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+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: ASCII
+
+*** 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)
+
+
+
+
+
+
+
+
+
+
+
+ONTARIO
+
+TEACHERS' MANUALS
+
+
+
+LITERATURE
+
+[Illustration]
+
+AUTHORIZED BY THE MINISTER OF EDUCATION
+
+
+
+TORONTO
+
+THE COPP, CLARK COMPANY, LIMITED
+
+
+
+
+        COPYRIGHT, CANADA, 1916, BY
+
+        THE MINISTER OF EDUCATION FOR ONTARIO
+
+        REPRINTED, 1916, 1917.
+
+
+
+
+CONTENTS
+
+
+                                                                      PAGE
+  COURSE OF STUDY--DETAILS                                             1
+
+  CHAPTER I
+
+    Introduction
+    What is Literature?                                                5
+    The Qualities that Appeal to Children at Different Ages            7
+      In Junior Forms                                                  7
+      In Senior Forms (Books III and IV)                              10
+      Complete Wholes versus Extracts                                 11
+      Correlation of Literature with Nature Study, Geography,
+          History, and Art                                            12
+      Aims in Teaching Literature                                     14
+    General Principles Applicable in the Teaching of Literature       16
+
+
+  CHAPTER II
+
+    Methods
+      In Junior Forms                                                 19
+        Memorization                                                  20
+      In Senior Forms                                                 22
+        Teacher's Preparation                                         22
+        Preparation of Pupils                                         23
+        Presentation                                                  26
+        Value of Oral Reading in the Interpretation and
+            Appreciation of Literature                                27
+        Development of the Main Thought                               29
+        Minute Analysis                                               31
+        Allusions                                                     32
+        Imagery                                                       33
+        Literature of Noble Thought                                   35
+        Recapitulation                                                36
+        Mistakes in Teaching Literature                               37
+        Extensive Reading                                             39
+
+
+  CHAPTER III
+
+    Illustrative Lessons
+      Pantomime
+        Little Miss Muffet                                            42
+      Dramatization
+        Little Boy Blue                                               43
+        The Story of Henny Penny                                      44
+        Wishes                                                        46
+        Indian Lullaby                                                47
+
+
+  CHAPTER IV. FORM I: SENIOR
+
+    Illustrative Lessons
+      The Wind and the Leaves                                         50
+      Piping Down the Valleys Wild                                    52
+      The Baby Swallow                                                54
+      The Brook                                                       56
+
+
+  CHAPTER V. FORM II
+
+    Illustrative Lessons
+      My Shadow                                                       59
+      One, Two, Three                                                 62
+      Dandelions                                                      64
+      The Blind Men and the Elephant                                  67
+      The Lord is my Shepherd                                         71
+
+
+  CHAPTER VI. FORM III
+
+    Illustrative Lessons
+      Hide and Seek                                                   74
+      An Apple Orchard in the Spring                                  76
+      Little Daffydowndilly                                           78
+      Moonlight Sonata                                                83
+      Lead, Kindly Light                                              87
+      Lead, Kindly Light                                              89
+
+
+  CHAPTER VII. FORM IV
+
+    Illustrative Lessons
+      Judah's Supplication to Joseph                                  93
+      Mercy                                                           98
+      Morning on the Lievre                                          101
+      Dickens in the Camp                                            105
+      Dost Thou Look Back on What Hath Been                          112
+      Waterloo                                                       117
+      Three Scenes in the Tyrol                                      122
+
+
+  CHAPTER VIII
+
+    Supplementary Reading
+      South-West Wind, Esq.                                          131
+      A Christmas Carol                                              135
+      The Lady of the Lake                                           139
+
+
+  CHAPTER IX
+
+    Selections for Memorization                                      145
+
+
+
+
+LITERATURE
+
+PUBLIC AND SEPARATE SCHOOL COURSE OF STUDY
+
+DETAILS
+
+
+
+FORM I
+
+
+        A. SELECTIONS FROM THE ONTARIO READERS
+
+        B. SUPPLEMENTARY READING AND MEMORIZATION:
+        Selection may be made from the following:
+
+        I. _To be Read to Pupils_:
+
+        1. NURSERY RHYMES: Sing a Song of Sixpence; I
+        Saw a Ship a-Sailing; Who Killed Cock Robin;
+        Simple Simon; Mary's Lamb, etc.
+
+        Consult _Verse and Prose for Beginners in
+        Reading_; Riverside Literature Series, No. 59,
+        15 cents.
+
+        2. FAIRY STORIES: 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.
+
+        Consult _Fairy Tales Every Child Should Know_,
+        by H. W. Mabie. Grosset & Dunlap, 50c.
+
+
+       3. FOLK STORIES: Whittington and His Cat; The
+       Three Bears.
+
+       4. FABLES: Selections from AEsop and La Fontaine.
+
+         Consult _Fables and Folk Stories_, by Scudder,
+         Parts I and II; Riverside Literature Series,
+         Nos. 47, 48, 15 cents each.
+
+
+II. _To be Read by Pupils_:
+
+        Fables and Folk Stories--Scudder; A Child's
+        Garden of Verses (First Part)--Stevenson;
+        Readers of a similar grade.
+
+
+III. _To be Memorized by Pupils_:
+
+        1. MEMORY GEMS: Specimens of these may be found
+        in the Public School Manuals on Primary Reading
+        and Literature.
+
+        2. FROM THE READERS: Morning Hymn; Evening
+        Prayer; The Swing; What I Should Do; Alice.
+
+
+
+FORM II
+
+A. SELECTIONS FROM SECOND READER
+
+B. SUPPLEMENTARY READING AND MEMORIZATION: Selection may be made from
+the following:
+
+
+I. _To be Read to Pupils_:
+
+        1. NARRATIVE POEMS: John Gilpin--Cowper; Lucy
+        Gray--Wordsworth; Wreck of the
+        Hesperus--Longfellow; Pied Piper of
+        Hamelin--Browning; May Queen--Tennyson; etc.
+
+        Consult _The Children's Garland_, Patmore. The
+        Macmillan Co., 35 cents.
+
+        2. NATURE STORIES: Wild Animals I Have Known,
+        Lives of the Hunted--Thompson-Seton; The
+        Watchers of the Trails--Roberts.
+
+        3. FAIRY STORIES: Fairy Tales Every Child
+        Should Know--H. W. Mabie.
+
+        4. OTHER STORIES: 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.
+
+
+II. _To be Read by Pupils:_
+
+        A Child's Garden of Verses--Stevenson; The
+        Seven Little Sisters--Jane Andrews; Fifty
+        Famous Stories Retold--Baldwin.
+
+
+III. _To be memorized by Pupils_: (A minimum of six lines a week)
+
+        FROM THE READER:
+
+        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.
+
+
+
+FORM III
+
+A. SELECTIONS FROM THIRD READER
+
+B. SUPPLEMENTARY READING AND MEMORIZATION: Selection may be made from
+the following:
+
+        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.
+
+_To be Memorized by Pupils:_ (A minimum of ten lines a week)
+
+        FROM THE READER:
+
+        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
+        Temeraire--Newbolt; Afterglow--Wilfred
+        Campbell; proverbs, maxims, and short extracts.
+
+
+
+FORM IV
+
+A. SELECTIONS FROM FOURTH READER
+
+B. SUPPLEMENTARY READING AND MEMORIZATION: Selections may be made from
+the list prepared annually by the Department of Education.
+
+
+
+
+LITERATURE
+
+
+
+
+CHAPTER I
+
+INTRODUCTION
+
+
+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.
+
+
+WHAT IS LITERATURE?
+
+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 _Literature_ as used in this Manual is applied
+especially to those selections in the _Ontario Readers_ 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 _Clouds, Rains, and Rivers_, 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.
+
+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.
+
+
+THE QUALITIES THAT APPEAL TO CHILDREN AT DIFFERENT AGES
+
+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.
+
+
+JUNIOR FORMS
+
+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 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.
+
+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.
+
+2. Stories of adventure, courage, and the defence of the helpless appeal
+very strongly to young children. Even the cruelties and crudities of
+_Bluebeard_, _Ali Baba and the Forty Thieves_, and _Aladdin and his
+Wonderful Lamp_ 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.
+
+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.
+
+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 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.
+
+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 _Henny Penny_,
+_The Gingerbread Boy_, and _The Little Red Hen_. The choruses and the
+refrains of songs are pleasant for this reason.
+
+_Silverlocks and the Three Bears_ 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.
+
+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.
+
+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".
+
+
+SENIOR FORMS (BOOKS III AND IV)
+
+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 _King of the
+Golden River_, Hawthorne's _Wonder Book_, and Kingsley's _Greek Heroes_,
+are read with avidity.
+
+2. Stories involving _a number of incidents_ are wonderfully attractive.
+This is due to the pupil's instinctive interest in action and
+personality. Children are more deeply interested in persons who _do_
+things than in those who _become_ 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
+_Passing of Arthur_, Arnold's _Sohrab and Rustum_, Longfellow's
+_Evangeline_ and _King Robert of Sicily_, and Scott's _Ivanhoe_ will be
+read with keen enjoyment. The force and beauty of the language, the
+faithfulness of the descriptions to life, 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.
+
+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.
+
+Thompson-Seton's _Wild Animals I have Known_ and _Lives of the Hunted_,
+and Roberts' _The Watchers of the Trails_ are excellent examples of this
+class.
+
+
+COMPLETE WHOLES VERSUS EXTRACTS
+
+Scattered throughout the _Ontario Readers_ 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 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
+_The Lady of the Lake_, _Pickwick Papers_, _Lorna Doone_, _The Mill on
+the Floss_, _Julius Caesar_, and _It is Never Too Late to Mend_. 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.
+
+
+CORRELATION OF LITERATURE WITH NATURE STUDY, GEOGRAPHY, HISTORY, AND ART
+
+Many of the lessons in the _Ontario Readers_ should be preceded by
+preparatory work in geography, history, or nature study. Poems such as
+_Jacques Cartier_, _The Charge of the Light Brigade_, _The Burial of Sir
+John Moore_, and _The Armada_ cannot be fully appreciated unless the
+historical 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 _Dandelions_, _Bob White_,
+and _The Sandpiper_ 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. _Wolfe and
+Montcalm_ and Drake's _Voyage Around the World_ 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.
+
+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
+_Bonnie Dundee_, bearing upon the lesson. The interest in the
+observations made in nature study will be intensified by reading some
+nature story written in good literary form.
+
+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.
+
+
+AIMS IN TEACHING LITERATURE
+
+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:
+
+1. To appeal suitably to such instinctive tastes and interests of
+childhood as are already awake and active; for example, Second Reader,
+p. 3, _My Shadow_; p. 185, _A Visit from St. Nicholas_; p. 125, _Little
+Gustava_; p. 215, _The Children's Hour_.
+
+2. To awaken and develop interests and tastes that are as yet dormant;
+for example, Second Reader, p. 42, _A Song for Little May_; p. 88, _The
+Brown Thrush_.
+
+3. To develop and direct the imagination; for example, Second Reader, p.
+72, _The New Moon_; p. 117, _Little Sorrow_; p. 45, _The Little Land_;
+p. 172, _The Wind_.
+
+4. To arouse and quicken the sense of beauty; for example, Second
+Reader, p. 92, _Mother's World_; p. 155, _Lullaby_.
+
+5. To exercise and cultivate the emotions; for example, Second Reader,
+p. 94, _Androclus and the Lion_; p. 135, _Ulysses_; p. 107, _A Night
+with a Wolf_.
+
+6. To develop manners and morals through examples of character and
+conduct in action; for example, Second Reader, p. 114, _Joseph II and
+the Grenadier_.
+
+7. To develop appreciation for the well-told story; for example, Second
+Reader, p. 5, _The Pail of Gold_; p. 12, _How I Turned the Grindstone_;
+p. 56, _The Blind Men and the Elephant_; p. 211, _How the Greeks Took
+Troy_.
+
+8. To develop a true sense of humour; for example, Second Reader, p. 50,
+_Change About_.
+
+9. To develop a sense of reverence; for example, Second Reader, p. 203,
+_The Lord is my Shepherd_; p. 218, _Abide With Me_.
+
+
+GENERAL PRINCIPLES APPLICABLE IN THE TEACHING OF LITERATURE
+
+There are four outstanding principles of general method that apply
+particularly in the teaching of Literature.
+
+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 _purpose_ 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".
+
+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 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.
+
+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.
+
+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 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.
+
+
+
+
+CHAPTER II
+
+METHODS
+
+
+IN JUNIOR FORMS
+
+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.
+
+The material to be used in primary grades has already been described.
+Early work in literature should be correlated with oral composition.
+
+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.
+
+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.
+
+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.
+
+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.
+
+
+MEMORIZATION
+
+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
+selected and should be suited to the capacity and interests of the
+pupils. Nothing should be memorized that has not _some_ meaning for
+them, but it would be impossible to require that every selection should
+be _fully_ 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.
+
+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.
+
+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.
+
+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 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.
+
+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.
+
+
+IN SENIOR FORMS
+
+THE TEACHER'S PREPARATION
+
+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 read _The Mill on
+the Floss_. 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.
+
+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.
+
+
+PREPARATION OF PUPILS
+
+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.
+
+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,
+
+        Break, break, break,
+        On thy cold gray stones, O sea!
+
+Even the enthusiasm and scholarship of the teacher will fail to be
+effective under these circumstances. He 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.
+
+Before studying _Lead, Kindly Light_ (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.
+
+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.
+
+In some poems, the circumstances under which they are written will be
+the only introduction necessary, as in the case of _Break, break, break_
+or _The Recessional_.
+
+There is often an appropriate time for the teaching of a literature
+lesson. Sometimes it is the season of the year. The lesson on _An Apple
+Orchard in the Spring_ should come when the blossoms are stimulating
+every bird and child with their loveliness, fragrance, and promise. _The
+First Ploughing_ and the various poems on birds and flowers should come
+at this season. They can be followed, in turn, by _A Midsummer Song_ and
+_The Maple_. 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.
+
+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 for the interpretation of a passage. The pupil will read
+appreciatively on his own account, without any such assistance.
+
+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.
+
+
+PRESENTATION
+
+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.
+
+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.
+
+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. _The Barefoot Boy_, p. 118, Fourth Reader; _The Homes
+of England_, p. 375; and _Bernardo del Carpio_, p. 131, are examples of
+this kind.
+
+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 _The
+Bugle Song_, 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.
+
+
+VALUE OF ORAL READING IN THE INTERPRETATION AND APPRECIATION OF
+LITERATURE
+
+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 _Hide and Seek_, Third Reader, p. 50,
+or _Break, break, break_, p. 201. Nor could it perceive the suitability
+of the rhythm to the theme, as exhibited in _How They Brought the Good
+News from Ghent to Aix_, 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!
+
+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.
+
+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.
+
+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
+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.
+
+
+THE DEVELOPMENT OF THE MAIN THOUGHT
+
+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 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.
+
+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.
+
+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 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 _In Memoriam_.
+
+
+MINUTE ANALYSIS
+
+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.
+
+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.
+
+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 for his examination by this method, is
+disposed to carry it into Elementary School work, till even _The
+Recessional_ becomes merely a theme for learning verbal meanings.
+
+
+ALLUSIONS
+
+There are many references in the text-books to geographical, scientific,
+and historical matters. If these allusions. In poems such as _The
+Armada_ 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
+_The Armada_ 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.
+
+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.
+
+
+THE IMAGERY
+
+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.
+
+Antony, in his funeral oration after Caesar's death, knew how to arouse
+his audience to fury by showing them Caesar's wounds and holding before
+them Caesar'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.
+
+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.
+
+But it is quite a different matter when they try to realize auditory
+imagery. In the poem _Waterloo_, Fourth Reader, p. 311, they can see the
+picture in "bright the 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?
+
+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:
+
+        And all went merry as a marriage bell;
+        But hush! hark! a deep sound strikes like a rising knell!
+
+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.
+
+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.
+
+
+THE LITERATURE OF NOBLE THOUGHT
+
+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
+aesthetic pleasure, similar to the pleasure that people derive from
+china, music, or landscape gardening.
+
+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.
+
+In the _Ontario Readers_ we have numerous poems of this nature. In the
+First Reader, the pupils instinctively feel that _Piping Down the
+Valleys Wild_ is of different calibre from _Three Little Kittens_. _The
+Lord is my Shepherd_, _Lead, Kindly Light_, and _To a Waterfowl_, are
+examples of this class.
+
+In teaching these lessons, the spiritual meaning should be constantly
+emphasized.
+
+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.
+
+
+RECAPITULATION
+
+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 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.
+
+
+MISTAKES IN TEACHING LITERATURE
+
+There are some mistakes in teaching literature that are noted here, in
+order that they may be avoided:
+
+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.
+
+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.
+
+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 a sufficiently wide acquaintance with literary works on
+which to form a judgment.
+
+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.
+
+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.
+
+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, _To a Waterfowl_,
+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
+_confidence in God's guidance_ 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.
+
+7. Dwelling unnecessarily on the intellectual side of a poem that is
+mainly emotional and musical; for example, _The Bugle Song_, Third
+Reader, p. 337, and _The Solitary Reaper_, 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 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.
+
+
+EXTENSIVE READING
+
+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.
+
+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 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.
+
+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.
+
+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.
+
+When the examination is finished, a series of compositions might be
+written on topics connected with the story. For instance, if _Rip Van
+Winkle_ 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.
+
+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.
+
+
+
+
+CHAPTER III
+
+ILLUSTRATIVE LESSONS
+
+
+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.
+
+Professor Alexander has said:
+
+        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.
+
+
+PANTOMIME
+
+LITTLE MISS MUFFET
+
+(Primer, page 75)
+
+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.
+
+
+DRAMATIZATION
+
+LITTLE BOY BLUE
+
+(Primer, page 68)
+
+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?"
+
+Allan said: "I'd like to be the farmer".
+
+Dorothy wished to be the farmer's wife.
+
+Clara asked if the pupils of the highest class might be the cows and the
+sheep.
+
+As Norman was enthusiastic and eager to express himself, he was
+permitted to direct the movements of the different characters.
+
+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.
+
+As Little Boy Blue approached the farmer, he removed his cap and said:
+"Good morning, sir, do you want a boy?"
+
+_Farmer_: "Yes, I want one to watch the cows and the sheep."
+
+_Little Boy Blue_: "I can do that, sir."
+
+_Farmer_ (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."
+
+_Little Boy Blue_: "I will, sir."
+
+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 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:
+
+        Little Boy Blue,
+          Come blow your horn,
+        The sheep are in the meadow,
+          The cows are in the corn.
+
+_Farmer_: "Wife, where is Little Boy Blue?"
+
+_Wife_: "He is under the haystack, fast asleep."
+
+_Farmer_ (going to haystack):
+
+        Little Boy Blue,
+        Come blow your horn.
+
+The boy jumped up, blew a blast on the horn, and the sheep and cows
+immediately came back.
+
+_Little Boy Blue_: "It was my fault and I'm sorry."
+
+_Farmer_: "All right, you'll take better care of them next time."
+
+
+THE STORY OF HENNY PENNY
+
+(Primer, page 48)
+
+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.
+
+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 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.
+
+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.
+
+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.
+
+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."
+
+So they ran and ran, but had to return home because they did not find
+the king's house.
+
+
+WISHES
+
+(Primer, page 52)
+
+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.
+
+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".
+
+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".
+
+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.
+
+The mother hen could be seen busily scratching at one end of the garden,
+while her little chickens were walking aimlessly about.
+
+_First Chicken_ (after sighing):
+
+"I wish I could find a little fat fly."
+
+_Second Chicken_ (with a shrug):
+
+"I wish I could find a fat little bug."
+
+_Third Chicken_ (with a squeaky voice):
+
+"I wish I could feel some corn in my beak."
+
+_Fourth Chicken_ (sighing):
+
+"I wish I could find a fat worm on a leaf."
+
+_Mother Hen_ (impatiently):
+
+"See here, if you want things to eat, just come here and scratch."
+
+
+INDIAN LULLABY
+
+        Rock-a-bye, my little owlet,
+        In the mossy, swaying nest,
+        With thy little woodland brothers,
+        Close thine eyes and take thy rest.
+
+        Hush-a-bye, my little owlet,
+        Many voices sing to thee;
+        "Hush-a-bye," the water whispers,
+        "Hush!" replies the tall pine tree.
+                                         --LONGFELLOW
+
+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".
+
+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.
+
+From the many beautiful Indian lullabies that would have been suitable,
+the teacher selected the _Indian Lullaby_ by Longfellow. During the
+periods set apart for music, the pupils had been taught the desired
+melody with the syllable "loo".
+
+        _Teacher._ "How does your mother put baby to
+        sleep?"
+
+        _Pupils._ "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.
+
+        _Teacher._ "The picture I give you will show
+        you what the Indian mother does with her baby."
+
+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 _Primary Education_.
+
+        _Teacher._ "What has the mother done?"
+
+        _Pupils._ "She has put her baby in a basket and
+        hung it on a tree."
+
+        _Teacher._ "Is the baby in the picture awake or
+        asleep?"
+
+        _Pupils._ "He is asleep."
+
+        _Teacher._ "What could the baby see before he
+        went to sleep?"
+
+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.
+
+        _Pupils._ "He could see the pine trees, the
+        water, the wigwams, the canoes, the Indians,"
+        etc.
+
+        _Teacher._ "What could the baby hear while
+        swinging in his cradle?"
+
+        _Pupils._ "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.
+
+        _Teacher._ "What other babies lived in the
+        woods?"
+
+        _Pupils._ "Birds, squirrels, owls, wolves,"
+        etc.
+
+        _Teacher._ "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 _Indian Lullaby_.)
+
+Individual pupils then repeated one stanza at a time with the assistance
+of the teacher.
+
+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.
+
+
+
+
+CHAPTER IV
+
+FORM I: SENIOR GRADE
+
+
+THE WIND AND THE LEAVES
+
+(First Reader, page 49)
+
+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.
+
+        What is the time of the year that the poem
+        speaks about? The autumn.
+
+        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".
+
+        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.
+
+        What does it mean by "Put on your dresses of
+        red and gold"? Before they fall, the leaves
+        have many beautiful colours.
+
+        What was the colour of their dresses in summer?
+        When do they begin to change colour very
+        quickly?
+
+        What leaves show the most beautiful colours?
+        What different colours have you noticed that
+        leaves have?
+
+        When does the wind call? When it blows loudly
+        or whistles.
+
+        Do you know what the wind says when it calls?
+        Why not? We do not understand the language that
+        it speaks.
+
+        How did the leaves show that they understood?
+        They obeyed at once and came down from the
+        trees.
+
+        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.)
+
+        Which line in the first stanza corresponds in
+        meaning with the third line of the second? The
+        second line.
+
+        What makes the fields "brown"? It is the end of
+        the summer, and the grass and the plants have
+        dried up.
+
+        What colours have the fields at other seasons
+        of the year? Green in the spring, golden in the
+        summer, white in the winter.
+
+        What are "the soft little songs" of the leaves?
+        The rustling sounds they make as they are blown
+        about by the wind.
+
+        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.
+
+        "Winter had called them." What is the voice of
+        winter? The cold winds that roar and whistle.
+
+        What is meant by "content"? The leaves were
+        quite glad to answer the call.
+
+        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.
+
+        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.
+
+        How were they kept warm during their long
+        sleep? The snow came and covered them up
+        warmly, like a "blanket".
+
+        What does the whole lesson describe? The
+        falling of the leaves.
+
+        What does the first stanza speak of? The call
+        of the wind.
+
+        The second? The answer of the leaves.
+
+        The third? The leaves asleep.
+
+        Tell the story of the poem in your own words.
+
+
+PIPING DOWN THE VALLEYS WILD
+
+(First Reader, page 52)
+
+
+AIM
+
+To enable the pupils to appreciate the pretty pictures and the music,
+and to learn how their pretty songs were written.
+
+
+PREPARATION
+
+        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.
+
+
+PRESENTATION
+
+        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.
+
+        What was the child doing? He was laughing.
+
+        Why? He liked the music.
+
+        What kind of music was it? It was pleasant,
+        full of joy.
+
+        Where was the shepherd? In a valley.
+
+        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.
+
+        What did the child ask him to do? To play "a
+        song about a Lamb".
+
+        Why did he do that? Because the sheep were
+        pretty and he thought he should like to hear
+        pretty music about them.
+
+        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.
+
+        What did the child next ask? He wished to have
+        the music put into words, so he asked the
+        shepherd to "sing" it.
+
+        How did the child enjoy it? It was so lovely
+        that he "wept with joy".
+
+        What did he ask the shepherd to do? To "write"
+        it down.
+
+        Why? The child thought it was so lovely that he
+        wanted other children to hear it, too.
+
+        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.
+
+        What do you need when you write? We need pens,
+        and paper, and ink.
+
+        The shepherd had not steel pens, and white
+        paper, and black ink. He may have used the bark
+        of trees to write on.
+
+        How did he get a pen? He "plucked a hollow
+        reed", and he "made a rural pen".
+
+        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.
+
+        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.
+
+        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.
+
+        Yes, the paper, the pen, and the ink would not
+        be so good as at present, but they would serve
+        as a beginning.
+
+
+REPRODUCTION
+
+        1. Where was the musician?
+
+        2. What kind of instrument was he playing?
+
+        3. Where was the child?
+
+        4. What was the child's second request?
+
+        5. What was his third request?
+
+        6. How was the shepherd able to write?
+
+        7. Why did the child wish him to write?
+
+        (The pupils may not understand "rural",
+        "valley", "pipes", so the teacher should give
+        such further explanation as the different cases
+        demand.)
+
+
+THE BABY SWALLOW
+
+(First Reader, page 103)
+
+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.
+
+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.
+
+        What is the lesson about? About a baby swallow
+        learning to fly.
+
+        What do the first four stanzas tell us? His
+        fears.
+
+        And the last three? The success of his effort.
+
+        What do you see in the picture? A tower with a
+        bell in it.
+
+        What name is given here for tower? Turret
+        ("Turret" means a little tower.)
+
+        From its sound, what do you think "belfry"
+        means? The place where the bell is.
+
+        What, then, is a "belfry turret"? A tower where
+        a bell is hung.
+
+        On what part of the tower had the bird its
+        nest? The front.
+
+        What word does the poet use to express that?
+        "Breast".
+
+        What has been beating against the tower for
+        years? The wind, sun, rain, snow.
+
+        What one word would stand for all these?
+        Weather.
+
+        Explain "weather-beaten".
+
+        In perching on its nest, what does the baby
+        swallow seem ready to do? To fly.
+
+        What other words might the Mother-Bird use
+        instead of "courage"? "Don't be afraid."
+
+        How many wings are meant by "either wing"?
+
+        In this stanza, what is the "Mother-Bird"
+        doing? Giving the little bird instructions in
+        the way to begin flying.
+
+        Describe how he is to begin.
+
+        How does the baby feel about it? He feels
+        afraid.
+
+        What word tells you this? "Pauses."
+
+        What does he think is deep? The distance
+        between the tower and the ground.
+
+        Why is the bird afraid to attempt to fly? It is
+        so far to the ground and his "wings" seem very
+        "small".
+
+        Why is the "Mother" not afraid to let her baby
+        try? She knows that God will carry him safely.
+
+        How does she know this? Because "He" had
+        "carried" her.
+
+        When? When she was as small as the baby swallow
+        is now.
+
+        Why does the "Mother" tell him this? To
+        encourage him to make the attempt.
+
+        How does the baby swallow make his start? He
+        "spreads out his wings" as far as he can and
+        "springs" out.
+
+        Which stanza has almost the same form as this?
+        The second.
+
+        What is he surprised to find? That he is able
+        to fly.
+
+        How does he feel after that about flying? He is
+        no longer afraid.
+
+
+PREPARATION
+
+        What is he able to do well? To steer.
+
+        What does this mean? To fly in any direction he
+        wishes.
+
+        How does the "Mother" feel over her baby's
+        success? She feels glad.
+
+        To whom does she give thanks? To God.
+
+        How does she do so? By singing a song of
+        thankfulness.
+
+        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.
+
+        Tell this story in your own words. Tell any
+        similar story you know.
+
+
+THE BROOK
+
+(First Reader, page 110)
+
+
+PREPARATION
+
+        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.
+
+        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.
+
+        Why were the fishes there? That is their home.
+
+        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.
+
+        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.
+
+        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.
+
+
+PRESENTATION
+
+        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".
+
+        What is that? A spring of water.
+
+        Where was the fountain? "In a mountain".
+
+        What is that? A high hill.
+
+        Was it very large where it started? No, the
+        lesson says it was only "Drops of water" and it
+        trickled "through the grasses".
+
+        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.
+
+        Did it run very fast at first? No, the lesson
+        says that it "started" "Slow".
+
+        Did it run any faster after that? Yes, "Soon it
+        darted", and it was "Hurrying".
+
+        What caused it to dart and hurry? The ground
+        was steeper, and it had to run more quickly.
+
+        Where was it running? Down "to the sea", where
+        it would be lost in the other water.
+
+        Did it grow any larger before it came to the
+        sea? Yes, it grew "Swift and strong", and it
+        widened "very fast".
+
+        What caused it to widen? Other little brooks
+        ran into it and made it wider.
+
+        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.
+
+        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.
+
+        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.
+
+        What is it like now? It is like a big, strong,
+        happy boy.
+
+        Why did the children come to play on its banks?
+        They came to pick the flowers.
+
+        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.
+
+        What else were the children doing? They were
+        sailing toy boats in the water.
+
+        What words show you that? "Mimic boating."
+
+        What else did the children enjoy? They liked to
+        see the "Fishes darting past" them. The fishes
+        were timid.
+
+        The brook makes some very pleasant sounds. What
+        words show you that? "Rippling", "Bubbling",
+        "singing", "ringing".
+
+        When does the water make these sounds? When it
+        is running "over pebbles" or down the steep
+        places.
+
+
+        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.
+
+        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".
+
+        Why was it "Cool"? It had flowed among the
+        grasses and had come from a spring in a
+        mountain.
+
+        Why was it "clear"? It was such pure water that
+        you could see the stones at the bottom of the
+        brook.
+
+        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.
+
+        Do you see any other words that describe its
+        appearance? It is "Flecked with shade and sun".
+
+        Now "Flecked" is a hard word. It means
+        _spotted_ or _striped_. 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.
+
+        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.
+
+        In the next stanza? It runs a little faster.
+
+        In the next? It was glad to see the children.
+
+        In the next? The children were playing with it.
+
+        In the next? It ran bubbling and singing into
+        the sea.
+
+
+MEMORIZATION
+
+        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.
+
+
+
+
+CHAPTER V
+
+FORM II
+
+
+MY SHADOW
+
+(Second Reader, page 3)
+
+
+AIM
+
+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.
+
+
+PRESENTATION
+
+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.
+
+Stanza I
+
+        How do I know my shadow is very fond of me? He
+        "goes in and out with me".
+
+        What does that mean? It means he goes wherever
+        I go.
+
+        What is "the use of him"? That "is more than I
+        can see".
+
+        What is he like? He is just "like me from the
+        heels up to the head".
+
+        What does he do when I go to bed? He jumps into
+        bed "before me".
+
+MEMORIZATION
+
+        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."
+
+        What is the use of your shadow, John? "And what
+        can be the use of him is more than I can see."
+
+        What is he like, Mary? "He is very, very like
+        me from the heels up to the head."
+
+        When do you see him jump ahead of you? "And I
+        see him jump before me, when I jump into my
+        bed."
+
+NOTE.--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.
+
+Stanza II
+
+        What is there funny about the shadow? "The
+        funniest thing about him is the way he likes to
+        grow."
+
+        How is that? "He sometimes shoots up" very tall
+        all at once, and then he dwindles down to
+        nothing.
+
+        How would you expect him "to grow"? I would
+        expect him "to grow" as I do.
+
+        How is that? Oh, that is "very slow".
+
+        The author says "like proper children". What
+        does that mean? That means like real children.
+
+        What shows that he sometimes grows up very,
+        very quickly? The poet says he "shoots up".
+
+        What other words tell the same thing? "Like an
+        india-rubber ball."
+
+        How is that? The ball goes up quickly with a
+        bounce, and the shadow seems to spring up in
+        the same way.
+
+READING AND MEMORIZATION
+
+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 shadow and to the childish
+surprise at his dwindling into nothing.
+
+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.
+
+
+Stanza III
+
+        The shadow knows very little about one thing.
+        What is that? He has no "notion of how children
+        ought to play".
+
+        How does he "make a fool of me"? "In every sort
+        of way."
+
+        Well, give one way. He mimics me.
+
+        Where does he stay? He stays right "close
+        beside me".
+
+        Why does he do that? He does that because "he's
+        a coward".
+
+        How would you feel about doing the same thing?
+        I would feel ashamed of myself.
+
+Reading and recitation of this stanza should now be conducted as
+indicated in Stanzas I and II, above.
+
+
+Stanza IV
+
+        Did you ever manage to get away from your
+        shadow? Yes, I did.
+
+        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.
+
+        What is he called for doing that? He is called
+        "an arrant sleepy-head".
+
+        Give another word in place of "arrant" that
+        will mean the same thing. He was a thorough and
+        shameless "sleepy-head".
+
+        What was the real cause of his staying behind?
+        There was "none of him at all", because the sun
+        was not up.
+
+        What will happen when the sun does come up?
+        Then my shadow will suddenly show himself
+        again.
+
+        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.
+
+Here is another that was written once at the end of the lesson:
+
+        But when the dear old sun came up above the trees,
+        My frisky little shadow came out into the breeze;
+        I didn't see him coming, but, when I turned around,
+        His head was at the window, and he lay along the ground.
+
+
+ONE, TWO, THREE
+
+(Second Reader, page 21)
+
+
+AIM
+
+To enable the pupils to understand the beauty and pathos of the
+selection.
+
+To arouse in them a sympathy for those who are weak.
+
+
+PREPARATION
+
+        How many of you like to play games? Everybody.
+
+        Name some of the games you play. Ball, tag,
+        hide-and-seek, etc.
+
+        With whom do you like to play? With boys and
+        girls of our own age.
+
+
+PRESENTATION
+
+        Here is a story that tells about two people
+        playing a game. (The selection is read aloud by
+        the teacher.)
+
+        What is the story about? An "old lady" and a
+        little boy playing "Hide-and-Go-Seek".
+
+        What relation were they? The old lady was the
+        boy's "Grandma".
+
+        Let us look at the story again, and see if they
+        enjoyed their game as much as you do yours. Is
+        there anything in the first stanza that tells
+        us they were having a good time? "The way that
+        they played together was beautiful to see."
+
+        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.
+
+        How do you feel, as you read the second stanza?
+        I feel sorry for the boy because he is lame.
+
+        Any other reason for feeling sorry for him? He
+        is "thin", as though he had been sick a long
+        time.
+
+        In what way are he and his Grandma alike?
+        Neither of them can run or jump.
+
+        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.
+
+        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.
+
+        What game were they playing?
+        "Hide-and-Go-Seek."
+
+        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.
+
+        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.
+
+        Whose turn was it to hide? The old lady's,
+        because the boy is guessing where she is.
+
+        Where did he find her at last? In "Papa's big
+        bed-room", in "the clothes-press".
+
+        Is there anything else spoken about that was in
+        the bed-room? There was a "little cupboard".
+
+        Why does he mention the cupboard? He often
+        thinks of it. He likes it.
+
+        Why? His mother's "things used to be" in it.
+
+        Why does he say "used to be"? That tells us
+        that they are not there any longer.
+
+        Why? I think his mother is dead.
+
+        Who takes care of him now? His grandmother
+        lives with him and looks after him.
+
+        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.
+
+        How did the boy enjoy the game? Very much,
+        because it says he laughed "with glee".
+
+        How did the Grandma enjoy it? She was glad to
+        see the boy happy.
+
+        Do old ladies usually like to play games? No,
+        they generally prefer to read or sew.
+
+        Why was she playing with the boy? She loved him
+        and was sorry he was lame.
+
+        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.
+
+        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.
+
+        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.
+
+        Why does he say "dear" so often? He wants to
+        show how very kind she was to the lame boy.
+
+        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.
+
+        Give me some other titles for this poem. "The
+        Chums", "A Queer Game", "The Two Playmates".
+
+
+DANDELIONS
+
+(Second Reader, page 30)
+
+
+AIM
+
+To lead the pupils to perceive and appreciate how the poet uses
+personification and comparison.
+
+
+PRESENTATION
+
+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.
+
+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.
+
+        What is a real "trooper band"? A band of
+        soldiers on horseback.
+
+        And what are real "veterans"? Old soldiers who
+        have seen much service in war.
+
+        What is actually meant by the "trooper band"?
+        The dandelions when they first come out.
+
+        What is the phrase that suggests that they are
+        dandelions? "Yellow coats."
+
+        What does the author actually mean by the
+        "veterans"? The dandelions, when they have gone
+        to seed.
+
+        What phrase suggests this? "Their trembling
+        heads and gray."
+
+        Where did the "trooper band" make their
+        appearance? On the hillside.
+
+        When? On a "showery night and still".
+
+        Why is such a night selected? Because it makes
+        the dandelions bloom in great numbers.
+
+        To what is the coming of the dandelions
+        compared? To an army taking possession of a
+        hill.
+
+        What words tell how they came? "Without a sound
+        of warning", "surprised", "We were not waked by
+        bugle notes", "No cheer our dreams invaded".
+
+        Explain "surprised the hill". Marched upon it
+        when they were least expected, and seized it.
+
+        Give the meaning of "held it in the morning".
+        Had undisputed possession of it.
+
+        Tell, in your own words, how the dandelions
+        came. Suddenly and unexpectedly.
+
+        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.
+
+        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.
+
+        How did the coats of the soldiers you have seen
+        differ in colour from those of the dandelions?
+
+        What is the meaning of "at dawn"? The first
+        appearance of light in the morning.
+
+        "Green slopes"? Grassy hillsides.
+
+        "Paraded"? Marched up and down.
+
+        About what time has elapsed between the
+        incident of the first stanza and that of the
+        second? Probably a week or thereabouts.
+
+        What deed is referred to in the first stanza?
+        The seizure of the hill.
+
+        What is meant by "idly walking"? Without any
+        definite purpose in view.
+
+        "Marked"? Noticed.
+
+        About what were the veterans probably
+        "talking"? About their military exploits in
+        years gone by.
+
+        What words are suitably used in describing
+        these veterans? "Trembling" and "gray" suggest
+        old age.
+
+        Arrange "their trembling heads and gray" in
+        ordinary prose order. Their gray and trembling
+        heads.
+
+        Why should the veterans be filled with "pride"?
+        Because of the brave deeds they had done.
+
+        Why did they laugh? Perhaps, because of some
+        amusing occurrences they had seen.
+
+        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.
+
+        Why is the "laughter" said to be "noiseless"?
+        Because human beings could not be expected to
+        hear the laughter of the dandelions.
+
+        What expression would you be likely to use,
+        instead of "welladay"? Alas!
+
+        What is meant by "they blew away"? The seeds of
+        the flowers were scattered far and wide.
+
+        What do you like about this poem? (1) Its
+        charming poetic fancies. (2) The fitness of the
+        comparisons.
+
+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.
+
+
+THE BLIND MEN AND THE ELEPHANT
+
+(Second Reader, page 56)
+
+
+AIM
+
+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.
+
+The pupils should be encouraged to talk freely, and the questions should
+often call for quite lengthy answers.
+
+
+PREPARATION
+
+        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.
+
+        That is a fairly good description, Henry. You
+        have helped us to picture a very large
+        elephant.
+
+
+PRESENTATION
+
+        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".
+
+        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.
+
+        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.
+
+        Where did this happen? It happened in Indostan.
+
+        I told you to look for Indostan in Asia. Point
+        it out on the map. (A pupil points to it.)
+
+        What are we told about these men? They gave
+        much of their time to study.
+
+        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.
+
+        Why do you think that? Because it says that
+        they wanted to "satisfy" their minds by their
+        own "observations".
+
+        In what other ways do boys and girls satisfy
+        their minds about new things? By asking
+        questions about them until the answers satisfy
+        them.
+
+        What other way do you use sometimes? We read
+        books to learn about many new things.
+
+        What did the first man learn? He thought he had
+        learned that the elephant was "like a wall".
+
+        Why do you say thought? He hadn't really
+        learned it. He stopped making observations just
+        as soon as he had one idea.
+
+        Why do you think he did that? I think he was in
+        a hurry to be the first to state what he knew.
+
+        What words in the poem suggest that idea to
+        you? The words "At once began to bawl".
+
+        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.
+
+        What was the second man's opinion about the
+        elephant? He thought the animal was "like a
+        spear".
+
+        Account for that idea. He felt one of the
+        elephant's tusks, and formed his opinion
+        without going any further.
+
+        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.
+
+        What did the fourth man do? The fourth man felt
+        the big front legs and declared the elephant
+        was "like a tree".
+
+        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".
+
+        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".
+
+        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".
+
+
+GENERALIZATION
+
+        In what respects were they all alike?
+
+        1. Each one felt just one part of the animal
+        and took the part for the whole.
+
+        2. Each was in a hurry to give his opinion and
+        did not take time to form a good one.
+
+        3. Each man was stubborn and probably refused
+        to feel where the others had felt.
+
+        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.
+
+        What lesson for ourselves can we learn from
+        this? It teaches us not to be in a hurry in
+        giving our opinions.
+
+        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.
+
+        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.
+
+        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.
+
+        Here are two lines that you may memorize, as
+        they fit the lesson very well:
+
+        Convince a man against his will,
+        He's of the same opinion still.
+
+
+
+
+THE LORD IS MY SHEPHERD
+
+(Second Reader, page 203)
+
+
+AIM
+
+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.
+
+
+PRESENTATION
+
+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.
+
+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.
+
+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.
+
+        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.
+
+        What does the expression "lie down" infer? A
+        sense of rest and security. The sheep can lie
+        down in the "green pastures" and feel
+        confident that the shepherd is able and willing
+        to protect them from danger.
+
+        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.
+
+        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.
+
+        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".
+
+        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.
+
+        In the next section, whom is the Psalmist
+        addressing? He is speaking to the Lord.
+
+        What words show that he is still using the
+        figure of the shepherd and the sheep? "Through
+        the valley"; "Thy rod and thy staff".
+
+        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.
+
+        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.
+
+        What words show that danger is sometimes close?
+        Death sometimes comes so close that it almost
+        seems to cast a shadow.
+
+        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.
+
+        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.
+
+Here the figure is changed. In the second metaphor God is represented as
+a host with the Psalmist as a guest at a banquet.
+
+        "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").
+
+        In what other way does the Lord show His care
+        for His people? The Psalmist says: "Thou hast
+        anointed my head with oil."
+
+        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.
+
+        How does the Psalmist further picture the
+        goodness of God? He fills our "cup" till it is
+        overflowing.
+
+        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.
+
+        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".
+
+
+
+
+CHAPTER VI
+
+FORM III
+
+
+HIDE AND SEEK
+
+(Third Reader, page 50)
+
+
+AIM
+
+To lead the pupils to appreciate the exquisite music of the language and
+the pathos of the story.
+
+
+PRESENTATION
+
+        What does the poem describe? It describes a
+        father's love for his son.
+
+        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.
+
+        What kind of day is described in the first
+        stanza? A bright and calm June day.
+
+        What things suggest this? Sleeping trees, still
+        winds, wandering clouds, "noonday silence".
+
+        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.
+
+        What are "fleecy clouds"? Clouds that are white
+        and downy.
+
+        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.
+
+        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".
+
+        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.
+
+        What causes "the noonday silence"? The heat of
+        the mid-day has silenced even the songs of the
+        birds. Compare Keats:
+
+        When all the birds are faint with the hot sun
+        And hide in cooling trees.
+
+        How is the silence broken? By the voice of the
+        little boy hunting for his father.
+
+        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.
+
+        Where is his father? In a "leafy nook" in the
+        woods.
+
+        What does the question "Shall I let him pass?"
+        seem to indicate? That his father hesitates for
+        a moment to reveal himself.
+
+        What does he do, however? He gives the boy the
+        signal--a "low, soft whistle". He cannot "let
+        him pass".
+
+        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.
+
+        What feeling exists between the two? A feeling
+        of perfect good-fellowship and affection.
+
+        Explain, "you're it". Your turn to hunt, mine
+        to hide.
+
+        What further rules of the game are given here?
+        (Every boy and girl will know these.)
+
+        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.
+
+        What has happened? The boy is dead.
+
+        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.
+
+        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, 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".
+
+        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.
+
+        What is the "pleasant place"? Paradise.
+
+        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.
+
+        Where is the idea contained in "Far away"
+        expressed before? In "Hidden safe and happy in
+        some pleasant place".
+
+        And where is the thought, "Many a day",
+        repeated? "Long ago he left me, long and long
+        ago."
+
+        How is the father continually reminded of his
+        boy? By the "Birds" and "Flowers"--everything
+        that he loved is charged with memories of him.
+
+        What light is thrown upon the little fellow's
+        interests? He loved the out-of-doors, the
+        things of nature.
+
+        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.
+
+        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.
+
+The reading of this poem by the pupils will show whether they feel its
+joy, its sadness, and its hope.
+
+
+AN APPLE ORCHARD IN THE SPRING
+
+(Third Reader, page 60)
+
+
+AIM
+
+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.
+
+
+PREPARATION
+
+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.
+
+
+PRESENTATION
+
+        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".
+
+        What is his theme in the first three stanzas?
+        The beauty of an apple orchard.
+
+        What, in the last stanza? His memory of it.
+
+        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.
+
+        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.
+
+        Where, in the next two stanzas, is he supposed
+        to be? He is plucking the blossoms and walking
+        under the trees.
+
+        What senses are appealed to in the first
+        stanza? Sight--"seen an apple orchard".
+        Hearing--"mavis sings its story".
+
+        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".
+
+        What senses are appealed to in the third?
+        Sight--"pink cascades". Hearing--"silver
+        brooklets brawling", "cuckoo bird soft
+        calling".
+
+        Show the appropriateness of "hoary", "wealth of
+        promised glory", "pouting", "pink cascades",
+        "silver brooklets brawling", "wonder of the
+        spring", "precious", "tender".
+
+        What Canadian birds could be substituted for
+        the mavis and the cuckoo? The robins, warblers,
+        and goldfinches.
+
+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.
+
+
+LITTLE DAFFYDOWNDILLY
+
+(Third Reader, page 223)
+
+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:
+
+1. Daffydowndilly's dislike of the schoolmaster
+
+2. His decision to run away from school
+
+3. His meeting with the stranger who accompanies him on his journey
+
+4. The haymakers
+
+5. The carpenters
+
+6. The soldiers
+
+7. The merry-makers
+
+8. His discovery of his companion's identity
+
+9. The lesson that he learned.
+
+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:
+
+        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.
+
+        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.
+
+        Let us discover what that hidden meaning is?
+        What does the name "Toil" suggest to you? Work.
+
+        What, then, may Mr. Toil represent? Work.
+
+        And what may his brothers represent? Different
+        kinds of work.
+
+        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".
+
+        What flower did he resemble? The daffodil. The
+        boy's name is another form of the name of the
+        flower.
+
+        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".
+
+        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.)
+
+        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. (3) It makes the world happier. The
+        most miserable people are those who have
+        nothing to do.
+
+        "A very worthy character." Is "character" used
+        in its usual sense here? It usually means what
+        a person really _is_.
+
+        (Distinguish "character" and "reputation".)
+
+        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".
+
+        Why is Mr. Toil represented as being such a
+        disagreeable person? Because, to some people,
+        work has many unpleasant features.
+
+        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.
+
+        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.
+
+        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".
+
+        Why is "trudging" a better word than "walking"?
+        It suggests effort, and hence work.
+
+        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?
+
+        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.
+
+        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.
+
+        Explain "ingenuous disposition". How does
+        Daffydowndilly show this?
+
+        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.
+
+        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.
+
+        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.
+
+        What expression that takes the form of a
+        proverb is used in describing this incident?
+        "To make hay while the sun shone."
+
+        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.
+
+        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.
+
+        Why is Mr. Toil placed even among the dancers?
+        The pursuit of pleasure soon becomes wearisome,
+        and hence toilsome.
+
+        Why is the fiddler represented as a Frenchman?
+        France, as a whole, is reputed to be the gayest
+        and sprightliest of nations.
+
+        What is meant by saying that "those who have
+        known him best think him still more
+        disagreeable than his brothers"? 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.
+
+        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.
+
+        In which, most likely? The incident of the
+        haymakers.
+
+        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.
+
+        Why had Daffydowndilly not recognized his
+        companion before? His voice had been kind and
+        his manner agreeable in the early stages of the
+        journey.
+
+        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.
+
+        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.
+
+        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".
+
+        What is Mr. Toil's "smile of approbation"? The
+        consciousness of work well done.
+
+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 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.
+
+When the pupils reproduce the story, it will be well to adhere to the
+allegorical form, and not attempt to give its significance.
+
+
+MOONLIGHT SONATA
+
+(Third Reader, page 285)
+
+
+AIM
+
+To lead the pupils to appreciate the importance of details in the
+construction of a story.
+
+
+PREPARATION
+
+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.
+
+
+PRESENTATION
+
+        What is the main point in the story? The
+        circumstances under which the musician wrote
+        the "Moonlight Sonata".
+
+        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.
+
+        Where was the scene? In Bonn in Prussia.
+
+        When? On a moonlight winter's evening.
+
+        Who were the two persons? Beethoven and the
+        writer.
+
+        Notice that these three important facts are all
+        told briefly at the beginning.
+
+        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.
+
+        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.
+
+        What happened next? In passing through a narrow
+        street, Beethoven heard some one playing his
+        "Sonata in F".
+
+        What were his feelings? Surprise to hear it in
+        such a place and delight at the excellence of
+        the playing.
+
+        How did he show his feelings? By exclamations,
+        questions, and short sentences.
+
+        What is told in the next three paragraphs? They
+        describe a conversation.
+
+        Who are speaking? A brother and sister.
+
+        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".
+
+        What happens next? Beethoven decides to enter
+        the house.
+
+        How does the writer impress this fact on the
+        reader? By giving the argument between himself
+        and Beethoven.
+
+        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.
+
+        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.
+
+        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.
+
+        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".
+
+        What does this piano show? That their parents
+        had very probably been lovers of music, and the
+        piano may have been an heirloom.
+
+        What comes next? The musician explains the
+        reasons for his intrusion.
+
+        How did the brother look upon it? The young man
+        seemed annoyed at first.
+
+        How was this annoyance overcome? The manner of
+        Beethoven was so comical and pleasant that the
+        young man's annoyance passed away.
+
+        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.
+
+        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.
+
+        What was the next part of the conversation? The
+        young man tells Beethoven that the "piano is so
+        wretched" and they "have no music".
+
+        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.
+
+        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".
+
+        What does this show? What a love of music and
+        wonderful natural ability the young girl
+        possessed.
+
+        What is the next action in the story? Beethoven
+        plays.
+
+        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.
+
+        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".
+
+        What effect had this upon the composer? It
+        changed the current of his thoughts and
+        feelings.
+
+        How did he appear? "His head dropped upon his
+        breast", and "his hands rested upon his knees".
+
+        What is the next action? The young shoemaker
+        asks Beethoven who he is.
+
+        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".
+
+        What were their feelings? Their actions were
+        expressions of their affection and admiration.
+
+        What takes place next? The brother and sister
+        beseech him to play "once more".
+
+        What description is given here? Beethoven's
+        appearance in the moonlight.
+
+        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.)
+
+        Did he agree to play again? Yes, he said he
+        would "improvise a Sonata to the Moonlight".
+
+        What does "improvise" mean? He would compose
+        the music as he played.
+
+        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.
+
+        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.
+
+        Let us examine this description of the
+        "Moonlight Sonata" more closely. What did the
+        moonlight suggest to Beethoven? "Spirits"
+        dancing in the moonlight.
+
+        What does the first movement suggest? The
+        "moonlight" flowing "over the dark earth".
+
+        What does the second movement suggest? The wild
+        dance of the "spirits on the lawn".
+
+        What does the last suggest? "Flight",
+        "uncertainty", "impulsive terror".
+
+        What was the effect upon the listeners? They
+        were left in a state of "wonder" and
+        "emotion".
+
+        What musical terms are used to describe this
+        music? _Interlude_, _triple time_, _agitato
+        finale_.
+
+        Explain them. _Interlude_ is a piece of music
+        played between the main parts. _Triple time_ is
+        time, or rhythm, of three beats, or of three
+        times three beats in a bar.
+
+        Give an example of triple time. It denotes
+        sprightliness, as in the waltz. The _agitato
+        finale_ means the close of the passage with a
+        hurrying movement.
+
+        What takes place next? Beethoven rose quickly,
+        promised to come again, and hurried away.
+
+        Why did he hurry? He wished to write out the
+        "Sonata" while it was still fresh in his mind.
+
+        What does the last short paragraph state? It
+        tells that this was the origin of the
+        "Moonlight Sonata".
+
+        Where is the theme of the whole lesson found?
+        In the last sentence.
+
+        What has the writer told us? He has given us
+        all the circumstances which combined to inspire
+        Beethoven to compose this great work.
+
+RECAPITULATION
+
+        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.
+
+        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.
+
+
+LEAD, KINDLY LIGHT
+
+(Third Reader, page 315)
+
+
+AIM
+
+To aid in the culture of a sensitive response to the spirit and language
+of the prayer.
+
+
+PREPARATION
+
+The teacher should talk with the pupils about a journey through the
+darkness, over dangerous bogs, swollen streams, and beside precipices.
+
+
+PRESENTATION
+
+        Read the poem. In what form is this lesson? A
+        prayer.
+
+        What is the prayer? The traveller asks for the
+        guidance of the Holy Spirit. See notes on this
+        lesson in the Manual on _The Ontario Readers_,
+        pp. 166-7.
+
+        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.
+
+        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".
+
+        What is the main thought of the first stanza?
+        The traveller prays for guidance.
+
+        Of the second stanza? He states that he has not
+        always been willing to ask for guidance, but
+        had relied on his own reason.
+
+        Of the third stanza? He expresses his belief in
+        the power and willingness of God to guide him
+        aright.
+
+        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.
+
+        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.
+
+        Image the "moor", the "fen", the "crag", the
+        "torrent", and "with the morn".
+
+
+RECAPITULATION
+
+Summarize the main thoughts and lead the pupils to bring out clearly the
+comparison between the traveller and the poet.
+
+Give a brief account of the author's life.
+
+
+
+
+LEAD, KINDLY LIGHT
+
+(Third Reader, page 315)
+
+
+AIM
+
+To aid in the culture of a sensitive response to the spirit and language
+of the prayer.
+
+
+TREATMENT
+
+The teacher should read the poem aloud, to awaken respect for the deep
+humility, complete open-mindedness, and growing faith of the poet.
+
+        What may this poem be called? A prayer for
+        guidance.
+
+
+Stanza I
+
+        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.
+
+        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.
+
+        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.
+
+        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.
+
+        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.
+
+Stanza II
+
+        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?
+
+NOTE.--"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.
+
+        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?
+
+        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.
+
+        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.
+
+NOTE.--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.
+
+Stanza III
+
+        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"?
+
+NOTE.--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.
+
+        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"?
+
+        What is the relation of the third stanza to the
+        second? It shows how the author's confidence in
+        the Divine guidance to be granted him during
+        future years is strengthened by the lessons
+        learned in former years.
+
+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.
+
+
+
+
+CHAPTER VII
+
+FORM IV
+
+
+JUDAH'S SUPPLICATION TO JOSEPH
+
+(Fourth Reader, page 51)
+
+INTRODUCTION
+
+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:
+
+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.
+
+2. The return to Canaan; Jacob's refusal to let Benjamin go down into
+Egypt; Judah's becoming surety for his safe return.
+
+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.
+
+GENERAL ANALYSIS
+
+After the selection has been read, the teacher should proceed by some
+such method as the following:
+
+        With what does the passage deal? Judah's
+        entreaty to Joseph for Benjamin's safe return
+        to his father, and the effect it produced.
+
+        Into how many parts is the selection naturally
+        divided? Into three parts, corresponding to the
+        paragraphs as given in the Reader.
+
+        What is the principal idea in each part?
+
+        1. Joseph's decision to keep the offender as a
+        bondman. (Paragraph I)
+
+        2. Judah's supplication to Joseph that Benjamin
+        be permitted to return for his father's sake.
+        (Paragraph II)
+
+        3. Joseph's revelation of his identity, and the
+        provision he makes for the maintenance of his
+        kindred. (Paragraph III)
+
+DETAILED ANALYSIS
+
+Paragraph I
+
+        Why did Joseph's brethren fall "before him on
+        the ground"? Prostration is the Eastern mode of
+        signifying profound respect, complete
+        submission.
+
+        What is the meaning of "divine"? In this sense,
+        to look into the future; to see what is hidden
+        from ordinary people.
+
+        Does Joseph claim explicitly to have this
+        ability? No, he merely suggests it, probably to
+        impress them with the idea of his power.
+
+        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.
+
+        What was Judah's attitude toward the accusation
+        brought against them? He frankly confesses the
+        guilt of all--not of Benjamin only.
+
+        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,
+        and he thinks that this submissive attitude is
+        best calculated to secure mercy at his hands.
+
+        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.
+
+        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.
+
+Paragraph II
+
+        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.
+
+        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.
+
+        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.
+
+        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".
+
+        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.
+
+        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.
+
+        What is the meaning of "thou art even as
+        Pharaoh"? Thou art as mighty as the king of
+        Egypt.
+
+        Explain "thy servant became surety for the lad
+        unto my father". Judah had given Jacob a
+        guarantee that Benjamin should return safely.
+
+        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.
+
+        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.
+
+Paragraph III
+
+        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.
+
+        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.
+
+        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.
+
+        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.
+
+        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.
+
+        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.
+
+        What seems to be Joseph's dominating motive?
+        His love for his father. His repeated
+        references to him show this.
+
+        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.
+
+        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.
+
+        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.
+
+        "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.
+
+        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.
+
+        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.
+
+        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.
+
+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.
+
+
+MERCY
+
+(Fourth Reader, page 89)
+
+THE SETTING OF THE SELECTION
+
+This selection is taken from Shakespeare's play _The Merchant of
+Venice_, 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 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.
+
+ANALYSIS OF THE THOUGHT
+
+        1. The qualities of mercy:
+
+        (1) It is not forced.
+        (2) It is gentle.
+        (3) It carries a twofold blessing.
+        (4) It is the most powerful attribute in men of might.
+        (5) It is divine in its nature.
+
+        2. Where mercy is found:
+
+        (1) It is found "enthroned in the hearts of kings".
+        (2) It is found as a Divine attribute.
+
+        3. The results of showing mercy:
+
+        (1) It adds strength to strength.
+        (2) It makes man God-like.
+
+        Question, in order to develop the analysis of
+        the thought, and write on the board the topics,
+        as given by the pupils.
+
+THE DIFFICULTIES
+
+        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.
+
+        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.
+
+        Becomes the throned monarch. The possession of
+        this quality makes a man more truly kingly than
+        the mere wearing of a crown.
+
+        Sceptre. The symbol of the monarch's authority.
+
+        Temporal power. Power which belongs to this
+        world only.
+
+        Mercy--is enthroned 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.
+
+        Mercy seasons justice. Mercy tempers justice,
+        rendering it less severe and making it more
+        acceptable and pleasing.
+
+        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.
+
+THE ARGUMENT
+
+        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.
+
+        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.
+
+        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:
+
+        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.
+
+        The speech containing this part of the argument
+        is as follows:
+
+                                      Therefore, Jew,
+        Though justice be thy plea, consider this,
+        That, in the course of justice, none of us
+        Should see salvation: We do pray for mercy;
+        And that same prayer doth teach us all to render
+        The deeds of mercy.
+
+        "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.
+
+
+MORNING ON THE LIEVRE
+
+(Fourth Reader, page 228)
+
+ASSIGNMENT
+
+1. The teacher should explain to the pupils that the Lievre 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 Lievre 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.
+
+2. The teacher should ask a few questions which can be answered easily
+from the pupil's own reading of the poem, for example:
+
+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.
+
+
+TREATMENT
+
+The pupils' answers to the questions given when the lesson was assigned
+should be dealt with first.
+
+Stanza I
+
+        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?
+
+NOTE.--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.
+
+        "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 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"?
+
+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.
+
+Stanza II
+
+        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?
+
+        "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".
+
+
+Stanza III
+
+        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?
+
+        Consider the fitness of the words "lazy",
+        "sucks", "bleeds", "sneak", "swept", "splashy".
+
+
+SYNTHESIS OF THE WHOLE BY CORRELATING THE LESSON WITH ART
+
+        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.
+
+        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.
+
+        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.
+
+THE LIFE OF THE AUTHOR
+
+        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 _The Ontario
+        Readers_.
+
+
+DICKENS IN THE CAMP
+
+(Fourth Reader, page 287)
+
+INTRODUCTION
+
+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 _The Ontario Readers_, 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 _David Copperfield's
+First Journey Alone_ and _The Indignation of Nicholas Nickleby_.
+
+
+PREPARATION
+
+When the poem has been read, the teacher should, before beginning the
+analysis, ask a few general questions, such as:
+
+        What has Dickens to do with the story related
+        in the poem? He was the author of the book read
+        in the camp, _Old Curiosity Shop_, 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.)
+
+        What kind of camp is referred to in the poem? A
+        mining camp. The last line of the second stanza
+        suggests this.
+
+        Where is the scene laid? Apparently in
+        California, among the Sierra Nevada Mountains.
+        This is indicated in the first stanza.
+
+        What is the leading idea of the poem? The
+        effect which the reading of a story by Dickens
+        produced in a Western mining camp.
+
+        What are the main sub-topics?
+
+        1. The scene of the incident. Stanzas I-III.
+        2. The reading of the story. Stanzas IV-VII.
+        3. A lament for the death of Dickens. Stanzas VIII-X.
+
+MINUTE ANALYSIS
+
+Stanza I
+
+        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.
+
+        What features give the story a romantic
+        setting? The stately "pines", the singing
+        "river", the "slowly drifting moon", the
+        snow-capped mountains.
+
+        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
+        canyon in the Sierras, towering pines rising
+        round about, the river flowing noisily beneath,
+        and the mountains uplifting their snow-covered
+        peaks in the distance.
+
+        Explain the comparison suggested in the last
+        two lines. The mountain summits, with their
+        everlasting snows, resemble in the distance the
+        minarets, or lofty tapering towers, attached to
+        Mohammedan mosques.
+
+        Which is preferable, "minarets of snow", or
+        "snow-covered peaks"? The former, because it is
+        a more unusual expression and because of what
+        it suggests.
+
+Stanza II
+
+        Why is the camp-fire represented as a rude
+        humorist? It causes faces and forms that are
+        haggard and care-worn to appear fresh and
+        healthy, thus playing a grim jest upon those
+        gathered round it.
+
+        Explain the significance of "fierce" in the
+        last line. In the mad rush for gold, all the
+        worst elements of man's nature are brought to
+        the surface--disregard for the rights of
+        others, contempt for law and order, and even
+        carelessness with regard to human life.
+
+        Consider the fitness of the words "rude",
+        "painted", "race", as used here.
+
+Stanza III
+
+        What indicates the value that the owner places
+        upon this book? The words "treasure" and
+        "hoarded" suggest that it is one of his most
+        highly prized possessions.
+
+        What suggests that this is not the first time
+        the story has been read in camp? The word
+        "anew".
+
+        How does the poet indicate the absorbing
+        interest that the story has for these men? He
+        says the fascination is so great as to draw the
+        attention of these rough miners even from their
+        card-playing. Explain "listless leisure".
+
+Stanza IV
+
+        Explain "the firelight fell". The fire
+        gradually died down, because, absorbed in their
+        interest in the story, the miners forgot to put
+        on fresh fuel.
+
+        Why is 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.
+
+
+Stanzas V and VI
+
+        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.
+
+        What are those fancies? Such is the absorbing
+        interest of the story that even the pines and
+        cedars seem to stand silent to listen, and the
+        fir trees gather closer in order that nothing
+        may escape their hearing.
+
+        What is the poetic element in these fancies?
+        Ascribing to inanimate objects the power of
+        human interest and sympathy.
+
+        What effect does the poet secure by picturing
+        the trees as listeners? It enhances our idea of
+        the absorbing interest of the story.
+
+        Mention any other illustrations of a poet's use
+        of this device of attributing human sympathies
+        to inanimate objects. Many might be given, for
+        example:
+
+        Byron's _Waterloo_:
+
+        And Ardennes waves above them her green leaves,
+          Dewy with Nature's tear-drops, as they pass,
+        Grieving, if aught inanimate e'er grieves,
+          Over the unreturning brave.
+
+        Longfellow's _Evangeline_ describing the song
+        of the mocking-bird:
+
+        Shook from his little throat such floods of delirious music,
+        That the whole air and the woods and waves seemed silent to listen.
+
+        Mrs. Hemans' _The Landing of the Pilgrim
+        Fathers_:
+
+        Amidst the storm they sang, and the stars heard, and the sea.
+
+        What experience of "Nell" is alluded to in the
+        last two lines of stanza V? She and her
+        grandfather had been lost on their journey from
+        London.
+
+        Why does the poet say that the whole camp "lost
+        their way" with "Nell" on English meadows? The
+        narrative was so vivid that the miners, in
+        spirit, accompanied her in her wanderings.
+
+
+Stanza VII
+
+        What is meant by "Their cares dropped from
+        them"? They forgot themselves, their cares and
+        privations, and realized the hopes and fears,
+        the joys and sorrows of "Little Nell".
+
+        How was this result brought about? It was due
+        to the fascination of the story.
+
+        To what does the poet compare this? To some
+        "spell divine", some supernatural influence,
+        which causes their own troubles to disappear
+        for the time being.
+
+        Give, then, the meaning of "o'ertaken as by
+        some spell divine". They are brought, as it
+        were, under the influence of some magician,
+        who, by the exercise of his power, transports
+        them from their own world to that in which
+        "Nell" lives and moves.
+
+        Show the beauty of the comparison in the last
+        two lines of this stanza. As the needles of the
+        pine, through the action of the wind, fall
+        silently and almost unperceived, so the cares
+        of the miners were forgotten in the
+        all-compelling interest of the story.
+
+        Compare Longfellow:
+
+        The cares that infest the day
+          Shall fold their tents like the Arabs,
+        And as silently steal away.
+
+        Why is this comparison more appropriate than,
+        for example, like the leaves from the trees in
+        autumn, or, like snow-flakes from the clouds in
+        winter? Because it is drawn from the objects at
+        hand, not from more remote things--an example
+        of local colour.
+
+        Explain "gusty pine". A pine exposed to the
+        mountain blasts.
+
+
+Stanza VIII
+
+        Who is referred to by "he" in the second line?
+        Dickens--not the reader of the story.
+
+        What is meant by "wrought that spell"? Produced
+        that magic influence.
+
+        State the question in full. Is "he who wrought
+        that spell" lost, too?
+
+        What tale has the "towering pine" to tell? That
+        the mining camp has disappeared.
+
+        And what the "stately Kentish spire"? That
+        Dickens has gone. (Dickens' home was at
+        Gadshill, in Kent.)
+
+        What is the one tale that both have to tell? A
+        tale of disappearance and death.
+
+        Is the question asked in the second line
+        answered? Not directly, though the answer is
+        implied.
+
+        State the substantial meaning of the stanza.
+        The "towering pine" of the Sierras tells of the
+        disappearance of the mining camp; the "stately
+        spire" of Kent tells of the death of Dickens;
+        both bear witness to the potent influence of
+        Dickens.
+
+Stanza IX
+
+        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.
+
+        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".
+
+        What is incense? The odours of spices and gums
+        burned in religious rites.
+
+        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.
+
+        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".
+
+
+Stanza X
+
+        Does the poet mean that the grave of Dickens is
+        literally adorned with oak, holly, and laurel
+        wreaths? No; he is speaking figuratively.
+
+        What do these typify? The tributes of
+        admiration, reverence, and love that are paid
+        to the memory of Dickens in his own country.
+
+        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.
+
+        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.
+
+        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.
+
+        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.
+
+RECONSTRUCTION
+
+        Tell the story of the poem in your own words.
+
+        In a canyon 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 canyon, 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.
+
+        One of the miners, a mere youth, opened his
+        pack, drew therefrom a copy of Dickens' _Old
+        Curiosity Shop_, and began 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".
+
+        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.
+
+
+DOST THOU LOOK BACK ON WHAT HATH BEEN
+
+(Fourth Reader, page 289)
+
+
+PREPARATION
+
+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".
+
+INTRODUCTION
+
+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 _In Memoriam_.
+
+
+PURPOSE
+
+The purpose of this lesson should be in harmony with the purpose of _In
+Memoriam_. 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.
+
+ASSIGNMENT
+
+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:
+
+        1. What does the first line show regarding
+        Tennyson's present thought of Hallam?
+
+        2. What stanzas describe the progress of the
+        man who reminds him of Hallam?
+
+        3. What is described in the remaining stanzas?
+
+        4. What lines suggest something about this
+        man's feelings toward the scenes and friends of
+        his youth?
+
+        5. In what respect, according to the last
+        stanza, does Tennyson show that one of these
+        old-time friends is like himself?
+
+
+CLASS WORK
+
+        What does Tennyson describe in the first four
+        stanzas?
+
+
+Stanza I
+
+        Why does he call the man "divinely gifted"?
+        Because he has had great natural gifts.
+
+        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.)
+
+        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.
+
+Stanza II
+
+        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
+        _[OE]none_ indicate that the poet would say
+        must be overcome first?
+
+        Self-reverence, self-knowledge, self-control,
+        These three alone lead life to sovereign power.
+
+        State in your own words, the full meaning of
+        "breaks his birth's invidious bar".
+        NOTE.--"Invidious" means likely to incur, or
+        bring on envy, ill-will, or hatred.
+
+        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.)
+
+        What is meant by "blows of circumstance"? What
+        were some of these difficulties?
+
+        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?
+
+        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?
+
+        State briefly the relation of the thought of
+        this stanza to that of the first.
+
+
+Stanza III
+
+        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".
+
+        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?
+
+        "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?
+
+        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.
+
+        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?
+
+        State in a single sentence the thought of this
+        stanza.
+
+Stanza IV
+
+        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?
+
+        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 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?
+
+Stanza V
+
+        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"?
+
+Stanza VI
+
+        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?
+
+        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?
+
+        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"?
+
+        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"?
+
+
+Stanza VII
+
+        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?
+
+        Compare the farmer's query in the last line
+        with that in the first line of the poem.
+
+SYNOPSIS OF DETAILS
+
+        Under the following heads, point out the
+        resemblance of Hallam to the statesman and of
+        Tennyson to the farmer:
+
+        1. Early friendship
+        2. Their separation
+        3. Progress since parting
+        4. Memories of each other.
+
+        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.
+
+
+WATERLOO
+
+(Fourth Reader, page 311)
+
+
+AIM
+
+To lead the pupils to appreciate the music and imagery of the poem.
+
+
+PREPARATION
+
+        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 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.)
+
+
+PRESENTATION
+
+Read the poem to the pupils in such a way as to make vivid the scenes
+depicted.
+
+
+DEVELOPMENT
+
+What has the poet described in this poem? Some of the events preceding
+the battle.
+
+What are the main pictures found in each stanza? (Write on the
+black-board.)
+
+1. The ball
+
+2. The sound of the enemy's cannon
+
+3. The Duke of Brunswick
+
+4. The farewells
+
+5. The muster
+
+6. The gathering of the Highlanders
+
+7. The march to battle
+
+8. Summary of pictures and the result.
+
+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.
+
+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.
+
+Consider the elements which contribute to the various scenes:
+
+
+Stanza I
+
+        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.
+
+Stanza II
+
+        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".
+
+
+Stanza III
+
+        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.
+
+Stanza IV
+
+        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."
+
+Stanza V
+
+        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.
+
+Stanza VI
+
+        The gathering of the Highlanders. Does the poet
+        address the ear or the eye in this description?
+        Only the sound of 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.
+
+Stanza VII
+
+        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".
+
+Stanza VIII
+
+        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 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!"
+
+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.
+
+
+THREE SCENES IN THE TYROL
+
+(Fourth Reader, page 336)
+
+
+AIM
+
+To lead the pupils to appreciate the thrilling pictures and to
+understand the means by which the author has produced this vividness.
+
+
+PREPARATION
+
+The pupils have been required to read this lesson at their seats or at
+home.
+
+        Where is the Tyrol situated? It is a province
+        in the Austrian Alps directly east of
+        Switzerland. (Show its position on the map.)
+
+        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.
+
+        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.
+
+
+PRESENTATION
+
+
+I
+
+        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.
+
+        What does the author ask you, as the imaginary
+        spectator, to do? To throw your head back and
+        look upward.
+
+        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.
+
+        What do you see? A hunter in pursuit of a
+        chamois.
+
+        Describe this hunter. He is lofty and
+        chivalrous in his bearing.
+
+        What happens? He is bounding on after a chamois
+        toward the edge of a precipice, when he loses
+        his footing and falls.
+
+        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".
+
+        Any other way? Yes, he utters exclamations,
+        "Mark!" "Ah!" Every act is told in the form of
+        an exclamation.
+
+        "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.
+
+        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.
+
+        Does any one else see him? Yes, the Abbot, or
+        head of a neighbouring monastery.
+
+        Why does the author mention him? To indicate
+        that, apparently, human aid could not save the
+        Emperor.
+
+        What has been told us in this first paragraph?
+        The peril of the Emperor.
+
+        What is told us in the next? His rescue.
+
+        Who else sees the danger? Zyps of Zirl.
+
+        Who is he? A famous hunter and outlaw.
+
+        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.
+
+        Why does he utter the cry? To encourage the
+        Emperor and let him know there is some one
+        coming to his rescue.
+
+        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.
+
+        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.
+
+        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.
+
+        How does the author show his relief from the
+        strain of the last few moments? His sentences
+        are now longer and smoother.
+
+        How was this event afterwards regarded? The
+        peasants maintained that an angel came down to
+        their master's rescue.
+
+        What does the author seem to think? That his
+        rescue was due to the interposition of
+        Providence.
+
+        What is told in the next paragraph? Zyps'
+        reward.
+
+        What did he receive? He was created a Count and
+        received a pension from the Emperor.
+
+        What was his title? "Count Hallooer von
+        Hohenfeldsen."
+
+        To what does this refer? To his "wild cry" from
+        the high peaks, when he saw the Emperor in
+        danger.
+
+        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.
+
+
+II
+
+        Whom do you see in the second vision? The
+        Emperor Charles V. pursued by his enemies.
+
+        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.
+
+        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.
+
+        What is given in the first paragraph? A
+        description of the storm.
+
+        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.
+
+        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".
+
+        Notice all the details the author has made use
+        of to convey the idea of terror and danger.
+
+        What is described in the next paragraph? The
+        passage of the litter through the dark gorge.
+
+        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.
+
+        What words show you the difficulty of their
+        situation? "Hurried", "crowding", "crushing",
+        "steep and narrow gorge", "suppressed voices",
+        "fitful glancing of torches", "anxiously
+        shielded", "melee", "struggle onward".
+
+        Why are their voices suppressed? As a natural
+        result of their perilous position.
+
+        Why do they keep their torches burning? To find
+        their way through the enemy's country amid the
+        dangers by which they are surrounded.
+
+        What do the lamps look like? A "constellation"
+        of stars moving on in the same relative
+        position.
+
+        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.
+
+        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.
+
+        Who is described in the third paragraph of this
+        vision? The Emperor himself.
+
+        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.
+
+        What is first mentioned in connection with him?
+        His firmly set teeth.
+
+        What does this indicate? His great physical
+        pain, and his determination of character.
+
+        What is mentioned next? His age; he is but
+        fifty-three, but his wrinkles are deep and his
+        hair turning gray.
+
+        What are next described? His forehead, his
+        nose, his eye, his underlip.
+
+        Why does the author picture these features in
+        such detail? To show the character of the
+        Emperor.
+
+        What are we led to infer are some of his
+        characteristics? A strong intellect, imperious
+        manner, cruelty, and stubborn pride.
+
+        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".
+
+        Where does the author place the blame for his
+        present sufferings? On Charles himself, whose
+        sufferings, humiliation, and ultimate
+        deliverance were perhaps intended as a
+        discipline to lead him to repent for past
+        cruelties.
+
+        What is described in the last paragraph of this
+        scene? The escape.
+
+        Who is first mentioned? The pursuer, Maurice of
+        Saxony.
+
+        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.
+
+        Who wins in this race? Charles eludes his
+        pursuer.
+
+        To whom should he show gratitude for his
+        escape? To Providence.
+
+        Does he acknowledge God's protection? No, he
+        gives all the credit to his "lucky star".
+
+        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.
+
+
+III
+
+        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.
+
+        Where is the scene laid? In the Tyrol, beside
+        the River Inn.
+
+        What is described in the first paragraph?
+        Bonaparte's decree that the strongholds of his
+        enemies--the Tyrolese warrior hunters--shall be
+        destroyed.
+
+        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.
+
+        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.
+
+        Who advised Napoleon? "His own will is his sole
+        adviser." He ruled arbitrarily, consulting no
+        one.
+
+        What does he do in this case? He sends ten
+        thousand French and Bavarian soldiers to crush
+        the Tyrolese.
+
+        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.
+
+        What does the second paragraph describe? The
+        army entering the narrow gorge in the
+        mountains.
+
+        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.
+
+        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.
+
+        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.
+
+        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.
+
+        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.
+
+        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.
+
+        What is described in the next paragraph? The
+        "voice" from the "heights".
+
+        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".
+
+        What is the subject of the next paragraph? The
+        destruction of the entire army.
+
+        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.
+
+        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".
+
+        Notice the contrast of this paragraph with the
+        picture in the second paragraph of this vision
+        of the gallant invading army.
+
+        What is the subject of the last paragraph? The
+        reflections of the author.
+
+        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".
+
+        How has he emphasized this? By the use of
+        exclamation, question, ellipses, and the
+        mention of the "serpent" as the symbol of evil.
+
+        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.
+
+        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.
+
+SUMMARY
+
+        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.
+
+        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.
+
+        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.
+
+The pupils should finally read the lesson aloud, to show how they have
+appreciated the story.
+
+
+
+
+CHAPTER VIII
+
+SUPPLEMENTARY READING
+
+
+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.
+
+
+SOUTH-WEST WIND, ESQ.
+
+(Third Reader, page 86)
+
+        You have read the story of South-West Wind,
+        Esq., in the Third Reader.
+
+        Who were the persons mentioned in this story?
+        Three brothers, Schwartz, Hans, and Gluck.
+
+        What were their characters? Schwartz and Hans
+        were rich but very miserly; they were
+        quarrelsome, drunken, and cruel. Gluck was
+        kind, polite, and unselfish.
+
+        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.
+
+        When the older brothers returned what did they
+        do? They tried to punish Gluck and to force the
+        stranger out of the house.
+
+        What happened? They were hurled to the ground
+        by the stranger, who was much stronger than
+        they supposed.
+
+        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.
+
+        Who was the stranger? He left his card with
+        "South-West Wind, Esq." written on it.
+
+        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.
+
+CHAPTER II
+
+        Read the second chapter of this longer story
+        called _The King of the Golden River_.
+
+        Give me the main points in this chapter?
+
+        1. The valley was turned into a desert.
+        2. The brothers became goldsmiths.
+        3. The mug
+        4. Gluck's wish that the river would turn into gold
+        5. The voice from the furnace
+        6. The dwarf
+        7. The King told Gluck how the river could be turned into gold.
+
+        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.
+
+        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.
+
+        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.
+
+        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".
+
+        What words suggest colours? "Crimson",
+        "purple", "fiery", "pure gold", "purple
+        rainbow", "flushing", "fading".
+
+        What did this picture suggest to Gluck? It made
+        him wish that the river were really gold.
+
+        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.
+
+        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.
+
+        How did the King show his gratitude? He told
+        Gluck how the river could be turned into gold.
+
+        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.
+
+CHAPTER III
+
+        What are the main facts in this chapter?
+
+        1. The brothers returned and beat Gluck because the mug
+           was a total loss.
+        2. Schwartz and Hans fought.
+        3. Schwartz was arrested.
+        4. Hans stole a cupful of holy water.
+        5. Hans taunted Schwartz.
+        6. Hans attempted to change the river to gold.
+          (1) The dog;
+          (2) the fair child;
+          (3) the old man.
+        7. Hans was changed into the Black Stone.
+
+        What characteristics of the older brothers are
+        shown in this chapter? They were drunken,
+        brutal, quarrelsome, dishonest, malicious, and
+        selfish.
+
+        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.
+
+        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".
+
+        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.
+
+        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.
+
+CHAPTER IV
+
+        What is the main theme of this chapter?
+        Schwartz's attempt to turn the river into gold.
+
+        What are the chief incidents recorded?
+
+        1. Gluck paid Schwartz's fine.
+        2. Schwartz refused water to the child, the old man,
+           and to the spirit of Hans.
+        3. He was also changed to a Black Stone.
+
+        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".
+
+CHAPTER V
+
+        What is the theme in the last chapter? Gluck's
+        attempt to turn the river into gold.
+
+        Give the main incidents.
+
+        1. The priest gave him holy water.
+        2. He gave water to the aged man and the child.
+        3. He gave his last drop of water to the dying dog.
+        4. The dog was transformed into the King of the Golden River.
+        5. He gave Gluck three drops of dew.
+        6. Gluck cast the water into the river.
+        7. Treasure Valley again became a fertile garden, and Gluck
+           became very rich.
+
+        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".
+
+        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.
+
+        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".
+
+        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.
+
+        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.
+
+
+A CHRISTMAS CAROL
+
+(Fourth Reader, page 39)
+
+The pupils have read _Scrooge's Christmas_, in the Fourth Reader. They
+have also read the synopsis of _A Christmas Carol_ at the beginning of
+the lesson. If they have read the first four _staves_ 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.
+
+Stave I
+
+        What is the title of this work? A Christmas
+        Carol.
+
+        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.
+
+        What does a stave mean? It keeps up the idea of
+        a carol. Each chapter is called a stave, or
+        stanza of the carol.
+
+        What is the title of the first stave? "Marley's
+        Ghost."
+
+        Who was Marley? He had been Scrooge's partner,
+        but was now dead. He had been as miserly as
+        Scrooge himself.
+
+        Where is the scene laid? In London.
+
+        When? On Christmas Eve.
+
+        Describe Scrooge. "Oh but he was a tight-fisted
+        hand ... one degree at Christmas". (See Stave I
+        of _A Christmas Carol_.)
+
+        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.
+
+        What is the first incident? Scrooge's treatment
+        of his nephew, who has invited him to dinner on
+        Christmas Day.
+
+        What does this incident show? His churlishness,
+        and his contempt for those who spend money
+        freely.
+
+        What is the next incident? His refusal to
+        subscribe to any charities in the city.
+
+        What comes next? The account of his treatment
+        of Bob Cratchit.
+
+        What does this show? His meanness and tyranny.
+
+        When he returns from his supper, what does he
+        encounter? Marley's Ghost.
+
+        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.
+
+        What does it promise to do to Scrooge? It
+        promises to send him "Three Spirits".
+
+        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".
+
+Stave II
+
+        What is described in this chapter? The visit of
+        the first spirit.
+
+        What was it? The "Ghost of Christmas Past".
+
+        Read me a description of it. "It was a strange
+        figure ... like a child ... which it held under
+        its arm".
+
+        What does the spirit do? It forces Scrooge to
+        accompany it and shows him former Christmas
+        scenes in his life.
+
+        What are these scenes? Scrooge as a solitary
+        boy at school; his boyhood stories, _Ali Baba_
+        and _Robinson Crusoe_; his sister; Fezziwig's
+        ball; Scrooge's sweetheart; scenes in her
+        married life.
+
+        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.
+
+        What are the best descriptions? Fezziwig's
+        ball, and the remembrance of the scenes in _Ali
+        Baba_.
+
+Stave III
+
+        What is told in this chapter? The visit of the
+        second spirit.
+
+        Who was it? The "Spirit of Christmas Present".
+
+        What does it show Scrooge? Scenes of Christmas
+        shopping; Christmas out-of-doors; the Grocers;
+        Bob Cratchit's 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".
+
+        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.
+
+        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.
+
+        Select any examples of pathos. The references
+        to Tiny Tim.
+
+        Select and read the best descriptions. The
+        grocery stores, the fruit stores, the goose,
+        the pudding.
+
+Stave IV
+
+        What is told in this chapter? The visit of the
+        third spirit.
+
+        What was it? The "Ghost of Christmas Yet to
+        Come".
+
+        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.
+
+        Had these scenes actually taken place? No, but
+        they will be realized if Scrooge does not
+        change his manner of thinking and living.
+
+        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".
+
+        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.
+
+
+Stave V
+
+        What does this chapter relate? How Scrooge
+        actually kept Christmas Day.
+
+        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.
+
+        This chapter should be studied closely. Who
+        wrote this story? Charles Dickens, an English
+        novelist.
+
+        Do you know any other good stories by the same
+        author? _David Copperfield_, _The Pickwick
+        Papers_, _Nicholas Nickleby_.
+
+        Yes, we have had extracts in the Readers from
+        these books.
+
+        What lessons are they? _The Pickwick Club on
+        the Ice_, in the _Third Book_; _David
+        Copperfield's First Journey Alone_, and _The
+        Indignation of Nicholas Nickleby_ in the
+        _Fourth Book_.
+
+        Some day you must read these stories. _David
+        Copperfield_ tells us a great deal about
+        Dickens' early days. _The Pickwick Papers_ is
+        full of humour in scenes such as that depicted
+        in _The Pickwick Club on the Ice_, and has some
+        fine characters in it, and _Nicholas Nickleby_
+        gives a vivid picture of the brutality existing
+        in some schools in England at the time the book
+        was written.
+
+
+THE LADY OF THE LAKE
+
+(Fourth Reader, page 270)
+
+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.
+
+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.
+
+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.
+
+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.
+
+CANTO I
+
+        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:
+
+        What are the main divisions of the first canto?
+
+        1. The chase
+        2. Description of the Trossachs
+        3. Description of Ellen Douglas
+        4. Description of Fitz-James.
+
+        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.
+
+        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.
+
+        This description of the Trossachs made the spot
+        famous, and ever since it has been a favourite
+        resort of tourists.
+
+
+CANTO II
+
+        The Island
+
+        What are the divisions of this canto?
+
+        1. The departure of the huntsmen
+        2. Description of the minstrel
+        3. The story of Roderick's love
+        4. Return of the Clan-Alpine
+        5. Malcolm Graeme
+        6. The quarrel.
+
+        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.
+
+CANTO III
+
+        The Gathering
+
+        What are the main divisions of this canto?
+
+        1. Roderick's determination to renew hostilities
+        2. Brian the Hermit
+        3. The ceremony
+        4. The message of the Fiery Cross
+        5. Roderick's devotion to Ellen
+        6. The gathering.
+
+        What are the best passages in this canto?
+
+        1. Description of Loch Katrine
+        2. The coronach
+        3. Hymn to the Virgin.
+
+        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.
+
+        What insight into the life of the clansmen is
+        furnished in this canto?
+
+        1. The superstition of the Highlanders. This is shown in
+           Brian's faith and in the weird ceremonies in connection
+           with the Fiery Cross.
+        2. The method of mustering the clans by means of the message
+           of the Fiery Cross.
+        3. Their funerals and weddings.
+
+        Notice also the vigour of the stanzas that
+        describe the flight of Malise.
+
+CANTO IV
+
+        The Prophecy
+
+        Give the main themes in this canto.
+
+        1. Return of Malise
+        2. Norman's guard
+        3. The augury and the prophecy
+        4. Return of Fitz-James to Ellen Douglas
+        5. The ring
+        6. Blanche of Devan
+        7. Death of Murdoch
+        8. Fitz-James meets Roderick Dhu.
+
+        What are the best stanzas? The ballad of "Alice
+        Brand".
+
+        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.
+
+        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.
+
+        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
+        allusions in the lesson in the _Fourth Book_,
+        for example: "a braid of your fair lady's
+        hair", and "There lies red Murdoch stark and
+        stiff".
+
+        What characteristics of Roderick are shown in
+        the canto?
+
+        1. His care for the defenceless in his clan
+        2. His cruelty to his enemies
+        3. His hospitality
+        4. His superstition.
+
+        What was the prophecy?
+
+        Who spills the foremost foeman's life
+        That party conquers in the strife.
+
+        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".
+
+CANTO V
+
+        The Combat
+
+        Give the main events in this canto.
+
+        1. Roderick guides Fitz-James to neutral ground
+        2. The combat
+        3. Douglas surrenders
+        4. The games
+        5. The popularity of Douglas.
+
+        What is the most striking part of this canto?
+        The story of the combat.
+
+        Why? It is a fine example of Scottish bravery
+        and chivalry.
+
+        What Scottish characteristics are found in this
+        canto?
+
+        1. The character of Scottish games in the city
+        2. The fickleness of the mob
+        3. The chivalrous conduct of the combatants.
+
+
+CANTO VI
+
+        The Guard-room
+
+        What are the main themes in this canto?
+
+        1. The rough soldiers
+        2. Ellen presents the ring
+        3. The battle of Beal' an Duine
+        4. Death of Roderick
+        5. Ellen's request to James
+        6. Happiness of the Douglases and of Malcolm Graeme
+        7. Farewell to the Harp.
+
+        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.
+
+        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.
+
+        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.
+
+        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.
+
+        Which cantos do you consider are the best? The
+        first and the fifth.
+
+        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.
+
+
+
+
+CHAPTER IX
+
+SELECTIONS FOR MEMORIZATION
+
+
+        Little deeds of kindness,
+          Little words of love,
+        Make our earth an Eden,
+          Like the heaven above.
+                                         --BREWER
+
+
+        God make my life a little light,
+          Within the world to glow,--
+        A little flame that burneth bright.
+          Wherever I may go.
+
+
+        The world is so full of a number of things,
+        I'm sure we should all be as happy as kings.
+                                         --STEVENSON
+
+
+        Be kind and be gentle
+          To those who are old,
+        For dearer is kindness
+          And better than gold.
+
+
+        Politeness is to _do_ and _say_
+        The kindest thing in the kindest way.
+
+
+        Two ears and only one mouth have you;
+          The reason, I think, is clear:
+        It teaches, my child, that it will not do
+          To talk about all you hear.
+
+
+        Whene'er a task is set for you,
+          Don't idly sit and view it,
+        Nor be content to wish it done;
+          Begin at once and do it.
+
+
+        Work while you work, play while you play;
+          This is the way to be cheerful and gay.
+        All that you do, do with your might;
+          Things done by halves are never done right.
+                                         --STODART
+
+
+        Five things observe with care,--
+        Of whom you speak, to whom you speak
+        And how, and when, and where.
+                                         --GRAY
+
+
+        See that little sunbeam
+          Darting through the room,
+        Scattering the darkness,
+          Lighting up the gloom.
+        Let me be a sunbeam
+          Everywhere I go,
+        Making glad and happy
+          Every one I know.
+
+
+        Sing a song of seasons!
+          Something bright in all!
+        Flowers in the summer,
+          Fires in the fall!
+                                         --STEVENSON
+
+
+        Do all the good you can,
+        In all the ways you can,
+        To all the people you can,
+        Just as long as you can.
+
+
+        When you come to think of it,
+          The day is what you make it;
+        And whether good, or whether bad,
+          Depends on how you take it.
+
+
+        Slumber, slumber, little one, now
+        The bird is asleep in his nest on the bough;
+        The bird is asleep, he has folded his wings,
+        And over him softly the dream fairy sings:
+
+
+        Lullaby, lullaby--lullaby!
+          Pearls in the deep--
+        Stars in the sky,
+          Dreams in our sleep;
+            So lullaby!
+                                         --F. D. SHERMAN
+
+
+        Dare to be true; nothing can need a lie.
+
+
+        The face you wear, the thoughts you bring,
+          A heart may heal or break.
+
+
+        He who is good at making excuses is seldom good
+        for anything else.--FRANKLIN
+
+
+        To _be_ good is the mother of to _do_ good.
+
+
+
+        I'll not willingly offend,
+          Nor be easily offended;
+        What's amiss I'll try to mend,
+          And endure what can't be mended.
+
+
+        A man of words and not of deeds,
+        Is like a garden full of weeds;
+        For when the weeds begin to grow,
+        Then doth the garden overflow.
+
+
+        Little children, you must seek
+          Rather to be good than wise,
+        For the thoughts you do not speak
+          Shine out in your cheeks and eyes.
+                                         --ALICE CARY
+
+
+        To tell a falsehood is like the cut of a sabre;
+        for though the wound may heal, the scar of it
+        will remain.--SADI
+
+
+        All that's great and good is done
+          Just by patient trying.
+
+
+        'Tis a lesson you should heed,
+          Try, try again;
+        If at first you don't succeed,
+          Try, try again.
+
+
+        If a task is once begun,
+        Never leave it till it's done;
+        Be the labour great or small,
+        Do it well, or not at all.
+
+
+        For every evil under the sun,
+        There is a remedy, or there is none.
+        If there be one, try to find it;
+        If there be none, never mind it.
+
+
+        There are many flags in many lands,
+          There are flags of every hue,
+        But there is no flag in any land
+          Like our own Red, White, and Blue.
+
+
+        The inner side of every cloud
+          Is always bright and shining;
+        And so I turn my clouds about,
+        And always wear them inside out,
+          To show the silver lining.
+
+
+        I would not hurt a living thing,
+          However weak or small;
+        The beasts that graze, the birds that sing,
+          Our Father made them all.
+
+
+        Little drop of dew,
+          Like a gem you are;
+        I believe that you
+          Must have been a star.
+        When the day is bright,
+          On the grass you lie;
+        Tell me then, at night
+          Are you in the sky?
+                                         --F. D. SHERMAN
+
+
+        How beautiful is the rain!
+          After the dust and the heat,
+          In the broad and fiery street,
+        In the narrow lane,
+        How beautiful is the rain!
+                                         --LONGFELLOW
+
+
+        In spring, when stirs the wind, I know
+        That soon the crocus buds will show;
+        For 'tis the wind who bids them wake
+        And into pretty blossoms break.
+                                         --F. D. SHERMAN
+
+
+        O, pause and think for a moment
+          What a desolate land it would be,
+        If, east or west, the eye should rest
+          On not a single tree!
+                                         --GRAY
+
+
+        It was only a sunny smile,
+        And little it cost in the giving,
+          But it scattered the night,
+          Like the morning light,
+        And made the day worth living.
+
+
+        Keep pushing--'tis wiser
+          Than sitting aside,
+        And dreaming and sighing,
+          And waiting the tide.
+        In life's earnest battle,
+          They only prevail
+        Who daily march onward,
+          And never say "fail".
+
+
+        One step and then another,
+          And the longest walk is ended.
+        One stitch and then another,
+          And the largest rent is mended.
+        One brick and then another,
+          And the highest wall is made.
+        One flake and then another,
+          And the deepest snow is laid.
+
+
+        Speak the truth and speak it ever,
+          Cost it what it will.
+        He who hides the wrong he did,
+          Does the wrong thing still.
+
+
+        Whichever way the wind doth blow,
+        Some heart is glad to have it so;
+        Then blow it east or blow it west,
+        The wind that blows, that wind is best.
+
+
+        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.
+
+
+        I smile, and then the Sun comes out;
+        He hides away whene'er I pout;
+        He seems a very funny sun,
+        To do whatever he sees done.
+        And when it rains he disappears;
+        Like me, he can't see through the tears.
+        Now isn't that the reason why
+        I ought to smile and never cry?
+                                         --F. D. SHERMAN
+
+
+        If fortune, with a smiling face,
+          Strew roses in our way,
+        When shall we stoop to pick them up?
+          To-day, my friend, to-day.
+        If those who've wronged us own their faults,
+          And kindly pity pray,
+        When shall we listen and forgive?
+          To-day, my friend, to-day.
+
+
+        Are you almost disgusted with life, little man?
+          I will tell you a wonderful trick
+        That will bring you contentment if anything can--
+          Do something for somebody, quick.
+        Are you very much tired with play, little girl?
+          Weary, discouraged, and sick?
+        I'll tell you the loveliest game in the world--
+          Do something for somebody, quick.
+
+
+          "Were it not for me",
+          Said a chickadee,
+        "Not a single flower on earth would be;
+        For under the ground they soundly sleep,
+        And never venture an upward peep,
+          Till they hear from me,
+          Chickadee-dee-dee!"
+                                         --SIDNEY DAYRE
+
+
+        The world at noon belongs to the sun,
+          At eve to the home-coming herds;
+        But while the dew is early--very, very early--
+          The world belongs to the birds.
+        As still as in a dream lie the meadows and the stream,
+          'Neath the soaring and outpouring of the birds.
+                                         --WETHERALD
+
+
+        I know, blue modest violets,
+          Gleaming with dew at morn--
+        I know the place you come from,
+          And the way that you are born!
+        When God cuts holes in Heaven,
+          The holes the stars look through,
+        He lets the scraps fall down to earth,--
+          The little scraps are you.
+
+
+        The blossoms, down in the meadow,
+          In the gardens, and woods, and the hills,
+        Are singing, too, with their playmates,
+          The birds, and the breezes, and rills.
+        And I think, if you listen closely,
+          In the sweet glad days of spring,
+        With the song of the brook, the breeze, and the birds,
+          You can hear the flowers sing.
+                                         --MOOREHOUSE
+
+
+        Good-night, little shivering grasses!
+          'Tis idle to struggle and fight
+        With tempest and cruel frost-fingers;
+          Lie down, little grasses, to-night!
+        Good-night, little shivering grasses!
+          Lie down 'neath the coverlet white,
+        And rest till the cuckoo is singing;
+          Good-night, little grasses, good-night!
+                                         --_A November Good-night._--BEERS
+
+
+        Daffydowndilly came up in the cold,
+        Through the brown mould,
+        Although the March breezes blew keen on her face,
+        Although the white snow lay on many a place.
+        I can't do much yet, but I'll do what I can.
+        It's well I began!
+        For unless I can manage to lift up my head,
+        The people will think that the Spring herself's dead.
+        O Daffydowndilly, so brave and so true,
+        I wish all were like you!
+        So ready for duty in all sorts of weather,
+        And holding forth courage and beauty together.
+                                         --WARNER
+
+
+        One to-day is worth two to-morrow's.--POOR
+        RICHARD'S ALMANAC
+
+
+        The future is purchased by the present.--SAMUEL
+        JOHNSON
+
+
+        The sober second thought is always essential,
+        and seldom wrong.--MARTIN VAN BUREN
+
+
+        Recollect that trifles make perfection, and
+        that perfection is no trifle.--MICHAEL ANGELO
+
+
+        Have more than thou showest,
+        Speak less than thou knowest.
+                                         --SHAKESPEARE
+
+
+        Sin has many tools, but a lie is the handle
+        that fits them all.--O. W. HOLMES
+
+
+        Let all the end thou aim'st at be thy country's,
+        Thy God's and truth's.
+                                         --SHAKESPEARE
+
+
+        Our greatest glory is not in never falling, but
+        in rising every time we fall.
+
+
+        Learn to obey and you will know how to
+        command.--LUBBOCK
+
+
+        One who is contented with what he has done will
+        never become famous for what he will do.
+
+
+        Be not simply good, be good for
+        something.--THOREAU
+
+
+        The better part of valour is
+        discretion.--SHAKESPEARE
+
+
+        They that touch pitch will be
+        defiled.--SHAKESPEARE
+
+
+        Ill blows the wind that profits
+        nobody.--SHAKESPEARE
+
+
+        Honour and shame from no condition rise;
+        Act well your part, there all the honour lies.
+                                         --POPE
+
+
+        True happiness consists not in the multitude of
+        friends, but in their worth and choice.--BEN
+        JONSON
+
+
+        One "do" is worth a thousand "don'ts" in the
+        destruction of evil or the production of
+        good.--HUGHES
+
+
+        I look upon the simple and childish virtues of
+        veracity and honesty as the root of all that is
+        sublime in character.--EMERSON
+
+
+        Remember that though it is a good thing to be a
+        great man, it is a great thing to be a good
+        man.
+
+
+        Striving not to be rich or great,
+        Never questioning fortune or fate,
+        Contented slowly to earn, and wait.
+
+
+        In the workshop, on the farm,
+          Or wherever you may be,
+        From your future efforts, boys,
+          Comes a nation's destiny.
+
+
+        It is a low benefit to give me something; it is
+        a high benefit to enable me to do something of
+        myself.--EMERSON
+
+
+        Greatly begin! though thou hast time
+        But for a line, be that sublime,--
+        Not failure, but low aim, is crime.
+                                         --LOWELL
+
+
+        Never give up! 'Tis the secret of glory;
+          Nothing so wise can philosophy preach;
+        Look at the lives that are famous in story;
+          "Never give up" is the lesson they teach.
+
+
+        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.--EURIPIDES
+
+
+        Do what conscience says is right;
+          Do what reason says is best;
+        Do with all your mind and might;
+          Do your duty, and be blest.
+
+
+        What men want is not talent, it is purpose; in
+        other words, not the power to achieve, but the
+        will to labour.--BULWER-LYTTON
+
+
+        So nigh is grandeur to our dust,
+          So near is God to man,
+        When Duty whispers low, _Thou must_,
+          The soul replies _I can_.
+                                         --EMERSON
+
+
+        Habit is a cable; we weave a thread of it each
+        day, and it becomes so strong we cannot break
+        it.--HORACE MANN
+
+
+        Ponder well, and know the right,
+        Onward then, with all thy might!
+        Haste not! years can ne'er atone
+        For one reckless action done.
+                                         --GOETHE
+
+
+        Our grand business is not to see what lies
+        dimly at a distance, but to do what lies
+        clearly at hand.--CARLYLE
+
+
+ Slight is the sting of his trouble whose winnings are less than his worth:
+ For he who is honest is noble, whatever his fortune or birth.
+                                         --ALICE CARY
+
+
+        Press on! There's no such word as fail!
+        Push nobly on! The goal is near!
+        Ascend the mountain! Breast the gale!
+        Look upward, onward--never fear!
+
+
+        He who has a thousand friends
+          Has not a friend to spare;
+        And he who has one enemy
+          Will meet him everywhere.
+                                         --OMAR KHAYYAM
+
+
+        Work for some good, be it ever so slowly;
+        Cherish some flower, be it ever so lowly;
+        Labour!--all labour is noble and holy.
+                                         --FRANCES S. OSGOOD
+
+
+        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.--POPE
+
+
+        Tender-handed stroke a nettle,
+          And it stings you for your pains;
+        Grasp it like a man of mettle,
+          And it soft as silk remains.
+
+
+        Fill up each hour with what will last;
+          Buy up the moments as they go;
+        The life above, when this is past,
+          Is the ripe fruit of life below.
+
+
+        New occasions teach new duties; time makes ancient good uncouth;
+        They must upward still and onward, who would keep abreast of Truth.
+                                         --LOWELL
+
+
+        The heights by great men reached and kept,
+          Were not attained by sudden flight;
+        But they, while their companions slept,
+          Were toiling upward in the night.
+                                         --LONGFELLOW
+
+
+        Nothing useless is, or low,
+          Each thing in its place is best,
+        And what seems but idle show
+          Strengthens and supports the rest.
+                                         --LONGFELLOW
+
+
+        And not by eastern windows only,
+          When daylight comes, comes in the light,
+        In front, the sun climbs slow, how slowly,
+          But westward, look, the land is bright.
+                                         --CLOUGH
+
+
+        Full many a gem of purest ray serene
+          The dark unfathom'd caves of ocean bear;
+        Full many a flower is born to blush unseen,
+          And waste its sweetness on the desert air.
+                                         --GRAY
+
+
+        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.--BENJAMIN FRANKLIN
+
+
+                I do not know
+        Where falls the seed that I have tried to sow
+                With greatest care;
+                But I shall know
+        The meaning of each waiting hour below
+                Sometime, somewhere!
+
+
+        Lives of great men all remind us
+          We can make our lives sublime,
+        And, departing, leave behind us
+          Footprints on the sands of time;
+        Let us, then, be up and doing,
+          With a heart for any fate;
+        Still achieving, still pursuing,
+          Learn to labour and to wait.
+                                         --LONGFELLOW
+
+
+        Begin while life is bright and young,
+          Work out each noble plan;
+        True knowledge lends a charm to youth,
+          And dignifies the man.
+        Then upward, onward, step by step,
+          With perseverance rise,
+        And emulate, with hearts of hope,
+          The good, the great, the wise.
+
+
+        The night has a thousand eyes,
+          And the day but one;
+        Yet the light of the bright world dies,
+          With the dying sun.
+        The mind has a thousand eyes,
+          And the heart but one;
+        Yet the light of a whole life dies
+          When love is done.
+                                         --FRANCIS BOURDILLON
+
+
+        In the darkness as in daylight,
+          On the water as on land,
+        God's eye is looking on us,
+          And beneath us is His hand!
+        Death will find us soon or later,
+          On the deck or in the cot;
+        And we cannot meet him better
+          Than in working out our lot.
+                                         --WHITTIER
+
+
+        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.--BLACKSTONE'S
+        _Commentaries_
+
+
+        It is the land that freemen till,
+          That sober-suited Freedom chose.
+          The land, where girt with friends or foes
+        A man may speak the thing he will;
+        A land of settled government,
+          A land of just and old renown,
+          Where Freedom slowly broadens down
+        From precedent to precedent.
+                                         --TENNYSON
+
+
+        O triune kingdom of the brave,
+          O sea-girt island of the free,
+        O empire of the land and wave
+          Our hearts, our hands, are all for thee.
+            Stand, Canadians, firmly stand,
+            Round the flag of our Fatherland.
+                                         --LACLEDE
+
+
+        Sharers of our glorious past,
+        Brothers, must we part at last?
+        Shall we not thro' good and ill
+        Cleave to one another still?
+        Britain's myriad voices call,
+        "Sons, be welded each and all
+        Into one Imperial whole,
+        One with Britain, heart and soul!
+        One life, one flag, one fleet, one Throne!"
+          Britons, hold your own!
+                                         --TENNYSON
+
+
+        "England! What thou wert, thou art!"
+        Gird thee with thine ancient might.
+        Forth! and God defend the Right.
+                                         --NEWBOLT
+
+
+        Believe not each accusing tongue,
+          As most weak people do;
+        But still believe that story wrong
+          Which ought not to be true.
+                                         --SHERIDAN
+
+
+        He prayeth best who loveth best
+          All things, both great and small,
+        For the dear God who loveth us,
+          He made and loveth all.
+                                         --COLERIDGE
+
+
+        For whatever men say in blindness,
+          And spite of the fancies of youth,
+        There's nothing so kingly as Kindness,
+          And nothing so royal as Truth.
+                                         --ALICE CARY
+
+
+        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.--LUBBOCK
+
+
+        Small service is true service while it lasts.
+          Of humblest friends, bright creature! scorn not one:
+        The daisy, by the shadow that it casts,
+          Protects the lingering dew-drops from the sun.
+                                         --WORDSWORTH
+
+
+        Look up and not down;
+        Look forward and not back;
+        Look out and not in;
+          And lend a hand.
+                                         --HALE
+
+
+        Have you had a kindness shown?
+            Pass it on.
+        'Twas not given for you alone,
+            Pass it on.
+        Let it travel down the years,
+        Let it wipe another's tears;
+        Till in heaven the deed appears.
+            Pass it on.
+
+
+        A little spring had lost its way
+          Amid the grass and fern;
+        A passing stranger scooped a well
+          Where weary men might turn.
+        He walled it in, and hung with care,
+          A ladle on the brink;
+        He thought not of the deed he did,
+          But judged that Toil might drink.
+        He passed again; and lo! the well,
+          By summer never dried,
+        Had cooled ten thousand parched tongues,
+          And saved a life beside.
+                                         --MACKAY
+
+
+        Evil is wrought by want of thought
+        As well as want of heart.
+                                         --HOOD
+
+
+        Nature has given to men one tongue, but two
+        ears, that we may hear from others twice as
+        much as we speak.--EPICTETUS
+
+
+        Count that day lost whose low-descending sun
+        Views from thy hand no worthy action done.
+
+
+        If happiness have not her seat
+          And centre in the breast,
+        We may be wise or rich or great,
+          But never can be blest.
+                                         --BURNS
+
+
+        A kindly act is a kernel sown,
+          That will grow to a goodly tree,
+        Shedding its fruit when time has flown,
+          Down the gulf of eternity.
+
+
+        If I can stop one heart from breaking,
+          I shall not live in vain;
+        If I can ease one life the aching,
+          Or cool one pain,
+        Or help one fainting robin
+          Into his nest again,
+          I shall not live in vain.
+                                         --DICKINSON
+
+
+        It is pleasant to think, just under the snow,
+          That stretches so bleak and blank and cold,
+        Are beauty and warmth that we cannot know,
+          Green fields and leaves and blossoms of gold.
+
+
+        Under the green hedges after the snow,
+        There do the dear little violets grow,
+        Hiding their modest and beautiful heads
+        Under the hawthorn in soft, mossy beds.
+        Sweet as the roses, and blue as the sky,
+        Down there do the dear little violets lie;
+        Hiding their heads where they scarce may be seen,
+        By the leaves you may know where the violets have been.
+                                         --MOULTRIE
+
+
+        The linnet is singing the wild wood through;
+        The fawn's bounding footsteps skim over the dew.
+        The butterfly flits round the blossoming tree,
+        And the cowslip and bluebell are bent by the bee;
+        All the creatures that dwell in the forest are gay,
+        And why should not I be as merry as they?
+                                         --MITFORD
+
+
+        Do the duty which lies nearest thee!
+        Thy second duty will already have become clearer.
+                                         --CARLYLE
+
+
+        Live truly, and thy life shall be
+        A great and noble creed.
+
+
+        I slept, and dreamed that life was Beauty;
+        I woke, and found that life was Duty.
+                                         --HOOPER
+
+
+        Great is the art of beginning, but greater the
+        art is of ending.--LONGFELLOW
+
+
+        Opinions shape ideals, and it is ideals that
+        inspire conduct.--JOHN MORLEY
+
+
+        You cannot dream yourself into a character; you
+        must hammer and forge yourself into
+        one.--FROUDE
+
+
+        Not once or twice in our fair island story
+        The path of duty was the way to glory.
+                                         --TENNYSON
+
+
+        Know thy work and do it, and work at it like a
+        Hercules. One monster there is in the world--an
+        idle man.--CARLYLE
+
+
+        Every evil to which we do not succumb is a
+        benefactor. We gain the strength of the
+        temptation we resist.--EMERSON
+
+
+        In every common hour of life,
+          In every flame that glows,
+        In every breath of being rife
+        With aspiration or of strife
+          Man feels more than he knows.
+                                         --W. W. CAMPBELL
+
+
+        Never to the bow that bends
+        Comes the arrow that it sends;
+        Never comes the chance that passed:
+        That one moment was its last.
+
+
+        Oh, fear not in a world like this,
+          And thou shalt know ere long,
+        Know how sublime a thing it is
+          To suffer and be strong.
+                                         --H. W. LONGFELLOW
+
+
+        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.--THACKERAY
+
+
+        The gifts that we have, heaven lends for right
+        using, and not for ignoring, and not for
+        abusing.
+
+
+        It is not what he has, nor even what he does,
+        which directly expresses the worth of a man,
+        but what he is.--_Journal_--AMIEL
+
+
+        My good blade carves the casques of men,
+          My tough lance thrusteth sure,
+        My strength is as the strength of ten,
+          Because my heart is pure.
+                                         --TENNYSON
+
+
+        True worth is in _being_, not _seeming_,--
+          In doing each day that goes by
+        Some little good--not in the dreaming
+          Of great things to do by and by.
+
+
+        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.--CARLYLE
+
+
+        Truth, crushed to earth, shall rise again;
+          Th' eternal years of God are hers;
+        But Error, wounded, writhes in pain,
+          And dies among his worshippers.
+                                         --BRYANT
+
+
+              To thine own self be true;
+        And it must follow, as the night the day,
+        Thou can'st not then be false to any man.
+                                         --SHAKESPEARE
+
+
+                    No life
+        Can be pure in its purpose or strong in its strife
+        And all life not be purer and stronger thereby.
+                                         --LYTTON
+
+
+        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.--COWPER
+
+
+          Wish not to taste what doth not to thee fall;
+        Do well thyself, before thou striv'st to lead,
+        And truth shall thee deliver without dread.
+                                         --GEOFFREY CHAUCER
+
+
+        Oh, many a shaft, at random sent,
+        Finds mark the archer little meant!
+        And many a word at random spoken,
+        May soothe, or wound, a heart that's broken.
+                                         --SIR W. SCOTT
+
+
+        Govern the lips as they were palace doors, the
+        king within. Tranquil and fair and courteous be
+        all words which from that presence win.
+                                         --EDWIN ARNOLD
+
+
+        Whene'er a noble deed is wrought,
+        Whene'er is spoken a noble thought,
+          Our hearts, in glad surprise,
+          To higher levels rise.
+                                         --LONGFELLOW
+
+
+        Love thyself last; cherish those hearts that hate thee;
+        Corruption wins not more than honesty.
+        Still in thy right hand carry gentle peace,
+        To silence envious tongues; be just, and fear not.
+                                         --SHAKESPEARE
+
+
+        Not by the power of commerce, art, or pen,
+          Shall our great Empire stand, nor has it stood,
+        But by the noble deeds of noble men--
+          Heroic lives and heroes' outpoured blood.
+                                         --F. G. SCOTT
+
+
+        Take up the white man's burden--
+          In patience to abide,
+        To veil the threat of terror
+          And check the show of pride;
+        By open speech and simple,
+          An hundred times made plain,
+        To seek another's profit
+          And work another's gain.
+                                         --KIPLING
+
+
+        Love thou thy land, with love far-brought
+          From out the storied Past, and used
+          Within the Present, but transfused
+        Thro' future time by power of thought.
+                                         --TENNYSON
+
+
+        For as long as conquest holds the earth,
+          Or commerce sweeps the sea,
+        By orient jungle or western plain
+          Will the Saxon spirit be;
+        And whatever the people that dwell beneath,
+          Or whatever the alien tongue,
+        Over the freedom and peace of the world
+          Is the flag of England flung.
+                                         --W. W. CAMPBELL
+
+
+        Of old sat Freedom on the heights,
+          The thunders breaking at her feet;
+        Above her shook the starry lights;
+          She heard the torrents meet.
+        Her open eyes desire the truth.
+          The wisdom of a thousand years
+        Is in them. May perpetual youth
+          Keep dry their light from tears.
+                                         --TENNYSON
+
+
+        If I have faltered more or less
+        In my great task of happiness;
+        If I have moved among my race
+        And shown no glorious morning face;
+        If beams from happy, human eyes
+        Have moved me not; if morning skies,
+        Books, and my food, and summer rain
+        Knocked on my sullen heart in vain--
+        Lord, Thy most pointed pleasure take,
+        And stab my spirit broad awake.
+                                         --R. L. STEVENSON
+
+
+        A good book is the precious life-blood of a
+        master-spirit, embalmed and treasured up on
+        purpose to a life beyond life.--MILTON
+
+
+        The book which makes a man think the most is
+        the book which strikes the deepest root in his
+        memory and understanding.
+
+
+        Men at some time are masters of their fates:
+        The fault, dear Brutus, is not in our stars,
+        But in ourselves, that we are underlings.
+                                         --SHAKESPEARE
+
+
+        No book is worth anything which is not worth
+        _much_; 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.--RUSKIN
+
+
+        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.--PLUTARCH
+
+
+        My heart leaps up when I behold
+          A rainbow in the sky;
+        So was it when my life began,
+        So is it now I am a man,
+        So be it when I shall grow old,
+          Or let me die.
+        The child is father of the man;
+        And I could wish my days to be
+        Bound each to each by natural piety.
+                                         --WORDSWORTH
+
+
+        Be but yourself, be pure, be true,
+        And prompt in duty; heed the deep
+        Low voice of conscience; through the ill
+        And discord round about you, keep
+        Your faith in human nature still.
+                                         --ELIZABETH WHITTIER
+
+
+        Four things a man must learn to do
+        If he would make his record true;
+        To think, without confusion, clearly;
+        To love his fellow-men sincerely:
+        To act from honest motives purely;
+        To trust in God and Heaven securely.
+                                         --HENRY VAN DYKE
+
+
+                  Give thy thoughts no tongue,
+        Nor any unproportioned thought his act.
+        Be thou familiar, but by no means vulgar;
+        The friends thou hast, and their adoption tried,
+        Grapple them to thy soul with hooks of steel.
+                                         --SHAKESPEARE
+
+
+        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".--LUBBOCK
+
+
+        There is a tide in the affairs of men,
+        Which, taken at the flood, leads on to fortune;
+        Omitted, all the voyage of their life
+        Is bound in shallows and in miseries.
+        On such a full sea are we now afloat;
+        And we must take the current when it serves,
+          Or lose our ventures.
+                                         --SHAKESPEARE
+
+
+        Man is his own star, and the soul that can
+        Render an honest and a perfect man,
+        Commands all light, all influence, all fate,
+        Nothing for him falls early or too late;
+        Our acts our angels are, for good or ill;
+        Our fatal shadows that walk by us still.
+                                         --BEAUMONT AND FLETCHER
+
+
+        Our birth is but a sleep and a forgetting;
+          The soul that rises with us, our life's star,
+        Hath had elsewhere its setting,
+          And cometh from afar,
+            Not in entire forgetfulness,
+            And not in utter nakedness,
+        But trailing clouds of glory do we come
+            From God who is our home.
+                                         --WORDSWORTH
+
+
+        Be wise to-day; 'tis madness to defer;
+        Next day the fatal precedent will plead;
+        Thus on, till-wisdom is pushed out of life.
+        Procrastination is the thief of time;
+        Year after year it steals, till all are fled,
+        And to the mercies of a moment leaves
+        The vast concerns of an eternal scene.
+                                         --EDWARD YOUNG
+
+
+        Build thee more stately mansions, O my soul,
+          As the swift seasons roll!
+          Leave thy low-vaulted past!
+        Let each new temple, nobler than the last,
+
+
+        Shut thee from heaven with a dome more vast,
+          Till thou at length art free,
+        Leaving thine outgrown shell by life's unresting sea.
+                                         --O. W. HOLMES
+
+
+          Grow old along with me!
+          The best is yet to be,
+        The last of life for which the first was made:
+          Our times are in His hand
+          Who saith, "A whole I planned,
+        Youth shows but half; trust God: see all nor be afraid!"
+                                         --BROWNING
+
+
+        Were a star quenched on high,
+          For ages would its light,
+        Still travelling downward from the sky,
+          Shine on our mortal sight.
+        So when a great man dies,
+          For years beyond our ken,
+        The light he leaves behind him lies
+         Upon the paths of men.--LONGFELLOW
+
+
+        It is not growing like a tree
+        In bulk doth make man better be;
+        Or standing long, an oak, three hundred year,
+        To fall a log at last, dry, bald, and sear.
+            A lily of a day
+            Is fairer far in May,
+          Although it fall and die that night--
+          It was the plant and flower of light.
+        In small proportions we just beauties see;
+        And in short measures life may perfect be.
+                                         --BEN JONSON
+
+
+        We shape ourselves the joy or fear
+          Of which the coming life is made,
+        And fill our Future's atmosphere
+          With sunshine or with shade.
+        The tissue of the Life to be,
+          We weave with colours all our own;
+        And in the field of Destiny
+          We reap as we have sown.
+                                         --WHITTIER
+
+
+        Heaven is not reached at a single bound,
+          But we build the ladder by which we rise
+          From the lowly earth to the vaulted skies,
+        And we mount to its summit round by round.
+        I count this thing to be grandly true:
+          That a noble deed is a step toward God,--
+          Lifting the soul from the common clod
+        To a purer air and a broader view.
+                                         --J. G. HOLLAND
+
+
+        Let me but do my work from day to day
+          In field or forest, at the desk or loom,
+          In roaring market-place or tranquil room;
+        Let me but find it in my heart to say,
+        When vagrant wishes beckon me astray,
+          "This is my work; my blessing, not my doom;
+          Of all who live, I am the only one by whom
+        The work can best be done in the right way."
+                                         --HENRY VAN DYKE
+
+
+        Good name, in man or woman, dear, my lord,
+        Is the immediate jewel of their soul.
+        Who steals my purse, steals trash; 'tis something, nothing;
+        'Twas mine, 'tis his, and has been slave to thousands;
+        But he that filches from me my good name,
+        Robs me of that which not enriches him,
+        And makes me poor indeed.
+                                         --SHAKESPEARE
+
+
+        God give us men! A time like this demands
+        Strong minds, great hearts, true faith, and ready hands;
+        Men whom the lust of office does not kill;
+          Men whom the spoils of office cannot buy;
+        Men who possess opinions and a will;
+          Men who have honour,--men who will not lie.
+                                         --J. G. HOLLAND
+
+
+        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, 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.--CHANNING
+
+
+        O, may I join the choir invisible
+        Of those immortal dead who live again
+        In minds made better by their presence; live
+        In pulses stirred to generosity,
+        In deeds of daring rectitude, in scorn
+        Of miserable aims that end with self,
+        In thoughts sublime that pierce the night like stars,
+        And with their mild persistence urge men's minds
+        To vaster issues.
+                                         --GEORGE ELIOT
+
+
+        A thing of beauty is a joy forever:
+        Its loveliness increases; it will never
+        Pass into nothingness; but still will keep
+        A bower quiet for us, and a sleep
+        Full of sweet dreams, and health, and quiet breathing.
+                                         --KEATS
+
+
+        Sunset with its rosy feet
+        Stains the grasses low and sweet;
+        And the shadow-beeches softly fall
+        Across the meadows, dark and tall;
+            O fold away
+            The dusty day,
+        Sweet nightfall, in thy curtains gray.
+                                         --JAPANESE
+
+
+        Now fades the last long streak of snow,
+          Now bourgeons every maze of quick
+          About the flowering squares, and thick
+        By ashen roots the violets blow.
+        Now rings the woodland loud and long,
+          The distance takes a lovelier hue,
+          And drowned in yonder living blue
+        The lark becomes a sightless song.
+                                         --TENNYSON
+
+
+        A cloud lay cradled near the setting sun;
+          A gleam of crimson tinged its braided snow;
+        Long had I watched the glory moving on
+          O'er the still radiance of the lake below.
+        Tranquil its spirit seemed, and floated slow!
+          Even in its very motion there was rest;
+        While every breath of eve that chanced to blow
+          Wafted the traveller to the beauteous west.
+                                               --WILSON
+
+       *       *       *       *       *
+
+Transcriber's Notes:
+
+Obvious punctuation errors repaired.
+
+Page 32, the first paragraph under ALLUSIONS contains a sentence
+fragment: "If these allusions." As no meaning could be ascertained, it
+was retained intact.
+
+The OE-ligature is denoted in this work by brackets [OE].
+
+
+
+
+
+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 ***
+
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