be answered easily from the pupil's own reading of the +poem, for example:</p> + +<p>From what position does the author first view the +scene? What things in the scene appeal to each of the +pupils as the most beautiful? Describe the incident mentioned +in the last stanza. State in a single sentence the +subject-matter of the whole poem.</p> + + +<h3><br />TREATMENT</h3> + +<p>The pupils' answers to the questions given when the +lesson was assigned should be dealt with first.</p> + +<div class='center'><br />Stanza I</div> + +<div class="blockquot"><p>What first attracts the author's attention as he looks upward? +What makes us feel how high up the banks the mist +extends? What part of the mist appears most beautiful? +Why? To what is it compared? How does this comparison +affect our impression of (1) the colour of the mist; (2) the +height of the mist? Does the comparison make the meaning +clearer? Is the comparison apt? Is it beautiful?</p></div> + +<p><span class="smcap">Note.</span>—When a blacksmith cools the red-hot iron in +a tub of water, vapour rises to the roof of his shop. The +blaze from his forge shining on this mist produces the +colours mentioned. The amethyst is a precious stone, +clear and translucent, with a colour inclining to purple. +The presence of coal dust or smoke in the vapour would +help to produce the colour of amethyst. The same effect +would result, if some smoke or dust were mingled with +the mist where the sun's rays reach it at the top of the +gorge.</p> + +<div class="blockquot"><p>"Screams his matins to the day." What is meant? What +idea does the author wish to convey by this mention of the +bird? Out of hearing "of the clang of his hammer" gives<span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span> +a strong impression of the great height of the gorge. Of +what "giant" are we made to think? What is meant by +"skirts of mist"?</p></div> + +<p>The teacher's reading of this stanza, a part at a time, +if it is taken up in that way, or all at once, should aid +much in impressing upon the minds of the pupils the +wonderful beauty of the scene described, and this is the +main purpose of the lesson.</p> + +<div class='center'><br />Stanza II</div> + +<div class="blockquot"><p>The author is paddling down the river. Describe the +movement. What shows that the mist has risen from the +surface of the water? What indicates the calmness of the +river? What things connected with himself does the author +show to be in harmony with the scene? How does he indicate +the harmony in each of the following: The motion of his +canoe, the surface of the water, his own activity, the force +of gravity, the character of the morning, and the forest life? +We should expect him to dip his paddle very quietly, if he +felt the calmness of the morning, but to show that the +"silence" pervades all nature, the very drops of water from +the paddle blades seem to fall gently, in sympathy with the +spirit of silence reigning all around. What are the "river +reaches"? The reach is the stretch of the river between two +bends. How are they "borne in a mirror"? The high cliff-like +banks are mirrored in the surface of the water. Explain +the colour "purple gray". It is the colour of the image of +the banks in the water. What is meant by "sheer away"? +It means that the "river reaches" curve away like a winding +road. Try to see the picture of the winding river, apparently +growing smaller as it passes curve after curve. As it seems +to recede into the distance, the surface of the river forms +a "misty line of light", just before it melts into the shadows +of the forest. Where do the forest and the stream seem to +meet? What does the word "plight" suggest about their +meeting? What suggests a meeting-place out of sight? Why +is the meeting represented as taking place in the shadow? +Now what is described in the second stanza?<span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span></p> + +<p>"As a cloud", "like a dream". Do these make the +meaning clearer? Explain. Are these comparisons apt? +Show the fitness of "silvery", "crystal deep", "asleep".</p></div> + + +<div class='center'><br />Stanza III</div> + +<div class="blockquot"><p>As the author goes farther and farther down the stream, +the river runs more slowly. How is this shown? What shows +that the little creek runs very slowly into the river? How +does the author say the creek is winding? Why would not +the same word "curling" do to show that the river was +winding through the gorge? What are we told about the +mouth of the creek? See those sunken wrecks down in the +water. What are they like? What shows you that they are +very large tree trunks? What starts the ducks? See them +as they rise out of the water. Make a drawing to show their +position. The drawing should show them flying in the shape +of a horizontal letter V, as wild ducks fly. What words show +you that they keep this position unbroken? Hear them as +they fly off at their utmost speed. Why such haste? What +makes the "swivelling whistle"? This is the noise they +make as they fly. Imagine a whistle to be set whirling around +as it whistles. The change in the sound due to the whirling +motion of the whistle might be called a swivelling whistle. +See them go, led through the shadow. Hear them, as they +disappear behind a rocky point ahead. What is meant by +their "whirr"? What has made us forget all about the beauty +of the silent morning? What effect did this silence probably +have on the poet's judgment of the noise made by the ducks? +Now what is described in the third stanza?</p> + +<p>Consider the fitness of the words "lazy", "sucks", +"bleeds", "sneak", "swept", "splashy".</p></div> + + +<h3><br />SYNTHESIS OF THE WHOLE BY CORRELATING +THE LESSON WITH ART</h3> + +<div class="blockquot"><p>1. Make a sketch of the scene in the first stanza, showing +the rocky, high, forest-covered banks, with mist rising along +the slopes, and the man in a canoe on a small stream below.<span class='pagenum'><a name="Page_105" id="Page_105">[105]</a></span></p> + +<p>2. Make a sketch of the scene described in the second +stanza, showing the winding river, with its high banks +appearing to meet in the distance, the man in his canoe +in the foreground, and over all the dim light of early morning.</p> + +<p>3. Make a sketch of the ducks rising from the water. +Show the reeds at the mouth of the creek and the rocky spur +toward which the birds are heading.</p></div> + +<h3><br />THE LIFE OF THE AUTHOR</h3> + +<div class="blockquot"><p>As it is not necessary to know anything about the author +to fully understand this poem, nothing should be said about +his life until the pupils become interested in him through +their interest in what he has written. Then teach the main +points in his life. See sketch of his life, at the back of the +Manual on <i>The Ontario Readers</i>.</p></div> + + +<h4><br />DICKENS IN THE CAMP</h4> + +<div class='center'>(Fourth Reader, page 287)</div> + +<h3>INTRODUCTION</h3> + +<p>By way of introduction, it might be well to tell the +pupils something of Bret Harte—his residence in California, +his experience as a prospector in the goldfields, his +stories of the mining camps, and his admiration of +Dickens. (See Manual on <i>The Ontario Readers</i>, p. 315.) +These facts throw considerable light upon the poem, and +will be useful in aiding the pupils to interpret it properly. +This poem was written shortly after the death of Dickens. +It might well follow the study of <i>David Copperfield's First +Journey Alone</i> and <i>The Indignation of Nicholas Nickleby</i>.</p> + +<h3><br />PREPARATION</h3> + +<p>When the poem has been read, the teacher should, before +beginning the analysis, ask a few general questions, +such as:<span class='pagenum'><a name="Page_106" id="Page_106">[106]</a></span></p> + +<div class="blockquot"><p>What has Dickens to do with the story related in the +poem? He was the author of the book read in the camp, <i>Old +Curiosity Shop</i>, of which "Nell" is the heroine. (A brief +outline of the story, with special reference to the feelings it +arouses in the reader, might be given here.)</p> + +<p>What kind of camp is referred to in the poem? A mining +camp. The last line of the second stanza suggests this.</p> + +<p>Where is the scene laid? Apparently in California, among +the Sierra Nevada Mountains. This is indicated in the first +stanza.</p> + +<p>What is the leading idea of the poem? The effect which +the reading of a story by Dickens produced in a Western +mining camp.</p> + +<p>What are the main sub-topics?</p> + +<div class='poem2'> +1. The scene of the incident. Stanzas I-III.<br /> +2. The reading of the story. Stanzas IV-VII.<br /> +3. A lament for the death of Dickens. Stanzas VIII-X.<br /> +</div></div> + +<h3><br />MINUTE ANALYSIS</h3> + + +<div class='center'><br />Stanza I</div> + +<div class="blockquot"><p>How does the description of the scene, as given in stanza I, +differ from that given in stanza II? Stanza I gives the background +and the remote surroundings, while stanza II places +us in the midst of the camp.</p> + +<p>What features give the story a romantic setting? The +stately "pines", the singing "river", the "slowly drifting +moon", the snow-capped mountains.</p> + +<p>From the description in the first stanza, give as clear a +picture of the location of the camp as possible. It was +situated on the edge of a cañon in the Sierras, towering pines +rising round about, the river flowing noisily beneath, and +the mountains uplifting their snow-covered peaks in the +distance.</p> + +<p>Explain the comparison suggested in the last two lines. +The mountain summits, with their everlasting snows, resemble +in the distance the minarets, or lofty tapering towers, +attached to Mohammedan mosques.<span class='pagenum'><a name="Page_107" id="Page_107">[107]</a></span></p> + +<p>Which is preferable, "minarets of snow", or "snow-covered +peaks"? The former, because it is a more unusual +expression and because of what it suggests.</p></div> + + +<div class='center'><br />Stanza II</div> + +<div class="blockquot"><p>Why is the camp-fire represented as a rude humorist? It +causes faces and forms that are haggard and care-worn to +appear fresh and healthy, thus playing a grim jest upon those +gathered round it.</p> + +<p>Explain the significance of "fierce" in the last line. In +the mad rush for gold, all the worst elements of man's nature +are brought to the surface—disregard for the rights of others, +contempt for law and order, and even carelessness with regard +to human life.</p> + +<p>Consider the fitness of the words "rude", "painted", +"race", as used here.</p></div> + + +<div class='center'><br />Stanza III</div> + +<div class="blockquot"><p>What indicates the value that the owner places upon this +book? The words "treasure" and "hoarded" suggest that +it is one of his most highly prized possessions.</p> + +<p>What suggests that this is not the first time the story has +been read in camp? The word "anew".</p> + +<p>How does the poet indicate the absorbing interest that +the story has for these men? He says the fascination is so +great as to draw the attention of these rough miners even +from their card-playing. Explain "listless leisure".</p></div> + + +<div class='center'><br />Stanza IV</div> + +<div class="blockquot"><p>Explain "the firelight fell". The fire gradually died down, +because, absorbed in their interest in the story, the miners +forgot to put on fresh fuel.</p> + +<p>Why is Dickens called the "Master"? A master is one +who attains the highest degree of skill in some art. Dickens +was master of the art of story-telling, a master of vivid +narration, a master of pathos and humour.</p></div><p><span class='pagenum'><a name="Page_108" id="Page_108">[108]</a></span></p> + +<div class='center'><br />Stanzas V and VI</div> + +<div class="blockquot"><p>Is there anything in these stanzas which might throw +light upon the identity of the reader? He is probably the +poet himself. His familiarity with the fancies of the reader +seem to indicate this. Besides, the reader is kept very much +in the background—we are told only that he was young—and +this seems to be in keeping with the modesty of the poet +as shown elsewhere in the poem. At any rate, we must +admit that the reader was a poet, for he indulges in fancies +of a highly poetical nature.</p> + +<p>What are those fancies? Such is the absorbing interest +of the story that even the pines and cedars seem to stand +silent to listen, and the fir trees gather closer in order that +nothing may escape their hearing.</p> + +<p>What is the poetic element in these fancies? Ascribing +to inanimate objects the power of human interest and +sympathy.</p> + +<p>What effect does the poet secure by picturing the trees as +listeners? It enhances our idea of the absorbing interest of +the story.</p> + +<p>Mention any other illustrations of a poet's use of this +device of attributing human sympathies to inanimate objects. +Many might be given, for example:</p> + +<p>Byron's <i>Waterloo:</i></p> + +<div class='poem2'> +And Ardennes waves above them her green leaves,<br /> +Dewy with Nature's tear-drops, as they pass,<br /> +Grieving, if aught inanimate e'er grieves,<br /> +Over the unreturning brave.<br /> +</div> + +<p>Longfellow's <i>Evangeline</i> describing the song of the +mocking-bird:</p> + +<div class='poem3'> +Shook from his little throat such floods of delirious music,<br /> +That the whole air and the woods and waves seemed silent to listen.<br /> +</div> + +<p>Mrs. Hemans' <i>The Landing of the Pilgrim Fathers:</i></p> + +<div class='poem2'> +Amidst the storm they sang, and the stars heard, and the sea.<br /></div> + +<p><span class='pagenum'><a name="Page_109" id="Page_109">[109]</a></span></p> + +<p>What experience of "Nell" is alluded to in the last two +lines of stanza V? She and her grandfather had been lost on +their journey from London.</p> + +<p>Why does the poet say that the whole camp "lost their +way" with "Nell" on English meadows? The narrative was +so vivid that the miners, in spirit, accompanied her in her +wanderings.</p></div> + + +<div class='center'><br />Stanza VII</div> + +<div class="blockquot"><p>What is meant by "Their cares dropped from them"? +They forgot themselves, their cares and privations, and +realized the hopes and fears, the joys and sorrows of "Little +Nell".</p> + +<p>How was this result brought about? It was due to the +fascination of the story.</p> + +<p>To what does the poet compare this? To some "spell +divine", some supernatural influence, which causes their own +troubles to disappear for the time being.</p> + +<p>Give, then, the meaning of "o'ertaken as by some spell +divine". They are brought, as it were, under the influence +of some magician, who, by the exercise of his power, transports +them from their own world to that in which "Nell" +lives and moves.</p> + +<p>Show the beauty of the comparison in the last two lines +of this stanza. As the needles of the pine, through the action +of the wind, fall silently and almost unperceived, so the +cares of the miners were forgotten in the all-compelling interest +of the story.</p> + +<p>Compare Longfellow:</p> + +<div class='poem'> +The cares that infest the day<br /> +Shall fold their tents like the Arabs,<br /> +And as silently steal away.<br /> +</div> + +<p>Why is this comparison more appropriate than, for example, +like the leaves from the trees in autumn, or, like snow-flakes +from the clouds in winter? Because it is drawn from +the objects at hand, not from more remote things—an example +of local colour.</p> + +<p>Explain "gusty pine". A pine exposed to the mountain +blasts.</p></div><p><span class='pagenum'><a name="Page_110" id="Page_110">[110]</a></span></p> + + +<div class='center'><br />Stanza VIII</div> + +<div class="blockquot"><p>Who is referred to by "he" in the second line? Dickens—not +the reader of the story.</p> + +<p>What is meant by "wrought that spell"? Produced that +magic influence.</p> + +<p>State the question in full. Is "he who wrought that spell" +lost, too?</p> + +<p>What tale has the "towering pine" to tell? That the +mining camp has disappeared.</p> + +<p>And what the "stately Kentish spire"? That Dickens has +gone. (Dickens' home was at Gadshill, in Kent.)</p> + +<p>What is the one tale that both have to tell? A tale of +disappearance and death.</p> + +<p>Is the question asked in the second line answered? Not +directly, though the answer is implied.</p> + +<p>State the substantial meaning of the stanza. The +"towering pine" of the Sierras tells of the disappearance of +the mining camp; the "stately spire" of Kent tells of the +death of Dickens; both bear witness to the potent influence +of Dickens.</p></div> + +<div class='center'><br />Stanza IX</div> + +<div class="blockquot"><p>What is the "fragrant story" of the Western mining +camp? The tribute that the incident related in the poem +pays to the magical power of Dickens as a story writer.</p> + +<p>Why is it called a "fragrant story"? The author poetically +conceives of it as being laden with the fragrance of the +fir, the pine, and the cedar—a sort of "incense" to the +memory of the "Master".</p> + +<p>What is incense? The odours of spices and gums burned +in religious rites.</p> + +<p>What poetic idea does the author express in the last two +lines? The hopvines of Kent are represented as uniting with +the pine, fir, and cedar in sending forth their fragrance as +incense.</p> + +<p>What is the meaning, then, of the whole stanza? Let the +fragrance of the pine, the cedar, and the fir, mingled with +the odours of the Kentish hopvines, be as incense to the +memory of the "Master".</p></div><p><span class='pagenum'><a name="Page_111" id="Page_111">[111]</a></span></p> + + +<div class='center'><br />Stanza X</div> + +<div class="blockquot"><p>Does the poet mean that the grave of Dickens is literally +adorned with oak, holly, and laurel wreaths? No; he is +speaking figuratively.</p> + +<p>What do these typify? The tributes of admiration, reverence, +and love that are paid to the memory of Dickens in +his own country.</p> + +<p>Of what is each emblematic? The oak is emblematic of +England, the life of whose people he so vividly depicted; the +holly suggests his charming Christmas stories; the laurel +signifies his mastery of the art of writing.</p> + +<p>What does the poet mean by "This spray of Western +pine"? This poem was written in the Western World, as a +tribute to the memory of the great novelist.</p> + +<p>What personal characteristic does the poet show in the +third line? A sense of humility, which leads him to suggest +that this poem is unworthy of a place among the tributes +paid to the name and fame of the great artist.</p> + +<p>Stripped of its figurative significance, what is the meaning +of the whole stanza? To the many tokens of love and admiration +that are offered to the memory of Dickens, may I be +permitted to add this poem—a Western tribute to the worldwide +influence of the famous author.</p></div> + +<h3><br />RECONSTRUCTION</h3> + +<div class="blockquot"><p>Tell the story of the poem in your own words.</p> + +<p>In a cañon of the Sierras, a group of rough miners were +gathered about a camp-fire. Around them stood the stately +pines, above which the moon was slowly rising; below, at the +bottom of the cañon, a river sang, as it threaded its way +among the boulders; and, far in the distance, the mountains +reared their snow-covered summits to the evening sky. The +flickering camp-fire played strange tricks upon those gathered +round it, for it gave to the care-worn faces and bent forms of +the miners the appearance of freshness and health.</p> + +<p>One of the miners, a mere youth, opened his pack, drew +therefrom a copy of Dickens' <i>Old Curiosity Shop</i>, and began<span class='pagenum'><a name="Page_112" id="Page_112">[112]</a></span> +to read aloud. At once, all other occupations were suspended, +and everybody drew near to listen to the story. The whole +camp yielded itself to the fascination of the tale, and in its +absorbing interest they forgot themselves and their surroundings, +their ills, their hardships, and their cares. One +might almost fancy that the very pines and cedars became +silent, and that the fir trees drew closer to hear the story of +"Little Nell".</p> + +<p>Dickens, the "Master", has gone, but, among the many +tributes that are paid to his power as a writer, let this little +tale of the Western camp be added, to illustrate the universal +nature of his influence.</p></div> + + +<h4><br />DOST THOU LOOK BACK ON WHAT HATH BEEN</h4> + +<div class='center'>(Fourth Reader, page 289)</div> + +<h3>PREPARATION</h3> + +<p>This lesson should be preceded by a suitable preparatory +lesson on the life of some man, for example, Peel, +Disraeli, or Lincoln, who, in spite of all obstacles, rose to +eminence in the nation and lived "To mould a mighty +state's decrees".</p> + +<h3><br />INTRODUCTION</h3> + +<p>Tennyson and Arthur Hallam, as young men at +college, were great friends. The bond of affection between +them was probably as strong as it was possible for friendship +between two men to be. When Hallam died in 1833, +at twenty-two years of age, Tennyson said of him: "He +was as near perfection as a mortal man could be". From +time to time during the next seventeen years, Tennyson +wrote short poems on themes which occurred to him in +connection with his thoughts of Hallam. These he finally +collected and published in one volume, called <i>In Memoriam</i>.<span class='pagenum'><a name="Page_113" id="Page_113">[113]</a></span></p> + + +<h3><br />PURPOSE</h3> + +<p>The purpose of this lesson should be in harmony with +the purpose of <i>In Memoriam</i>. It should, therefore, be a +study of life within the comprehension of the pupils. The +lesson should aid in securing the development of character +and an appreciation of worthy ambition and enduring +friendship.</p> + +<h3><br />ASSIGNMENT</h3> + +<p>The lesson should be assigned in such a way as to +encourage the pupils' natural desire to learn something +through their own efforts. A few questions should be +given to be answered from their own study, for example:</p> + +<div class="blockquot"><p>1. What does the first line show regarding Tennyson's +present thought of Hallam?</p> + +<p>2. What stanzas describe the progress of the man who reminds +him of Hallam?</p> + +<p>3. What is described in the remaining stanzas?</p> + +<p>4. What lines suggest something about this man's feelings +toward the scenes and friends of his youth?</p> + +<p>5. In what respect, according to the last stanza, does +Tennyson show that one of these old-time friends is +like himself?</p></div> + + +<h3><br />CLASS WORK</h3> + +<div class="blockquot"><p>What does Tennyson describe in the first four stanzas?</p></div> + + +<div class='center'><br />Stanza I</div> + +<div class="blockquot"><p>Why does he call the man "divinely gifted"? Because +he has had great natural gifts.</p> + +<p>When should we call a man of only ordinary ability +"divinely gifted"? What have you read that illustrates this? +(If the pupils cannot answer this question, the teacher should +tell briefly the parable of the talents.)<span class='pagenum'><a name="Page_114" id="Page_114">[114]</a></span></p> + +<p>What is meant by "Whose life in low estate began"? +Why are the details about his early life mentioned? State +briefly the thought contained in this stanza.</p></div> + +<div class='center'><br />Stanza II</div> + +<div class="blockquot"><p>What was the effect of his humble birth on his progress +in early life? In what ways did it act as a bar: (1) upon +his own mind; (2) upon the good-will of others toward himself? +Which of these two do the following lines from <i>Œnone</i> +indicate that the poet would say must be overcome first?</p> + +<div class='poem2'> +Self-reverence, self-knowledge, self-control,<br /> +These three alone lead life to sovereign power.<br /> +</div> + +<p>State in your own words, the full meaning of "breaks his +birth's invidious bar". <span class="smcap">Note.</span>—"Invidious" means likely to +incur, or bring on envy, ill-will, or hatred.</p> + +<p>What idea is suggested in the second line as to the opportunities +which come to such a man? Imagine him grasping +these fleeting chances. What were his probable feelings +toward those things which eluded his grasp? (Be careful in +answering this. Remember that the man has gained the +mastery of himself.)</p> + +<p>What is meant by "blows of circumstance"? What were +some of these difficulties?</p> + +<p>What does the action-word "breasts" suggest: (1) about +the character of these difficulties, (2) about the character +of the man? Explain "grapples with his evil star". What +is the allusion? Tell, in the poet's own words, what this +"evil star" was. Imagine this man grappling with it. What +term do boys often use for a similar action? Which is going +to win this wrestling match? Give reasons, from what the +man has already done, for thinking that he will win. What +does this action show about his belief in luck?</p> + +<p>What do the action-words in this stanza suggest about +the man's character? What sounds in each of the words help +to emphasize this grim determination?</p> + +<p>State briefly the relation of the thought of this stanza to +that of the first.</p></div><p><span class='pagenum'><a name="Page_115" id="Page_115">[115]</a></span></p> + + +<div class='center'><br />Stanza III</div> + +<div class="blockquot"><p>What effect did the man's early struggles have on his +mental power and character? What does Tennyson call this +increased energy and strength of character? He calls it +"force". Now, explain "makes by force his merit known".</p> + +<p>What position in the gift of the nation do the next three +lines show that he gained at last? What words indicate the +emblem of the Premier's power?</p> + +<p>"Clutch the golden keys." What does this action suggest +as to his character? What word is generally used to denote +such determination to gain power and influence? What +makes such ambition lawful? What use does Tennyson show +this man made of his ambition? What is meant by "mould +a mighty state's decrees"? As Premier, to whom would it +be his duty to give advice?</p> + +<p>The people know that the sovereign must act on the +advice of his ministers, of whom the Premier is the most influential; +but they believe that the judgment of the sovereign +often modifies and improves this advice. To the nation, this +influence of the sovereign is a silent force, but, like the silent +forces in nature, they believe it to be powerful.</p> + +<p>In what words does Tennyson express this mutual influence +of the King and the Premier? What features of this influence +are expressed respectively by the words "shape" and +"whisper"? What action-words in this stanza suggest the +relation (1) of effort, (2) of time, to the magnitude of the +work?</p> + +<p>State in a single sentence the thought of this stanza.</p></div> + +<div class='center'><br />Stanza IV</div> + +<div class="blockquot"><p>What is the final test of the value of a law? Its effects +on the people. In what words does Tennyson show the effect +on the people of the laws made through this man's influence?</p> + +<p>Explain how this man became "The pillar of a people's +hope". What words show the far-reaching extent of his influence? +Which shows the more force in the man, his influence +with the King or his later influence in the whole<span class='pagenum'><a name="Page_116" id="Page_116">[116]</a></span> +nation? In what words does Tennyson show which he thinks +the greater? To which do "high" and "higher" respectively +refer? What does "Fortune's crowning slope" suggest about +(1) the honour which the man has now gained, (2) the nature +of the road he has travelled?</p></div> + +<div class='center'><br />Stanza V</div> + +<div class="blockquot"><p>Picture the man as he looks back after having reached +the height of his ambition. Describe his mood. At what +times does he indulge in these dreamy memories? What +does he seem to see in these quiet hours? What hill and +stream does the poet mean? What feeling does each awaken? +Why is the "sweetness" called "secret"? Why is the +"dearness" called "distant"?</p></div> + +<div class='center'><br />Stanza VI</div> + +<div class="blockquot"><p>What part of his life is meant by "his narrower fate"? +With what is he comparing that early life, when he calls it +"his narrower fate"? Using similar language, what might +his present position of great influence be called?</p> + +<p>Some think that the first line of this stanza refers to the +limitations or restrictions of his early life, while others say +the poet was thinking simply of the stream, as the limit or +boundary of the things that influenced his childhood. Which +view is to be preferred? Which meaning agrees with the use +of the word "its" in the next line? Would this man now +look back on those difficulties of his early life as limitations +and hindrances, or as things which helped to make him what +he is?</p> + +<p>Now explain "The limit of his narrower fate". Compare +the direction in which he looks in his day dreams now, with +the direction in which he looked in those of his boyhood. +What is meant by "vocal springs"?</p> + +<p>In what way were the games of his youth prophetic of his +future work as a man? What do people mean by saying, +"The boy is father of the man"?</p></div><p><span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span></p> + + +<div class='center'><br />Stanza VII</div> + +<div class="blockquot"><p>Describe the present occupation of the friend of his boyhood. +What information about his friend does the word +"native" give us? What phrases show how he does his work?</p> + +<p>Compare the farmer's query in the last line with that in +the first line of the poem.</p></div> + +<h3><br />SYNOPSIS OF DETAILS</h3> + +<div class="blockquot"><p>Under the following heads, point out the resemblance of +Hallam to the statesman and of Tennyson to the farmer:</p></div> + +<div class='poem'> +1. Early friendship<br /> +2. Their separation<br /> +3. Progress since parting<br /> +4. Memories of each other.<br /> +</div> + +<div class="blockquot"><p>It is hoped that no teacher will use these questions as +a substitute for his own questioning. If they are accepted +as suggestive in regard to both interpretation and method, +they may be of real service, otherwise they will be almost +valueless.</p></div> + + +<h4><br />WATERLOO</h4> + +<div class='center'>(Fourth Reader, page 311)</div> + +<h3>AIM</h3> + +<p>To lead the pupils to appreciate the music and imagery +of the poem.</p> + +<h3><br />PREPARATION</h3> + +<div class="blockquot"><p>Where is Waterloo situated? In Belgium. What two +armies were engaged in this battle? The French and the +English; with the latter were some Prussian allies. Who +were the French and the English commanders? Napoleon +and Wellington. What was the result of the battle? The +overthrow of Napoleon and his banishment to St. Helena. +What would have been the consequence if Wellington had<span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span> +been defeated? Napoleon would possibly have had complete +mastery of Europe. Picture this struggle of great commanders +and disciplined armies, while Europe waited breathlessly +for the outcome. (The pupils should read some good +history of this battle.)</p></div> + + +<h3><br />PRESENTATION</h3> + +<p>Read the poem to the pupils in such a way as to make +vivid the scenes depicted.</p> + + +<h3><br />DEVELOPMENT</h3> + +<p>What has the poet described in this poem? Some of the +events preceding the battle.</p> + +<p>What are the main pictures found in each stanza? (Write +on the black-board.)</p> + +<p>1. The ball</p> + +<p>2. The sound of the enemy's cannon</p> + +<p>3. The Duke of Brunswick</p> + +<p>4. The farewells</p> + +<p>5. The muster</p> + +<p>6. The gathering of the Highlanders</p> + +<p>7. The march to battle</p> + +<p>8. Summary of pictures and the result.</p> + +<p>Do you see any stanza that interferes with the progress +of the action? The third stanza anticipates the battle and +destroys the continuity between the sounds of the approaching +enemy and the hurried farewells.</p> + +<p>Why does the poet devote a special stanza to the Highlanders? +Were they more worthy of mention than the +English and Irish regiments? The author, George Gordon, +Lord Byron, belonged to a Scotch family. The muster of the +Highlanders at midnight, combined with their stirring music, +made a very picturesque incident.</p> + +<p>Consider the elements which contribute to the various +scenes:<span class='pagenum'><a name="Page_119" id="Page_119">[119]</a></span></p> + + +<div class='center'><br />Stanza I</div> + +<div class="blockquot"><p>What is described? The ball given by the Duchess of +Richmond. What is the emotion of this stanza? Pleasure, +gaiety. What is the picture in the first line? The arrival +of the guests, the welcomes, and the "revelry" of the +assembly. Why does the author say "Belgium's capital" +rather than "Brussels"? It suggests the capital of a nation +with a noble people. Who were the "Beauty" and the +"Chivalry"? The ladies, the officers of the army, and the +nobility. Describe the picture you see in "bright the lamps +shone o'er fair women and brave men". The large ball-room, +the brilliantly lighted chandeliers, the beautiful costumes of +the ladies, the uniforms and decorations of officers and nobles. +Describe the images that are suggested by "and when music +arose with its voluptuous swell". The bands of the regiments +are playing the music of the dance. Notice how the +poet changes the rhythm to the foot of three syllables, to +indicate the music of the waltz. What contrast do you find +in the last two lines? "Marriage bell" and "rising knell". +What was the purpose of this? To show the contrast between +pleasure and fear.</p></div> + +<div class='center'><br />Stanza II</div> + +<div class="blockquot"><p>What is the theme? The sound of the enemy's cannon. +Why does the author use the dramatic form? A conversation +between two people of opposite temperaments gives +greater reality to the picture. The first seems to expect +danger, but is, for a moment, silenced by the other's upbraiding +him for attempting to spoil the pleasure of the +evening. A repetition of the "heavy sound" proves that he +is right. The second is a lover of pleasure, who would not +have the first speaker alarm the guests by his gloomy anticipations. +Show how the second speaker indicates his impatience. +His answers are short, he speaks in ellipses. "On +with the dance", and "No sleep till morn". Notice the +positive tone of the first speaker in the repetition, "It is—it +is".</p></div><p><span class='pagenum'><a name="Page_120" id="Page_120">[120]</a></span></p> + + +<div class='center'><br />Stanza III</div> + +<div class="blockquot"><p>What is described here? The fate of Brunswick? Why +does the author single out Brunswick from all the others +who died? One specific case appeals to the reader more +effectually than the report of the death of unknown thousands. +Brunswick's father had been a noted general in the +war with Napoleon. Explain, "Death's prophetic ear". This +refers to a common superstition that "the veil of the future +is lifted to those near to death". Show how the poet has +broken the order of succession of the pictures. Brunswick's +death is recorded before the breaking up of the ball is +described.</p></div> + +<div class='center'><br />Stanza IV</div> + +<div class="blockquot"><p>What is the theme? The farewells. What is the emotion? +Fear and anguish. What words show this? "Gathering +tears", "tremblings of distress", "cheeks all pale", "sudden +partings", etc. Give a line in a preceding stanza that expresses +the same thought as "mutual eyes". "Soft eyes +looked love to eyes which spake again."</p></div> + +<div class='center'><br />Stanza V</div> + +<div class="blockquot"><p>What is described? The muster of the troops. What is +the prevailing feeling? The haste of the soldiers and the +terror of the citizens. How does the poet show this haste? +By the use of such phrases as "hot haste", "mustering +squadron", "clattering car", "impetuous speed", "swiftly +forming", as well as by the rapid movement of the verse. +Why did the citizens of Brussels fear, since they had not to +fight? They dreaded the pillage and ruin which would follow +a French victory. Describe the scene in your own words—the +cavalry forming in line, the movements of the artillery, +the noise of distant cannon, the "alarming drum", and the +panic of the citizens.</p></div> + +<div class='center'><br />Stanza VI</div> + +<div class="blockquot"><p>The gathering of the Highlanders. Does the poet address +the ear or the eye in this description? Only the sound of<span class='pagenum'><a name="Page_121" id="Page_121">[121]</a></span> +the bagpipes is described, though it may suggest a picture of +the Highland regiments. What words describe the music? +"Wild and high", "war-note", "thrills savage and shrill". +Why does the poet mention proper names—"Lochiel", +"Evan", "Donald"? The bagpipes recall stirring memories +of these men, which inspire the clansmen to prove worthy +of their ancestors. What is the "Cameron's gathering"? +The war-song of the Cameron clan. Were there only Camerons +in the Highland regiments? No, the Camerons were only +one famous clan, but are taken here as representative of the +heroism of all the Highlanders. Again, the use of individual +specific cases produces a greater impression than a more +general term. What was the "pibroch"? A wild, irregular +species of music played on the bagpipes, adapted particularly +to rouse a martial spirit among troops going to battle.</p></div> + +<div class='center'><br />Stanza VII</div> + +<div class="blockquot"><p>What is described in this stanza? The march to the +battle-field. What words show that? "As they pass". They +were going through the forest of "Ardennes". What is the +mood of this stanza? Sadness. The trees are represented as +shedding tears when "Nature" thinks of the sad fate awaiting +so many brave men. What were those tears? The expression +refers to the dew of the early morning on the leaves of the +trees, but the poet has called it "Nature's tear-drops". It +is only a fanciful presentation of a natural phenomenon. +Explain, "if aught inanimate e'er grieves". If inanimate +nature, such as trees or grass, can express sorrow. Nature +cannot grieve, but we appreciate the beauty of the imagery. +Point out a contrast in this stanza. "This fiery mass of living +valour", and "shall moulder cold and low".</p></div> + +<div class='center'><br />Stanza VIII</div> + +<div class="blockquot"><p>What is the purpose of this stanza? It gives a summary +of the preceding ones. Which stanza corresponds to line 2? +Stanza I. Which corresponds to line 3? Stanzas II, III, and +IV. Which stanzas picture the "marshalling in arms"? +Stanzas V and VI. What stanzas picture "Battle's magnificently<span class='pagenum'><a name="Page_122" id="Page_122">[122]</a></span> +stern array"? Stanzas V and VII. Now contrast +all these pictures with the last. The story is epitomized, and +the end described—"friend, foe,—in one red burial blent!"</p></div> + +<p>The pupils should now read the poem, in order that +the teacher may judge by the varying tones and movements +whether it has been properly appreciated.</p> + + +<h4><br />THREE SCENES IN THE TYROL</h4> + +<div class='center'>(Fourth Reader, page 336)</div> + +<h3>AIM</h3> + +<p>To lead the pupils to appreciate the thrilling pictures +and to understand the means by which the author has +produced this vividness.</p> + + +<h3><br />PREPARATION</h3> + +<p>The pupils have been required to read this lesson at +their seats or at home.</p> + +<div class="blockquot"><p>Where is the Tyrol situated? It is a province in the +Austrian Alps directly east of Switzerland. (Show its position +on the map.)</p> + +<p>The mountains are majestic, high, precipitous; the people +daring and independent. The Tyrol is noted for the many +accidents which happen to mountain-climbers. Who are the +chief persons concerned in these three scenes? Maximilian I, +Charles V, and Napoleon.</p> + +<p>The author wishes to give, amid the most impressive surroundings, +three stirring events in the lives of three great +Emperors. State briefly the first story. The Emperor Maximilian +was hunting a chamois, when he slipped on the edge +of the precipice, rolled helplessly over, and caught a jutting +ledge of rock, which interrupted his descent. An outlaw +hastened to his assistance and guided him to safety.</p></div><p><span class='pagenum'><a name="Page_123" id="Page_123">[123]</a></span></p> + + +<h3><br />PRESENTATION</h3> + + +<div class='center'>I</div> + +<div class="blockquot"><p>Yes, this story is often called "The Rescue". Let us note +how the author helps us to see the picture. Where does he +place the spectator? On a "thread-like road" running between +the rocky bank of the Inn River and the foot of the +precipice of the Solstein.</p> + +<p>What does the author ask you, as the imaginary spectator, +to do? To throw your head back and look upward.</p> + +<p>Why? The precipice towers perpendicularly many hundred +feet above you. He wishes you to imagine you are +standing on this road and the scene is taking place before +your eyes.</p> + +<p>What do you see? A hunter in pursuit of a chamois.</p> + +<p>Describe this hunter. He is lofty and chivalrous in his +bearing.</p> + +<p>What happens? He is bounding on after a chamois toward +the edge of a precipice, when he loses his footing and +falls.</p> + +<p>How does the author make you see this plainly? He uses +the present tense, as if the scene were happening now—"is +bounding", "loses his footing", "rolls helplessly".</p> + +<p>Any other way? Yes, he utters exclamations, "Mark!" +"Ah!" Every act is told in the form of an exclamation.</p> + +<p>"What is it that arrests him?" This is a question. Does +the author expect an answer? No, he asks the question as I +would ask it of myself if I saw the hunter stopped in his +descent.</p> + +<p>Why does he not tell you who this hunter is? I see now +for the first time that it is the great Emperor Maximilian +who is in such peril.</p> + +<p>Does any one else see him? Yes, the Abbot, or head of +a neighbouring monastery.</p> + +<p>Why does the author mention him? To indicate that, +apparently, human aid could not save the Emperor.</p> + +<p>What has been told us in this first paragraph? The peril +of the Emperor.<span class='pagenum'><a name="Page_124" id="Page_124">[124]</a></span></p> + +<p>What is told us in the next? His rescue.</p> + +<p>Who else sees the danger? Zyps of Zirl.</p> + +<p>Who is he? A famous hunter and outlaw.</p> + +<p>Do you see him at first? No, I hear his cry. The author +says "Hark! there is a wild cry!" Then I recognize the +outlaw.</p> + +<p>Why does he utter the cry? To encourage the Emperor +and let him know there is some one coming to his rescue.</p> + +<p>Again how does the author make the picture vivid? By +the use of the present tense, by commands, questions, and +exclamations, and by making the spectator, in his excitement, +address the mountaineer directly; for example, "thou +hunted and hunting outlaw, art thou out upon the heights?" +etc.</p> + +<p>By what means does the author show how the outlaw +comes to the Emperor's aid? By comparing him with the +chamois, the insect, and the squirrel. This man combines +in himself all their powers of movement.</p> + +<p>What does the spectator now do? He fears that all may +yet be lost, so he shouts to the Emperor to have courage, that +the hunter is coming.</p> + +<p>How does the author show his relief from the strain of +the last few moments? His sentences are now longer and +smoother.</p> + +<p>How was this event afterwards regarded? The peasants +maintained that an angel came down to their master's rescue.</p> + +<p>What does the author seem to think? That his rescue +was due to the interposition of Providence.</p> + +<p>What is told in the next paragraph? Zyps' reward.</p> + +<p>What did he receive? He was created a Count and received +a pension from the Emperor.</p> + +<p>What was his title? "Count Hallooer von Hohenfeldsen."</p> + +<p>To what does this refer? To his "wild cry" from the high +peaks, when he saw the Emperor in danger.</p> + +<p>How can you prove that this story is true? By inspecting +the pension list of the Royal House of Hapsburg and by +looking at a cross in the mountains that has been erected on +the very spot where Maximilian was rescued.</p></div><p><span class='pagenum'><a name="Page_125" id="Page_125">[125]</a></span></p> + + +<div class='center'><br />II</div> + +<div class="blockquot"><p>Whom do you see in the second vision? The Emperor +Charles V. pursued by his enemies.</p> + +<p>Who was he? One of the greatest monarchs in Europe, +greater even than his grandfather, Maximilian I. In this +scene he is ill; his army has met with reverses; he has made +his escape from Innsbruck, the capital of the Tyrol, and is +being conveyed through the mountains to a place of safety, +closely pursued by Maurice of Saxony.</p> + +<p>Describe the scene. It is at night, the wind is high, and +is driving the rain against the Emperor's litter, which is +borne by mountaineers and surrounded by his faithful officers.</p> + +<p>What is given in the first paragraph? A description of +the storm.</p> + +<p>How does the author prepare you for the scene? The +night suggests danger and mystery, and the moon looks out +from a cloud, as though at something taking place in the +gorge. The spectator hears something besides the roar of the +wind.</p> + +<p>Select all the words that show what a fearful night it is. +"Night", "dark", "wild", "gusty winds", "howling", +"sheets of blinding rain", "whirling", "hissing eddies", +"rent asunder", "ravings of the tempest".</p> + +<p>Notice all the details the author has made use of to convey +the idea of terror and danger.</p> + +<p>What is described in the next paragraph? The passage +of the litter through the dark gorge.</p> + +<p>Is the spectator forgotten in this scene? No, he first hears +the "tramp of feet", then he sees the torches, and, lastly, +the Emperor's litter surrounded by his attendants.</p> + +<p>What words show you the difficulty of their situation? +"Hurried", "crowding", "crushing", "steep and narrow +gorge", "suppressed voices", "fitful glancing of torches", +"anxiously shielded", "melée", "struggle onward".</p> + +<p>Why are their voices suppressed? As a natural result +of their perilous position.</p> + +<p>Why do they keep their torches burning? To find their +way through the enemy's country amid the dangers by which +they are surrounded.<span class='pagenum'><a name="Page_126" id="Page_126">[126]</a></span></p> + +<p>What do the lamps look like? A "constellation" of stars +moving on in the same relative position.</p> + +<p>Does the author still refer to the storm? Yes, in "derisive +laughter", "rude wrath of the tempest", and "plumes +streaming on the wind". The author wishes to picture continuously +the fitting surroundings for this adventure, and +so emphasizes these details.</p> + +<p>Why does he speak of the "derisive laughter of the +storm"? He compares it to a fiend who mocks the attempts +of man to battle against his power.</p> + +<p>Who is described in the third paragraph of this vision? +The Emperor himself.</p> + +<p>Why is he not described before, as he is more important +than either the storm or his comrades? The story runs in +a natural order. First are seen the figures surrounding the +litter, and, as it approaches, the Emperor's face is distinguishable.</p> + +<p>What is first mentioned in connection with him? His +firmly set teeth.</p> + +<p>What does this indicate? His great physical pain, and his +determination of character.</p> + +<p>What is mentioned next? His age; he is but fifty-three, +but his wrinkles are deep and his hair turning gray.</p> + +<p>What are next described? His forehead, his nose, his eye, +his underlip.</p> + +<p>Why does the author picture these features in such detail? +To show the character of the Emperor.</p> + +<p>What are we led to infer are some of his characteristics? +A strong intellect, imperious manner, cruelty, and stubborn +pride.</p> + +<p>What strong contrast is drawn? The fugitive invalid is +the great Emperor. The author first discusses his illness, his +flight, his suffering in the storm, his adverse fortune, and +then gives him his full titles—"Emperor of Germany, King +of Spain, Lord of the Netherlands, of Naples, of Lombardy, +and the proud chief of the golden Western World".</p> + +<p>Where does the author place the blame for his present +sufferings? On Charles himself, whose sufferings, humiliation,<span class='pagenum'><a name="Page_127" id="Page_127">[127]</a></span> +and ultimate deliverance were perhaps intended as a +discipline to lead him to repent for past cruelties.</p> + +<p>What is described in the last paragraph of this scene? +The escape.</p> + +<p>Who is first mentioned? The pursuer, Maurice of Saxony.</p> + +<p>Describe him. He is first compared to an "avenger of +blood" in pursuit of a man fleeing to the cities of refuge +referred to in Joshua xx. 3. He is next compared to the +hound relentlessly following his prey.</p> + +<p>Who wins in this race? Charles eludes his pursuer.</p> + +<p>To whom should he show gratitude for his escape? To +Providence.</p> + +<p>Does he acknowledge God's protection? No, he gives all +the credit to his "lucky star".</p> + +<p>Explain this. Astrologers had said that the "Star of +Austria" was always at the highest point in the heavens; +and of this favoured House of Austria, Charles was Archduke.</p></div> + +<div class='center'><br />III</div> + +<div class="blockquot"><p>The first scene is called "The Rescue"; the second, "The +Run"; and the last, "The Ruin". What is described in the +last scene? The destruction of the French Army.</p> + +<p>Where is the scene laid? In the Tyrol, beside the River +Inn.</p> + +<p>What is described in the first paragraph? Bonaparte's +decree that the strongholds of his enemies—the Tyrolese +warrior hunters—shall be destroyed.</p> + +<p>Why should he wish to do this? The Tyrolese were an +independent people, who would not submit to conscription +and taxation at the hands of the Bavarians.</p> + +<p>By what names does the author call Napoleon? "Bonaparte." +That was his surname. The French Emperor had +no hereditary right to the throne, but he wished to be called +Napoleon, instead of Bonaparte, just as we speak of our King +as George V. and rarely refer to his surname of Guelph.</p> + +<p>Who advised Napoleon? "His own will is his sole adviser." +He ruled arbitrarily, consulting no one.</p> + +<p>What does he do in this case? He sends ten thousand +French and Bavarian soldiers to crush the Tyrolese.<span class='pagenum'><a name="Page_128" id="Page_128">[128]</a></span></p> + +<p>Why were the Bavarians taking part in the struggle? +They were at this time allies of France, and Napoleon had +given to their Elector possession of this new but hostile +province.</p> + +<p>What does the second paragraph describe? The army +entering the narrow gorge in the mountains.</p> + +<p>How does the author give vividness to this picture? He +endows inanimate things such as the "gorge" and the +"river" with human attributes. The "gorge" looks gloomy, +forbidding, and unfriendly, and the "river" seems to roar +indignantly, as though at the attempt of "the mountain +walls" to impede its progress.</p> + +<p>The next sentence is in the form of a question and its +answer. Who is supposed to ask this question? This is +the question the leader of the army would ask and the answer +he would make when he discovered the narrow road. The +construction of the sentence suggests the idea of danger.</p> + +<p>Why does the next sentence begin with "But"? "But +the glittering array winds on." It suggests that some precautions +for the safety of the army should have been +observed; but it may have been impossible to take these precautions, +and the orders of Bonaparte had to be obeyed at +all hazards.</p> + +<p>What is described in the next sentence? The author gives +full details of the progress of this imposing army. The +River Inn seems to share the feelings of the Tyrolese themselves +and protest angrily against this invasion by a foreign +power.</p> + +<p>How is the next sentence related to the preceding? "But" +marks a contrast. The noise of the army and the river is +contrasted with the silence on the heights.</p> + +<p>Why are the "eagles" mentioned? The silence is rendered +more impressive by the occasional "shrill cry" of the eagles, +and the "wings" of the eagles hovering above are an omen +of the coming disaster which is to overtake "the gilded +eagles of France" below.</p> + +<p>What is described in the next paragraph? The "voice" +from the "heights".<span class='pagenum'><a name="Page_129" id="Page_129">[129]</a></span></p> + +<p>How does the author make this paragraph impressive? +As he wishes to indicate the critical moment, he still uses +the present tense, direct narration, short sentences, exclamation, +and interrogation; he suggests, through a mysterious +voice far up the heights, that supernatural agents are at +work. The army, in its helpless length, is compared to an +"uncoiled serpent".</p> + +<p>What is the subject of the next paragraph? The destruction +of the entire army.</p> + +<p>How is this ruin accomplished? Unseen in the heights +above, the Tyrolese peasantry hurl down rocks, roots, and +trunks of pine trees, as well as sending a "deadly hail" from +their rifles along the "whole line" of the defenceless army +below.</p> + +<p>Notice the richness of detail. What words help to make +the description of their destruction more vivid? "Bounding", +"thundering", "gathering speed", "headlong way", +"launched down", "powerless foe", "deadly hail", "fearful +storm", "crushed to death", "tumbled, horse and man, into +the choked and swollen river".</p> + +<p>Notice the contrast of this paragraph with the picture +in the second paragraph of this vision of the gallant invading +army.</p> + +<p>What is the subject of the last paragraph? The reflections +of the author.</p> + +<p>Of what does he speak? Of the wonders and beauties of +creation and the sad power that man possesses of spoiling +and staining these wonders by giving rein to his own "evil +ambitions and fierce revenges".</p> + +<p>How has he emphasized this? By the use of exclamation, +question, ellipses, and the mention of the "serpent" as the +symbol of evil.</p> + +<p>How does the interrogative form of the sentence give it +vividness? Contrast the effect of saying, "Who would willingly +linger on the hideous details?" with "No one would +willingly linger", etc. The author does not expect an answer, +he throws the sentence into the question form for the +rhetorical effect. The reader pays more attention to the +thought by trying to find an answer to the question.<span class='pagenum'><a name="Page_130" id="Page_130">[130]</a></span></p> + +<p>What is the value of the ellipses in "Sorrowful that man +... should come"? It is stronger than saying, "It +is sorrowful that man ... should come". The subject +and verb are omitted, as they are not strong words, and +"Sorrowful" is placed in the most prominent position on +account of its importance.</p></div> + +<h3><br />SUMMARY</h3> + +<div class="blockquot"><p>In these three pictures, what is the constant element? +The scene used as the background. All three visions take +place in the Tyrol, two of them on the banks of the Inn +River. They are three companion pictures of this historic +mountain province.</p> + +<p>How does this style compare with that which you find in +other lessons? It is abrupt and abounds in many rhetorical +forms—ellipses, use of the present tense, exclamation, direct +address, and accumulation of details.</p> + +<p>Would it be suitable for all prose expression? No; it is +impassioned prose, full of emotion and picturesque detail. +The smoother, more regulated sentence-structure, such as is +in place in ordinary narration, would be too cold for these +descriptions. On the other hand, this style is not suitable +for expressing a quiet mood or giving a clear explanation. +It is too turbulent, and would pall upon the reader if continued +at too great length, but it is often very suitable in an +oratorical selection.</p></div> + +<p>The pupils should finally read the lesson aloud, to show +how they have appreciated the story.<span class='pagenum'><a name="Page_131" id="Page_131">[131]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2>CHAPTER VIII</h2> + +<h3>SUPPLEMENTARY READING</h3> + + +<p>Before studying these lessons in supplementary reading, +it is suggested that the teacher read again what has been +said on "Extensive Reading", p. 39 of this Manual.</p> + + +<h4><br />SOUTH-WEST WIND, ESQ.</h4> + +<div class='center'>(Third Reader, page 86)</div> + +<div class="blockquot"><p>You have read the story of South-West Wind, Esq., in the +Third Reader.</p> + +<p>Who were the persons mentioned in this story? Three +brothers, Schwartz, Hans, and Gluck.</p> + +<p>What were their characters? Schwartz and Hans were +rich but very miserly; they were quarrelsome, drunken, and +cruel. Gluck was kind, polite, and unselfish.</p> + +<p>How did Gluck show these qualities? He admitted the +stranger into the house for shelter from the rain, when he +knew his brothers would punish him for so doing; he asked +politely to take the stranger's cloak, when the water dripping +from it was putting the fire out; and he offered him his +share of the mutton, although he knew it meant that he must +go without his own supper.</p> + +<p>When the older brothers returned what did they do? They +tried to punish Gluck and to force the stranger out of the +house.</p> + +<p>What happened? They were hurled to the ground by the +stranger, who was much stronger than they supposed.</p> + +<p>What other punishment did they receive? The roof was +blown off the house while they slept, and their beautiful +valley, together with their crops and cattle, was utterly +destroyed by the heavy rains.</p> + +<p>Who was the stranger? He left his card with "South-West +Wind, Esq." written on it.<span class='pagenum'><a name="Page_132" id="Page_132">[132]</a></span></p> + +<p>Now the story in the Reader is only the first chapter of a +longer story, which relates what fortune came to the three +brothers. What should you expect would happen to them? I +should expect that Schwartz and Hans would have more +troubles, and that Gluck would be rewarded for his kind-heartedness.</p></div> + +<div class='center'><br />CHAPTER II</div> + +<div class="blockquot"><p>Read the second chapter of this longer story called <i>The +King of the Golden River</i>.</p> + +<p>Give me the main points in this chapter?</p> + +<div class='poem3'> +1. The valley was turned into a desert.<br /> +2. The brothers became goldsmiths.<br /> +3. The mug<br /> +4. Gluck's wish that the river would turn into gold<br /> +5. The voice from the furnace<br /> +6. The dwarf<br /> +7. The King told Gluck how the river could be turned into gold.<br /> +</div> + +<p>What are the characters of the two brothers in this +chapter? They were very dishonest and even tried to mix +copper with the gold. They were drunken and wasted their +money, and they were lazy and cruel.</p> + +<p>Describe the mug that was being melted. It had been +given to them by their uncle, and Gluck was very fond of it. +It was made of gold almost in the form of a human face. +The face was fierce and red, the eyes were bright, the beard +and whiskers were of fine gold, and the hair was of fine spun +gold, forming the handle of the mug.</p> + +<p>While the mug was being melted in the furnace, what +did Gluck see as he looked out of the window? The range +of mountains overhanging Treasure Valley, with the mountain +tops shining in the sunset.</p> + +<p>This is a lovely description of a sunset in the mountains. +Pick out the details of the picture. "Rocks ... all crimson +and purple with the sunset", "bright tongues of fiery cloud", +"the river ... a waving column of pure gold", "the double +arch of a broad purple rainbow", "flushing and fading +alternately in the wreaths of spray".<span class='pagenum'><a name="Page_133" id="Page_133">[133]</a></span></p> + +<p>What words suggest colours? "Crimson", "purple", +"fiery", "pure gold", "purple rainbow", "flushing", +"fading".</p> + +<p>What did this picture suggest to Gluck? It made him +wish that the river were really gold.</p> + +<p>Describe the dwarf who came out of the furnace. He was +a foot and a half high; his hair and beard were long, curled, +and delicate, and his face was copper-coloured.</p> + +<p>Account for the dwarf being in such a place. It was +owing to the malicious enchantment of a king stronger than +himself that he had been turned into the golden mug, and, +when the mug was melted, Gluck poured out the metal, and, +thus freed the King of the Golden River from the power of +his enemy.</p> + +<p>How did the King show his gratitude? He told Gluck +how the river could be turned into gold.</p> + +<p>What must Gluck do in order to gain this end? He must +climb to the top of the mountain and cast three drops of +holy water into the stream at its source.</p></div> + +<div class='center'><br />CHAPTER III</div> + +<div class="blockquot"><p>What are the main facts in this chapter?</p> + +<div class='hang2'> +1. The brothers returned and beat Gluck because the mug was a total loss.</div> +<div class='hang2'>2. Schwartz and Hans fought.</div> +<div class='hang2'>3. Schwartz was arrested.</div> +<div class='hang2'>4. Hans stole a cupful of holy water.</div> +<div class='hang2'>5. Hans taunted Schwartz.</div> +<div class='hang2'>6. Hans attempted to change the river to gold. (1) The dog; (2) the fair child; (3) the old man.</div> +<div class='hang2'>7. Hans was changed into the Black Stone.</div> + + +<p>What characteristics of the older brothers are shown in +this chapter? They were drunken, brutal, quarrelsome, dishonest, +malicious, and selfish.</p> + +<p>Why are the dog, the child, and the old man introduced +into the story? To show how indifferent Hans was to the +suffering of animals, children, and aged people. The sight +of these helpless creatures should have aroused his pity.<span class='pagenum'><a name="Page_134" id="Page_134">[134]</a></span></p> + +<p>Were there any indications in the story that Hans would +be unsuccessful? Yes, there was "a strange shadow"; the +air "seemed to throw his blood into a fever"; "a dark gray +cloud came over the sun"; "long, snake-like shadows"; +"leaden weight of the dead air"; "flash of blue lightning"; +"tongues of fire"; "flashes of bloody light".</p> + +<p>Why was Hans unsuccessful? He had led a bad life, had +been dishonest, and had been selfish to the dog, the child, +and the aged man.</p> + +<p>Show that it was an appropriate punishment that Hans +should be turned into a Black Stone. His heart was as hard +as stone, and his deeds were black.</p></div> + +<div class='center'><br />CHAPTER IV</div> + +<div class="blockquot"><p>What is the main theme of this chapter? Schwartz's +attempt to turn the river into gold.</p> + +<p>What are the chief incidents recorded?</p> + +<div class='hang2'> +1. Gluck paid Schwartz's fine.</div> +<div class='hang2'>2. Schwartz refused water to the child, the old man, and to the spirit of Hans.</div> +<div class='hang2'>3. He was also changed to a Black Stone.</div> + + +<p>What were the indications that Schwartz would be unsuccessful? +There was a "black cloud rising out of the +West"; "a mist of the colour of blood"; "waves of the angry +sea"; "bursts of spiry lightning"; "the sky was like ... +a lake of blood"; "its waves were black, like thunderclouds"; +"their foam was like fire"; "the lightning glared +into his eyes".</p></div> + +<div class='center'><br />CHAPTER V</div> + +<div class="blockquot"><p>What is the theme in the last chapter? Gluck's attempt +to turn the river into gold.</p> + +<p>Give the main incidents.</p> + +<div class='hang2'> +1. The priest gave him holy water.</div> +<div class='hang2'>2. He gave water to the aged man and the child.</div> +<div class='hang2'>3. He gave his last drop of water to the dying dog.</div> +<div class='hang2'><span class='pagenum'><a name="Page_135" id="Page_135">[135]</a></span>4. The dog was transformed into the King of the Golden River.</div> +<div class='hang2'>5. He gave Gluck three drops of dew.</div> +<div class='hang2'>6. Gluck cast the water into the river.</div> +<div class='hang2'>7. Treasure Valley again became a fertile garden, and Gluck became very rich.</div> + + +<p>What were the indications that Gluck would be successful? +After giving the old man some water, the "path became +easier"; "grasshoppers began singing"; there was "bright +green moss"; "pale pink starry flowers"; "soft belled +gentians"; "pure white transparent lilies"; "its waves +were as clear as crystal".</p> + +<p>What strong contrast is brought out in this story? There is +a contrast between this chapter and the two preceding ones. +Gluck's conduct is so different from that of Schwartz and +Hans; and the aspect of nature, as it appears to him, is very +different from the scenes viewed by his brothers.</p> + +<p>Describe Treasure Valley after it was changed. The +"fresh grass sprang beside the new streams"; "creeping +plants grew"; "young flowers opened"; "thickets of myrtle +and tendrils of vine cast lengthening shadows"; "his barns +became full of corn and his house of treasure".</p> + +<p>Why did Gluck deserve so much kindness? He had been +hospitable to South-West Wind, Esq.; had suffered hunger +and punishment on his account; had been industrious; had +freed the King of the Golden River from his enchantment; +had obeyed his instructions; had felt sorry for Hans; had +paid Schwartz's fine; and had shown mercy to animals and +helpless people.</p> + +<p>Was there anything said about the two older brothers? +Yes, there are two black stones, which people still call "The +Black Brothers", at the top of the cataract. This story tells +how these stones came to be there.</p></div> + + +<h4><br />A CHRISTMAS CAROL</h4> + +<div class='center'>(Fourth Reader, page 39)</div> + +<p>The pupils have read <i>Scrooge's Christmas</i>, in the +Fourth Reader. They have also read the synopsis of <i>A +Christmas Carol</i> at the beginning of the lesson. If they<span class='pagenum'><a name="Page_136" id="Page_136">[136]</a></span> +have read the first four <i>staves</i> of the carol in a general way, +they will be in a better position to study intensively the +last stave, or chapter, which is the lesson in the Reader. +They will understand the causes that have changed this +"covetous old sinner" to the man "who knew how to +keep Christmas Day well". This lesson should be taken +up near Christmas. The pupils will discuss Stave I, after +having read it at home.</p> + +<div class='center'><br />Stave I</div> + +<div class="blockquot"><p>What is the title of this work? A Christmas Carol.</p> + +<p>Why is it called a carol? In England, it is the custom for +bands of singers, called "waits", to go from house to house +on Christmas Eve. The author calls this ghost story of +Christmas a carol in prose, for it pictures the joys and +sorrows of this season.</p> + +<p>What does a stave mean? It keeps up the idea of a carol. +Each chapter is called a stave, or stanza of the carol.</p> + +<p>What is the title of the first stave? "Marley's Ghost."</p> + +<p>Who was Marley? He had been Scrooge's partner, but was +now dead. He had been as miserly as Scrooge himself.</p> + +<p>Where is the scene laid? In London.</p> + +<p>When? On Christmas Eve.</p> + +<p>Describe Scrooge. "Oh but he was a tight-fisted hand +... one degree at Christmas". (See Stave I of <i>A Christmas +Carol</i>.)</p> + +<p>Notice the wonderful accumulation of strong adjectives +and phrases in this description. Why does the author use +so many? He wishes to emphasize the cold miserliness of this +man.</p> + +<p>What is the first incident? Scrooge's treatment of his +nephew, who has invited him to dinner on Christmas Day.</p> + +<p>What does this incident show? His churlishness, and his +contempt for those who spend money freely.</p> + +<p>What is the next incident? His refusal to subscribe to +any charities in the city.</p> + +<p>What comes next? The account of his treatment of Bob +Cratchit.<span class='pagenum'><a name="Page_137" id="Page_137">[137]</a></span></p> + +<p>What does this show? His meanness and tyranny.</p> + +<p>When he returns from his supper, what does he encounter? +Marley's Ghost.</p> + +<p>What does the ghost tell him? How it must wander +through the world without rest, in atonement for Marley's +cruelties and his neglect of other people. It laments his +misspent life.</p> + +<p>What does it promise to do to Scrooge? It promises to +send him "Three Spirits".</p> + +<p>What good description is found in Stave I? Besides the +character sketch of Scrooge, there is a picture of Christmas +Eve in the London streets, in the paragraph beginning +"Meanwhile the fog and darkness thickened".</p></div> + +<div class='center'><br />Stave II</div> + +<div class="blockquot"><p>What is described in this chapter? The visit of the first +spirit.</p> + +<p>What was it? The "Ghost of Christmas Past".</p> + +<p>Read me a description of it. "It was a strange figure ... like +a child ... which it held under its arm".</p> + +<p>What does the spirit do? It forces Scrooge to accompany +it and shows him former Christmas scenes in his life.</p> + +<p>What are these scenes? Scrooge as a solitary boy at +school; his boyhood stories, <i>Ali Baba</i> and <i>Robinson Crusoe;</i> +his sister; Fezziwig's ball; Scrooge's sweetheart; scenes in +her married life.</p> + +<p>What is the mood of these different scenes? There is +humour, and a great deal of fun, as well as some pathos. It +is all told in a lively style.</p> + +<p>What are the best descriptions? Fezziwig's ball, and the +remembrance of the scenes in <i>Ali Baba</i>.</p></div> + +<div class='center'><br />Stave III</div> + +<div class="blockquot"><p>What is told in this chapter? The visit of the second +spirit.</p> + +<p>Who was it? The "Spirit of Christmas Present".</p> + +<p>What does it show Scrooge? Scenes of Christmas shopping; +Christmas out-of-doors; the Grocers; Bob Cratchit's<span class='pagenum'><a name="Page_138" id="Page_138">[138]</a></span> +family, the goose, their dinner, the puddings; the miner's +home; the lighthouse keepers; the sailors; Scrooge's nephew +at home—blindman's bluff, forfeits, Yes and No; vision of +"Ignorance" and "Want".</p> + +<p>What do all these scenes go to show? How different kinds +of people keep Christmas; how kind and merry most people +are at this season of the year: and how some have to struggle +in order to get this one day's pleasure.</p> + +<p>Select some examples of humour. Peter's conceit, some +of the descriptions of the grocery stores, the anticipations +lest harm befall the goose and the pudding.</p> + +<p>Select any examples of pathos. The references to Tiny +Tim.</p> + +<p>Select and read the best descriptions. The grocery stores, +the fruit stores, the goose, the pudding.</p></div> + +<div class='center'><br />Stave IV</div> + +<div class="blockquot"><p>What is told in this chapter? The visit of the third spirit.</p> + +<p>What was it? The "Ghost of Christmas Yet to Come".</p> + +<p>What does it show Scrooge? A vision of his death—how +he is plundered by laundress, charwoman, and undertaker; +the phantom of Death; Scrooge's creditors; the grave.</p> + +<p>Had these scenes actually taken place? No, but they will +be realized if Scrooge does not change his manner of thinking +and living.</p> + +<p>What is the effect of these three visions? Scrooge promises +the "Ghost of Christmas Yet to Come" "I will honour +Christmas in my heart and try to keep it all the year".</p> + +<p>Why are the scenes in this chapter not so pleasant as +those that the two former spirits had shown him? The scenes +that the first spirit had brought before him were his joys at +the Christmas season before he had hardened his heart; +those that the second spirit had shown were scenes in the +lives of people who do something for others and enjoy themselves +in the true Christmas spirit; those that the last spirit +had shown were the sordid scenes which would be sure to +come if he did not change his attitude toward life. The last +scenes shown him by the third spirit furnish a strong contrast +to the others.</p></div><p><span class='pagenum'><a name="Page_139" id="Page_139">[139]</a></span></p> + + +<div class='center'><br />Stave V</div> + +<div class="blockquot"><p>What does this chapter relate? How Scrooge actually kept +Christmas Day.</p> + +<p>What were the other chapters about? The first and the +last were the only chapters where he was awake. Chapters +Two, Three, and Four are visions or dreams. Notice how the +phantom changed into the bed-post.</p> + +<p>This chapter should be studied closely. Who wrote this +story? Charles Dickens, an English novelist.</p> + +<p>Do you know any other good stories by the same author? +<i>David Copperfield</i>, <i>The Pickwick Papers</i>, <i>Nicholas Nickleby</i>.</p> + +<p>Yes, we have had extracts in the Readers from these books.</p> + +<p>What lessons are they? <i>The Pickwick Club on the Ice</i>, +in the <i>Third Book;</i> <i>David Copperfield's First Journey Alone</i>, +and <i>The Indignation of Nicholas Nickleby</i> in the <i>Fourth +Book</i>.</p> + +<p>Some day you must read these stories. <i>David Copperfield</i> +tells us a great deal about Dickens' early days. <i>The Pickwick +Papers</i> is full of humour in scenes such as that depicted in +<i>The Pickwick Club on the Ice</i>, and has some fine characters +in it, and <i>Nicholas Nickleby</i> gives a vivid picture of the +brutality existing in some schools in England at the time the +book was written.</p></div> + + +<h4><br />THE LADY OF THE LAKE</h4> + +<div class='center'>(Fourth Reader, page 270)</div> + +<p>The pupils will have read the account of the stirring +combat between Fitz-James and Roderick Dhu. They will +be curious to know the circumstances that led up to this +combat and also the conclusion of the story.</p> + +<p>The aim of the teacher is to lead the pupils to appreciate +the construction of the story, the fine character +sketches, and the descriptions of natural scenery, as well +as to give them an impression of Highland life. The +pupils will take delight in the rapid movement of the +verse and in the deeds of valour.<span class='pagenum'><a name="Page_140" id="Page_140">[140]</a></span></p> + +<p>Some passages should be dwelt upon at greater length +by the teacher, and others more lightly touched upon, so +that the connections of the various parts will be understood. +A close and tedious consideration of all the lines +would not show a good critical taste, as some passages are +very fine, while others have only ordinary merit.</p> + +<p>The teacher should disclose the identity of Fitz-James +as James V of Scotland and should explain the cause of +the exile of the Douglas Family. He should also sketch +the life of rebellion and consequent outlawry led by some +of the Highland clans before they were reduced to submission.</p> + +<div class='center'><br />CANTO I</div> + +<div class="blockquot"><p>The teacher should study with the pupils the Invocation +of the three opening stanzas and ask them to read the first +canto. He should next discuss it briefly, as suggested in the +following outline:</p> + +<p>What are the main divisions of the first canto?</p> + +<div class='poem'> +1. The chase<br /> +2. Description of the Trossachs<br /> +3. Description of Ellen Douglas<br /> +4. Description of Fitz-James.<br /> +</div> + +<p>Why is the story of the chase introduced? It brings Fitz-James +alone into the enemy's country, where he meets Ellen +Douglas, and prepares the way for the adventures that follow.</p> + +<p>What is the story of the chase? The hundred huntsmen +and the horses and the dogs become wearied in the long +pursuit after the stag. One huntsman alone is left to enter +the deep ravine where the stag escapes.</p> + +<p>This description of the Trossachs made the spot famous, +and ever since it has been a favourite resort of tourists.</p></div><p><span class='pagenum'><a name="Page_141" id="Page_141">[141]</a></span></p> + + +<div class='center'><br />CANTO II<br /> +The Island</div> + +<div class="blockquot"><p>What are the divisions of this canto?</p> + +<div class='poem2'> +1. The departure of the huntsmen<br /> +2. Description of the minstrel<br /> +3. The story of Roderick's love<br /> +4. Return of the Clan-Alpine<br /> +5. Malcolm Graeme<br /> +6. The quarrel.<br /> +</div> + +<p>What is the value of this canto? It explains many facts +that we did not understand. Among others, it shows us the +relation of the Douglases to the King and to Roderick Dhu. +It tells of the love of Malcolm Graeme for Ellen and of +Roderick's hopeless love for her. It shows us Roderick's noble +traits of character and the fearful cruelties of which he is +capable. He cannot possibly win Ellen's love.</p></div> + +<div class='center'>CANTO III<br /> +The Gathering</div> + +<div class="blockquot"><p>What are the main divisions of this canto?</p> + +<div class='poem2'> +1. Roderick's determination to renew hostilities<br /> +2. Brian the Hermit<br /> +3. The ceremony<br /> +4. The message of the Fiery Cross<br /> +5. Roderick's devotion to Ellen<br /> +6. The gathering.<br /> +</div> + +<p>What are the best passages in this canto?</p> + +<div class='poem2'> +1. Description of Loch Katrine<br /> +2. The coronach<br /> +3. Hymn to the Virgin.<br /> +</div> + +<p>Why are funeral and wedding scenes introduced? These +serve to show how the message of the Fiery Cross was looked +upon as more important than even death or marriage.<span class='pagenum'><a name="Page_142" id="Page_142">[142]</a></span></p> + +<p>What insight into the life of the clansmen is furnished in +this canto?</p> + +<div class='hang2'> +1. The superstition of the Highlanders. This is shown in Brian's faith and in the weird ceremonies in connection with the Fiery Cross.</div> +<div class='hang2'>2. The method of mustering the clans by means of the message of the Fiery Cross.</div> +<div class='hang2'>3. Their funerals and weddings.<br /> +</div> + +<p>Notice also the vigour of the stanzas that describe the +flight of Malise.</p></div> + +<div class='center'><br />CANTO IV<br />The Prophecy</div> + +<div class="blockquot"><p>Give the main themes in this canto.</p> + +<div class='poem2'> +1. Return of Malise<br /> +2. Norman's guard<br /> +3. The augury and the prophecy<br /> +4. Return of Fitz-James to Ellen Douglas<br /> +5. The ring<br /> +6. Blanche of Devan<br /> +7. Death of Murdoch<br /> +8. Fitz-James meets Roderick Dhu.<br /> +</div> + +<p>What are the best stanzas? The ballad of "Alice Brand".</p> + +<p>Why is this ballad introduced? It shows the character +of Scottish minstrelsy, the belief in the world of fairies, and +the lesson of hope that at the darkest moment the hour of +happiness may be near. It furnishes another example of +Allanbane's prophetic insight.</p> + +<p>The introduction: "The rose is fairest when it is budding +new." Why is this stanza appropriate? It shows the tenderness +of Norman's love, as contrasted with the fierce warfare +in which he is engaged.</p> + +<p>Why is Blanche of Devan introduced? To furnish an +example of Roderick's cruelty, so that Fitz-James should feel +justified in punishing him. Blanche of Devan also warns +Fitz-James of Murdoch's treachery. This stanza explains the<span class='pagenum'><a name="Page_143" id="Page_143">[143]</a></span> +allusions in the lesson in the <i>Fourth Book</i>, for example: "a +braid of your fair lady's hair", and "There lies red Murdoch +stark and stiff".</p> + +<p>What characteristics of Roderick are shown in the canto?</p> + +<div class='poem2'> +1. His care for the defenceless in his clan<br /> +2. His cruelty to his enemies<br /> +3. His hospitality<br /> +4. His superstition.<br /> +</div> + +<p>What was the prophecy?</p> + +<div class='poem'> +Who spills the foremost foeman's life<br /> +That party conquers in the strife.<br /> +</div> + +<p>What is the value of the prophecy in the poem? It +furnishes a reason for the eagerness of the clansmen to take +the life of the huntsman, as the former would then "conquer +in the strife".</p></div> + +<div class='center'>CANTO V +<br />The Combat</div> + +<div class="blockquot"><p>Give the main events in this canto.</p> + +<div class='poem2'> +1. Roderick guides Fitz-James to neutral ground<br /> +2. The combat<br /> +3. Douglas surrenders<br /> +4. The games<br /> +5. The popularity of Douglas.<br /> +</div> + +<p>What is the most striking part of this canto? The story +of the combat.</p> + +<p>Why? It is a fine example of Scottish bravery and +chivalry.</p> + +<p>What Scottish characteristics are found in this canto?</p> + +<div class='poem2'> +1. The character of Scottish games in the city<br /> +2. The fickleness of the mob<br /> +3. The chivalrous conduct of the combatants.<br /> +</div></div><p><span class='pagenum'><a name="Page_144" id="Page_144">[144]</a></span></p> + + +<div class='center'><br />CANTO VI<br /> +The Guard-room</div> + +<div class="blockquot"><p>What are the main themes in this canto?</p> + +<div class='poem2'> +1. The rough soldiers<br /> +2. Ellen presents the ring<br /> +3. The battle of Beal' an Duine<br /> +4. Death of Roderick<br /> +5. Ellen's request to James<br /> +6. Happiness of the Douglases and of Malcolm Graeme<br /> +7. Farewell to the Harp.<br /> +</div> + +<p>Why are the rough soldiers introduced? This passage +furnishes a good description of the character of the soldiers, +and shows the power of Ellen's quiet dignity and modesty.</p> + +<p>What is the value of the battle of Beal' an Duine? It +affords an opportunity to the valiant Roderick to imagine +himself in battle, so that when death comes he does not +realize that it finds him a prisoner and his clan vanquished.</p> + +<p>How does the poem end? Ellen, her father, and Malcolm +Graeme are united and happy, and Fitz-James reveals his +identity and shows his magnanimity.</p> + +<p>What should be read in connection with the last three +stanzas? The first three stanzas of the poem. They are an +Invocation to Scottish minstrelsy. We now have the Farewell.</p> + +<p>Which cantos do you consider are the best? The first and +the fifth.</p> + +<p>Why? The first contains such wonderful word-pictures +and the fifth seems to be the crisis of the story. The interest +is not sustained in the sixth canto, as one knows matters are +sure to be adjusted.</p></div><p><span class='pagenum'><a name="Page_145" id="Page_145">[145]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2>CHAPTER IX</h2> + +<h3>SELECTIONS FOR MEMORIZATION</h3> + + +<div class='poem'> +Little deeds of kindness,<br /> +<span style="margin-left: 1em;">Little words of love,</span><br /> +Make our earth an Eden,<br /> +<span style="margin-left: 1em;">Like the heaven above.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Brewer</span><br /> +<br /></div> + + +<div class='poem'> +God make my life a little light,<br /> +<span style="margin-left: 1em;">Within the world to glow,—</span><br /> +A little flame that burneth bright.<br /> +<span style="margin-left: 1em;">Wherever I may go.</span><br /> +</div> + + +<div class='poem'> +The world is so full of a number of things,<br /> +I'm sure we should all be as happy as kings.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Stevenson</span><br /> +<br /></div> + + +<div class='poem'> +Be kind and be gentle<br /> +<span style="margin-left: 1em;">To those who are old,</span><br /> +For dearer is kindness<br /> +<span style="margin-left: 1em;">And better than gold.</span><br /><br /> +<br /></div> + + +<div class='poem'> +Politeness is to <i>do</i> and <i>say</i><br /> +The kindest thing in the kindest way.<br /><br /> +<br /></div> + + +<div class='poem'> +Two ears and only one mouth have you;<br /> +<span style="margin-left: 1em;">The reason, I think, is clear:</span><br /> +It teaches, my child, that it will not do<br /> +<span style="margin-left: 1em;">To talk about all you hear.</span><br /> +<br /></div> + + +<div class='poem'> +Whene'er a task is set for you,<br /> +<span style="margin-left: 1em;">Don't idly sit and view it,</span><br /> +Nor be content to wish it done;<br /> +<span style="margin-left: 1em;">Begin at once and do it.</span><br /> +<br /></div> + + +<div class='poem'> +Work while you work, play while you play;<br /> +<span style="margin-left: 1em;">This is the way to be cheerful and gay.</span><br /> +All that you do, do with your might;<br /> +<span style="margin-left: 1em;">Things done by halves are never done right.</span><br /> +</div> + +<div class='sig'> +<span class='pagenum'><a name="Page_146" id="Page_146">[146]</a></span>—<span class="smcap">Stodart</span><br /> +<br /><br /></div> + + +<div class='poem'> +Five things observe with care,—<br /> +Of whom you speak, to whom you speak<br /> +And how, and when, and where.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Gray</span><br /> +<br /></div> + + +<div class='poem'> +See that little sunbeam<br /> +<span style="margin-left: 1em;">Darting through the room,</span><br /> +Scattering the darkness,<br /> +<span style="margin-left: 1em;">Lighting up the gloom.</span><br /> +Let me be a sunbeam<br /> +<span style="margin-left: 1em;">Everywhere I go,</span><br /> +Making glad and happy<br /> +<span style="margin-left: 1em;">Every one I know.</span><br /> +<br /></div> + + +<div class='poem'> +Sing a song of seasons!<br /> +<span style="margin-left: 1em;">Something bright in all!</span><br /> +Flowers in the summer,<br /> +<span style="margin-left: 1em;">Fires in the fall!</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Stevenson</span><br /> +<br /></div> + + +<div class='poem'> +Do all the good you can,<br /> +In all the ways you can,<br /> +To all the people you can,<br /> +Just as long as you can.<br /> +<br /></div> + + +<div class='poem'> +When you come to think of it,<br /> +<span style="margin-left: 1em;">The day is what you make it;</span><br /> +And whether good, or whether bad,<br /> +<span style="margin-left: 1em;">Depends on how you take it.</span><br /> +<br /></div> + + +<div class='poem'> +Slumber, slumber, little one, now<br /> +The bird is asleep in his nest on the bough;<br /> +The bird is asleep, he has folded his wings,<br /> +And over him softly the dream fairy sings:<br /> +<br /></div> + + +<div class='poem'> +Lullaby, lullaby—lullaby!<br /> +<span style="margin-left: 1em;">Pearls in the deep—</span><br /> +Stars in the sky,<br /> +<span style="margin-left: 1em;">Dreams in our sleep;</span><br /> +<span style="margin-left: 2em;">So lullaby!</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">F. D. Sherman</span><br /> +<br /></div> + + +<div class='poem'> +Dare to be true; nothing can need a lie.<br /></div><p> +<span class='pagenum'><a name="Page_147" id="Page_147">[147]</a></span></p> + + +<div class='poem'> +The face you wear, the thoughts you bring,<br /> +<span style="margin-left: 1em;">A heart may heal or break.</span><br /> +<br /></div> + + +<div class="blockquot"><p>He who is good at making excuses is seldom good for anything +else.—<span class="smcap">Franklin</span></p></div> + + +<div class='poem'> +To <i>be</i> good is the mother of to <i>do</i> good.<br /> +<br /></div> + + + +<div class='poem'> +I'll not willingly offend,<br /> +<span style="margin-left: 1em;">Nor be easily offended;</span><br /> +What's amiss I'll try to mend,<br /> +<span style="margin-left: 1em;">And endure what can't be mended.</span><br /> +<br /></div> + + +<div class='poem'> +A man of words and not of deeds,<br /> +Is like a garden full of weeds;<br /> +For when the weeds begin to grow,<br /> +Then doth the garden overflow.<br /> +<br /></div> + + +<div class='poem'> +Little children, you must seek<br /> +<span style="margin-left: 1em;">Rather to be good than wise,</span><br /> +For the thoughts you do not speak<br /> +<span style="margin-left: 1em;">Shine out in your cheeks and eyes.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Alice Cary</span><br /> +<br /></div> + + +<div class="blockquot"><p>To tell a falsehood is like the cut of a sabre; for though +the wound may heal, the scar of it will remain.—<span class="smcap">Sadi</span></p></div> + + +<div class='poem'> +All that's great and good is done<br /> +<span style="margin-left: 1em;">Just by patient trying.</span><br /> +<br /></div> + + +<div class='poem'> +'Tis a lesson you should heed,<br /> +<span style="margin-left: 1em;">Try, try again;</span><br /> +If at first you don't succeed,<br /> +<span style="margin-left: 1em;">Try, try again.</span><br /> +<br /></div> + + +<div class='poem'> +If a task is once begun,<br /> +Never leave it till it's done;<br /> +Be the labour great or small,<br /> +Do it well, or not at all.<br /> +<br /></div> +<p><span class='pagenum'><a name="Page_148" id="Page_148">[148]</a></span></p> + + +<div class='poem'> +For every evil under the sun,<br /> +There is a remedy, or there is none.<br /> +If there be one, try to find it;<br /> +If there be none, never mind it.<br /> +<br /></div> + + +<div class='poem'> +There are many flags in many lands,<br /> +<span style="margin-left: 1em;">There are flags of every hue,</span><br /> +But there is no flag in any land<br /> +<span style="margin-left: 1em;">Like our own Red, White, and Blue.</span><br /> +<br /></div> + + +<div class='poem'> +The inner side of every cloud<br /> +<span style="margin-left: 1em;">Is always bright and shining;</span><br /> +And so I turn my clouds about,<br /> +And always wear them inside out,<br /> +<span style="margin-left: 1em;">To show the silver lining.</span><br /> +<br /></div> + + +<div class='poem'> +I would not hurt a living thing,<br /> +<span style="margin-left: 1em;">However weak or small;</span><br /> +The beasts that graze, the birds that sing,<br /> +<span style="margin-left: 1em;">Our Father made them all.</span><br /> +<br /></div> + + +<div class='poem'> +Little drop of dew,<br /> +<span style="margin-left: 1em;">Like a gem you are;</span><br /> +I believe that you<br /> +<span style="margin-left: 1em;">Must have been a star.</span><br /> +When the day is bright,<br /> +<span style="margin-left: 1em;">On the grass you lie;</span><br /> +Tell me then, at night<br /> +<span style="margin-left: 1em;">Are you in the sky?</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">F. D. Sherman</span><br /> +<br /></div> + + +<div class='poem'> +How beautiful is the rain!<br /> +<span style="margin-left: 1em;">After the dust and the heat,</span><br /> +<span style="margin-left: 1em;">In the broad and fiery street,</span><br /> +In the narrow lane,<br /> +How beautiful is the rain!<br /> +</div> + +<div class='sig'> +—<span class="smcap">Longfellow</span><br /> +<br /></div> + + +<div class='poem'> +In spring, when stirs the wind, I know<br /> +That soon the crocus buds will show;<br /> +For 'tis the wind who bids them wake<br /> +And into pretty blossoms break.<br /> +</div> + +<div class='sig'> +<span class='pagenum'><a name="Page_149" id="Page_149">[149]</a></span>—<span class="smcap">F. D. Sherman</span><br /> +<br /></div> + + +<div class='poem'> +O, pause and think for a moment<br /> +<span style="margin-left: 1em;">What a desolate land it would be,</span><br /> +If, east or west, the eye should rest<br /> +<span style="margin-left: 1em;">On not a single tree!</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Gray</span><br /> +<br /></div> + + +<div class='poem'> +It was only a sunny smile,<br /> +And little it cost in the giving,<br /> +<span style="margin-left: 1em;">But it scattered the night,</span><br /> +<span style="margin-left: 1em;">Like the morning light,</span><br /> +And made the day worth living.<br /> +<br /></div> + + +<div class='poem'> +Keep pushing—'tis wiser<br /> +<span style="margin-left: 1em;">Than sitting aside,</span><br /> +And dreaming and sighing,<br /> +<span style="margin-left: 1em;">And waiting the tide.</span><br /> +In life's earnest battle,<br /> +<span style="margin-left: 1em;">They only prevail</span><br /> +Who daily march onward,<br /> +<span style="margin-left: 1em;">And never say "fail".</span><br /> +<br /></div> + + +<div class='poem'> +One step and then another,<br /> +<span style="margin-left: 1em;">And the longest walk is ended.</span><br /> +One stitch and then another,<br /> +<span style="margin-left: 1em;">And the largest rent is mended.</span><br /> +One brick and then another,<br /> +<span style="margin-left: 1em;">And the highest wall is made.</span><br /> +One flake and then another,<br /> +<span style="margin-left: 1em;">And the deepest snow is laid.</span><br /> +<br /></div> + + +<div class='poem'> +Speak the truth and speak it ever,<br /> +<span style="margin-left: 1em;">Cost it what it will.</span><br /> +He who hides the wrong he did,<br /> +<span style="margin-left: 1em;">Does the wrong thing still.</span><br /> +<br /></div> + + +<div class='poem'> +Whichever way the wind doth blow,<br /> +Some heart is glad to have it so;<br /> +Then blow it east or blow it west,<br /> +The wind that blows, that wind is best.<br /> +<br /></div> + + +<div class="blockquot"><p>We should make the same use of books that the bee does +of a flower: he gathers sweets from it, but does not injure it.</p></div><p><span class='pagenum'><a name="Page_150" id="Page_150">[150]</a></span></p> + + +<div class='poem'> +I smile, and then the Sun comes out;<br /> +He hides away whene'er I pout;<br /> +He seems a very funny sun,<br /> +To do whatever he sees done.<br /> +And when it rains he disappears;<br /> +Like me, he can't see through the tears.<br /> +Now isn't that the reason why<br /> +I ought to smile and never cry?<br /> +</div> + +<div class='sig'> +—<span class="smcap">F. D. Sherman</span><br /> +<br /></div> + + +<div class='poem'> +If fortune, with a smiling face,<br /> +<span style="margin-left: 1em;">Strew roses in our way,</span><br /> +When shall we stoop to pick them up?<br /> +<span style="margin-left: 1em;">To-day, my friend, to-day.</span><br /> +If those who've wronged us own their faults,<br /> +<span style="margin-left: 1em;">And kindly pity pray,</span><br /> +When shall we listen and forgive?<br /> +<span style="margin-left: 1em;">To-day, my friend, to-day.</span><br /> +<br /></div> + + +<div class='poem'> +Are you almost disgusted with life, little man?<br /> +<span style="margin-left: 1em;">I will tell you a wonderful trick</span><br /> +That will bring you contentment if anything can—<br /> +<span style="margin-left: 1em;">Do something for somebody, quick.</span><br /> +Are you very much tired with play, little girl?<br /> +<span style="margin-left: 1em;">Weary, discouraged, and sick?</span><br /> +I'll tell you the loveliest game in the world—<br /> +<span style="margin-left: 1em;">Do something for somebody, quick.</span><br /> +<br /></div> + + +<div class='poem'> +<span style="margin-left: 1em;">"Were it not for me",</span><br /> +<span style="margin-left: 1em;">Said a chickadee,</span><br /> +"Not a single flower on earth would be;<br /> +For under the ground they soundly sleep,<br /> +And never venture an upward peep,<br /> +<span style="margin-left: 1em;">Till they hear from me,</span><br /> +<span style="margin-left: 1em;">Chickadee-dee-dee!"</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Sidney Dayre</span><br /> +<br /></div> + + +<div class='poem'> +The world at noon belongs to the sun,<br /> +<span style="margin-left: 1em;">At eve to the home-coming herds;</span><br /> +But while the dew is early—very, very early—<br /> +<span style="margin-left: 1em;">The world belongs to the birds.</span><br /> +As still as in a dream lie the meadows and the stream,<br /> +<span style="margin-left: 1em;">'Neath the soaring and outpouring of the birds.</span><br /> +</div> + +<div class='sig'> +<span class='pagenum'><a name="Page_151" id="Page_151">[151]</a></span>—<span class="smcap">Wetherald</span><br /> +<br /></div> + + +<div class='poem'> +I know, blue modest violets,<br /> +<span style="margin-left: 1em;">Gleaming with dew at morn—</span><br /> +I know the place you come from,<br /> +<span style="margin-left: 1em;">And the way that you are born!</span><br /> +When God cuts holes in Heaven,<br /> +<span style="margin-left: 1em;">The holes the stars look through,</span><br /> +He lets the scraps fall down to earth,—<br /> +<span style="margin-left: 1em;">The little scraps are you.</span><br /> +<br /></div> + + +<div class='poem'> +The blossoms, down in the meadow,<br /> +<span style="margin-left: 1em;">In the gardens, and woods, and the hills,</span><br /> +Are singing, too, with their playmates,<br /> +<span style="margin-left: 1em;">The birds, and the breezes, and rills.</span><br /> +And I think, if you listen closely,<br /> +<span style="margin-left: 1em;">In the sweet glad days of spring,</span><br /> +With the song of the brook, the breeze, and the birds,<br /> +<span style="margin-left: 1em;">You can hear the flowers sing.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Moorehouse</span><br /> +<br /></div> + + +<div class='poem'> +Good-night, little shivering grasses!<br /> +<span style="margin-left: 1em;">'Tis idle to struggle and fight</span><br /> +With tempest and cruel frost-fingers;<br /> +<span style="margin-left: 1em;">Lie down, little grasses, to-night!</span><br /> +Good-night, little shivering grasses!<br /> +<span style="margin-left: 1em;">Lie down 'neath the coverlet white,</span><br /> +And rest till the cuckoo is singing;<br /> +<span style="margin-left: 1em;">Good-night, little grasses, good-night!</span><br /> +</div> + +<div class='sig'> +—<i>A November Good-night.</i>—<span class="smcap">Beers</span><br /> +<br /></div> + + +<div class='poem'> +Daffydowndilly came up in the cold,<br /> +Through the brown mould,<br /> +Although the March breezes blew keen on her face,<br /> +Although the white snow lay on many a place.<br /> +I can't do much yet, but I'll do what I can.<br /> +It's well I began!<br /> +For unless I can manage to lift up my head,<br /> +The people will think that the Spring herself's dead.<br /> +O Daffydowndilly, so brave and so true,<br /> +I wish all were like you!<br /> +So ready for duty in all sorts of weather,<br /> +And holding forth courage and beauty together.<br /> +</div> + +<div class='sig'> +<span class='pagenum'><a name="Page_152" id="Page_152">[152]</a></span>—<span class="smcap">Warner</span><br /> +<br /></div> + + +<div class="blockquot"><p>One to-day is worth two to-morrow's.—<span class="smcap">Poor Richard's Almanac</span></p></div> + + +<div class="blockquot"><p>The future is purchased by the present.—<span class="smcap">Samuel Johnson</span></p></div> + + +<div class="blockquot"><p>The sober second thought is always essential, and seldom +wrong.—<span class="smcap">Martin Van Buren</span></p></div> + + +<div class="blockquot"><p>Recollect that trifles make perfection, and that perfection +is no trifle.—<span class="smcap">Michael Angelo</span></p></div> + + +<div class='poem'> +Have more than thou showest,<br /> +Speak less than thou knowest.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Shakespeare</span><br /> +<br /></div> + + +<div class="blockquot"><p>Sin has many tools, but a lie is the handle that fits them +all.—<span class="smcap">O. W. Holmes</span></p></div> + + +<div class='poem'> +Let all the end thou aim'st at be thy country's,<br /> +Thy God's and truth's.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Shakespeare</span><br /> +<br /></div> + + +<div class="blockquot"><p>Our greatest glory is not in never falling, but in rising +every time we fall.</p></div> + + +<div class="blockquot"><p>Learn to obey and you will know how to command.—<span class="smcap">Lubbock</span></p></div> + + +<div class="blockquot"><p>One who is contented with what he has done will never +become famous for what he will do.</p></div> + + +<div class="blockquot"><p>Be not simply good, be good for something.—<span class="smcap">Thoreau</span></p></div> + + +<div class="blockquot"><p>The better part of valour is discretion.—<span class="smcap">Shakespeare</span></p></div> + + +<div class="blockquot"><p>They that touch pitch will be defiled.—<span class="smcap">Shakespeare</span></p></div> + + +<div class="blockquot"><p>Ill blows the wind that profits nobody.—<span class="smcap">Shakespeare</span></p></div> + + +<div class='poem'> +Honour and shame from no condition rise;<br /> +Act well your part, there all the honour lies.<br /> +</div> + +<div class='sig'> +<span class='pagenum'><a name="Page_153" id="Page_153">[153]</a></span>—<span class="smcap">Pope</span><br /> +<br /></div> + + +<div class="blockquot"><p>True happiness consists not in the multitude of friends, +but in their worth and choice.—<span class="smcap">Ben Jonson</span></p></div> + + +<div class="blockquot"><p>One "do" is worth a thousand "don'ts" in the destruction +of evil or the production of good.—<span class="smcap">Hughes</span></p></div> + + +<div class="blockquot"><p>I look upon the simple and childish virtues of veracity and +honesty as the root of all that is sublime in character.—<span class="smcap">Emerson</span></p></div> + + +<div class="blockquot"><p>Remember that though it is a good thing to be a great +man, it is a great thing to be a good man.</p></div> + + +<div class='poem'> +Striving not to be rich or great,<br /> +Never questioning fortune or fate,<br /> +Contented slowly to earn, and wait.<br /> +<br /></div> + + +<div class='poem'> +In the workshop, on the farm,<br /> +<span style="margin-left: 1em;">Or wherever you may be,</span><br /> +From your future efforts, boys,<br /> +<span style="margin-left: 1em;">Comes a nation's destiny.</span><br /> +<br /></div> + + +<div class="blockquot"><p>It is a low benefit to give me something; it is a high +benefit to enable me to do something of myself.—<span class="smcap">Emerson</span></p></div> + + +<div class='poem'> +Greatly begin! though thou hast time<br /> +But for a line, be that sublime,—<br /> +Not failure, but low aim, is crime.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Lowell</span><br /> +<br /></div> + + +<div class='poem'> +Never give up! 'Tis the secret of glory;<br /> +<span style="margin-left: 1em;">Nothing so wise can philosophy preach;</span><br /> +Look at the lives that are famous in story;<br /> +<span style="margin-left: 1em;">"Never give up" is the lesson they teach.</span><br /> +<br /></div> + + +<div class="blockquot"><p>It is a good thing to be rich, and a good thing to be strong, +but it is a better thing to be beloved of many friends.—<span class="smcap">Euripides</span></p></div> + + +<div class='poem'> +Do what conscience says is right;<br /> +<span style="margin-left: 1em;">Do what reason says is best;</span><br /> +Do with all your mind and might;<br /> +<span style="margin-left: 1em;">Do your duty, and be blest.</span><br /> +<br /></div> +<p><span class='pagenum'><a name="Page_154" id="Page_154">[154]</a></span></p> + + +<div class="blockquot"><p>What men want is not talent, it is purpose; in other words, +not the power to achieve, but the will to labour.—<span class="smcap">Bulwer-Lytton</span></p></div> + + +<div class='poem'> +So nigh is grandeur to our dust,<br /> +<span style="margin-left: 1em;">So near is God to man,</span><br /> +When Duty whispers low, <i>Thou must</i>,<br /> +<span style="margin-left: 1em;">The soul replies <i>I can</i>.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Emerson</span><br /> +<br /></div> + + +<div class="blockquot"><p>Habit is a cable; we weave a thread of it each day, and it +becomes so strong we cannot break it.—<span class="smcap">Horace Mann</span></p></div> + + +<div class='poem'> +Ponder well, and know the right,<br /> +Onward then, with all thy might!<br /> +Haste not! years can ne'er atone<br /> +For one reckless action done.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Goethe</span><br /> +<br /></div> + + +<div class="blockquot"><p>Our grand business is not to see what lies dimly at a distance, +but to do what lies clearly at hand.—<span class="smcap">Carlyle</span></p></div> + + +<div class='poem'> +Slight is the sting of his trouble whose winnings are less than his worth:<br /> +For he who is honest is noble, whatever his fortune or birth.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Alice Cary</span><br /> +<br /></div> + + +<div class='poem'> +Press on! There's no such word as fail!<br /> +Push nobly on! The goal is near!<br /> +Ascend the mountain! Breast the gale!<br /> +Look upward, onward—never fear!<br /> +<br /></div> + + +<div class='poem'> +He who has a thousand friends<br /> +<span style="margin-left: 1em;">Has not a friend to spare;</span><br /> +And he who has one enemy<br /> +<span style="margin-left: 1em;">Will meet him everywhere.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Omar Khayyam</span><br /> +<br /></div> + + +<div class='poem'> +Work for some good, be it ever so slowly;<br /> +Cherish some flower, be it ever so lowly;<br /> +Labour!—all labour is noble and holy.<br /> +</div> + +<div class='sig'> +<span class='pagenum'><a name="Page_155" id="Page_155">[155]</a></span>—<span class="smcap">Frances S. Osgood</span><br /> +<br /></div> + + +<div class="blockquot"><p>A man should never be ashamed to own he has been in +the wrong; which is but saying in other words that he is +wiser to-day than he was yesterday.—<span class="smcap">Pope</span></p></div> + + +<div class='poem'> +Tender-handed stroke a nettle,<br /> +<span style="margin-left: 1em;">And it stings you for your pains;</span><br /> +Grasp it like a man of mettle,<br /> +<span style="margin-left: 1em;">And it soft as silk remains.</span><br /> +<br /></div> + + +<div class='poem'> +Fill up each hour with what will last;<br /> +<span style="margin-left: 1em;">Buy up the moments as they go;</span><br /> +The life above, when this is past,<br /> +<span style="margin-left: 1em;">Is the ripe fruit of life below.</span><br /> +<br /></div> + + +<div class='poem2'> +New occasions teach new duties; time makes ancient good uncouth;<br /> +They must upward still and onward, who would keep abreast of Truth.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Lowell</span><br /> +<br /></div> + + +<div class='poem'> +The heights by great men reached and kept,<br /> +<span style="margin-left: 1em;">Were not attained by sudden flight;</span><br /> +But they, while their companions slept,<br /> +<span style="margin-left: 1em;">Were toiling upward in the night.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Longfellow</span><br /> +<br /></div> + + +<div class='poem'> +Nothing useless is, or low,<br /> +<span style="margin-left: 1em;">Each thing in its place is best,</span><br /> +And what seems but idle show<br /> +<span style="margin-left: 1em;">Strengthens and supports the rest.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Longfellow</span><br /> +<br /></div> + + +<div class='poem'> +And not by eastern windows only,<br /> +<span style="margin-left: 1em;">When daylight comes, comes in the light,</span><br /> +In front, the sun climbs slow, how slowly,<br /> +<span style="margin-left: 1em;">But westward, look, the land is bright.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Clough</span><br /> +<br /></div> + + +<div class='poem'> +Full many a gem of purest ray serene<br /> +<span style="margin-left: 1em;">The dark unfathom'd caves of ocean bear;</span><br /> +Full many a flower is born to blush unseen,<br /> +<span style="margin-left: 1em;">And waste its sweetness on the desert air.</span><br /> +</div> + +<div class='sig'> +<span class='pagenum'><a name="Page_156" id="Page_156">[156]</a></span>—<span class="smcap">Gray</span><br /> +<br /></div> + + +<div class="blockquot"><p>If a man empties his purse into his head, no man can take +it away from him. An investment in knowledge always pays +the best interest.—<span class="smcap">Benjamin Franklin</span></p></div> + + +<div class='poem'> +<span style="margin-left: 4em;">I do not know</span><br /> +Where falls the seed that I have tried to sow<br /> +<span style="margin-left: 4em;">With greatest care;</span><br /> +<span style="margin-left: 4em;">But I shall know</span><br /> +The meaning of each waiting hour below<br /> +<span style="margin-left: 4em;">Sometime, somewhere!</span><br /> +<br /></div> + + +<div class='poem'> +Lives of great men all remind us<br /> +<span style="margin-left: 1em;">We can make our lives sublime,</span><br /> +And, departing, leave behind us<br /> +<span style="margin-left: 1em;">Footprints on the sands of time;</span><br /> +Let us, then, be up and doing,<br /> +<span style="margin-left: 1em;">With a heart for any fate;</span><br /> +Still achieving, still pursuing,<br /> +<span style="margin-left: 1em;">Learn to labour and to wait.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Longfellow</span><br /> +<br /></div> + + +<div class='poem'> +Begin while life is bright and young,<br /> +<span style="margin-left: 1em;">Work out each noble plan;</span><br /> +True knowledge lends a charm to youth,<br /> +<span style="margin-left: 1em;">And dignifies the man.</span><br /> +Then upward, onward, step by step,<br /> +<span style="margin-left: 1em;">With perseverance rise,</span><br /> +And emulate, with hearts of hope,<br /> +<span style="margin-left: 1em;">The good, the great, the wise.</span><br /> +<br /></div> + + +<div class='poem'> +The night has a thousand eyes,<br /> +<span style="margin-left: 1em;">And the day but one;</span><br /> +Yet the light of the bright world dies,<br /> +<span style="margin-left: 1em;">With the dying sun.</span><br /> +The mind has a thousand eyes,<br /> +<span style="margin-left: 1em;">And the heart but one;</span><br /> +Yet the light of a whole life dies<br /> +<span style="margin-left: 1em;">When love is done.</span><br /> +</div> + +<div class='sig'> +<span class='pagenum'><a name="Page_157" id="Page_157">[157]</a></span>—<span class="smcap">Francis Bourdillon</span><br /> +<br /></div> + + +<div class='poem'> +In the darkness as in daylight,<br /> +<span style="margin-left: 1em;">On the water as on land,</span><br /> +God's eye is looking on us,<br /> +<span style="margin-left: 1em;">And beneath us is His hand!</span><br /> +Death will find us soon or later,<br /> +<span style="margin-left: 1em;">On the deck or in the cot;</span><br /> +And we cannot meet him better<br /> +<span style="margin-left: 1em;">Than in working out our lot.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Whittier</span><br /> +<br /></div> + + +<div class="blockquot"><p>The Royal Navy of England hath ever been its greatest +defence and ornament; it is its ancient and natural strength—the +floating bulwark of our Island.—<span class="smcap">Blackstone's</span> <i>Commentaries</i></p></div> + + +<div class='poem'> +It is the land that freemen till,<br /> +<span style="margin-left: 1em;">That sober-suited Freedom chose.</span><br /> +<span style="margin-left: 1em;">The land, where girt with friends or foes</span><br /> +A man may speak the thing he will;<br /> +A land of settled government,<br /> +<span style="margin-left: 1em;">A land of just and old renown,</span><br /> +<span style="margin-left: 1em;">Where Freedom slowly broadens down</span><br /> +From precedent to precedent.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Tennyson</span><br /> +<br /></div> + + +<div class='poem'> +O triune kingdom of the brave,<br /> +<span style="margin-left: 1em;">O sea-girt island of the free,</span><br /> +O empire of the land and wave<br /> +<span style="margin-left: 1em;">Our hearts, our hands, are all for thee.</span><br /> +<span style="margin-left: 2em;">Stand, Canadians, firmly stand,</span><br /> +<span style="margin-left: 2em;">Round the flag of our Fatherland.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Laclede</span><br /> +<br /></div> + + +<div class='poem'> +Sharers of our glorious past,<br /> +Brothers, must we part at last?<br /> +Shall we not thro' good and ill<br /> +Cleave to one another still?<br /> +Britain's myriad voices call,<br /> +"Sons, be welded each and all<br /> +Into one Imperial whole,<br /> +One with Britain, heart and soul!<br /> +One life, one flag, one fleet, one Throne!"<br /> +<span style="margin-left: 1em;">Britons, hold your own!</span><br /> +</div> + +<div class='sig'> +<span class='pagenum'><a name="Page_158" id="Page_158">[158]</a></span>—<span class="smcap">Tennyson</span><br /> +<br /></div> + + +<div class='poem'> +"England! What thou wert, thou art!"<br /> +Gird thee with thine ancient might.<br /> +Forth! and God defend the Right.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Newbolt</span><br /> +<br /></div> + + +<div class='poem'> +Believe not each accusing tongue,<br /> +<span style="margin-left: 1em;">As most weak people do;</span><br /> +But still believe that story wrong<br /> +<span style="margin-left: 1em;">Which ought not to be true.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Sheridan</span><br /> +<br /></div> + + +<div class='poem'> +He prayeth best who loveth best<br /> +<span style="margin-left: 1em;">All things, both great and small,</span><br /> +For the dear God who loveth us,<br /> +<span style="margin-left: 1em;">He made and loveth all.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Coleridge</span><br /> +<br /></div> + + +<div class='poem'> +For whatever men say in blindness,<br /> +<span style="margin-left: 1em;">And spite of the fancies of youth,</span><br /> +There's nothing so kingly as Kindness,<br /> +<span style="margin-left: 1em;">And nothing so royal as Truth.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Alice Cary</span><br /> +<br /></div> + + +<div class="blockquot"><p>To do something, however small, to make others happier +and better, is the highest ambition, the most elevating hope, +which can inspire a human being.—<span class="smcap">Lubbock</span></p></div> + + +<div class='poem'> +Small service is true service while it lasts.<br /> +<span style="margin-left: 1em;">Of humblest friends, bright creature! scorn not one:</span><br /> +The daisy, by the shadow that it casts,<br /> +<span style="margin-left: 1em;">Protects the lingering dew-drops from the sun.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Wordsworth</span><br /> +<br /></div> + + +<div class='poem'> +Look up and not down;<br /> +Look forward and not back;<br /> +Look out and not in;<br /> +<span style="margin-left: 1em;">And lend a hand.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Hale</span><br /> +<br /></div> + + +<div class='poem'> +Have you had a kindness shown?<br /> +<span style="margin-left: 2em;">Pass it on.</span><br /> +'Twas not given for you alone,<br /> +<span style="margin-left: 2em;">Pass it on.</span><br /> +Let it travel down the years,<br /> +Let it wipe another's tears;<br /> +Till in heaven the deed appears.<br /> +<span style="margin-left: 2em;">Pass it on.</span><br /> +<br /></div> +<p><span class='pagenum'><a name="Page_159" id="Page_159">[159]</a></span></p> + + +<div class='poem'> +A little spring had lost its way<br /> +<span style="margin-left: 1em;">Amid the grass and fern;</span><br /> +A passing stranger scooped a well<br /> +<span style="margin-left: 1em;">Where weary men might turn.</span><br /> +He walled it in, and hung with care,<br /> +<span style="margin-left: 1em;">A ladle on the brink;</span><br /> +He thought not of the deed he did,<br /> +<span style="margin-left: 1em;">But judged that Toil might drink.</span><br /> +He passed again; and lo! the well,<br /> +<span style="margin-left: 1em;">By summer never dried,</span><br /> +Had cooled ten thousand parchèd tongues,<br /> +<span style="margin-left: 1em;">And saved a life beside.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Mackay</span><br /> +<br /></div> + + +<div class='poem'> +Evil is wrought by want of thought<br /> +As well as want of heart.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Hood</span><br /> +<br /></div> + + +<div class="blockquot"><p>Nature has given to men one tongue, but two ears, that we +may hear from others twice as much as we speak.—<span class="smcap">Epictetus</span></p></div> + + +<div class='poem'> +Count that day lost whose low-descending sun<br /> +Views from thy hand no worthy action done.<br /> +<br /></div> + + +<div class='poem'> +If happiness have not her seat<br /> +<span style="margin-left: 1em;">And centre in the breast,</span><br /> +We may be wise or rich or great,<br /> +<span style="margin-left: 1em;">But never can be blest.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Burns</span><br /> +<br /></div> + + +<div class='poem'> +A kindly act is a kernel sown,<br /> +<span style="margin-left: 1em;">That will grow to a goodly tree,</span><br /> +Shedding its fruit when time has flown,<br /> +<span style="margin-left: 1em;">Down the gulf of eternity.</span><br /> +<br /></div> + + +<div class='poem'> +If I can stop one heart from breaking,<br /> +<span style="margin-left: 1em;">I shall not live in vain;</span><br /> +If I can ease one life the aching,<br /> +<span style="margin-left: 1em;">Or cool one pain,</span><br /> +Or help one fainting robin<br /> +<span style="margin-left: 1em;">Into his nest again,</span><br /> +<span style="margin-left: 1em;">I shall not live in vain.</span><br /> +</div> + +<div class='sig'> +<span class='pagenum'><a name="Page_160" id="Page_160">[160]</a></span>—<span class="smcap">Dickinson</span><br /> +<br /></div> + + +<div class='poem'> +It is pleasant to think, just under the snow,<br /> +<span style="margin-left: 1em;">That stretches so bleak and blank and cold,</span><br /> +Are beauty and warmth that we cannot know,<br /> +<span style="margin-left: 1em;">Green fields and leaves and blossoms of gold.</span><br /> +<br /></div> + + +<div class='poem'> +Under the green hedges after the snow,<br /> +There do the dear little violets grow,<br /> +Hiding their modest and beautiful heads<br /> +Under the hawthorn in soft, mossy beds.<br /> +Sweet as the roses, and blue as the sky,<br /> +Down there do the dear little violets lie;<br /> +Hiding their heads where they scarce may be seen,<br /> +By the leaves you may know where the violets have been.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Moultrie</span><br /> +<br /></div> + + +<div class='poem'> +The linnet is singing the wild wood through;<br /> +The fawn's bounding footsteps skim over the dew.<br /> +The butterfly flits round the blossoming tree,<br /> +And the cowslip and bluebell are bent by the bee;<br /> +All the creatures that dwell in the forest are gay,<br /> +And why should not I be as merry as they?<br /> +</div> + +<div class='sig'> +—<span class="smcap">Mitford</span><br /> +<br /></div> + + +<div class='poem'> +Do the duty which lies nearest thee!<br /> +Thy second duty will already have become clearer.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Carlyle</span><br /> +<br /></div> + + +<div class='poem'> +Live truly, and thy life shall be<br /> +A great and noble creed.<br /> +<br /></div> + + +<div class='poem'> +I slept, and dreamed that life was Beauty;<br /> +I woke, and found that life was Duty.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Hooper</span><br /> +<br /></div> + + +<div class="blockquot"><p>Great is the art of beginning, but greater the art is of +ending.—<span class="smcap">Longfellow</span></p></div> + + +<div class="blockquot"><p>Opinions shape ideals, and it is ideals that inspire conduct.—<span class="smcap">John Morley</span></p></div> + + +<div class="blockquot"><p>You cannot dream yourself into a character; you must +hammer and forge yourself into one.—<span class="smcap">Froude</span></p></div><p><span class='pagenum'><a name="Page_161" id="Page_161">[161]</a></span></p> + + +<div class='poem'> +Not once or twice in our fair island story<br /> +The path of duty was the way to glory.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Tennyson</span><br /> +<br /></div> + + +<div class="blockquot"><p>Know thy work and do it, and work at it like a Hercules. +One monster there is in the world—an idle man.—<span class="smcap">Carlyle</span></p></div> + + +<div class="blockquot"><p>Every evil to which we do not succumb is a benefactor. +We gain the strength of the temptation we resist.—<span class="smcap">Emerson</span></p></div> + + +<div class='poem'> +In every common hour of life,<br /> +<span style="margin-left: 1em;">In every flame that glows,</span><br /> +In every breath of being rife<br /> +With aspiration or of strife<br /> +<span style="margin-left: 1em;">Man feels more than he knows.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">W. W. Campbell</span><br /> +<br /></div> + + +<div class='poem'> +Never to the bow that bends<br /> +Comes the arrow that it sends;<br /> +Never comes the chance that passed:<br /> +That one moment was its last.<br /> +<br /></div> + + +<div class='poem'> +Oh, fear not in a world like this,<br /> +<span style="margin-left: 1em;">And thou shalt know ere long,</span><br /> +Know how sublime a thing it is<br /> +<span style="margin-left: 1em;">To suffer and be strong.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">H. W. Longfellow</span><br /> +<br /></div> + + +<div class="blockquot"><p>Sow an act, and reap a tendency; sow a tendency, and +reap a habit; sow a habit, and reap a character; sow a +character, and reap a destiny.—<span class="smcap">Thackeray</span></p></div> + + +<div class="blockquot"><p>The gifts that we have, heaven lends for right using, and +not for ignoring, and not for abusing.</p></div> + + +<div class="blockquot"><p>It is not what he has, nor even what he does, which +directly expresses the worth of a man, but what he is.—<i>Journal</i>—<span class="smcap">Amiel</span></p></div> + + +<div class='poem'> +My good blade carves the casques of men,<br /> +<span style="margin-left: 1em;">My tough lance thrusteth sure,</span><br /> +My strength is as the strength of ten,<br /> +<span style="margin-left: 1em;">Because my heart is pure.</span><br /> +</div> + +<div class='sig'> +<span class='pagenum'><a name="Page_162" id="Page_162">[162]</a></span>—<span class="smcap">Tennyson</span><br /> +<br /></div> + + +<div class='poem'> +True worth is in <i>being</i>, not <i>seeming</i>,—<br /> +<span style="margin-left: 1em;">In doing each day that goes by</span><br /> +Some little good—not in the dreaming<br /> +<span style="margin-left: 1em;">Of great things to do by and by.</span><br /> +<br /></div> + + +<div class="blockquot"><p>No work which God sets a man to do—no work to which +God has specially adapted a man's powers—can properly be +called either menial or mean.—<span class="smcap">Carlyle</span></p></div> + + +<div class='poem'> +Truth, crushed to earth, shall rise again;<br /> +<span style="margin-left: 1em;">Th' eternal years of God are hers;</span><br /> +But Error, wounded, writhes in pain,<br /> +<span style="margin-left: 1em;">And dies among his worshippers.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Bryant</span><br /> +<br /></div> + + +<div class='poem'> +<span style="margin-left: 3em;">To thine own self be true;</span><br /> +And it must follow, as the night the day,<br /> +Thou can'st not then be false to any man.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Shakespeare</span><br /> +<br /></div> + + +<div class='poem'> +<span style="margin-left: 6em;">No life</span><br /> +Can be pure in its purpose or strong in its strife<br /> +And all life not be purer and stronger thereby.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Lytton</span><br /> +<br /></div> + + +<div class="blockquot"><p>Knowledge and wisdom far from being one, have ofttimes +no connection. Knowledge is proud that he has learned so +much; wisdom is humble that he knows no more.—<span class="smcap">Cowper</span></p></div> + + +<div class='poem'> +<span style="margin-left: 1em;">Wish not to taste what doth not to thee fall;</span><br /> +Do well thyself, before thou striv'st to lead,<br /> +And truth shall thee deliver without dread.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Geoffrey Chaucer</span><br /> +<br /></div> + + +<div class='poem'> +Oh, many a shaft, at random sent,<br /> +Finds mark the archer little meant!<br /> +And many a word at random spoken,<br /> +May soothe, or wound, a heart that's broken.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Sir W. Scott</span><br /> +<br /></div> + + +<div class="blockquot"><p>Govern the lips as they were palace doors, the king within. +Tranquil and fair and courteous be all words which from that +presence win.</p></div> + +<div class='sig'> +<span class='pagenum'><a name="Page_163" id="Page_163">[163]</a></span>—<span class="smcap">Edwin Arnold</span><br /> +<br /></div> + + +<div class='poem'> +Whene'er a noble deed is wrought,<br /> +Whene'er is spoken a noble thought,<br /> +<span style="margin-left: 1em;">Our hearts, in glad surprise,</span><br /> +<span style="margin-left: 1em;">To higher levels rise.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Longfellow</span><br /> +<br /></div> + + +<div class='poem'> +Love thyself last; cherish those hearts that hate thee;<br /> +Corruption wins not more than honesty.<br /> +Still in thy right hand carry gentle peace,<br /> +To silence envious tongues; be just, and fear not.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Shakespeare</span><br /> +<br /></div> + + +<div class='poem'> +Not by the power of commerce, art, or pen,<br /> +<span style="margin-left: 1em;">Shall our great Empire stand, nor has it stood,</span><br /> +But by the noble deeds of noble men—<br /> +<span style="margin-left: 1em;">Heroic lives and heroes' outpoured blood.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">F. G. Scott</span><br /> +<br /></div> + + +<div class='poem'> +Take up the white man's burden—<br /> +<span style="margin-left: 1em;">In patience to abide,</span><br /> +To veil the threat of terror<br /> +<span style="margin-left: 1em;">And check the show of pride;</span><br /> +By open speech and simple,<br /> +<span style="margin-left: 1em;">An hundred times made plain,</span><br /> +To seek another's profit<br /> +<span style="margin-left: 1em;">And work another's gain.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Kipling</span><br /> +<br /></div> + + +<div class='poem'> +Love thou thy land, with love far-brought<br /> +<span style="margin-left: 1em;">From out the storied Past, and used</span><br /> +<span style="margin-left: 1em;">Within the Present, but transfused</span><br /> +Thro' future time by power of thought.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Tennyson</span><br /> +<br /></div> + + +<div class='poem'> +For as long as conquest holds the earth,<br /> +<span style="margin-left: 1em;">Or commerce sweeps the sea,</span><br /> +By orient jungle or western plain<br /> +<span style="margin-left: 1em;">Will the Saxon spirit be;</span><br /> +And whatever the people that dwell beneath,<br /> +<span style="margin-left: 1em;">Or whatever the alien tongue,</span><br /> +Over the freedom and peace of the world<br /> +<span style="margin-left: 1em;">Is the flag of England flung.</span><br /> +</div> + +<div class='sig'> +<span class='pagenum'><a name="Page_164" id="Page_164">[164]</a></span>—<span class="smcap">W. W. Campbell</span><br /> +<br /></div> + + +<div class='poem'> +Of old sat Freedom on the heights,<br /> +<span style="margin-left: 1em;">The thunders breaking at her feet;</span><br /> +Above her shook the starry lights;<br /> +<span style="margin-left: 1em;">She heard the torrents meet.</span><br /> +Her open eyes desire the truth.<br /> +<span style="margin-left: 1em;">The wisdom of a thousand years</span><br /> +Is in them. May perpetual youth<br /> +<span style="margin-left: 1em;">Keep dry their light from tears.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Tennyson</span><br /> +<br /></div> + + +<div class='poem'> +If I have faltered more or less<br /> +In my great task of happiness;<br /> +If I have moved among my race<br /> +And shown no glorious morning face;<br /> +If beams from happy, human eyes<br /> +Have moved me not; if morning skies,<br /> +Books, and my food, and summer rain<br /> +Knocked on my sullen heart in vain—<br /> +Lord, Thy most pointed pleasure take,<br /> +And stab my spirit broad awake.<br /> +</div> + +<div class='sig'> +—<span class="smcap">R. L. Stevenson</span><br /> +<br /></div> + + +<div class="blockquot"><p>A good book is the precious life-blood of a master-spirit, +embalmed and treasured up on purpose to a life beyond life.—<span class="smcap">Milton</span></p></div> + + +<div class="blockquot"><p>The book which makes a man think the most is the book +which strikes the deepest root in his memory and understanding.</p></div> + + +<div class='poem'> +Men at some time are masters of their fates:<br /> +The fault, dear Brutus, is not in our stars,<br /> +But in ourselves, that we are underlings.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Shakespeare</span><br /> +<br /></div> + + +<div class="blockquot"><p>No book is worth anything which is not worth <i>much;</i> nor +is it serviceable until it has been read and re-read, and loved, +and loved again; and marked, so that you can refer to the +passages you want in it, as a soldier can seize the weapon +he needs in an armoury, or a housewife bring the spice she +needs from her store. Bread of flour is good; but there is +bread, sweet as honey, if we would eat it, in a good book.—<span class="smcap">Ruskin</span></p></div><p><span class='pagenum'><a name="Page_165" id="Page_165">[165]</a></span></p> + + +<div class="blockquot"><p>Goodness moves in a larger sphere than justice. The +obligations of law and equity reach only to mankind, but +kindness and beneficence should be extended to creatures of +every species.—<span class="smcap">Plutarch</span></p></div> + + +<div class='poem'> +My heart leaps up when I behold<br /> +<span style="margin-left: 1em;">A rainbow in the sky;</span><br /> +So was it when my life began,<br /> +So is it now I am a man,<br /> +So be it when I shall grow old,<br /> +<span style="margin-left: 1em;">Or let me die.</span><br /> +The child is father of the man;<br /> +And I could wish my days to be<br /> +Bound each to each by natural piety.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Wordsworth</span><br /> +<br /></div> + + +<div class='poem'> +Be but yourself, be pure, be true,<br /> +And prompt in duty; heed the deep<br /> +Low voice of conscience; through the ill<br /> +And discord round about you, keep<br /> +Your faith in human nature still.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Elizabeth Whittier</span><br /> +<br /></div> + + +<div class='poem'> +Four things a man must learn to do<br /> +If he would make his record true;<br /> +To think, without confusion, clearly;<br /> +To love his fellow-men sincerely:<br /> +To act from honest motives purely;<br /> +To trust in God and Heaven securely.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Henry Van Dyke</span><br /> +<br /></div> + + +<div class='poem'> +<span style="margin-left: 5em;">Give thy thoughts no tongue,</span><br /> +Nor any unproportioned thought his act.<br /> +Be thou familiar, but by no means vulgar;<br /> +The friends thou hast, and their adoption tried,<br /> +Grapple them to thy soul with hooks of steel.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Shakespeare</span><br /> +<br /></div> + + +<div class="blockquot"><p>Never do anything of which you will have cause to be +ashamed. There is one good opinion which is of the greatest +importance to you, namely, your own. "An easy conscience", +says Seneca, "is a continual feast".—<span class="smcap">Lubbock</span></p></div><p><span class='pagenum'><a name="Page_166" id="Page_166">[166]</a></span></p> + + +<div class='poem'> +There is a tide in the affairs of men,<br /> +Which, taken at the flood, leads on to fortune;<br /> +Omitted, all the voyage of their life<br /> +Is bound in shallows and in miseries.<br /> +On such a full sea are we now afloat;<br /> +And we must take the current when it serves,<br /> +<span style="margin-left: 1em;">Or lose our ventures.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Shakespeare</span><br /> +<br /></div> + + +<div class='poem'> +Man is his own star, and the soul that can<br /> +Render an honest and a perfect man,<br /> +Commands all light, all influence, all fate,<br /> +Nothing for him falls early or too late;<br /> +Our acts our angels are, for good or ill;<br /> +Our fatal shadows that walk by us still.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Beaumont and Fletcher</span><br /> +<br /></div> + + +<div class='poem'> +Our birth is but a sleep and a forgetting;<br /> +<span style="margin-left: 1em;">The soul that rises with us, our life's star,</span><br /> +Hath had elsewhere its setting,<br /> +<span style="margin-left: 1em;">And cometh from afar,</span><br /> +<span style="margin-left: 2em;">Not in entire forgetfulness,</span><br /> +<span style="margin-left: 2em;">And not in utter nakedness,</span><br /> +But trailing clouds of glory do we come<br /> +<span style="margin-left: 2em;">From God who is our home.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Wordsworth</span><br /> +<br /></div> + + +<div class='poem'> +Be wise to-day; 'tis madness to defer;<br /> +Next day the fatal precedent will plead;<br /> +Thus on, till-wisdom is pushed out of life.<br /> +Procrastination is the thief of time;<br /> +Year after year it steals, till all are fled,<br /> +And to the mercies of a moment leaves<br /> +The vast concerns of an eternal scene.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Edward Young</span><br /> +<br /></div> + + +<div class='poem'> +Build thee more stately mansions, O my soul,<br /> +<span style="margin-left: 1em;">As the swift seasons roll!</span><br /> +<span style="margin-left: 1em;">Leave thy low-vaulted past!</span><br /> +Let each new temple, nobler than the last,<br /> +<br /></div> +<p><span class='pagenum'><a name="Page_167" id="Page_167">[167]</a></span></p> + + +<div class='poem'> +Shut thee from heaven with a dome more vast,<br /> +<span style="margin-left: 1em;">Till thou at length art free,</span><br /> +Leaving thine outgrown shell by life's unresting sea.<br /> +</div> + +<div class='sig'> +—<span class="smcap">O. W. Holmes</span><br /> +<br /></div> + + +<div class='poem'> +<span style="margin-left: 1em;">Grow old along with me!</span><br /> +<span style="margin-left: 1em;">The best is yet to be,</span><br /> +The last of life for which the first was made:<br /> +<span style="margin-left: 1em;">Our times are in His hand</span><br /> +<span style="margin-left: 1em;">Who saith, "A whole I planned,</span><br /> +Youth shows but half; trust God: see all nor be afraid!"<br /> +</div> + +<div class='sig'> +—<span class="smcap">Browning</span><br /> +<br /></div> + + +<div class='poem'> +Were a star quenched on high,<br /> +<span style="margin-left: 1em;">For ages would its light,</span><br /> +Still travelling downward from the sky,<br /> +<span style="margin-left: 1em;">Shine on our mortal sight.</span><br /> +So when a great man dies,<br /> +<span style="margin-left: 1em;">For years beyond our ken,</span><br /> +The light he leaves behind him lies<br /> +<span style="margin-left: 0.5em;">Upon the paths of men.</span> +</div> + +<div class='sig'> +—<span class="smcap">Longfellow</span><br /></div> + +<div class='poem'> +It is not growing like a tree<br /> +In bulk doth make man better be;<br /> +Or standing long, an oak, three hundred year,<br /> +To fall a log at last, dry, bald, and sear.<br /> +<span style="margin-left: 2em;">A lily of a day</span><br /> +<span style="margin-left: 2em;">Is fairer far in May,</span><br /> +<span style="margin-left: 1em;">Although it fall and die that night—</span><br /> +<span style="margin-left: 1em;">It was the plant and flower of light.</span><br /> +In small proportions we just beauties see;<br /> +And in short measures life may perfect be.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Ben Jonson</span><br /> +<br /></div> + + +<div class='poem'> +We shape ourselves the joy or fear<br /> +<span style="margin-left: 1em;">Of which the coming life is made,</span><br /> +And fill our Future's atmosphere<br /> +<span style="margin-left: 1em;">With sunshine or with shade.</span><br /> +The tissue of the Life to be,<br /> +<span style="margin-left: 1em;">We weave with colours all our own;</span><br /> +And in the field of Destiny<br /> +<span style="margin-left: 1em;">We reap as we have sown.</span></div> + +<div class='sig'> +—<span class="smcap">Whittier</span><br /></div> +<p><span class='pagenum'><a name="Page_168" id="Page_168">[168]</a></span></p> + +<div class='poem'> +Heaven is not reached at a single bound,<br /> +<span style="margin-left: 1em;">But we build the ladder by which we rise</span><br /> +<span style="margin-left: 1em;">From the lowly earth to the vaulted skies,</span><br /> +And we mount to its summit round by round.<br /> +I count this thing to be grandly true:<br /> +<span style="margin-left: 1em;">That a noble deed is a step toward God,—</span><br /> +<span style="margin-left: 1em;">Lifting the soul from the common clod</span><br /> +To a purer air and a broader view.<br /> +</div> + +<div class='sig'> +—<span class="smcap">J. G. Holland</span><br /> +<br /></div> + + +<div class='poem'> +Let me but do my work from day to day<br /> +<span style="margin-left: 1em;">In field or forest, at the desk or loom,</span><br /> +<span style="margin-left: 1em;">In roaring market-place or tranquil room;</span><br /> +Let me but find it in my heart to say,<br /> +When vagrant wishes beckon me astray,<br /> +<span style="margin-left: 1em;">"This is my work; my blessing, not my doom;</span><br /> +<span style="margin-left: 1em;">Of all who live, I am the only one by whom</span><br /> +The work can best be done in the right way."<br /> +</div> + +<div class='sig'> +—<span class="smcap">Henry Van Dyke</span><br /> +<br /></div> + + +<div class='poem'> +Good name, in man or woman, dear, my lord,<br /> +Is the immediate jewel of their soul.<br /> +Who steals my purse, steals trash; 'tis something, nothing;<br /> +'Twas mine, 'tis his, and has been slave to thousands;<br /> +But he that filches from me my good name,<br /> +Robs me of that which not enriches him,<br /> +And makes me poor indeed.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Shakespeare</span><br /> +<br /></div> + + +<div class='poem'> +God give us men! A time like this demands<br /> +Strong minds, great hearts, true faith, and ready hands;<br /> +Men whom the lust of office does not kill;<br /> +<span style="margin-left: 1em;">Men whom the spoils of office cannot buy;</span><br /> +Men who possess opinions and a will;<br /> +<span style="margin-left: 1em;">Men who have honour,—men who will not lie.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">J. G. Holland</span><br /> +<br /></div> + + +<div class="blockquot"><p>To live content with small means; to seek elegance rather +than luxury, and refinement rather than fashion; to be +worthy, not respectable; and wealthy, not rich; to study hard,<span class='pagenum'><a name="Page_169" id="Page_169">[169]</a></span> +think quietly, talk gently, act frankly; to listen to stars and +birds, babes and sages with open heart; await occasions, +hurry never; in a word, to let the spiritual, unbidden and +unconscious, grow up through the common,—this is my +symphony.—<span class="smcap">Channing</span></p></div> + + +<div class='poem'> +O, may I join the choir invisible<br /> +Of those immortal dead who live again<br /> +In minds made better by their presence; live<br /> +In pulses stirred to generosity,<br /> +In deeds of daring rectitude, in scorn<br /> +Of miserable aims that end with self,<br /> +In thoughts sublime that pierce the night like stars,<br /> +And with their mild persistence urge men's minds<br /> +To vaster issues.<br /> +</div> + +<div class='sig'> +—<span class="smcap">George Eliot</span><br /> +<br /></div> + + +<div class='poem'> +A thing of beauty is a joy forever:<br /> +Its loveliness increases; it will never<br /> +Pass into nothingness; but still will keep<br /> +A bower quiet for us, and a sleep<br /> +Full of sweet dreams, and health, and quiet breathing.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Keats</span><br /> +<br /></div> + + +<div class='poem'> +Sunset with its rosy feet<br /> +Stains the grasses low and sweet;<br /> +And the shadow-beeches softly fall<br /> +Across the meadows, dark and tall;<br /> +<span style="margin-left: 2em;">O fold away</span><br /> +<span style="margin-left: 2em;">The dusty day,</span><br /> +Sweet nightfall, in thy curtains gray.<br /> +</div> + +<div class='sig'> +—<span class="smcap">Japanese</span><br /> +<br /></div> + + +<div class='poem'> +Now fades the last long streak of snow,<br /> +<span style="margin-left: 1em;">Now bourgeons every maze of quick</span><br /> +<span style="margin-left: 1em;">About the flowering squares, and thick</span><br /> +By ashen roots the violets blow.<br /> +Now rings the woodland loud and long,<br /> +<span style="margin-left: 1em;">The distance takes a lovelier hue,</span><br /> +<span style="margin-left: 1em;">And drowned in yonder living blue</span><br /> +The lark becomes a sightless song.<br /> +</div> + +<div class='sig'> +<span class='pagenum'><a name="Page_170" id="Page_170">[170]</a></span>—<span class="smcap">Tennyson</span><br /> +<br /></div> + + +<div class='poem'> +A cloud lay cradled near the setting sun;<br /> +<span style="margin-left: 1em;">A gleam of crimson tinged its braided snow;</span><br /> +Long had I watched the glory moving on<br /> +<span style="margin-left: 1em;">O'er the still radiance of the lake below.</span><br /> +Tranquil its spirit seemed, and floated slow!<br /> +<span style="margin-left: 1em;">Even in its very motion there was rest;</span><br /> +While every breath of eve that chanced to blow<br /> +<span style="margin-left: 1em;">Wafted the traveller to the beauteous west.</span><br /> +</div> + +<div class='sig'> +—<span class="smcap">Wilson</span><br /> +<br /></div> + +<hr style="width: 65%;" /> +<div class='tnote'><h3>Transcriber's Notes:</h3> +<p>Obvious punctuation errors repaired.</p> + +<p>On page 32, the first paragraph under ALLUSIONS contains a sentence fragment: "If these allusions." As no meaning could +be ascertained, it was retained intact.</p></div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Ontario Teachers' Manuals: Literature, by +Ontario Ministry of Education + +*** END OF THIS PROJECT GUTENBERG EBOOK ONTARIO TEACHERS MAN.: LITERATURE *** + +***** This file should be named 24974-h.htm or 24974-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/4/9/7/24974/ + +Produced by Suzanne Lybarger, Emmy and the Online +Distributed Proofreading Team at https://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive/Canadian Libraries) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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