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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/35138-8.txt b/35138-8.txt new file mode 100644 index 0000000..bb3b390 --- /dev/null +++ b/35138-8.txt @@ -0,0 +1,8598 @@ +The Project Gutenberg EBook of Literature for Children, by Orton Lowe + +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: Literature for Children + +Author: Orton Lowe + +Release Date: February 1, 2011 [EBook #35138] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK LITERATURE FOR CHILDREN *** + + + + +Produced by Mark C. Orton, 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) + + + + + + + + + + + +LITERATURE FOR CHILDREN + +BY + +ORTON LOWE + +ASSISTANT SUPERINTENDENT OF THE ALLEGHENY COUNTY PENNSYLVANIA, PUBLIC +SCHOOLS + + New York + THE MACMILLAN COMPANY + 1922 + + _All rights reserved_ + + + + + PRINTED IN THE UNITED STATES OF AMERICA + + COPYRIGHT, 1914, + BY THE MACMILLAN COMPANY. + + Set up and electrotyped. Published June, 1914. + + Norwood Press + J. S. Cushing Co.--Berwick & Smith Co. + Norwood, Mass., U.S.A. + + + + +PREFACE + + +THIS book is about books of literature. Its excuse for being at all is +in the over-reading of books that are not literature. Confusion and +hurry confront both child and teacher in the land of books. The hope is +held that something can be done to lead the child out of this confusion. + +There is no greater possibility existing in the child's educational life +than the possibility of self-cultivation in the reading of great books. +Nor has there ever been a greater need for the quiet reading of such +books than in a time of wonderful mechanical invention. Shall a boy fly +or shall he read? It seems both fair and possible to say that he may fly +but he must read. Whatever be the line of work he chooses to follow, he +will have spare hours. His contribution to the life of his community and +the rounding out of his individual life are dependent very largely on +the wise use of these spare hours. Some spare hours may be given to +music or the theatre, some to social entertainment, some to outdoor +sports, some to church aid work; but some must surely be given to the +reading of great books. + +The following pages attempt to set the boy on the right trail, so that +when he reaches man's estate he will of his own accord devote a just +portion of his spare hours to books of literature. To do this, attention +needs to be given to these practices: the learning of a little choice +poetry by heart, the learning of a few fairy stories and myths through +the ear, the reading and rereading of a few great books, the saving of +money to build up a small but well-selected private bookshelf, the +practice of reading aloud by the fireside or in the schoolroom. The +chances are that a boy so directed will find reading a pleasure and will +turn to what is really worth while. The attempt by parents and teachers +to bring about an abiding love for books of power is a most commendable +attempt; and, if successful, the best contribution to a refined private +life. To all such attempts these pages aim to contribute. + +The preparation of these pages has been made easier and surer by the +generous aid of Mr. Fred L. Homer, of the Central High School of +Pittsburgh, and Mr. Homer L. Clark, a business man of Cleveland, in +reading a greater portion of the manuscript; by Miss Emily Beal, of the +Carnegie Library of Pittsburgh, in information on illustrated editions +of children's books; and by Mr. Ernest C. Noyes, of the Peabody High +School of Pittsburgh, in reading the proof. + +For kind permission to use copyright material the author thanks Mr. +Rudyard Kipling and Messrs. Doubleday, Page and Company for +"Recessional"; Professor Richard G. Moulton for the arrangement of the +selections of Hebrew poetry; Houghton, Mifflin and Company for the +selections from Longfellow, Holmes, Emerson, and Whittier; and The +Macmillan Company for the selections from Tennyson, Browning, Arnold, +Clough, and Rossetti. + + ORTON LOWE. + + PITTSBURGH, PENNSYLVANIA, + May, 1914. + + + + +CONTENTS + + + PAGE + PREFACE v + + PART I. INTRODUCTION + CHAPTER + I. THE VALUE OF GOOD BOOKS 3 + II. BOOKS AND LITERATURE IN ELEMENTARY SCHOOLS 11 + III. THE LEARNING OF LYRIC POETRY BY HEART 18 + + PART II. SELECTIONS FOR MEMORIZING + FIRST YEAR 33 + SECOND YEAR 44 + THIRD YEAR 56 + FOURTH YEAR 67 + FIFTH YEAR 81 + SIXTH YEAR 96 + SEVENTH YEAR 115 + EIGHTH YEAR 134 + + PART III. SOURCES OF STANDARD PROSE FOR CHILDREN + I. FAIRY TALES, HOUSEHOLD TALES, AND OTHER FANCIFUL TALES 159 + II. CLASSIC MYTHS IN LITERATURE 176 + III. BOOKS TO BE OWNED, TO BE READ AND REREAD 188 + IV. ON THE PURCHASE AND CARE OF BOOKS 219 + V. EDITIONS OF STANDARD BOOKS 232 + + BIBLIOGRAPHY 239 + + + + +PART I + + +INTRODUCTION + + + + +LITERATURE FOR CHILDREN + + + + +CHAPTER I + +THE VALUE OF GOOD BOOKS + + "The cloak that I left at Troas with Carpus, when + thou comest bring with thee, and the books, but + especially the parchments." + + +THE man who believes that education and books are designed for the +imparting only of useful information had better read no farther than +this sentence; for if he does, he will be irritated many a time by what +he regards as ideal and foolish and unworthy of a practical age. But if +he believes life to be something more than meat and the body something +more than raiment, and that he needs his books as well as his cloak +brought into Macedonia, he may with patience and sympathy follow the +guesses herein at the ways and means by which good books may be brought +into the life of a boy. For in the living out of the great story of +securing shelter and food and raiment, the boy who has never felt the +charm of a great book in chimney-corner days, or the man who has never +pored over a "midnight darling" by candlelight, has missed one of the +most refined and harmless pleasures of life. The very books themselves +are refining because they make up the art of literature, an art that is +in its highest sense an expression and interpretation of life. This art +deals with the beautiful. Its appeal is primarily to the feelings. Its +basis is truth whether actual or hoped for. It is this very nature of +literature itself that at the start brings up the question whether the +investment put into it is really worth while. How far has education a +right to develop a sense of the beautiful? What abiding pleasures and +tastes, if any, should the boy of school age seek and cultivate? Just +what equipment for life does a boy need, anyhow? + +These are big questions; they are knotty questions. They have never been +settled because they cannot be answered in a way satisfactory to all. +They are rather questions of temperament than of logic. To attempt an +investigation into the claims of literature in a scheme of education, +and to draw from such claims a logical conclusion, is beyond the +ability, knowledge, or inclination of the writer; only personal +impressions will be attempted in the chapters that follow. And besides, +such an investigation, if it could be made, would be so out of fashion +among schoolmasters at the present time that it might bring nothing but +reproach on the one attempting it. The very convenient plan is to assume +a certain educational specific as true and from that assumption to go +straight to a favourable conclusion. In accordance with this fashion it +seems the easiest way to take the privilege of the day and without more +ado assume that books of literature are necessary in the education of a +boy, and conclude therefrom that a principal business of the teacher is +to train the boy to read books intelligently and to form a substantial +taste for them. And why should not a schoolmaster who dotes on a few old +favourites have an unshaken faith in his assumption and go merrily on to +the business of the literature itself and what may be done toward +developing among school children a taste for it? + +The late Professor Norton pointed out that a taste for literature is a +result of cultivation more often than a gift of nature. The years of the +elementary school seem to be the time in which cultivation is easiest +and the one in which the taste takes deepest root. Vigorous and tactful +effort will go far to develop pure taste and abiding taste for books. + +The present age is more concerned about pure food than about pure +books--maybe an exemplification of John Bright's wish that the +working-men of England eat bacon rather than read Bacon. The bulky, +coarse food of the last century has been displaced by the sealed package +of condensed food done according to a formula, and a mystery to the man +who eats it. So is it in our books. We do not have the frankness and +vulgarity of the eighteenth century; but instead, we have the most +studied forms of insinuation, the harm of which was not approached by +the coarseness of former times. Many a present-day story makes the +ordinary course of life seem uninteresting, a dangerous thing for a book +to do, according to Ruskin. The conduct portrayed has in it too much of +personal freedom arising out of caprice, breaking too much with +traditional right through what a critic once designated as "debauching +innuendo and ill favoured love." The book is often spectacular or sullen +in tone. It may be melodramatic, leaving the reader rebellious or with a +weakened sense of responsibility. Or again, it may be given to +boisterous laughter over situations based on personal misfortune or bad +manners--the way of the comic supplement. And worst of all, it may +become the fashion; that is, a best seller. Its name and some of its +motives will probably get to the children through the talk of the +parents. Then to persuade the reading public that the pure taste for the +healthful story is much more worth while will try the resources of the +teacher. Yet that is exactly what should be expected of him--a Herculean +task and a most thankless one. + +To secure a stable as well as a pure taste for things worth while in +books should be an aim of the teacher. He must do this in an age when +the vaudeville idea is deep-rooted. Variety takes the place of sustained +attention. This begets the mood for profligacy. Something new and good +is expected to turn up in the shape of a book. In this mood there is +nothing to inspire to steady purpose. And it seems that the best thing +left for the teacher to do is to "come out strong" on a few good books. +Through fortune and misfortune such books will be permanent possessions +to their reader. + +The responsibility for securing this pure and abiding taste rests +primarily with the teacher. He needs to know and to appreciate the good +books which he desires the boy to read. He needs to know the poem or +story at first hand, not criticism about it. If the teacher has real +appreciation for a piece of literature, the boy will discern it in his +face. Then the boy can be put on the right scent and left to trail it +out for himself, as Scott long ago suggested. Time must be taken to do +this: a few good things must be done without fuss or hurry. It is +foolish to have a taste surfeited as soon as cultivated. Here is truly a +place to be temperate as well as enthusiastic. + +A teacher should be able to read aloud from a book with good effect. The +voice can bring out the finer touches that are likely to be missed by +the eye. No explanation in reading is so good as is adequate vocal +expression. In fact, as a rule, the less explaining the better. If there +is a single thing that for the last dozen years has stood in the way of +boys' and girls' appreciating good literature, it is the so-called +laboratory method. Of all the quack educational specifics that have +been advanced, the laboratory method, with a poem or an imaginative +story, has been the most presumptuous and absurd. Who cares to treat +fancies and fairies according to formulæ? One might as well apply the +laboratory method to his faith and his hopes in his religion. + +In this struggle to bring good books into the life of the boy, many +opposing forces must be met with tact and with patience. Censorship of +books, like inspection of foods, may be highly desirable; but by no +means is it efficacious. The worthless book will continue to obtrude +itself at all times and on all occasions. Then there are the reading +habits of the community, the notions of parents about what the child +should read, and the child's own natural or acquired tastes,--these must +all be reckoned with. Here are a few of the opposing forces to be +encountered in every community: + +The juvenile series--the hardest problem to handle from the book side of +the question. The series is always "awful long," all of the volumes are +cut to the same pattern, they are always in evidence, and they are all +equally stupid. The themes range from boarding school proprieties to +criminal adventure; and they are all equally false to the facts of real +life or the longings for true romance. What shall be done with them? + +The ease of access of the child to the daily paper with headlines +inviting attention to the doings of police courts and clinics. + +The eagerness with which children read the comic supplement and even ask +at the public library if books of that class of humour cannot be had. + +The low-grade selection that is many times given the child by the school +reader as subject-matter from which to learn the great art of reading. + +The prejudice of parents and even of communities against fairy tales and +all forms of highly imaginative literature--the hardest thing to meet +from the reading side of the question. Librarians are requested not to +give fairy books to children. Such books are thought to be bad. The +demand is for true books. Parents have not discovered the existence of +the imagination and the part it has played in the intellectual, +artistic, and spiritual progress of man. But must school teachers not +first recognize the truth of this last statement before parents are +expected to do so? + +The impression that books of information are real literature and that +they ought to be sufficient subject-matter for any child's reading. + +The belief that books should teach facts and point morals rather than +entertain and refine and inspire. + +The early acquired taste of boys and girls for stories of everyday life; +boys turning to the athletic story and girls to the school story. + +Excessive reading and reading done at the suggestion of a chum. + +Lack of ownership of books and of the rereading of great books. + +The passing of the practice of reading aloud about the fireside. + +The teacher will surely need to summon his judgment, courage, and +perseverance if he is to succeed measurably in the effort for good +reading. Let him not forget that his most enduring work will not be +seeking to cut off from the child the book that is not good, nor yet +convincing the parents that this or that book is good or bad; but it +will be getting the interest and confidence of the child himself. When +the teacher comes to consider that a boy naturally loves a hero, and +like Tom Sawyer longs to "die temporarily," or that a girl is naturally +curious to open the forbidden door of the closet as was Fatima, he +cannot but see that this is good ground where the right seed will spring +up many fold. Here then is the place for the teacher to sow with care. +For him, the pages that follow are designed as something of a guide in +the field of children's books, if, whilst working as a husbandman +therein, by chance he feels the need of a fellow labourer. + + + + +CHAPTER II + +BOOKS AND LITERATURE IN ELEMENTARY SCHOOLS + + "He hath not fed of the dainties that are bred in + a book; he hath not eat paper, as it were; he hath + not drunk ink; his intellect is not replenished; + he is only an animal, only sensible in the duller + parts." + --SIR NATHANIEL. + + +THE place of literature in the primary and grammar grades of schools +needs neither a defence nor an apology. Being a part of that branch +called reading, it is fundamental in the course. The claims set up by +branches other than that of reading and speaking English do not concern +us here. We assume that the first portion of time in a programme is +allotted to this. The object may be dramatic expression in the lower +grades, getting the exact thought from a printed page and reproducing it +in the upper grades, drill in the mechanical details of the language, +such as spelling and pronunciation; or it may be that rare growth of +personality that comes, say, through the skilful reading of poetry +aloud. Without a fair degree of mastery of the elements of reading and +speaking English by the time he completes the grammar grade work, the +boy will enter a secondary school or turn to earning a living, +ill-equipped either to organize and express his own thoughts, or to +find profit and pleasure in gathering the thoughts of another from a +printed page--the greatest accomplishment that a school can give to any +one. It is rather common to hear a high school student say that he +cannot get the story by reading "The Lady of the Lake." This inability +is a positive discredit to what should be normal mental vigour; and such +a student will be found inefficient for the serious business of life or +the refined pleasure of the fireside. + +Now it behooves teachers to put on their thinking caps and devise ways +and means that will help students to get the thought from reading, to +tell this thought, and to appreciate the excellencies of good English +books. And they must do this single-handed and alone in the day school, +for but little help can be looked for from the Sunday school, from many +public libraries, and from the home as it is now governed. The child is +turned over to the teacher to train, and in that child lurk two +tendencies of American social life: the hope of getting something for +nothing and the passion for constant variety. And these tendencies are +unchecked by any exercise of that old-time positive authority in the +home, that had much salutary influence on young barbarians. But through +a foolish tolerance, the boy drifts into many habits that do not include +the exemplary ones of sustained attention, industry, thrift, and +self-reliance,--habits that make for efficient life. A royal road to +knowledge is expected, and travel thereon is to be unrestricted by +respect either for age or for authority. His hay must always be sugared. +He becomes a creature of whims, and with this creature the teacher finds +his task in hand. What are the reading habits and tastes that he brings +from his home, and how can the teacher best improve them? + +It is clear to even a casual observer that children leave the public +school without the groundwork for a course of reading either for +pleasure or for profit through life. It is also clear that they will get +little help in this line from places other than the public school as +things now obtain. And it is equally clear that the reading habits +formed before the age of fourteen years are the habits and tastes that +last. If then, according to his natural gifts, the student is to be led +to gather the fullest measure from the field of literature, it is the +special duty and privilege of the teacher to direct that gathering. To +this attempt to develop a taste for good literature, some one may raise +the objection that it will not fit all children--and the objection is +well taken. The appeal of literature is not universal. There are a few +persons who find its counterpart in a study and appreciation of the +beauties and wonders of nature. Then again there are many who, instead +of taking themselves to the art of books, find pleasure in perhaps the +greatest of all arts, the art of social intercourse--an art that is +universal enough to reach from vagabondia to the very exclusive set. +However, there is a vast class devoted to a subdued and refined domestic +life, and here it is that good books will bear good fruit many fold. +With this class the teacher must work. What then is to be given to the +children? + +Of course it is understood that we are to deal with the enduring +literature of childhood, the literature of power. And it is also to be +understood that reading is to be done in moderation and with care. Then +again it is evident that a certain amount of reading must be prescribed +and thoroughly mastered. Reading must be from what is standard down to +the point of appeal, lest the point always hold the boy to the earth +earthy. After a taste for onions has once been developed, little hope +can be entertained of making the boy a judge of the delicate flavour of +grapes--they will hang high. The teacher must assert a bit of that +healthful positive authority that sets many an urchin on the right path. +A limited choice from books that are classics may be given in good time. +All the chords of life have been struck in great literature, and a fair +knowledge and good judgment can reach almost any disposition, even the +most whimsical. + +The thing of first importance to be prescribed is learning classical +poetry by heart until its music has taken a hold on the learner. +Introduce the boy to the varied field of lyric poetry and you have put +before him one of the rarest and most abiding pleasures of life. Here +his troubled heart may always find consolation. Nothing will bring him +to a sense of his own personality with such a deft touch as a perfect +lyric coming to him through his own voice. The next thing to look to is +a right that is a fixed right of childhood and one that it is positively +vicious to suppress, the right to the land of fairy life. A free range +here will be meat and drink to any boy. Much sordidness and much +selfishness in old age come to the man or woman who has not a cultivated +imagination. Logic and cold facts are of precious little value in the +fireside life of a family. The best things of that life are not reasoned +out; but they are felt out and wondered out. Again, the great field of +mythology that is so fundamentally linked to that of literature, and +that is a capital mark of culture, should be open to the boy that he may +roam about and wonder at its mysteries. Then he may as certainly come to +own an "Age of Fable" as he must own a "Golden Treasury." And what a +pair are these! + +From these three fields the step will be to a knowledge and +classification of books and their authors, what books to own, and how to +take care of them. And to this working grasp of poetry and stories may +be added a little of what is possible in history, biography, and +personal essay. In this age of cheap and spurious book-making the +reader must know standard editions without abridged and garbled texts. +Even editors of hymn books do not hesitate to mutilate great hymns to +suit their particular notions. This freedom may be a form of that +exaggerated idea of personal privilege that was the gift of democracy in +the past century. A good knowledge of fables and proverbial wisdom will +certainly temper that notion. Such are some of the things that might be +prescribed by the teacher and learned by the student. The field as thus +given is limited, but the friends therein are dear friends. Nor are they +to be exchanged for the new friends that may come through the +advertising appeal, founded on the unsubstantial instinct for constant +variety. + +If enough idea of authority can ever be driven into the head of the +American boy to put him into the attitude of a willing learner, good +things may be looked for in habits of reading--provided the teacher be +equal to the responsible task that is laid upon him. The habits of +reading that measure the use of spare time, and in that way the +character of the individual, will work for a more sane and less showy +home life and through that for a community given to other than obtrusive +and frivolous social life. What bundle of habits will serve its slave +better than will this bundle? Or where is keener and more subdued +pleasure to be found? Though books are a bloodless substitute for life, +as Stevenson has well pointed out, we need some substitute in our hours +of ease, and a good book does passing well for such a substitute; and +this is especially true if the book be our favourite from the wonderful +Waverley series and with it we can square about to the fire, snuff the +candle, and let the rest of the world go spin. + + + + +CHAPTER III + +THE LEARNING OF LYRIC POETRY + + "These verses be worthy to keep a room in every + man's memory: they be choicely good." + + --From "The Complete Angler." + + +THE teacher who is a workman skilled in his craft looks upon a few +educational practices as being of intrinsic merit--through and through +in an age of veneer and cheap imitation. Of these practices the one most +fruitful under cultivation, when done with care and in moderation, is +that of learning good poetry by heart. The sense of having truly learned +a thing by heart, of having completely mastered it, is a most pleasant +sense to have. And when the thing learned is one of the many perfect +lyrics from the field of English poetry, a far-sighted judge who has +lived and considered what is of most value to the individual is led to +say: That is well and good. In some mysterious way this possession of a +few choice poems makes for a rarer personality and gives that touch +which can come only through a perfect work of art. By sheer force of +intellect a man may become a cold, designing man of action and set plans +on foot for the time being; but the power that is back of all great +movements for civilization and culture is one that is grounded in +feeling and constructive imagination. The proverbial songs of a nation +are a greater force than are its laws. In one of his most entertaining +essays, De Quincey points out that, when the intellect sets itself up in +opposition to the feelings, one should always trust to the feelings. +Normal instincts are worth more than syllogisms. The man who has attuned +himself to the moods and impulses of lyric poetry is a safe man in +action. Yet he is more than this; he has in him that which is the +groundwork of fireside pleasures and of the joys of companionship. In +other words, he is a man of cultivated imagination, and he can play in +many moods. + +Here it may not be amiss to mention the claim of the imagination to +consideration as a faculty of the mind and inquire to what extent it +should be cultivated in our schools; for if its claim be not good, there +is no warrant for using any of the literature of power as subject-matter +for education. Bearing on this question is the following excellent +remark by the late Charles Eliot Norton, who did so very much to raise +the standard of culture in American education: "The imagination is the +supreme intellectual faculty, and it is of all the one that receives +least attention in our common system of education. The reason is not far +to seek. The imagination is of all faculties the most difficult to +control, it is the most elusive of all, the rarest in its full power. +But upon its healthy development depend not only the sound exercise of +the faculties of observation and judgment, but also the command of the +reason, the control of the will, and the growth of the moral sympathies. +The means for its culture which good reading affords is the most +generally available and one of the most efficient." In the same +discussion Professor Norton has this to say of poetry as the highest +expression of the imagination: "Poetry is one of the most efficient +means of education of the moral sentiment, as well as of the +intelligence. It is the source of the best culture. A man may know all +science and yet remain uneducated. But let him truly possess himself of +the work of any one of the great poets, and no matter what else he may +fail to know, he is not without education." + +To the evident truth of these quotations the humanist will readily +assent; and so will the true scientist whose earnest and frank devotion +to truth makes it clear to him that nothing great in his field has ever +been done without a constructive imagination. The loss of artistic +imagination through years of painstaking investigation will be a source +of regret to any one devoted to science, as was the loss of the ability +to appreciate the charm of great poetry Darwin's old age regret. The +taste for this great poetry is grounded on healthful and normal +instincts, and it is the part of wisdom to see that this taste be +developed in youth. The boy who has nurtured his youthful imagination +on the magic of great verse will waken up some morning to find himself +among the competent ones of his generation. His life will be bounded by +that restraint which can come only through an inability to solve the +mysteries and wonders that his imagination is constantly conjuring up. +He wants much that he cannot understand and reason out; and the deeper +things of life, things which touch him most vitally as a living +creature, he looks on with reverence. If his imagination is alive to the +experiences of great poetry, he cannot scoff at things felt in the soul +but impossible of explanation. To him there are sacred things in the +fireside life and at the altar that are not to be laid bare by the +curiosity of the reasoner in his search for truth. And when the twilight +of the gods falls about him he is not curious to know, but he trusts and +fears. A song is worth more to him than a proof. On this he is satisfied +to throw himself. + +The music of the cathedral organ that Milton could hear daily as a boy +stirred his imagination, and in later years he brought forth verse that +for the grandeur and scope of its imagination has never been excelled. +In a minor but far more human key the songs and balladry of Scotland +awakened in Burns the imagination which has made him the idol of his +native land and loved wherever English poetry is known. Artistic +imagination for the creation or appreciation of poetry is contagious. +What is true of the poet himself is also true of the reader of great +poetry; its wonderful music causes him to feel and live poems that he +has not the gift to write down. It is with this feeling of poems, this +appreciation of the great work of poets, that we have to do. To awaken +feelings a teacher must have an imagination afire with a little verse +that is choicely good, must have at least felt the pure serene a time or +two. This same passion for verse, be it ever so limited, can be handed +over to the boy through a judicious use of the reading voice. That is +the teacher's work in hand. + +What kind of verse is to be handed over to the boy, and how much is +there to be of it? To the latter question the only safe answer is this: +not too much. Talents and tastes vary. Every student can be made to get +by rote a certain amount of verse; but as for learning it by heart, +feeling and appreciating its music, that is a different thing. The +greatest and most painstaking of all anthologists of English verse, +Francis Turner Palgrave, claims that there ought to be more than a +glimpse into the Elysian fields of song. In the best collection that has +yet appeared for the teacher or student, "The Children's Treasury of +English Song," Professor Palgrave has this to say in the introduction: +"The treasures here collected are but a few drops from an ocean, +unequalled in wealth and variety by any existing literature. But the +hope is held that it may prove a pleasure and gain to the dear English +and English-speaking children, all the world over,--yet the editor will +hold his work but half fulfilled, unless they are tempted by it to go on +and wander, in whatever direction their fancy may lead them, through the +roads and winding ways of this great and glorious world of English +poetry. He aims only at showing them the path, and giving them a little +foretaste of our treasures.--'To-morrow to fresh woods and pastures +new.'" That hope is to be the hope of the teacher; and it needs back of +it the mastering of a few choice lyrics, after which the boy is to be +sent forth to browse alone to his heart's desire. + +On the question of the kind of verse to give to the boy, Professor +Palgrave has made the following remark: "The standard of 'suitability to +childhood' must exclude many pieces that have 'merit as poetry': +pictures of life as it seems to middle age--poems coloured by +sentimentalism or morbid melancholy, however attractive to readers no +longer children--love as personal passion or regret (not love as the +groundwork of action)--artificial or highly allusive language--have, as +a rule, been held unfit. The aim has been to shun scenes and sentiments +alien from the temper of average healthy childhood, and hence of greater +intrinsic difficulty than poems containing unusual words." The +limitations of verse for children, as stated in the remark just quoted, +are reasonable and something of a guide to teachers. But they are not +always easy to follow. However, nothing must be given to the child +unless it has real merit as poetry, no matter how it may strike the +fancy at first reading. Nor is any poem that would be otherwise good, to +be excluded because it is feared the child may not completely grasp it. +He may read plenty of verse that is beyond him somewhat and be all the +better for having done so. The thing to be avoided is poetry that is not +poetry. He may be allowed to read verse at times that would not be +suitable for learning by heart. But what he learns thoroughly must be +through and through great poetry. And it matters little what form it may +have: ballad, song, fairy poem--he will learn to know it and to love it. +Nor is it to be always within the reach of his intellect; his feelings +will carry him safely beyond the narrow range of understanding. + +If he would reach the boy, the teacher must find a point of contact +between the home life and the altogether new life in the school. This +point is without doubt the nursery rhymes. Wise indeed are parents who +have taught these melodies before the school age has been reached, for +the teacher can start at once with the poems he intends to have learned. +But where these rhymes have not been mastered in the home, it is +imperative on the part of the first-grade teacher to have them mastered +in the first school year. For the teacher who hesitates about the +advisability of using the Mother Goose melodies, it may be well to state +their claim by a quotation from Charles Welsh in his modest but most +excellent collection called "A Book of Nursery Rhymes": "The direct +simplicity, dramatic imagination, and spontaneous humour of the nursery +rhymes of Mother Goose will probably never be excelled by any modern +verse. They will for the most part doubtless remain for all time 'the +light literature of the infant scholar.' Although some fragments of what +has been written since the collection was first made may go to swell the +volume of this inheritance from past ages, the selection of any +permanent addition will be made finally by the mother and the child. The +choice will be by no means a haphazard one, for it will be founded on +basal elements of human character, and it will, for the very same cause, +be an absolutely autocratic choice. Experience has proved these old +rhymes and jingles to be best fitted for the awakening intelligence of +the child. The appeal to the imagination by evoking a sense of wonder +accounts for the abiding place which these rhymes and jingles have in +the literature of the nursery." The truth of these words is so evident +that the teacher who would make the learning of poetry by heart a +pleasure must surely recognize such rhymes as the hitching-on place +between the literature of the home and that of the school. + +Next in simplicity, directness, and in the interest of its appeal is +verse in the ballad form. It is the easiest of all poetry to learn, for +it tells a dramatic tale in a simple way. But there are few short +ballads in the language suited to the grammar grades, and there is not +sufficient time for learning the longer ones by heart. Many of the best +old English ballads have difficulties for the child in the number of +obsolete words that they contain. These two things make it difficult to +use this absorbing field of poetry as subject-matter for learning by +heart. It is probably best to have the boy come to know the stories of +the ballads by hearing a frequent reading of them aloud by the teacher. +Of the ballads selected for such reading the teacher must go to the old +English field to get the greater number; but the modern field must not +be neglected, for no teacher could omit that powerful yet simple work of +genius, "The Rime of the Ancient Mariner." Its charm in holding the +hearer is as great as was the charm of the old mariner's eye itself when +telling the tale. If such a poem has been listened to in the elementary +school, it can be taught with greater ease in the secondary school. The +same thing is true of many poems. + +The greater number of selections that follow these two simple and direct +types, the nursery rhyme and the ballad, must be classic lyrics, fairly +well suited to the boy, and it matters little whether the form be song, +sonnet, ode, elegy, or that of Hebrew verse. In making these selections +poems of a martial nature are not to be altogether neglected; but they +must have fire, for without it a war ode is one of the most obsolete +works of the human intellect. An objection may be raised to the effect +that this type of poem is not suited to girls. To this objection the +answer may be made, that what is good literature for a boy ought to be +good literature for a girl. Will not a girl appreciate that great poem +of a sea fight, "The 'Revenge'"? It seems unwise to put in a list of +poems to be learned by heart an example of nonsense verse. This verse +evidently has a definite place in the intellectual equipment of the +child, and he may pick it up later of his own accord. No one would +knowingly, however, deprive him of "The Owl and the Pussy Cat," or "The +Jabberwocky"; even grown-ups dote on "Little Billee," as Thackeray +doubtless did himself. We must all fool more or less--even in verse. + +Some teachers will ask how poetry is to be taught. To that question the +absolute answer is: through the ear. All poetry is to be read aloud and +well read. The dry-as-dust fellow who wants to read it merely as prose +should be indicted for a crime against art. Poetry must be read +musically and with a natural time and swing. At this point it should be +understood that part of the work of a teacher is to develop a good +reading tone of voice. The present-day tendencies toward shrieking and a +mouthing of words are most deplorable tendencies. Let the teacher first +master the poem and then teach it by word of mouth, and teach it as +music. It will finally impress itself on the child. Now this reading by +which the poem is to be taught is to be merely a good natural +reading--not the affected and exaggerated one of the elocutionist. Let +the child get the idea that he must say the poem over and over until it +has become his own. There is much pleasure in saying poetry aloud when +one is walking by himself--a rare luxury in modern city or suburban +life. It does not matter if passers-by look on this practice as a sort +of lunacy, for it is a most commendable kind of lunacy to have and one +that all persons are not so lucky as to possess. + +So much is inviting us that no claim is made that the included list is +by any means the best one hundred poems. But it is one that the +experience of some years of schoolroom work has proved passing good. At +least it is good enough for the teacher who has not made a thorough +study of the subject. This, that, and t'other substitute might be +offered; but when all is said, the selections as they stand, if well +mastered, will be something of a king's treasury to the boy. + +For the convenience of the teacher the selections are given complete. +With but few exceptions the poems are unabridged and under the original +titles. When an extract has been made from a longer poem, the first +verse of the selection has generally been given as a title. All poems +might be remembered by first verses rather than by titles, and every +anthology should have an alphabetical index to first verses. The poems +as given below will vary in their appeal largely according to the mood +of the teacher and his natural temperament; but he can teach no poem +well unless he has mastered it himself and has come to appreciate it. +There are a few selections, however, as "The Fairy Life," "The Forsaken +Merman," and "I Wandered Lonely as a Cloud," that are so wholly +delightful that the teacher may hold them as favourite children of the +imagination. Let the teacher master the selections given below, and if +he so choose tear out the pages containing them and then throw the rest +of the book away; for if he truly knows these poems by heart, he will no +longer be a stranger to literature of power, and the purpose of this +book will have been fulfilled. + + + + +PART II + +SELECTIONS FOR MEMORIZING + + + + +FIRST YEAR + + +MOTHER GOOSE SONGS + +I + + Hark, hark, + The dogs do bark, + The beggars are coming to town; + Some in tags, + Some in rags, + And some in velvet gowns. + +II + + Pease porridge hot, + Pease porridge cold, + Pease porridge in the pot, nine days old. + Some like it hot, + Some like it cold, + Some like it in the pot, nine days old. + +III + + "Pussy cat, pussy cat, where have you been?" + "I've been to London to look at the Queen." + "Pussy cat, pussy cat, what did you there?" + "I frightened a little mouse under a chair." + +IV + + Three mice went into a hole to spin; + Puss passed by and Puss looked in: + "What are you doing, my little men?" + "Weaving coats for gentlemen." + "Please let me help you to wind off your threads." + "Ah, no, Mistress Pussy, you'd bite off our heads." + +V + + Little Boy Blue, come blow your horn, + The sheep's in the meadow, the cow's in the corn. + Where's the boy that looks after the sheep? + He's under the haycock, fast asleep. + "Will you wake him?" "No, not I; + For if I do, he'll be sure to cry." + +VI + + Sleep, baby, sleep! + Our cottage vale is deep: + The little lamb is on the green, + With snowy fleece so soft and clean. + Sleep, baby, sleep! + + Sleep, baby, sleep! + Thy rest shall angels keep: + While on the grass the lamb shall feed, + And never suffer want or need. + Sleep, baby, sleep! + +VII + + Hush thee, my babby, + Lie still with thy daddy, + Thy mammy has gone to the mill, + To grind thee some wheat + To get thee some meat, + And so, my dear babby, lie still. + + + VIII + + Wee Willie Winkie runs through the town, + Upstairs and downstairs, in his nightgown, + Rapping at the window, crying through the lock, + "Are the children in their beds? now it's eight o'clock." + + +LITTLE BO-PEEP + + Little Bo-peep has lost her sheep, + And can't tell where to find them; + Leave them alone and they'll come home, + And bring their tails behind them. + + Little Bo-peep fell fast asleep, + And dreamt she heard them bleating; + But when she awoke she found it a joke, + For still they all were fleeting. + + Then up she took her little crook, + Determined for to find them; + She found them indeed, but it made her heart bleed, + For they'd left all their tails behind 'em. + --MOTHER GOOSE. + + +I SAW A SHIP A-SAILING + + I saw a ship a-sailing, + A-sailing on the sea; + And, oh! it was all laden + With pretty things for thee. + + There were comfits in the cabin, + And apples in the hold; + The sails were made of silk, + And the masts were made of gold. + + The four-and-twenty sailors + That stood between the decks + Were four-and-twenty white mice, + With chains about their necks. + + The captain was a duck, + With a packet on his back; + And when the ship began to move, + The captain said, "Quack! quack!" + --MOTHER GOOSE. + + +THREE HAPPY THOUGHT SONGS + + I + + The world is so full of a number of things, + I'm sure we should all be as happy as kings. + + II + + The rain is raining all around, + It falls on field and tree, + It rains on the umbrellas here, + And on the ships at sea. + + III + + Of speckled eggs the birdie sings + And nests among the trees; + The sailor sings of ropes and things + In ships upon the seas. + + The children sing in far Japan, + The children sing in Spain; + The organ with the organ man + Is singing in the rain. + --ROBERT LOUIS STEVENSON. + + +BOATS SAIL ON THE RIVERS + + Boats sail on the rivers, + And ships sail on the seas; + But clouds that sail across the sky + Are prettier far than these. + + There are bridges on the rivers, + As pretty as you please; + But the bow that bridges heaven + And overtops the trees, + And builds a road from earth to sky, + Is prettier far than these. + --CHRISTINA G. ROSSETTI. + + +WHO HAS SEEN THE WIND? + + Who has seen the wind? + Neither I nor you; + But when the leaves hang trembling + The wind is passing through. + + Who has seen the wind? + Neither you nor I; + But when the trees bow down their heads + The wind is passing by. + --CHRISTINA G. ROSSETTI. + + +THE FRIENDLY COW + + The friendly cow all red and white + I love with all my heart; + She gives me milk with all her might, + To eat with apple tart. + + She wanders lowing here and there, + And yet she cannot stray, + All in the pleasant open air, + The pleasant light of day. + + And blown by all the winds that pass, + And wet with all the showers, + She walks among the meadow grass + And eats the meadow flowers. + --ROBERT LOUIS STEVENSON. + + +WINDY NIGHTS + + Whenever the moon and stars are set, + Whenever the wind is high, + All night long in the dark and wet, + A man goes riding by. + Late in the night when the fires are out, + Why does he gallop and gallop about? + + Whenever the trees are crying aloud, + And ships are tossed at sea, + By, on the highway, low and loud, + By at the gallop goes he. + By at the gallop he goes, and then + By he comes back at the gallop again. + --ROBERT LOUIS STEVENSON. + + +BED IN SUMMER + + In winter I get up at night + And dress by yellow candle light; + In summer, quite the other way, + I have to go to bed by day. + + I have to go to bed and see + The birds still hopping on the tree; + Or hear the grown-up people's feet + Still going past me in the street. + + And does it not seem hard to you, + When all the sky is clear and blue, + And I should like so much to play, + To have to go to bed by day? + --ROBERT LOUIS STEVENSON. + + +WHAT DOES LITTLE BIRDIE SAY? + + What does little birdie say, + In her nest at peep of day? + Let me fly, says little birdie, + Mother, let me fly away. + Birdie, rest a little longer, + Till the little wings are stronger. + So she rests a little longer, + Then she flies away. + + What does little baby say, + In her bed at peep of day? + Baby says, like little birdie, + Let me rise and fly away. + Baby, sleep a little longer, + Till the little limbs are stronger. + If she sleeps a little longer, + Baby too shall fly away. + --ALFRED LORD TENNYSON. + + +A SLUMBER SONG + + Sleep, baby, sleep. + Thy father is tending the sheep: + Thy mother is shaking the dreamland tree, + And down comes a little dream on thee. + Sleep, baby, sleep. + + Sleep, baby, sleep. + The large stars are the sheep: + The little stars are the lambs, I guess, + And the bright moon is the shepherdess. + Sleep, baby, sleep. + + Sleep, baby, sleep. + Our Saviour loves His sheep: + He is the Lamb of God on high, + Who for our sakes came down to die. + Sleep, baby, sleep. + --_From the German by_ CAROLINE SOUTHEY. + + +PSALM XXIII + + The Lord is my shepherd; + I shall not want. + + He maketh me to lie down in green pastures: + He leadeth me beside the still waters. + He restoreth my soul: + He leadeth me in the paths of righteousness for his name's sake. + + Yea, though I walk through the valley of the shadow of death, + I will fear no evil: + For thou art with me; + Thy rod and thy staff they comfort me. + + Thou preparest a table before me + In the presence of mine enemies: + Thou anointest my head with oil; + My cup runneth over. + + Surely goodness and mercy shall follow me all the days of my life: + And I will dwell in the house of the Lord forever. + --KING DAVID. + + + + +SECOND YEAR + + +THE LIGHT-HEARTED FAIRY + + Oh, who is so merry, so merry, heigh ho! + As the light-hearted fairy? heigh ho, + Heigh ho! + He dances and sings + To the sound of his wings + With a hey and a heigh and a ho. + + Oh, who is so merry, so airy, heigh ho! + As the light-headed fairy? heigh ho, + Heigh ho! + His nectar he sips + From the primroses' lips + With a hey and a heigh and a ho. + + Oh, who is so merry, so merry, heigh ho! + As the light-footed fairy? heigh ho, + Heigh ho! + The night is his noon + And his sun is the moon, + With a hey and a heigh and a ho. + --UNKNOWN. + + +THE LAND OF COUNTERPANE + + When I was sick and lay a-bed, + I had two pillows for my head, + + And all my toys beside me lay + To keep me happy all the day. + + And sometimes for an hour or so + I watched my leaden soldiers go, + + With different uniforms and drills, + Among the bed-clothes through the hills; + + And sometimes sent my ships in fleets + All up and down among the sheets; + + Or brought my trees and houses out, + And planted cities all about. + + I was the giant great and still + That sits upon the pillow-hill, + + And sees before him, dale and plain, + The pleasant land of counterpane. + --ROBERT LOUIS STEVENSON. + + +MY SHADOW + + I have a little shadow that goes in and out with me, + And what can be the use of him is more than I can see. + He is very, very like me from the heels up to the head; + And I see him jump before me when I jump into my bed. + + The funniest thing about him is the way he likes to grow-- + Not at all like proper children, which is always very slow; + For he sometimes shoots up taller like an india-rubber ball, + And he sometimes gets so little that there's none of him at all. + + He hasn't got a notion of how children ought to play, + And can only make a fool of me in every sort of way. + He stays so close beside me, he's a coward you can see; + I'd think shame to stick to nursie as that shadow sticks to me. + + One morning, very early, before the sun was up, + I rose and found the shining dew on every buttercup; + But my lazy little shadow, like an arrant sleepy-head, + Had stayed at home behind me and was fast asleep in bed. + --ROBERT LOUIS STEVENSON. + + +SWEET AND LOW + + Sweet and low, sweet and low, + Wind of the western sea; + Low, low, breathe and blow, + Wind of the western sea. + Over the rolling waters go, + Come from the dying moon, and blow, + Blow him again to me; + While my little one, while my pretty one, sleeps. + + Sleep and rest, sleep and rest, + Father will come to thee soon; + Rest, rest on mother's breast, + Father will come to thee soon; + Father will come to his babe in the nest, + Silver sails all out of the west + Under the silver moon; + Sleep, my little one, sleep, my pretty one, sleep. + --ALFRED LORD TENNYSON. + + +LULLABY FOR TITANIA + +_First Fairy_ + + You spotted snakes with double tongue, + Thorny hedgehogs, be not seen; + Newts and blind-worms, do no wrong; + Come not near our fairy queen. + + +_Chorus_ + + Philomel, with melody + Sing in our sweet lullaby; + Lulla, lulla, lullaby; lulla, lulla, lullaby: + Never harm, + Nor spell, nor charm, + Come our lovely lady nigh; + So, good night, with lullaby. + + +_Second Fairy_ + + Weaving spiders, come not here; + Hence, you long-legg'd spinners, hence; + Beetles black, approach not near; + Worm nor snail, do no offence. + + +_Chorus_ + + Philomel, with melody + Sing in our sweet lullaby; + Lulla, lulla, lullaby; lulla, lulla, lullaby: + Never harm, + Nor spell, nor charm, + Come our lovely lady nigh; + So, good night, with lullaby. + --WILLIAM SHAKESPEARE. + + +AN OLD GAELIC CRADLE SONG + + Hush! the waves are rolling in, + White with foam, white with foam! + Father toils amid the din; + But baby sleeps at home. + + Hush! the winds roar hoarse and deep. + On they come, on they come! + Brother seeks the lazy sheep; + But baby sleeps at home. + + Hush! the rain sweeps o'er the knowes, + Where they roam, where they roam; + Sister goes to seek the cows; + But baby sleeps at home. + --UNKNOWN. + + +CHILD-SONGS + +I + +THE CITY CHILD + + Dainty little maiden, whither would you wander? + Whither from this pretty home, the home where mother dwells? + "Far, and far away," said the dainty little maiden, + "All among the gardens, auriculas, anemones, + Roses and lilies and Canterbury-bells." + + Dainty little maiden, whither would you wander? + Whither from this pretty house, this city-house of ours? + "Far and far away," said the dainty little maiden, + "All among the meadows, the clover and the clematis, + Daisies and kingcups, and honeysuckle-flowers." + +II + +MINNIE AND WINNIE + + Minnie and Winnie + Slept in a shell. + Sleep, little ladies! + And they slept well. + + Pink was the shell within, + Silver without; + Sounds of the great sea + Wander'd about. + + Sleep, little ladies! + Wake not soon! + Echo on echo + Dies to the moon. + + Two bright stars + Peep'd into the shell. + "What are they dreaming of? + Who can tell?" + + Started a green linnet + Out of the croft; + Wake, little ladies, + The sun is aloft! + --ALFRED LORD TENNYSON. + + +THE LAMB + + Little Lamb, who made thee? + Dost thou know who made thee? + Gave thee life, and bade thee feed + By the stream and o'er the mead; + Softest clothing, woolly, bright; + Gave thee such a tender voice, + Making all the vales rejoice; + Little Lamb, who made thee? + Dost thou know who made thee? + + Little Lamb, I'll tell thee. + Little Lamb, I'll tell thee. + He is calléd by thy name, + For He calls Himself a Lamb:-- + + He is meek, and He is mild; + He became a little child: + I, a child, and thou, a lamb, + We are calléd by His name. + Little Lamb, God bless thee; + Little Lamb, God bless thee. + --WILLIAM BLAKE. + + +THE FAIRIES + + Up the airy mountain, + Down the rushy glen, + We daren't go a-hunting + For fear of little men; + Wee folk, good folk, + Trooping all together; + Green jacket, red cap, + And white owl's feather! + + Down along the rocky shore + Some make their home: + They live on crispy pancakes + Of yellow tide-foam; + Some in the reeds + Of the black mountain lake, + With frogs for their watch-dogs, + All night awake. + + By the craggy hill-side, + Through the mosses bare, + They have planted thorn-trees + For pleasure here and there. + Is any man so daring + As dig them up in spite, + He shall find their sharpest thorns + In his bed at night. + + Up the airy mountain, + Down the rushy glen, + We daren't go a-hunting + For fear of little men; + Wee folk, good folk, + Trooping all together; + Green jacket, red cap, + And white owl's feather! + --WILLIAM ALLINGHAM. + + +SPRING + + Spring, the sweet spring, is the year's pleasant king; + Then blooms each thing, then maids dance in a ring, + Cold doth not sting, the pretty birds do sing, + Cuckoo, jug-jug, pu-we, to-witta-woo! + + The palm and may make country houses gay, + Lambs frisk and play, the shepherds pipe all day, + And we hear aye birds tune this merry lay, + Cuckoo, jug-jug, pu-we, to-witta-woo! + + The fields breathe sweet, the daisies kiss our feet, + Young lovers meet, old wives a-sunning sit, + In every street these tunes our ears do greet, + Cuckoo, jug-jug, pu-we, to-witta-woo! + Spring, the sweet Spring! + --THOMAS NASH. + + +LADY MOON + + "I love the moon and the moon loves me; + God bless the moon and God bless me."--Old Song. + + "Lady Moon, Lady Moon, where are you roving?" + "Over the sea." + "Lady Moon, Lady Moon, whom are you loving?" + "All that love me." + + "Are you not tired with rolling, and never + Resting to sleep? + Why look so pale and so sad as forever + Wishing to weep?" + + "Ask me not this, little child, if you love me; + You are too bold. + I must obey the great Father above me, + And do as I'm told." + --LORD HOUGHTON. + + +SONG TO NAOMI + + Entreat me not to leave thee, + Or to return from following after thee; + For whither thou goest, I will go; + And where thou lodgest, I will lodge; + Thy people shall be my people, + And thy God my God; + Where thou diest, will I die, + And there will I be buried; + The Lord do so to me, + And more also, + If aught but death part thee and me. + --RUTH THE MOABITESS. + + + + +THIRD YEAR + + +THE WIND + + I saw you toss the kites on high + And blow the birds about the sky; + And all around I heard you pass, + Like ladies' skirts across the grass; + O wind, a-blowing all day long, + O wind, that sings so loud a song! + + I saw the different things you did, + But always you yourself you hid. + I felt you push, I heard you call, + I could not see yourself at all: + O wind, a-blowing all day long, + O wind, that sings so loud a song! + + O you that are so strong and cold, + O blower, are you young or old? + Are you a beast of field and tree, + Or just a stronger child than me? + O wind, a-blowing all day long, + O wind, that sings so loud a song! + --ROBERT LOUIS STEVENSON. + + +ARIEL'S SONGS + +I + + Where the bee sucks, there suck I: + In a cowslip's bell I lie; + There I couch when owls do cry. + On the bat's back I do fly + After summer merrily. + Merrily, merrily, shall I live now, + Under the blossom that hangs on the bough. + +II + + Come unto these yellow sands, + And then take hands: + Court'sied when you have, and kiss'd + The wild waves whist,-- + Foot it featly here and there; + And, sweet sprites, the burden bear. + Hark, hark! + Bow-wow. + The watch-dogs bark: + Bow-wow. + Hark, hark! I hear + The strain of strutting chanticleer + Cry, Cock-a-diddle-dow! + --WILLIAM SHAKESPEARE. + + +SONGS OF GOOD CHEER + +I + + When daffodils begin to peer, + With heigh the doxy over the dale, + Why then comes in the sweet o' the year: + For the red blood reigns in the winter's pale. + +II + + Jog on, jog on, the foot-path way, + And merrily hent the stile-a: + A merry heart goes all the day, + Your sad tires in a mile-a. + +III + + A great while ago the world began, + With heigh-ho the wind and the rain: + But that's all one, our play is done, + And we'll strive to please you every day. + --WILLIAM SHAKESPEARE. + + +THE OWL + + When cats run home and light is come, + And dew is cold upon the ground, + And the far-off stream is dumb, + And the whirring sail goes round, + And the whirring sail goes round; + Alone and warming his five wits, + The white owl in the belfry sits. + + When merry milkmaids click the latch, + And rarely smells the new-mown hay, + And the cock hath sung beneath the thatch + Twice or thrice his roundelay, + Twice or thrice his roundelay; + Alone and warming his five wits, + The white owl in the belfry sits. + --ALFRED LORD TENNYSON. + + +ANSWER TO A CHILD'S QUESTION + + Do you ask what the birds say? The sparrow, the dove, + The linnet, and thrush, say, "I love and I love!" + In the winter they're silent--the wind is so strong. + What it says I don't know, but it sings a loud song. + But green leaves, and blossoms, and sunny warm weather, + And singing, and loving,--all come back together. + But the lark is so brimful of gladness and love, + The green fields below him, the blue sky above, + That he sings, and he sings; and forever sings he-- + "I love my Love, and my Love loves me!" + --SAMUEL TAYLOR COLERIDGE. + + +ROBIN REDBREAST + + Good-bye, good-bye to Summer! + For Summer's nearly done; + The garden smiling faintly, + Cool breezes in the sun; + Our thrushes now are silent, + Our swallows flown away,-- + But Robin's here with coat of brown, + And ruddy breast-knot gay. + Robin, Robin Redbreast, + O Robin dear! + Robin sings so sweetly + In the falling of the year. + + Bright yellow, red, and orange, + The leaves come down in hosts; + The trees are Indian princes, + But soon they'll turn to ghosts; + The scanty pears and apples + Hang russet on the bough; + It's Autumn, Autumn, Autumn late, + 'Twill soon be Winter now. + Robin, Robin Redbreast, + O Robin dear! + And what will this poor Robin do? + For pinching days are near. + + The fire-side for the cricket, + The wheat-stack for the mouse, + When trembling night-winds whistle + And moan all round the house. + The frosty ways like iron, + The branches plumed with snow,-- + Alas! in winter dead and dark, + Where can poor Robin go? + Robin, Robin Redbreast, + O Robin dear! + And a crumb of bread for Robin, + His little heart to cheer! + --WILLIAM ALLINGHAM. + + +THE UNSEEN PLAYMATE + + When children are playing alone on the green, + In comes the playmate that never was seen. + When children are happy and lonely and good, + The Friend of the Children comes out of the wood. + + Nobody heard him and nobody saw, + His is a picture you never could draw, + But he's sure to be present, abroad or at home, + When children are happy and playing alone. + + He lies in the laurel, he runs on the grass, + He sings when you tinkle the musical glass; + Whene'er you are happy and cannot tell why, + The Friend of the Children is sure to be by! + + He loves to be little, he hates to be big, + 'Tis he that inhabits the caves that you dig; + 'Tis he when you play with your soldiers of tin + That sides with the Frenchmen and never can win. + + 'Tis he, when at night you go off to your bed, + Bids you go to your sleep and not trouble your head; + For wherever they're lying, in cupboard or shelf, + 'Tis he will take care of your playthings himself! + --ROBERT LOUIS STEVENSON. + + +A LAUGHING SONG + + When the green woods laugh with the voice of joy, + And the dimpling stream runs laughing by; + When the air does laugh with our merry wit, + And the green hill laughs with the noise of it; + + When the meadows laugh with lively green, + And the grasshopper laughs in the merry scene; + When Mary, and Susan, and Emily, + With their sweet round mouths sing, "Ha, ha, he!" + + When the painted birds laugh in the shade, + Where our table with cherries and nuts is spread: + Come live, and be merry, and join with me + To sing the sweet chorus of "Ha, ha, he!" + --WILLIAM BLAKE. + + +LULLABY OF AN INFANT CHIEF + + Oh, hush thee, my babie! thy sire was a knight, + Thy mother a lady, both lovely and bright; + The woods and the glens, from the towers which we see, + They all are belonging, dear babie, to thee. + + Oh, fear not the bugle, though loudly it blows, + It calls but the warders that guard thy repose; + Their bows would be bended, their blades would be red, + Ere the step of a foeman draw near to thy bed. + + Oh, hush thee, my babie! the time soon will come, + When thy sleep shall be broken by trumpet and drum; + Then hush thee, my darling! take rest while you may; + For strife comes with manhood, and waking with day. + --SIR WALTER SCOTT. + + +THE FAIRY QUEEN + +(An Old Song) + + Come follow, follow me, + You fairy elves that be, + Which circle on the green; + Come, follow Mab your queen. + Hand in hand let's dance around, + For this place is fairy ground. + + The grasshopper, gnat, and fly, + Serve for our minstrelsy; + Grace said, we dance a while + And so the time beguile: + And if the moon doth hide her head, + The glowworm lights us home to bed. + + On tops of dewy grass + So nimbly do we pass, + The young and tender stalk + Ne'er bends when we do walk; + Yet in the morning may be seen + Where we the night before have been. + --UNKNOWN. + + +RING OUT, WILD BELLS + + Ring out, wild bells, to the wild sky, + The flying cloud, the frosty light: + The year is dying in the night; + Ring out, wild bells, and let him die. + + Ring out the old, ring in the new, + Ring, happy bells, across the snow: + The year is going, let him go; + Ring out the false, ring in the true. + + Ring in the valiant man and free, + The larger heart, the kindlier hand; + Ring out the darkness of the land, + Ring in the Christ that is to be. + --ALFRED LORD TENNYSON. + + +SONG OF SPRING + + The voice of my beloved! behold, he cometh, + Leaping upon the mountains, + Skipping upon the hills. + My beloved is like a roe or a young hart: + Behold, he standeth behind our wall, + He looketh forth at the windows, + Showing himself through the lattice. + My beloved spake and said unto me: + Rise up, my love, my fair one, + And come away. + + For, lo, the winter is past, + The rain is over and gone; + The flowers appear on the earth; + The time of the singing of birds is come, + And the voice of the turtle is heard in our land; + The fig tree putteth forth her green figs, + And the vines with the tender grape + Give a good smell. + Arise, my love, my fair one, + And come away. + --KING SOLOMON. + + + + +FOURTH YEAR + + + +PIPPA'S SONG + + The year's at the spring + And day's at the morn; + Morning's at seven; + The hill-side's dew-pearled; + The lark's on the wing; + The snail's on the thorn: + God's in his heaven-- + All's right with the world! + --ROBERT BROWNING. + + +A SEA DIRGE + + Full fathom five thy father lies: + Of his bones are coral made; + Those are pearls that were his eyes: + Nothing of him that doth fade, + But doth suffer a sea-change + Into something rich and strange. + Sea-nymphs hourly ring his knell: + Hark! now I hear them,-- + Ding, dong, bell. + --WILLIAM SHAKESPEARE. + + +HARK! HARK! THE LARK + + Hark! hark! the lark at heaven's gate sings, + And Phoebus 'gins arise, + His steeds to water at those springs + On chalic'd flowers that lies; + And winking Mary-buds begin + To ope their golden eyes: + With everything that pretty bin, + My lady sweet, arise; + Arise, arise! + --WILLIAM SHAKESPEARE. + + +WINTER + + When icicles hang by the wall, + And Dick the shepherd blows his nail + And Tom bears logs into the hall, + And milk comes frozen home in pail; + When blood is nipp'd, and ways be foul, + Then nightly sings the staring owl, + To-who; + Tu-whit, to-who, a merry note, + While greasy Joan doth keel the pot. + + When all aloud the wind doth blow, + And coughing drowns the parson's saw, + And birds sit brooding in the snow, + And Marion's nose looks red and raw; + When roasted crabs hiss in the bowl, + Then nightly sings the staring owl, + To-who; + Tu-whit, to-who, a merry note, + While greasy Joan doth keel the pot. + --WILLIAM SHAKESPEARE. + + +A FAIRY'S SONG + + Over hill, over dale, + Thorough bush, thorough brier, + Over park, over pale, + Thorough flood, thorough fire, + I do wander everywhere, + Swifter than the moon's sphere; + And I serve the fairy queen, + To dew her orbs upon the green: + The cowslips tall her pensioners be; + In their gold coats spots you see; + Those be rubies, fairy favours, + In those freckles live their savours: + I must go seek some dewdrops here, + And hang a pearl in every cowslip's ear. + --WILLIAM SHAKESPEARE. + + +A LAND DIRGE + + Call for the robin-redbreast and the wren, + Since o'er shady groves they hover, + And with leaves and flowers do cover + The friendless bodies of unburied men. + Call unto his funeral dole + The ant, the field mouse, and the mole + To rear him hillocks that shall keep him warm, + And (when gay tombs are robb'd) sustain no harm: + But keep the wolf far thence, that's foe to men: + For with his nails he'll dig them up again. + --JOHN WEBSTER. + + +MY HEART LEAPS UP + + 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. + --WILLIAM WORDSWORTH. + + +A MORNING SONG + + Pack, clouds, away, and welcome day: + With night we banish sorrow; + Sweet air blow soft, mount larks aloft, + To give my Love good-morrow! + Wings from the wind to please her mind, + Notes from the lark I'll borrow; + Bird, prune thy wing, nightingale, sing, + To give my Love good-morrow; + To give my Love good-morrow + Notes from them both I'll borrow. + + Wake from thy nest, Robin-red-breast, + Sing, birds, in every furrow; + And from each hill, let music shrill + Give my fair Love good-morrow! + Blackbird and thrush in every bush, + Stare, linnet, and cock-sparrow! + You pretty elves, amongst yourselves, + Sing my fair Love good-morrow + To give my Love good-morrow; + Sing, birds, in every furrow! + --THOMAS HEYWOOD. + + +IN MARCH + + The cock is crowing, + The stream is flowing, + The small birds twitter, + The lake doth glitter, + The green field sleeps in the sun: + The oldest and youngest + Are at work with the strongest: + The cattle are grazing, + Their heads never raising, + There are forty feeding like one! + + Like an army defeated, + The snow has retreated, + And now doth fare ill + On the top of the bare hill; + The ploughboy is whooping--anon--anon: + There's joy in the mountains; + There's life in the fountains, + Small clouds are sailing, + Blue sky prevailing, + The rain is over and gone! + --WILLIAM WORDSWORTH. + + +CHORAL SONG TO THE ILLYRIAN PEASANTS + + Up, up! ye dames, ye lasses gay! + To the meadows trip away. + 'Tis you must tend the flocks this morn, + And scare the small birds from the corn. + Not a soul at home may stay: + For the shepherds must go + With lance and bow + To hunt the wolf in the woods to-day. + + Leave the hearth and leave the house + To the cricket and the mouse: + Find grannam out a sunny seat, + With babe and lambkin at her feet. + Not a soul at home may stay: + For the shepherds must go + With lance and bow + To hunt the wolf in the woods to-day. + --SAMUEL TAYLOR COLERIDGE. + + +THE FORSAKEN MERMAN + + Come, dear children, let us away; + Down and away below. + Now my brothers call from the bay; + Now the great winds shoreward blow; + Now the salt tides seaward flow; + Now the wild white horses play, + Champ and chafe and toss in the spray. + Children dear, let us away. + This way, this way! + + Call her once before you go. + Call once yet. + In a voice that she will know: + "Margaret! Margaret!" + Children's voices should be dear + (Call once more) to a mother's ear: + Children's voices, wild with pain. + Surely she will come again. + Call her once and come away. + This way, this way! + "Mother dear, we cannot stay. + The wild white horses foam and fret." + Margaret! Margaret! + + Come, dear children, come away down. + Call no more. + One last look at the white-wall'd town, + And the little gray church on the windy shore. + Then come down. + She will not come though you call all day. + Come away, come away. + + Children dear, was it yesterday + We heard the sweet bells over the bay? + In the caverns where we lay, + Through the surf and through the swell, + The far-off sound of a silver bell? + Sand-strewn caverns, cool and deep, + Where the winds are all asleep; + Where the spent lights quiver and gleam; + Where the salt weed sways in the stream; + Where the sea-beasts, ranged all round, + Feed in the ooze of their pasture-ground; + Where the sea-snakes coil and twine, + Dry their mail, and bask in the brine; + Where great whales come sailing by, + Sail and sail, with unshut eye, + Round the world for ever and aye? + When did music come this way? + Children dear, was it yesterday? + + Children dear, was it yesterday + (Call yet once) that she went away? + Once she sate with you and me. + On a red gold throne in the heart of the sea, + And the youngest sate on her knee. + She comb'd its bright hair, and she tended it well, + When down swung the sound of the far-off bell. + She sigh'd, she look'd up through the clear green sea. + She said, "I must go, for my kinsfolk pray + In the little gray church on the shore to-day. + 'Twill be Easter-time in the world--ah me! + And I lose my poor soul, Merman, here with thee." + I said, "Go up, dear heart, through the waves. + Say thy prayer, and come back to the kind sea-caves." + She smiled, she went up through the surf in the bay. + Children dear, was it yesterday? + + Children dear, were we long alone? + "The sea grows stormy, the little ones moan. + Long prayers," I said, "in the world they say. + Come," I said, and we rose through the surf in the bay. + We went up the beach, by the sandy down + Where the sea-stocks bloom, to the white-wall'd town, + Through the narrow paved streets, where all was still, + To the little gray church on the windy hill. + From the church came a murmur of folk at their prayers, + But we stood without in the cold-blowing airs. + We climb'd on the graves, on the stones worn with rains, + And we gazed up the aisle through the small leaded panes. + She sate by the pillar; we saw her clear: + "Margaret, hist! come quick, we are here. + Dear heart," I said, "we are long alone. + The sea grows stormy, the little ones moan." + But, ah! she gave me never a look, + For her eyes were seal'd to the holy book. + Loud prays the priest; shut stands the door. + Come away, children, call no more. + Come away, come down, call no more. + + Down, down, down; + Down to the depths of the sea. + She sits at her wheel in the humming town, + Singing most joyfully. + Hark what she sings: "O joy, O joy, + For the humming street, and the child with its toy; + For the priest, and the bell, and the holy well; + For the wheel where I spun, + And the blessèd light of the sun." + And so she sings her fill, + Singing most joyfully, + Till the shuttle falls from her hand, + And the whizzing wheel stands still. + She steals to the window, and looks at the sand; + And over the sand at the sea; + And her eyes are set in a stare; + And anon there breaks a sigh, + And anon there drops a tear, + From a sorrow-clouded eye, + And a heart sorrow-laden, + A long, long sigh + For the cold strange eyes of a little Mermaiden, + And the gleam of her golden hair. + + Come away, away, children. + Come, children, come down. + The hoarse wind blows colder; + Lights shine in the town. + She will start from her slumber + When gusts shake the door; + She will hear the winds howling, + Will hear the waves roar. + We shall see, while above us + The waves roar and whirl, + A ceiling of amber, + A pavement of pearl. + Singing, "Here came a mortal, + But faithless was she: + And alone dwell for ever + The kings of the sea." + + But, children, at midnight, + When soft the winds blow; + When clear falls the moonlight; + When spring-tides are low: + When sweet airs come seaward + From heaths starr'd with broom; + And high rocks throw mildly + On the blanch'd sands a gloom: + Up the still, glistening beaches, + Up the creeks we will hie; + Over banks of bright seaweed + The ebb-tide leaves dry. + We will gaze, from the sand-hills, + At the white, sleeping town; + At the church on the hill-side-- + And then come back down, + Singing, "There dwells a loved one, + But cruel is she. + She left lonely forever + The kings of the sea." + --MATTHEW ARNOLD. + + +PSALM VIII + + O Lord, our Lord, + How excellent is thy name in all the earth! + + Who hast set thy glory above the heavens, + Out of the mouth of babes and sucklings hast thou ordained strength, + Because of thine enemies, + That thou mightest still the enemy and the avenger. + + When I consider thy heavens, the work of thy fingers, + The moon and the stars, which thou hast ordained; + What is man that thou art mindful of him? + And the son of man, that thou visitest him? + + For thou hast made him a little lower than the angels, + And hast crowned him with glory and honour. + Thou madest him to have dominion over the works of thy hands; + Thou hast put all things under his feet: + + All sheep and oxen, + Yea, and the beasts of the field; + The fowl of the air, and the fish of the sea, + And whatsoever passeth through the paths of the seas. + + O Lord, our Lord, + How excellent is thy name in all the earth! + --KING DAVID. + + + + +FIFTH YEAR + + +THE BUGLE SONG + + The splendour falls on castle walls + And snowy summits old in story: + The long light shakes across the lakes, + And the wild cataract leaps in glory. + Blow, bugle, blow, set the wild echoes flying, + Blow, bugle; answer, echoes, dying, dying, dying. + + O hark, O hear! how thin and clear, + And thinner, clearer, farther going! + O sweet and far from cliff and scar + The horns of Elfland faintly blowing! + Blow, let us hear the purple glens replying: + Blow, bugle; answer, echoes, dying, dying, dying. + + O love, they die in yon rich sky, + They faint on hill or field or river: + Our echoes roll from soul to soul, + And grow forever and forever. + Blow, bugle, blow, set the wild echoes flying, + And answer, echoes, answer, dying, dying, dying. + --ALFRED LORD TENNYSON. + + +THE BROOK + + I come from haunts of coot and hern, + I make a sudden sally, + And sparkle out among the fern, + To bicker down a valley. + + By thirty hills I hurry down, + Or slip between the ridges, + By twenty thorps, a little town, + And half a hundred bridges. + + Till last by Philip's farm I flow + To join the brimming river, + For men may come and men may go, + But I go on forever. + + I chatter over stony ways, + In little sharps and trebles, + I bubble into eddying bays, + I babble on the pebbles. + + With many a curve my banks I fret + By many a field and fallow, + And many a fairy foreland set + With willow-weed and mallow. + + I chatter, chatter, as I flow + To join the brimming river, + For men may come and men may go, + But I go on forever. + + I wind about, and in and out, + With here a blossom sailing, + And here and there a lusty trout, + And here and there a grayling, + + And here and there a foamy flake + Upon me, as I travel + With many a silvery waterbreak + Above the golden gravel, + + And draw them all along, and flow + To join the brimming river, + For men may come and men may go, + But I go on forever. + + I steal by lawns and grassy plots, + I slide by hazel covers; + I move the sweet forget-me-nots + That grow for happy lovers. + + I slip, I slide, I gloom, I glance, + Among my skimming swallows; + I make the netted sunbeam dance + Against my sandy shallows. + + I murmur under moon and stars + In brambly wildernesses; + I linger by my shingly bars; + I loiter round my cresses; + + And out again I curve and flow + To join the brimming river, + For men may come and men may go. + But I go on forever. + --ALFRED LORD TENNYSON. + + +HYMN TO DIANA + + Queen and Huntress, chaste and fair, + Now the sun is laid to sleep, + Seated in thy silver chair + State in wonted manner keep: + Hesperus entreats thy light, + Goddess excellently bright. + + Earth, let not thy envious shade + Dare itself to interpose; + Cynthia's shining orb was made + Heaven to clear when day did close: + Bless us then with wishèd sight, + Goddess excellently bright. + + Lay thy bow of pearl apart + And thy crystal-shining quiver; + Give unto the flying hart + Space to breathe, how short soever: + Thou that mak'st a day of night, + Goddess excellently bright! + --BEN JONSON. + + +THE BURNING BABE + + As I in hoary winter's night stood shivering in the snow, + Surprised I was with sudden heat, which made my heart to glow; + And lifting up a fearful eye to view what fire was near, + A pretty babe, all burning bright, did in the air appear; + Who, scorchèd with excessive heat, such floods of tears did shed, + As though his floods should quench his flames which with his tears + were fed:-- + "Alas!" quoth He, "but newly born, in fiery heats I fry, + Yet none approach to warm their hearts or feel my fire but I! + + "My faultless breast the furnace is, the fuel wounding thorns; + Love is the fire, and sighs the smoke, the ashes shame and scorns; + The fuel Justice layeth on, and Mercy blows the coals, + The metal in this furnace wrought are men's defilèd souls, + For which, as now on fire I am, to work them to their good, + So will I melt into a bath to wash them in my blood."-- + With this He vanished out of sight, and swiftly shrunk away; + And straight I callèd unto mind that it was Christmas-day. + --ROBERT SOUTHWELL. + + +AT SEA + + A wet sheet and a flowing sea, + A wind that follows fast + And fills the white and rustling sail + And bends the gallant mast; + And bends the gallant mast, my boys, + While like the eagle free + Away the good ship flies, and leaves + Old England on the lee. + + O for a soft and gentle wind! + I heard a fair one cry; + But give to me the snoring breeze + And white waves heaving high; + And white waves heaving high, my lads, + The good ship tight and free:-- + The world of waters is our home, + And merry men are we. + + There's tempest in yon hornèd moon, + And lightning in yon cloud; + But hark the music, mariners! + The wind is piping loud; + The wind is piping loud, my boys, + The lightning flashes free-- + While the hollow oak our palace is, + Our heritage the sea. + --ALLAN CUNNINGHAM. + + +WHERE LIES THE LAND? + + Where lies the land to which the ship would go? + Far, far ahead, is all her seamen know. + And where the land she travels from? Away, + Far, far behind, is all that they can say. + + On sunny noons upon the deck's smooth face, + Linked arm in arm, how pleasant here to pace; + Or, o'er the stern reclining, watch below + The foaming wake far widening as we go. + + On stormy nights when wild north-westers rave, + How proud a thing to fight with wind and wave! + The dripping sailor on the reeling mast + Exults to bear, and scorns to wish it past. + + Where lies the land to which the ship would go? + Far, far ahead, is all her seamen know. + And where the land she travels from? Away, + Far, far behind, is all that they can say. + --ARTHUR HUGH CLOUGH. + + +UNDER THE GREENWOOD TREE + + Under the greenwood tree + Who loves to lie with me, + And turn his merry note + Unto the sweet bird's throat-- + Come hither, come hither, come hither! + Here shall he see + No enemy + But winter and rough weather. + + Who doth ambition shun + And loves to live i' the sun, + Seeking the food he eats + And pleased with what he gets-- + Come hither, come hither, come hither! + Here shall he see + No enemy + But winter and rough weather. + --WILLIAM SHAKESPEARE. + + +TO DAFFODILS + + Fair Daffodils, we weep to see + You haste away so soon: + As yet the early-rising Sun + Has not attain'd his noon. + Stay, stay, + Until the hasting day + Has run + But to the even-song; + And, having pray'd together, we + Will go with you along. + + We have short time to stay, as you, + We have as short a Spring; + As quick a growth to meet decay + As you, or anything. + We die, + As your hours do, and dry + Away + Like to the Summer's rain; + Or as the pearls of Morning's dew + Ne'er to be found again. + --ROBERT HERRICK. + + +AUTUMN + + The warm sun is failing, the bleak wind is wailing, + The bare boughs are sighing, the pale flowers are dying; + And the year + On the earth her death-bed, in a shroud of leaves dead, + Is lying. + Come, Months, come away, + From November to May, + In your saddest array,-- + Follow the bier + Of the dead cold year, + And like dim shadows watch by her sepulchre. + + The chill rain is falling, the nipt worm is crawling, + The rivers are swelling, the thunder is knelling, + For the year; + The blithe swallows are flown, and the lizards each gone + To his dwelling. + Come, Months, come away; + Put on white, black, and gray; + Let your light sisters play; + Ye, follow the bier + Of the dead cold year, + And make her grave green with tear on tear. + --PERCY BYSSHE SHELLEY. + + +ROBIN GOODFELLOW + + From Oberon, in fairy land, + The king of ghosts and shadows there, + Mad Robin I, at his command, + Am sent to view the night-sports here. + What revel rout + Is kept about, + In every corner where I go, + I will o'ersee, + And merry be, + And make good sport, with ho, ho, ho! + + More swift than lightning can I fly + About this airy welkin soon, + And, in a minute's space, descry + Each thing that's done below the moon. + There's not a hag + Or ghost shall wag, + Or cry 'ware goblins, where I go; + But, Robin, I + Their feast will spy, + And send them home with ho, ho, ho! + + Whene'er such wanderers I meet, + As from their night-sports they trudge home, + With counterfeiting voice I greet, + And call them on with me to roam; + Through woods, through lakes, + Through bogs, through brakes, + Or else, unseen, with them I go, + All in the nick + To play some trick, + And frolic it, with ho, ho, ho! + + Sometimes I meet them like a man, + Sometimes an ox, sometimes a hound; + And to a horse I turn me can, + To trip and trot about them round. + But if to ride, + My back they stride, + More swift than wind away I go, + O'er hedge and lands. + Through pools and ponds, + I hurry, laughing, ho, ho, ho! + + By wells and rills, in meadows green, + We nightly dance our heyday guise; + And to our fairy King and Queen, + We chant our moonlight minstrelsies. + When larks 'gin sing, + Away we fling; + And babes new born steal as we go; + And elf in bed, + We leave instead, + And wend us laughing, ho, ho, ho! + + From hag-bred Merlin's time have I + Thus nightly revell'd to and fro; + And for my pranks men call me by + The name of Robin Good-fellow. + Fiends, ghosts, and sprites, + Who haunt the nights, + The hags and goblins do me know; + And beldames old + So _valé_, _valé_! ho, ho, ho! + --UNKNOWN. + + +BOOT AND SADDLE + + Boot, saddle, to horse, and away! + Rescue my castle before the hot day + Brightens to blue from its silvery gray, + Boot, saddle, to horse, and away! + + Ride past the suburbs, asleep as you'd say; + Many's the friend there, will listen and pray + "God's luck to gallants that strike up the lay-- + Boot, saddle, to horse, and away!" + + Forty miles off, like a roebuck at bay, + Flouts Castle Brancepeth the Roundheads' array, + Who laughs, "Good fellows ere this, by my fay, + Boot, saddle, to horse, and away!" + + Who? My wife Gertrude; that, honest, and gay, + Laughs when you talk of surrendering, "Nay! + I've better counsellors; what counsel they? + Boot, saddle, to horse, and away!" + --ROBERT BROWNING. + + +PSALM XIX + + The heavens declare the glory of God; + And the firmament showeth his handiwork. + Day unto day uttereth speech, + And night unto night sheweth knowledge. + There is no speech nor language, + Where their voice is not heard. + Their line is gone out through all the earth, + And their words to the end of the world. + + In them hath he set a tabernacle for the sun, + Which is as a bridegroom coming out of his chamber, + And rejoiceth as a strong man to run a race. + His going forth is from the end of the heaven, + And his circuit unto the ends of it: + And there is nothing hid from the heat thereof. + + The law of the Lord is perfect, converting the soul: + The testimony of the Lord is sure, making wise the simple. + The statutes of the Lord are right, rejoicing the heart: + The commandment of the Lord is pure, enlightening the eyes. + The fear of the Lord is clean, enduring forever: + The judgments of the Lord are true and righteous altogether. + More to be desired are they than gold, yea, than much fine gold: + Sweeter also than honey and the honeycomb. + + Moreover by them is thy servant warned: + And in keeping of them there is great reward. + Who can understand his errors? cleanse thou me from secret faults. + Keep back thy servant also from presumptuous sins; let them not have + dominion over me: + Then shall I be upright, + And I shall be innocent from the great transgression. + + Let the words of my mouth, and the meditation of my heart, be + acceptable in thy sight, + O Lord, my strength, and my redeemer. + --KING DAVID. + + + + +SIXTH YEAR + + +THE NORTHERN STAR + +(A Tynemouth Ship) + + The "Northern Star" + Sail'd over the bar + Bound to the Baltic Sea; + In the morning gray + She stretch'd away:-- + 'Twas a weary day to me! + + For many an hour + In sleet and shower + By the lighthouse rock I stray; + And watch till dark + For the wingèd bark + Of him that is far away. + + The castle's bound + I wander round, + Amidst the grassy graves: + But all I hear + Is the north-wind drear, + And all I see are the waves. + + The "Northern Star" + Is set afar! + Set in the Baltic Sea: + And the waves have spread + The sandy bed + That holds my Love from me. + --UNKNOWN. + + +THE FIRST SWALLOW + + The gorse is yellow on the heath; + The banks of speedwell flowers are gay; + The oaks are budding, and beneath, + The hawthorn soon will bear the wreath, + The silver wreath of May. + + The welcome guest of settled spring, + The swallow, too, is come at last + Just at sunset, when thrushes sing, + I saw her dash with rapid wing, + And hail'd her as she past. + + Come, summer visitant, attach + To my reed roof your nest of clay, + And let my ear your music catch, + Low twittering underneath the thatch, + At the gray dawn of day. + --CHARLOTTE SMITH. + + +BLOW, BLOW, THOU WINTER WIND + + Blow, blow, thou winter wind, + Thou art not so unkind + As man's ingratitude; + Thy tooth is not so keen, + Because thou art not seen, + Although thy breath be rude. + Heigh ho! sing, heigh ho! unto the green holly: + Most friendship is feigning, most loving mere folly: + Then heigh ho, the holly! + This life is most jolly. + + Freeze, freeze, thou bitter sky, + That dost not bite so nigh + As benefits forgot: + Though thou the waters warp, + Thy sting is not so sharp + As friend remember'd not. + Heigh ho! sing, heigh ho! unto the green holly: + Most friendship is feigning, most loving mere folly: + Then heigh ho, the holly! + This life is most jolly. + --WILLIAM SHAKESPEARE. + + +THE DEATH OF THE FLOWERS + + The melancholy days are come, the saddest of the year, + Of wailing winds, and naked woods, and meadows brown and sear. + Heap'd in the hollows of the grove, the autumn leaves lie dead; + They rustle to the eddying gust, and to the rabbit's tread. + The robin and the wren are flown, and from the shrubs the jay, + And from the wood-top calls the crow through all the gloomy day. + + The wind-flower and the violet, they perish'd long ago, + And the brier-rose and the orchid died amid the summer glow; + But on the hill the golden-rod, and the aster in the wood, + And the yellow sun-flower by the brook in autumn beauty stood, + Till fell the frost from the clear cold heaven, as falls the plague + on men, + And the brightness of their smile was gone, from upland, glade, and + glen. + + And now, when comes the calm mild day, as still such days will come, + To call the squirrel and the bee from out their winter home; + When the sound of dropping nuts is heard, though all the trees are + still, + And twinkle in the smoky light the waters of the rill, + The south wind searches for the flowers whose fragrance late he bore, + And sighs to find them in the wood and by the stream no more. + --WILLIAM CULLEN BRYANT. + + +THE WRECK OF THE HESPERUS + + It was the schooner Hesperus, + That sail'd the wintry sea; + And the skipper had taken his little daughter, + To bear him company. + + Blue were her eyes as the fairy flax, + Her cheeks like the dawn of day, + And her bosom white as the hawthorn buds, + That ope in the month of May. + + The skipper he stood beside the helm, + His pipe was in his mouth; + And he watched how the veering flaw did blow + The smoke now West, now South. + + Then up and spake an old Sailòr, + Had sailed the Spanish Main: + "I pray thee, put into yonder port, + For I fear a hurricane. + + "Last night, the moon had a golden ring, + And to-night no moon we see!" + The skipper, he blew a whiff from his pipe, + And a scornful laugh laughed he. + + Colder and louder blew the wind, + A gale from the North-east; + The snow fell hissing in the brine, + And the billows frothed like yeast. + + Down came the storm, and smote amain + The vessel in its strength; + She shuddered and paused, like a frightened steed, + Then leaped her cable's length. + + "Come hither! come hither! my little daughter, + And do not tremble so; + For I can weather the roughest gale, + That ever wind did blow." + + He wrapped her warm in his seaman's coat, + Against the stinging blast; + He cut a rope from a broken spar, + And bound her to a mast. + + "O father! I hear the church bells ring. + O say, what may it be?" + "'Tis a fog-bell on a rock-bound coast!"-- + And he steered for the open sea. + + "O father! I hear the sound of guns, + O say, what may it be?" + "Some ship in distress, that cannot live + In such an angry sea!" + + "O father! I see a gleaming light, + O say, what may it be?" + But the father answered never a word, + A frozen corpse was he. + + Lashed to the helm, all stiff and stark, + With his face turned to the skies; + The lantern gleamed through the gleaming snow + On his fixed and glassy eyes. + + Then the maiden clasped her hands and prayed + That savèd she might be; + And she thought of Christ, who stilled the waves, + On the Lake of Galilee. + + And fast through the midnight dark and drear, + Through the whistling sleet and snow, + Like a sheeted ghost, the vessel swept + Towards the reef of Norman's Woe. + + And ever the fitful gusts between + A sound came from the land; + It was the sound of the trampling surf, + On the rocks and the hard sea-sand. + + The breakers were right beneath her bows, + She drifted a weary wreck, + And a whooping billow swept the crew + Like icicles from her deck. + + She struck where the white and fleecy waves + Looked soft as carded wool, + But the cruel rocks, they gored her side, + Like the horns of an angry bull. + + Her rattling shrouds, all sheathed in ice, + With the masts, went by the board; + Like a vessel of glass, she stove and sank, + Ho! ho! the breakers roared! + + At daybreak, on the bleak sea-beach, + A fisherman stood aghast, + To see the form of a maiden fair, + Lashed close to a drifting mast. + + The salt sea was frozen on her breast, + The salt tears in her eyes; + And he saw her hair, like the brown sea-weed, + On the billows fall and rise. + + Such was the wreck of the Hesperus, + In the midnight and the snow! + Christ save us all from a death like this, + On the reef of Norman's Woe! + --HENRY WADSWORTH LONGFELLOW. + + +THE SANDS OF DEE + + "O Mary, go and call the cattle home, + And call the cattle home, + And call the cattle home, + Across the sands of Dee." + The western wind was wild and dark with foam, + And all alone went she. + + The western tide crept up along the sand, + And o'er and o'er the sand, + And round and round the sand, + As far as eye could see. + The rolling mist came down and hid the land: + And never home came she. + + "O is it weed, or fish, or floating hair-- + A tress of golden hair, + A drownèd maiden's hair, + Above the nets at sea?" + Was never salmon yet that shone so fair + Among the stakes of Dee. + + They row'd her in across the rolling foam + The cruel crawling foam, + The cruel hungry foam, + To her grave beside the sea. + But still the boatmen hear her call the cattle home, + Across the sands of Dee. + --CHARLES KINGSLEY. + + +CANADIAN BOAT SONG + + Faintly as tolls the evening chime, + Our voices keep tune, and our oars keep time; + Soon as the woods on shore look dim, + We'll sing at St. Anne's our parting hymn. + Row, brothers, row, the stream runs fast; + The Rapids are near, and the daylight's past. + + Why should we yet our sail unfurl? + There is not a breath the blue wave to curl; + But when the wind blows off the shore, + Oh! sweetly we'll rest our weary oar. + Blow, breezes, blow, the stream runs fast, + The Rapids are near, and the daylight's past. + + Ottawa's tide! this trembling moon + Shall see us float over thy surges soon: + Saint of this green isle! hear our prayers, + Oh! grant us cool heavens, and favouring airs. + Row, brothers, row, the stream runs fast, + The Rapids are near, and the daylight's past. + --THOMAS MOORE. + + +RETURN OF THE ANCIENT MARINER + + O wedding-guest! this soul hath been + Alone on a wide, wide sea: + So lonely 'twas, that God himself + Scarce seemed there to be. + + O sweeter than the marriage-feast, + 'Tis sweeter far to me, + To walk together to the kirk + With a goodly company! + + To walk together to the kirk, + And all together pray, + While each to his great Father bends, + Old men, and babes, and loving friends, + And youths and maidens gay! + + Farewell, farewell! but this I tell + To thee, thou Wedding-Guest! + He prayeth well, who loveth well + Both man and bird and beast. + + He prayeth best, who loveth best + All things both great and small; + For the dear God who loveth us, + He made and loveth all. + --SAMUEL TAYLOR COLERIDGE. + + +NOW FADES THE LAST LONG STREAK OF SNOW + + Now fades the last long streak of snow, + Now burgeons 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 drown'd in yonder living blue + The lark becomes a sightless song. + + Now dance the lights on lawn and lea, + The flocks are whiter down the vale, + And milkier every milky sail + On winding stream or distant sea; + + Where now the seamew pipes, or dives + In yonder greening gleam, and fly + The happy birds, that change their sky + To build and brood; that live their lives, + + From land to land; and in my breast + Spring wakens too; and my regret + Becomes an April violet, + And buds and blossoms like the rest. + --ALFRED LORD TENNYSON. + + +HOW THEY BROUGHT THE GOOD NEWS FROM GHENT TO AIX + + I sprang to the stirrup, and Joris, and he; + I galloped, Dirck galloped, we galloped all three; + "Good speed!" cried the watch, as the gate-bolts undrew; + "Speed!" echoed the wall to us galloping through; + Behind shut the postern, the lights sank to rest, + And into the midnight we galloped abreast. + + Not a word to each other; we kept the great pace + Neck by neck, stride by stride, never changing our place; + I turned in my saddle and made its girths tight, + Then shortened each stirrup, and set the pique right, + Rebuckled the cheek-strap, chained slacker the bit, + Nor galloped less steadily Roland a whit. + + 'Twas moonset at starting; but while we drew near + Lokeren, the cocks crew and twilight dawned clear; + At Boom, a great yellow star came out to see; + At Düffield, 'twas morning as plain as could be; + And from Mecheln church-steeple we heard the half-chime, + So, Joris broke silence with, "Yet there is time!" + + At Aerschot, up leaped of a sudden the sun, + And against him the cattle stood black every one, + To stare thro' the mist at us galloping past, + And I saw my stout galloper Roland at last, + With resolute shoulders, each butting away + The haze, as some bluff river headland its spray; + + And his low head and crest, just one sharp ear bent back + For my voice, and the other pricked out on his track; + And one eye's black intelligence,--ever that glance + O'er its white edge at me, his own master, askance! + And the thick heavy spume-flakes which aye and anon + His fierce lips shook upwards in galloping on. + + By Hasselt, Dirck groaned; and cried Joris, "Stay spur! + Your Roos galloped bravely, the fault's not in her, + We'll remember at Aix"--for one heard the quick wheeze + Of her chest, saw the stretched neck and staggering knees, + And sunk tail, and horrible heave of the flank, + As down on her haunches she shuddered and sank. + + So, we were left galloping, Joris and I, + Past Looz and past Tongres, no cloud in the sky; + The broad sun above laughed a pitiless laugh, + 'Neath our feet broke the brittle bright stubble like chaff; + Till over by Dalhem a dome-spire sprang white, + And "Gallop," gasped Joris, "for Aix is in sight!" + + "How they'll greet us!"--and all in a moment his roan + Rolled neck and croup over, lay dead as a stone; + And there was my Roland to bear the whole weight + Of the news which alone could save Aix from her fate, + With his nostrils like pits full of blood to the brim, + And with circles of red for his eye-sockets' rim. + + Then I cast loose my buffcoat, each holster let fall, + Shook off both my jack-boots, let go belt and all, + Stood up in the stirrup, leaned, patted his ear, + Called my Roland his pet-name, my horse without peer; + Clapped my hands, laughed and sang, any noise, bad or good, + Till at length into Aix Roland galloped and stood. + + And all I remember is--friends flocking round + As I sat with his head 'twixt my knees on the ground; + And no voice but was praising this Roland of mine, + As I poured down his throat our last measure of wine, + Which (the burgesses voted by common consent) + Was no more than his due who brought good news from Ghent. + --ROBERT BROWNING. + + +THE DESTRUCTION OF SENNACHERIB + + The Assyrian came down like the wolf on the fold, + And his cohorts were gleaming in purple and gold, + And the sheen of their spears was like stars on the sea, + When the blue wave rolls nightly on deep Galilee. + + Like the leaves of the forest when summer is green, + That host with their banners at sunset were seen; + Like the leaves of the forest when autumn hath blown, + That host on the morrow lay wither'd and strown. + + For the Angel of Death spread his wings on the blast, + And breathed in the face of the foe as he pass'd; + And the eyes of the sleepers wax'd deadly and chill, + And their hearts but once heaved, and forever grew still. + + And there lay the steed with his nostril all wide, + But through it there roll'd not the breath of his pride: + And the foam of his gasping lay white on the turf, + And cold as the spray of the rock-beating surf. + + And there lay the rider, distorted and pale, + With the dew on his brow, and the rust on his mail; + And the tents were all silent, the banners alone, + The lances unlifted, the trumpet unblown. + + And the widows of Ashur are loud in their wail, + And the idols are broke in the temple of Baal, + And the might of the Gentile, unsmote by the sword, + Hath melted like snow in the glance of the Lord. + --LORD BYRON. + + +PSALM XCI + + He that dwelleth in the secret place of the most High + Shall abide under the shadow of the Almighty. + I will say of the Lord, He is my refuge and my fortress: + My God; in him will I trust. + Surely he shall deliver thee from the snare of the fowler, + And from the noisome pestilence. + He shall cover thee with his feathers, + And under his wings shalt thou trust: + His truth shall be thy shield and buckler. + Thou shalt not be afraid for the terror by night; + Nor for the arrow that flieth by day; + Nor for the pestilence that walketh in darkness; + Nor for the destruction that wasteth by noon-day. + A thousand shall fall at thy side, + And ten thousand at thy right hand; + But it shall not come nigh thee. + Only with thine eyes shalt thou behold + And see the reward of the wicked. + + Because thou hast made the Lord, which is my refuge, + Even the most High, thy habitation; + There shall no evil befall thee, + Neither shall any plague come nigh thy dwelling. + For he shall give his angels charge over thee, + To keep thee in all thy ways. + They shall bear thee up in their hands, + Lest thou dash thy foot against a stone. + Thou shalt tread upon the lion and adder: + The young lion and the dragon shalt thou trample under feet. + Because he hath set his love upon me, therefore will I deliver him: + I will set him on high, because he hath known my name. + He shall call upon me, and I will answer him: + I will be with him in trouble; + I will deliver him, and honour him. + With long life will I satisfy him, + And show him my salvation. + --KING DAVID. + + + + +SEVENTH YEAR + + +THE PILGRIM + + Who would true valour see + Let him come hither. + One here will constant be, + Come wind, come weather: + There's no discouragement + Shall make him once relent + His first-avow'd intent + To be a Pilgrim. + + Whoso beset him round + With dismal stories, + Do but themselves confound; + His strength the more is. + No lion can him fright; + He'll with a giant fight; + But he will have a right + To be a Pilgrim. + + Nor enemy, nor fiend, + Can daunt his spirit; + He knows he at the end + Shall Life inherit:-- + Then, fancies, fly away; + He'll not fear what men say; + He'll labour night and day, + To be a Pilgrim. + --JOHN BUNYAN. + + +THE CLOUD + + I bring fresh showers for the thirsting flowers, + From the seas and the streams; + I bear light shade for the leaves when laid + In their noon-day dreams. + From my wings are shaken the dews that waken + The sweet birds every one, + When rocked to rest on their Mother's breast, + As she dances in the sun. + I wield the flail of the lashing hail, + And whiten the green plains under; + And then again I dissolve it in rain, + And laugh as I pass in thunder. + + I sift the snow on the mountains below, + And their great pines groan aghast; + And all the night 'tis my pillow white, + While I sleep in the arms of the Blast. + Sublime on the towers of my skyey bowers, + Lightning, my pilot, sits; + In a cavern under is fettered the Thunder-- + It struggles and howls by fits. + Over earth and ocean, with gentle motion, + This pilot is guiding me, + Lured by the love of the Genii that move + In the depths of the purple sea; + Over the rills, and the crags, and the hills, + Over the lakes and the plains, + Wherever he dream, under mountain or stream, + The Spirit he loves remains; + And I, all the while, bask in heaven's blue smile, + Whilst he is dissolving in rains. + --PERCY BYSSHE SHELLEY. + + +THE GATHERING SONG OF DONALD THE BLACK + + Pibroch of Donuil Dhu + Pibroch of Donuil, + Wake thy wild voice anew, + Summon Clan Conuil. + Come away, come away, + Hark to the summons! + Come in your war-array, + Gentles and commons. + + Come from deep glen, and + From mountain so rocky; + The war-pipe and pennon + Are at Inverlocky. + Come every hill-plaid, and + True heart that wears one, + Come every steel blade, and + Strong hand that bears one. + + Leave untended the herd, + The flock without shelter; + Leave the corpse uninterr'd, + The bride at the altar; + Leave the deer, leave the steer, + Leave nets and barges: + Come with your fighting gear, + Broadswords and targes. + + Come as the winds come, when + Forests are rended, + Come as the waves come, when + Navies are stranded: + Faster come, faster come, + Faster and faster, + Chief, vassal, page and groom, + Tenant and master. + + Fast they come, fast they come; + See how they gather! + Wide waves the eagle plume + Blended with heather. + Cast your plaids, draw your blades, + Forward each man set! + Pibroch of Donuil Dhu, + Knell for the onset! + --SIR WALTER SCOTT. + + +INDIAN SUMMER + + From gold to gray + Our mild, sweet day + Of Indian summer fades too soon: + But tenderly + Above the sea + Hangs, white and calm, the hunter's moon. + + In its pale fire + The village spire + Shows like the zodiac's spectral lance: + The painted walls + Whereon it falls + Transfigured stand in marble trance. + --JOHN GREENLEAF WHITTIER. + + +MORNING + + Haste thee, Nymph, and bring with thee + Jest and youthful Jollity, + Quips and Cranks, and wanton Wiles, + Nods, and Becks, and wreathèd Smiles, + Such as hang on Hebe's cheek, + And love to live in dimple sleek; + Sport that wrinkled Care derides, + And Laughter holding both his sides. + Come, and trip it as you go + On the light fantastic toe; + And in thy right hand lead with thee + The mountain nymph, sweet Liberty; + And if I give thee honour due, + Mirth, admit me of thy crew, + To live with her, and live with thee, + In unreprovèd pleasures free; + To hear the Lark begin his flight, + And singing startle the dull night, + From his watch-tower in the skies, + Till the dappled dawn doth rise; + Then to come, in spite of sorrow, + And at my window bid good morrow, + Through the sweetbrier, or the vine, + Or the twisted eglantine: + While the Cock with lively din, + Scatters the rear of darkness thin, + And to the stack, or the barn door, + Stoutly struts his dames before, + Oft list'ning how the hounds and horn + Cheerly rouse the slumbering morn, + From the side of some hoar hill, + Through the high wood echoing shrill. + Sometime walking not unseen + By hedge-row elms, on hillocks green, + Right against the eastern gate, + Where the great Sun begins his state, + Robed in flames and amber light, + The clouds in thousand liveries dight: + While the ploughman, near at hand, + Whistles o'er the furrow'd land, + And the milkmaid singeth blithe, + And the mower whets his scythe, + And every shepherd tells his tale + Under the hawthorn in the dale. + --JOHN MILTON. + + +WHO IS SYLVIA? + + Who is Sylvia? what is she, + That all our swains commend her? + Holy, fair, and wise is she; + The heaven such grace did lend her, + That she might admirèd be. + + Is she kind as she is fair? + For beauty lives with kindness: + Love doth to her eyes repair, + To help him of his blindness, + And, being help'd, inhabits there. + + Then to Sylvia let us sing, + That Sylvia is excelling; + She excels each mortal thing + Upon the dull earth dwelling: + To her let us garlands bring. + --WILLIAM SHAKESPEARE. + + +THE REVENGE + +(A Ballad of the Fleet) + + At Flores in the Azores Sir Richard Grenville lay, + And a pinnace, like a flutter'd bird, came flying from far away: + "Spanish ships of war at sea! we have sighted fifty-three!" + Then sware Lord Thomas Howard: "'Fore God I am no coward; + But I cannot meet them here, for my ships are out of gear, + And the half my men are sick. I must fly, but follow quick. + We are six ships of the line; can we fight with fifty-three?" + + Then spake Sir Richard Grenville: "I know you are no coward; + You fly them for a moment to fight with them again. + But I've ninety men and more that are lying sick ashore. + I should count myself the coward if I left them, my Lord Howard, + To these Inquisition dogs and the devildoms of Spain." + + So Lord Howard past away with five ships of war that day, + Till he melted like a cloud in the silent summer heaven; + But Sir Richard bore in hand all his sick men from the land + Very carefully and slow, + Men of Bideford in Devon, + And we laid them on the ballast down below; + For we brought them all aboard, + And they blest him in their pain, that they were not left to Spain, + To the thumbscrew and the stake, for the glory of the Lord. + He had only a hundred seamen to work the ship and to fight, + And he sailed away from Flores till the Spaniard came in sight, + With his huge sea-castles heaving upon the weather bow. + "Shall we fight or shall we fly? + Good Sir Richard, tell us now, + For to fight is but to die! + There'll be little of us left by the time this sun be set." + And Sir Richard said again: "We be all good English men. + Let us bang these dogs of Seville, the children of the devil, + For I never turn'd my back upon Don or devil yet." + + Sir Richard spoke and he laugh'd, and we roar'd a hurrah, and so + The little Revenge ran on sheer into the heart of the foe, + With her hundred fighters on deck, and her ninety sick below; + For half of their fleet to the right and half to the left were seen, + And the little Revenge ran on thro' the long sea-lane between. + Thousands of their soldiers look'd down from their decks and laugh'd, + Thousands of their seamen made mock at the mad little craft + Running on and on, till delay'd + By their mountain-like San Philip that, of fifteen hundred tons, + And up-shadowing high above us with her yawning tiers of guns, + Took the breath from our sails, and we stay'd. + + And while now the great San Philip hung above us like a cloud + Whence the thunderbolt will fall + Long and loud, + Four galleons drew away + From the Spanish fleet that day, + And two upon the larboard and two upon the starboard lay, + And the battle-thunder broke from them all. + + But anon the great San Philip, she bethought herself and went + Having that within her womb that had left her ill content; + And the rest they came aboard us, and they fought us hand to hand, + For a dozen times they came with their pikes and musqueteers, + And a dozen times we shook 'em off as a dog that shakes his ears + When he leaps from the water to the land. + + And the sun went down, and the stars came out far over the summer sea, + But never a moment ceased the fight of the one and the fifty-three. + Ship after ship, the whole night long, their high-built galleons came, + Ship after ship, the whole night long, with her battle-thunder and + flame; + Ship after ship, the whole night long, drew back with her dead and her + shame. + And some were sunk and many were shatter'd, and so could fight us no + more-- + God of battles, was ever a battle like this in the world before? + + For he said "Fight on! fight on!" + Tho' his vessel was all but a wreck; + And it chanced that, when half of the short summer night was gone, + With a grisly wound to be drest he had left the deck, + But a bullet struck him that was dressing it suddenly dead, + And himself he was wounded again in the side and the head, + And he said "Fight on! fight on!" + + And the night went down, and the sun smiled out far over the summer + sea, + And the Spanish fleet with broken sides lay round us all in a ring; + But they dared not touch us again, for they fear'd that we still + could sting, + So they watch'd what the end would be. + And we had not fought them in vain, + But in perilous plight were we, + Seeing forty of our poor hundred were slain, + And half of the rest of us maim'd for life + In the crash of the cannonades and the desperate strife; + And the sick men down in the hold were most of them stark and cold, + And the pikes were all broken or bent, and the powder was all of it + spent; + And the masts and the rigging were lying over the side; + But Sir Richard cried in his English pride, + "We have fought such a fight for a day and a night + As may never be fought again! + We have won great glory, my men! + And a day less or more + At sea or ashore, + We die--does it matter when? + Sink me the ship, Master Gunner--sink her, split her in twain! + Fall into the hands of God, not into the hands of Spain!" + + And the gunner said, "Ay, ay," but the seamen made reply: + "We have children, we have wives, + And the Lord hath spared our lives. + We will make the Spaniard promise, if we yield, to let us go; + We shall live to fight again and to strike another blow." + And the lion there lay dying, and they yielded to the foe. + + And the stately Spanish men to their flagship bore him then, + Where they laid him by the mast, old Sir Richard caught at last, + And they praised him to his face with their courtly foreign grace; + But he rose upon their decks, and he cried: + "I have fought for Queen and Faith like a valiant man and true; + I have only done my duty as a man is bound to do; + With a joyful spirit I Sir Richard Grenville die!" + And he fell upon their decks, and he died. + + And they stared at the dead that had been so valiant and true, + And had holden the power and glory of Spain so cheap + That he dared her with one little ship and his English few; + Was he devil or man? He was devil for aught they knew, + But they sank his body with honour down into the deep, + And they mann'd the Revenge with a swarthier alien crew, + And away she sail'd with her loss and long'd for her own; + When a wind from the lands they had ruin'd awoke from sleep, + And the water began to heave and the weather to moan, + And or ever that evening ended a great gale blew, + And a wave like the wave that is raised by an earthquake grew, + Till it smote on their hulls and their sails and their masts and + their flags, + And the whole sea plunged and fell on the shot-shatter'd navy of + Spain, + And the little Revenge herself went down by the island crags + To be lost evermore in the main. + --ALFRED LORD TENNYSON. + + +HOW SLEEP THE BRAVE + + How sleep the brave, who sink to rest + By all their country's wishes blest! + When Spring, with dewy fingers cold, + Returns to deck their hallow'd mould, + She there shall dress a sweeter sod + Than Fancy's feet have ever trod. + + By fairy hands their knell is rung, + By forms unseen their dirge is sung: + There Honour comes, a pilgrim gray, + To bless the turf that wraps their clay; + And Freedom shall awhile repair + To dwell a weeping hermit there! + --WILLIAM COLLINS. + + +A LIFE ON THE OCEAN WAVE + + A life on the ocean wave, + A home on the rolling deep, + Where the scattered waters rave, + And the winds their revels keep! + + Like an eagle caged, I pine + On this dull, unchanging shore: + Oh! give me the flashing brine, + The spray and the tempest's roar! + + Once more on the deck I stand + Of my own swift-gliding craft: + Set sail! farewell to the land! + The gale follows fair abaft. + We shoot through the sparkling foam + Like an ocean-bird set free: + Like the ocean-bird, our home + We'll find far out on the sea. + + The land is no longer in view, + The clouds have begun to frown: + But with a stout vessel and crew, + We'll say, Let the storm come down! + And the song of our heart shall be, + While the winds and waters rave, + A home on the rolling sea! + A life on the ocean wave! + --EPES SARGENT. + + +THE EAGLE + + He clasps the crag with crooked hands; + Close to the sun in lonely lands, + Ring'd with the azure world, he stands. + The wrinkled sea beneath him crawls; + He watches from his mountain walls, + And like a thunderbolt he falls. + --ALFRED LORD TENNYSON. + + +PSALM XC + + Lord, thou hast been our dwelling place + In all generations. + + Before the mountains were brought forth, + Or ever thou hadst formed the earth and the world, + Even from everlasting to everlasting, thou art God. + Thou turnest man to destruction; + And sayest, Return, ye children of men. + For a thousand years in thy sight + Are but as yesterday when it is past, + And as a watch in the night. + Thou carriest them away as with a flood; + They are as a sleep: + In the morning they are like grass which groweth up. + In the morning it flourisheth, and groweth up; + In the evening it is cut down, and withereth. + + For we are consumed by thine anger, + And by thy wrath are we troubled. + + Thou hast set our iniquities before thee, + Our secret sins in the light of thy countenance. + For all our days are passed away in thy wrath: + We spend our years as a tale that is told. + The days of our years are threescore years and ten; + And if by reason of strength they be fourscore years, + Yet is their strength labour and sorrow; + For it is soon cut off, and we fly away. + Who knoweth the power of thine anger? + Even according to thy fear, so is thy wrath. + + So teach us to number our days, + That we may apply our hearts unto wisdom. + + Return, O Lord, how long? + And let it repent thee concerning thy servants. + O satisfy us early with thy mercy; + That we may rejoice and be glad all our days. + Make us glad according to the days wherein thou hast afflicted us, + And the years wherein we have seen evil. + Let thy work appear unto thy servants, + And thy glory unto their children. + And let the beauty of the Lord our God be upon us: + And establish thou the work of our hands upon us; + Yea, the work of our hands establish thou it. + --KING DAVID. + + + + +EIGHTH YEAR + + +THE CONCORD HYMN + + By the rude bridge that arched the flood, + Their flag to April's breeze unfurled, + Here once the embattled farmers stood, + And fired the shot heard round the world. + + The foe long since in silence slept; + Alike the conqueror silent sleeps; + And Time the ruined bridge has swept + Down the dark stream which seaward creeps. + + On this green bank, by this soft stream, + We set to-day a votive stone; + That memory may their deed redeem, + When, like our sires, our sons are gone. + + Spirit, that made those heroes dare + To die, and leave their children free, + Bid Time and Nature gently spare + The shaft we raise to them and thee. + --RALPH WALDO EMERSON. + + +I WANDERED LONELY AS A CLOUD + + I wandered lonely as a cloud + That floats on high o'er vales and hills, + When all at once I saw a crowd, + A host of golden daffodils; + Beside the lake, beneath the trees, + Fluttering and dancing in the breeze. + + Continuous as the stars that shine + And twinkle on the milky way, + They stretched in never-ending line + Along the margin of a bay: + Ten thousand saw I at a glance, + Tossing their heads in sprightly dance. + + The waves beside them danced, but they + Out-did the sparkling waves in glee:-- + A poet could not but be gay, + In such a jocund company; + I gazed--and gazed--but little thought + What wealth the show to me had brought: + + For oft, when on my couch I lie + In vacant or in pensive mood, + They flash upon that inward eye + Which is the bliss of solitude; + And then my heart with pleasure fills + And dances with the daffodils. + --WILLIAM WORDSWORTH. + + +THE CHAMBERED NAUTILUS + + This is the ship of pearl, which, poets feign, + Sails the unshadowed main,-- + The venturous bark that flings + On the sweet summer wind its purpled wings + In Gulfs enchanted, where the Siren sings, + And coral reefs lie bare, + And the cold sea-maids rise to sun their streaming hair. + + Its webs of living gauze no more unfurl; + Wrecked is the ship of pearl! + And every chambered cell, + Where its dim dreaming life was wont to dwell, + As the frail tenant shaped his growing shell, + Before thee lies revealed,-- + Its irised ceiling rent, its sunless crypt unsealed! + + Year after year beheld the silent toil + That spread his lustrous coil; + Still, as the spiral grew, + He left the past year's dwelling for the new, + Stole with soft step its shining archway through, + Built up its idle door, + Stretched in his last-found home, and knew the old no more. + + Thanks for the heavenly message brought by thee, + Child of the wandering sea, + Cast from her lap, forlorn! + From thy dead lips a clearer note is born + Than ever Triton blew from Wreathèd Horn! + While on mine ear it rings, + Through the deep caves of thought I hear a voice that sings:-- + + Build thee more stately mansions, O my soul, + As the swift seasons roll! + Leave thy low-vaulted past! + Let each new temple, nobler than the last, + Shut thee from heaven with a dome more vast, + Till thou at length art free, + Leaving thine outgrown shell by life's unresting sea! + --OLIVER WENDELL HOLMES. + + +TO AUTUMN + + Season of mists and mellow fruitfulness! + Close bosom-friend of the maturing sun; + Conspiring with him how to load and bless + With fruit the vines that round the thatch-eaves run; + To bend with apples the moss'd cottage-trees, + And fill all fruit with ripeness to the core; + To swell the gourd, and plump the hazel shells + With a sweet kernel; to set budding more + And still more, later flowers for the bees, + Until they think warm days will never cease; + For Summer has o'erbrimm'd their clammy cells. + + Who hath not seen thee oft amid thy store? + Sometimes whoever seeks abroad may find + Thee sitting careless on a granary floor, + Thy hair soft-lifted by the winnowing wind; + Or on a half-reap'd furrow sound asleep, + Drowsed with the fume of poppies, while thy hook + Spares the next swath and all its twinèd flowers; + And sometime like a gleaner thou dost keep + Steady thy laden head across a brook; + Or by a cider-press, with patient look, + Thou watchest the last oozings, hours by hours. + + Where are the songs of Spring? Ay, where are they? + Think not of them,--thou hast thy music too, + While barrèd clouds bloom the soft-dying day + And touch the stubble-plains with rosy hue; + Then in a wailful choir the small gnats mourn + Among the river-sallows, borne aloft + Or sinking as the light wind lives or dies; + And full-grown lambs loud bleat from hilly bourn; + Hedge-crickets sing, and now with treble soft + The redbreast whistles from a garden-croft, + And gathering swallows twitter in the skies. + --JOHN KEATS. + + +TO A WATERFOWL + + Whither, 'midst falling dew, + While glow the heavens with the last steps of day, + Far through their rosy depths, dost thou pursue + Thy solitary way? + + Vainly the fowler's eye + Might mark thy distant flight to do thee wrong, + As, darkly painted on the crimson sky, + Thy figure floats along. + + Seek'st thou the plashy brink + Of weedy lake, or marge of river wide, + Or where the rocking billows rise and sink + On the chafed ocean side? + + There is a power whose care + Teaches thy way along that pathless coast,-- + The desert and illimitable air,-- + Lone wandering, but not lost. + + All day thy wings have fann'd, + At that far height, the cold, thin atmosphere; + Yet stoop not, weary, to the welcome land, + Though the dark night is near. + + And soon that toil shall end; + Soon shalt thou find a summer home, and rest + And scream among thy fellows; reeds shall bend + Soon o'er thy sheltered nest. + + Thou'rt gone--the abyss of heaven + Hath swallow'd up thy form--yet on my heart + Deeply hath sunk the lesson thou hast given, + And shall not soon depart. + + He, who from zone to zone + Guides through the boundless sky thy certain flight, + In the long way that I must tread alone, + Will lead my steps aright. + --WILLIAM CULLEN BRYANT. + + +ON FIRST LOOKING INTO CHAPMAN'S HOMER + + Much have I travell'd in the realms of gold + And many goodly states and kingdoms seen; + Round many western islands have I been + Which bards in fealty to Apollo hold. + Oft of one wide expanse had I been told + That deep-brow'd Homer rul'd as his demesne; + Yet did I never breathe its pure serene + Till I heard Chapman speak out loud and bold: + Then felt I like some watcher of the skies + When a new planet swims into his ken; + Or like stout Cortez when with eagle eyes + He star'd at the Pacific--and all his men + Look'd at each other with a wild surmise-- + Silent, upon a peak in Darien. + --JOHN KEATS. + + +RECESSIONAL + + God of our fathers, known of old-- + Lord of our far-flung battle line-- + Beneath whose awful hand we hold + Dominion over palm and pine-- + Lord God of Hosts, be with us yet, + Lest we forget, lest we forget! + + The tumult and the shouting dies-- + The Captains and the Kings depart-- + Still stands Thine ancient sacrifice, + An humble and a contrite heart. + Lord God of Hosts, be with us yet, + Lest we forget, lest we forget! + + Far-called, our navies melt away-- + On dune and headland sinks the fire-- + Lo, all our pomp of yesterday + Is one with Nineveh and Tyre! + Judge of the Nations, spare us yet, + Lest we forget, lest we forget! + + If, drunk with sight of power, we loose + Wild tongues that have not Thee in awe-- + Such boasting as the Gentiles use, + Or lesser breeds without the Law-- + Lord God of Hosts, be with us yet, + Lest we forget, lest we forget! + + For heathen heart that puts her trust + In reeking tube and iron shard-- + All valiant dust that builds on dust, + And guarding calls not Thee to guard-- + For frantic boast and foolish word, + Thy Mercy on Thy People, Lord! + --RUDYARD KIPLING. + + +SIR PATRICK SPENS + +I. _The Sailing_ + + The king sits in Dunfermline town + Drinking the blude-red wine: + "O whare will I get a skeely skipper + To sail this new ship o' mine?" + + O up and spak an eldern knight, + Sat at the king's right knee: + "Sir Patrick Spens is the best sailor + That ever sail'd the sea." + + Our king has written a braid letter, + And seal'd it with his hand, + And sent it to Sir Patrick Spens, + Was walking on the strand. + + "To Noroway, to Noroway, + To Noroway o'er the faem; + The king's daughter o' Noroway, + 'Tis thou must bring her hame." + + The first word that Sir Patrick read + So loud, loud laugh'd he; + The neist word that Sir Patrick read + The tear blinded his e'e. + + "O wha is this has done this deed + And tauld the king o' me, + To send us out, at this time o' year, + To sail upon the sea? + + "Be it wind, be it weet, be it hail, be it sleet, + Our ship must sail the faem; + The king's daughter o' Noroway, + 'Tis we must fetch her hame." + + They hoysed their sails on Monenday morn + Wi' a' the speed they may; + They hae landed in Noroway + Upon a Wodensday. + +II. _The Return_ + + "Mak ready, mak ready, my merry men a'! + Our gude ship sails the morn." + "Now ever alack, my master dear, + I fear a deadly storm. + + "I saw the new moon late yestreen + Wi' the auld moon in her arm; + And if we gang to sea, master, + I fear we'll come to harm." + + They hadna sail'd a league, a league, + A league but barely three, + When the lift grew dark, and the wind blew loud, + And gurly grew the sea. + + The ankers brak, and the topmast lap, + It was sic a deadly storm: + And the waves cam owre the broken ship + Till a' her sides were torn. + + "Go fetch a web o' the silken claith, + Another o' the twine, + And wap them into our ship's side, + And let nae the sea come in." + + They fetch'd a web o' the silken claith + Another o' the twine, + And they wapp'd them round that gude ship's side, + But still the sea came in. + + O laith, laith were our gude Scots lords + To wet their cork-heel'd shoon; + But lang or a' the play was play'd + They wat their hats aboon. + + And mony was the feather bed + That flatter'd on the faem; + And mony was the gude lord's son + That never mair cam hame. + + O lang, lang may the ladies sit, + Wi' their fans into their hand, + Before they see Sir Patrick Spens + Come sailing to the strand! + + And lang, lang may the maidens sit + Wi' their gowd kames in their hair, + A-waiting for their ain dear loves! + For them they'll see nae mair. + + Half-owre, half-owre to Aberdour, + 'Tis fifty fathoms deep; + And there lies gude Sir Patrick Spens, + Wi' the Scots lords at his feet! + --UNKNOWN. + + +ELEGY WRITTEN IN A COUNTRY CHURCHYARD + + The curfew tolls the knell of parting day, + The lowing herd wind slowly o'er the lea, + The ploughman homeward plods his weary way, + And leaves the world to darkness and to me. + + Now fades the glimmering landscape on the sight, + And all the air a solemn stillness holds, + Save where the beetle wheels his droning flight, + And drowsy tinklings lull the distant folds: + + Save that from yonder ivy-mantled tow'r + The moping owl does to the moon complain + Of such as, wand'ring near her secret bow'r, + Molest her ancient solitary reign. + + Beneath those rugged elms, that yew-tree's shade, + Where heaves the turf in many a mould'ring heap, + Each in his narrow cell forever laid, + The rude forefathers of the hamlet sleep. + + The breezy call of incense-breathing morn, + The swallow twitt'ring from the straw-built shed, + The cock's shrill clarion, or the echoing horn, + No more shall rouse them from their lowly bed. + + For them no more the blazing hearth shall burn, + Or busy housewife ply her evening care: + No children run to lisp their sire's return, + Or climb his knees the envied kiss to share. + + Oft did the harvest to their sickle yield, + Their furrow oft the stubborn glebe has broke: + How jocund did they drive their team afield! + How bow'd the woods beneath their sturdy stroke! + + Let not Ambition mock their useful toil, + Their homely joys, and destiny obscure; + Nor Grandeur hear with a disdainful smile + The short and simple annals of the poor. + + The boast of heraldry, the pomp of pow'r, + And all that beauty, all that wealth e'er gave, + Await alike th' inevitable hour: + The paths of glory lead but to the grave. + + Nor you, ye proud, impute to these the fault + If Memory o'er their tomb no trophies raise, + Where through the long-drawn aisle and fretted vault + The pealing anthem swells the note of praise. + + Can storied urn or animated bust + Back to its mansion call the fleeting breath? + Can Honour's voice provoke the silent dust, + Or Flatt'ry soothe the dull cold ear of death? + + Perhaps in this neglected spot is laid + Some heart once pregnant with celestial fire; + Hands, that the rod of empire might have sway'd, + Or waked to ecstasy the living lyre. + + But Knowledge to their eyes her ample page + Rich with the spoils of time did ne'er unroll; + Chill Penury repress'd their noble rage, + And froze the genial current of the soul. + + 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. + + Some village Hampden that with dauntless breast + The little tyrant of his fields withstood, + Some mute inglorious Milton here may rest, + Some Cromwell guiltless of his country's blood. + + Th' applause of list'ning senates to command, + The threats of pain and ruin to despise, + To scatter plenty o'er a smiling land, + And read their history in a nation's eyes-- + + Their lot forbade: nor circumscribed alone + Their growing virtues, but their crimes confined; + Forbade to wade thro' slaughter to a throne, + And shut the gates of mercy on mankind; + + The struggling pangs of conscious truth to hide, + To quench the blushes of ingenuous shame + Or heap the shrine of Luxury and Pride + With incense kindled at the Muse's flame. + + Far from the madding crowd's ignoble strife + Their sober wishes never learn'd to stray; + Along the cool, sequester'd vale of life + They kept the noiseless tenor of their way. + + Yet ev'n these bones from insult to protect + Some frail memorial still erected nigh, + With uncouth rhymes and shapeless sculpture deck'd, + Implores the passing tribute of a sigh. + + Their name, their years, spelt by th' unlettered Muse, + The place of fame and elegy supply: + And many a holy text around she strews, + That teach the rustic moralist to die. + + For who, to dumb Forgetfulness a prey, + This pleasing anxious being e'er resign'd, + Left the warm precincts of the cheerful day, + Nor cast one longing ling'ring look behind? + + On some fond breast the parting soul relies, + Some pious drops the closing eye requires; + E'en from the tomb the voice of Nature cries, + E'en in our ashes live their wonted fires. + + For thee, who, mindful of th' unhonour'd dead, + Dost in these lines their artless tale relate; + If chance, by lonely contemplation led, + Some kindred spirit shall inquire thy fate-- + + Haply some hoary-headed swain may say, + "Oft have we seen him at the peep of dawn + Brushing with hasty steps the dews away + To meet the sun upon the upland lawn. + + "There at the foot of yonder nodding beech + That wreathes its old fantastic roots so high, + His listless length at noontide would he stretch, + And pore upon the brook that babbles by. + + "Hard by yon wood, now smiling as in scorn, + Mutt'ring his wayward fancies he would rove, + Now drooping, woeful-wan, like one forlorn, + Or crazed with care, or cross'd in hopeless love. + + "One morn I miss'd him on the custom'd hill, + Along the heath, and near his favourite tree; + Another came; nor yet beside the rill, + Nor up the lawn, nor at the wood was he: + + "The next with dirges due in sad array + Slow through the church-way path we saw him borne. + Approach and read (for thou canst read) the lay + Graved on the stone beneath yon agèd thorn:" + +_The Epitaph_ + + Here rests his head upon the lap of Earth + A Youth, to Fortune and to Fame unknown. + Fair Science frown'd not on his humble birth, + And Melancholy mark'd him for her own. + + Large was his bounty, and his soul sincere, + Heav'n did a recompense as largely send: + He gave to Mis'ry all he had, a tear, + He gain'd from Heav'n ('twas all he wished) a friend. + + No farther seek his merits to disclose, + Or draw his frailties from their dread abode + (There they alike in trembling hope repose), + The bosom of his Father and his God. + --THOMAS GRAY. + + +PSALM CIII + + Bless the Lord, O my soul: + And all that is within me, bless his holy name. + Bless the Lord, O my soul, + And forget not all his benefits: + Who forgiveth all thine iniquities; + Who healeth all thy diseases; + Who redeemeth thy life from destruction; + Who crowneth thee with loving kindness and tender mercies; + Who satisfieth thy mouth with good things; + So that thy youth is renewed like the eagle's. + + The Lord executeth righteousness + And judgment for all that are oppressed. + He made known his ways unto Moses, + His acts unto the children of Israel. + The Lord is merciful and gracious, + Slow to anger, and plenteous in mercy. + He will not always chide: + Neither will he keep his anger forever. + He hath not dealt with us after our sins; + Nor rewarded us according to our iniquities. + + For as the heaven is high above the earth, + So great is his mercy toward them that fear him. + As far as the east is from the west, + So far hath he removed our transgressions from us. + Like as a father pitieth his children, + So the Lord pitieth them that fear him. + For he knoweth our frame; + He remembereth that we are dust. + + As for man, his days are as grass: + As a flower of the field, so he flourisheth. + For the wind passeth over it, and it is gone; + And the place thereof shall know it no more. + But the mercy of the Lord is from everlasting to everlasting upon + them that fear him, + And his righteousness unto children's children; + To such as keep his covenant, + And to those that remember his commandments to do them. + + The Lord hath prepared his throne in the heavens; + And his kingdom ruleth over all. + Bless the Lord, ye his angels, + That excel in strength, + That do his commandments, + Hearkening unto the voice of his word. + Bless ye the Lord, all ye his hosts; + Ye ministers of his, that do his pleasure. + Bless the Lord, all his works + In all places of his dominion: + Bless the Lord, O my soul. + --KING DAVID. + + + + +ANTHOLOGIES OF CHILDREN'S POEMS + + +IN addition to what the student has mastered by heart he needs to own +and keep within arm's reach a good anthology. He should first own "A +Children's Treasury of English Song," and about the time he is ready to +leave the elementary school the greatest of all collections of verse, +"The Golden Treasury of the Best Songs and Lyrical Poems in the English +Language," must fall into his hands. The next best collection is +doubtless "The Oxford Book of English Verse," by A. T. Quiller-Couch. +For ballad literature "The Oxford Book of English Ballads" by the +last-named editor and "The Ballad Book" by Allingham are both good. It +is to be hoped that if he has a taste for verse of the ballad form, the +boy may some day wander back to Percy's "Reliques of Ancient English +Poetry." An occasional boy who cares little for great poetry may have a +bent toward songs of war and daring. Though this tendency is to be +deplored if it comes late in the boy's school life, it is best to +satisfy it. A fairly good but not altogether judiciously selected +anthology for this purpose is Henley's "Lyra Heroica." From this reading +of poetry in anthologies the boy might go to the carefully edited and +selected volumes of the great poets in the Golden Treasury Series. The +step to choice complete editions is then easy. + +It may chance that the boy who has once tasted of the honeydew of great +poetry and who has left the elementary school to take up the actual +affairs of life will go back to the authority of his teacher who first +pointed out to him such a pure pleasure for his quiet hours. If this +gratifying condition should come about, the teacher might name to him +the following poems that are still more rare in their appeal--as he will +surely come to know when he has felt the touch of "An Ode on a Grecian +Urn." Here are the titles: "Shall I Compare Thee to a Summer's Day," +Shakespeare; "The Time of Year Thou May'st in Me Behold," Shakespeare; +"On the Late Massacre in Piedmont," Milton; "The World is too Much with +Us," Wordsworth; "Milton, Thou Should'st Be Living at This Hour," +Wordsworth; "Tuscan, That Wander'st in the Realms of Gloom," Longfellow; +"Rose Aylmer," Landor; "Out of the Night That Covers Me," Henley; "Go +Fetch to Me a Pint o' Wine," Burns; "Proud Maisie is in the Woods," +Scott; "She Dwelt among the Untrodden Ways," Wordsworth; "Helen, Thy +Beauty is to Me," Poe; "She Walks in Beauty," Byron; "The Lost Leader," +Browning; "It Was a Lover and His Lass," Shakespeare; "Callicles beneath +Etna," Arnold; "La Belle Dame sans Merci," Keats; "Ode to Evening," +Collins; "Ode to a Skylark," Shelley; "Ode on a Grecian Urn," Keats; +"Kubla Khan," Coleridge; "Ulysses," Tennyson; "L'Allegro," Milton. From +these the boy may with the coming of manhood be led to heights of such +tunes of the masters as Wordsworth's powerful "Ode on the Intimations of +Immortality from Earliest Childhood," and Tennyson's song that is so +near to the heart of great things, "In Memoriam." + + + + +PART III + +SOURCES OF STANDARD PROSE FOR CHILDREN + + + + +CHAPTER I + +FAIRY TALES, HOUSEHOLD TALES, AND OTHER FANCIFUL STORIES + + "In the olde times they were the only revivers of + drowsy age at midnight: old and young have with + his tales chim'd mattens till the cocks crow in + the morning: Batchelors and Maides with his tales + have compassed the Christmas fire-block till the + Curfew-bell rings, Candle out: the old Shepherd + and the young Plow boy after their day's labour + have carol'd out a Tale of Tom Thumb to make merry + with: and who but little Tom hath made long nights + seem short and heavy toyles easie?" + --Said in 1611 of the Tales of Tom Thumb. + + +IN that comforting essay, "An Apology for Idlers," Robert Louis +Stevenson tells us that it is by no means certain that a man's business +is the most important thing that he has to do. And somewhere else he has +remarked on a club of men in Brussels who talked about the commercial +affairs of Belgium during the day, but who at night came together to +discuss the more serious affairs of life. These views are in accord with +the Stevenson temperament that looked on life as made up of two worlds: +a real workaday one to be unflinchingly faced, no matter what the task +that came, and a fanciful one, a play world, that by its appeal to the +ideal nature created an atmosphere of joy that made the duties of the +real one more tolerable. His own life, so well balanced between work and +play, so sane and healthful and inspiring in its influence on all who +knew him or read his books, has shown what a romantic cast of mind can +get out of life, though it suffer the handicap of ill health and worldly +misfortune. The balance-wheel of his life was a playful imagination that +always "hath made long nights seem short and heavy toyles easie." + +Stern materialism, cold, calculatingly just, impatient with the dreamer, +with no charity for lovable human frailties, has always mocked at the +notion of a fanciful place where great and glorious things are going on. +She spins no web from the threads of her imagination. The warp and woof +of her fabric are drawn from facts; and it comes from the loom all wool, +a yard wide, and used to cover the nakedness of real men and women. She +has never felt the free abandon of fairy land. Her heart has never +leap'd up at beholding a rainbow in the sky, a rainbow with the fabled +pot of gold--though she has toiled and sweat many a day for nothing more +than a mess of pottage. Whilst pointing the finger of scorn at the magic +lamp, the ogre's hen, or the seven-league boots, she plays the fool and +pays the fiddler in actual life merely because under it all there lurks +a passion for the marvellous, founded on chance. In the business world +this manifests itself in the perennial hope of a "bull market" or a +"bonanza." Of course, pleasures are largely a question of taste, not a +question of right, and it is everybody to his liking,--one may prefer +the counting house to the back-log at the drowsy hour of midnight,--yet +may we all be spared the time when fancy and romance cease to dominate +men. Without them life would become mediocre, stupid, dull. + +It has been claimed that a nation without fancy and romance never can +hold a great place. Material prosperity without a corresponding +well-being in the things of the imagination is an unfortunate +prosperity. Its pleasures must necessarily be sensual pleasures that +grow out of luxury. They carry the man or woman too far away from the +land of childhood. Dickens saw this clearly when he said: "What +enchanted us in childhood and is captivating a million young fancies +now, has at the same blessed time of life, enchanted vast hosts of men +and women who have done their long day's work, and laid their gray heads +down to rest. It has greatly helped to keep us in some sense ever young, +by preserving through our worldly ways one slender tract not overgrown +with weeds, where we may walk with children sharing their delights." A +good thing it is to keep that slender tract free from weeds. And the +stronger the man, the more he needs to do it. Only a man who sees things +out of their right proportions and who is without a sense of humour +would scorn to renew his youth occasionally in the land of romance. If +in life the strongest and wisest men are good at a fight, they are still +better at a play. And it is no shame if their "Arabian Nights' +Entertainments" is more thumbed than their Bacon's "Essays." They may be +all the wiser for it. In Howard Pyle's delightful rendering of the Robin +Hood tales he gives this happy admonition in the introduction: "You who +so plod among serious things that you feel it a shame to give yourself +up even for a few short moments to mirth and joyousness in the land of +Fancy; you who think that life hath naught to do with innocent laughter +that can harm no one; these pages are not for you. Clap the leaves and +go no further than this, for I tell you plainly that if you will go +further you will be so scandalized by seeing good, sober folk of real +history so frisk and caper in gay colours and motley that you would not +know them but for the names tagged to them." And then he sees the secret +of making the heart beat young whilst carrying the burdens of grown-up +life, and he says, "The land of Fancy is of that pleasant kind that, +when you tire of it,--whisk,--you clap the leaves of this book together +and 'tis gone, and you are ready for everyday life, with no harm done." + +The present age as it gives colouring to educational practices is a +matter-of-fact age. Whilst boasting of freedom of thought, it has fallen +into a despotism of fact. Like the Old Man of the Sea, this reign of +fact has been clutching at the neck of culture and railing at the play +of fancy until there is but precious little of the "merrie" life left to +look to. The men who cleared away the forest can be pardoned if they +lived their lives largely in the light of stern fact, and so might the +sons of these men; but those as many generations removed as the present +should be able to drop back to the even tenor of a domestic and school +life that recognizes the play of fanciful imagination as an essential +part of the business of living at all. No sooner had the founders of our +nation succeeded in giving men their long-coveted political freedom than +science, cock-sure of being able to solve the riddle of existence, +strode upon the scene and smote the favourite creatures of the +imagination hip and thigh. It not only played havoc with the fairies of +our fathers, but it came perilously near doing the same with their +faith. And as a result, a material and utilitarian tone has taken hold +of education in most places, and boys must be practical, scientific, and +wear old heads on young shoulders. This same tendency had begun in the +days of Charles Lamb, for he wrote the following protest to Coleridge: +"Knowledge must now come to the child in the shape of knowledge, and his +empty noddle must be turned with conceit at his own powers when he has +learnt that a horse is an animal and Billy is better than a horse and +such like; instead of that beautiful interest in wild tales which made +the child a man while all the time he suspected himself to be no bigger +than a child. Science has succeeded to poetry no less in the little +walks of children than with men. Is there possibility of averting this +sore evil? Think of what you would have been now if, instead of being +fed with tales and old wives' fables in childhood, you had been crammed +with geography and natural history." And what must be said to +supplanting the subject of fairy life by the anatomy and physiology of +the human body? Is not a boy who knows the happy likeness of Old King +Cole or Allan-a-Dale as well educated as he who recognizes the picture +of an alcoholic liver? All this educational pother about having boys +practical and trained to reason instead of being imaginative and +romantic will die of its own accord some day, and then they may once +more listen to merrie tales told under the greenwood tree. + +The boy who has been nurtured on tales of fancy and who trusts to things +to work out for the best of their own accord will generally fall into +ways of cheerfulness and contentment. He will play the game of life out +with more of heart and courage, and less of doubt and fear. He may be +something of an impractical dreamer, but he will be kind and true. He +will not aim to understand all mysteries and all knowledge, but will aim +to make people happy rather than learned. His early experience of the +feelings of pity and terror will refine his emotions as much as it did +in the age of Thespias those of the Greek youth. In other words, his +early familiarity with fairy tales, whether learned by word of mouth +from his father, his nurse, or his teacher, will set his face in the +right direction. And to keep it so turned he will of necessity have to +build up a fairy library. What that library might contain and what he +should know as a perfect lesson must now be considered. + +A sense of fitness rather than a feeling of loyalty to the language +points to the English fairy and household tales as the ones with which +to begin. If the teacher has a folk-lore curiosity and interest which +aid him in giving these fairy tales to the children, that is well and +good. But this historic view is by no means so important as it is to +know thoroughly the tales themselves and to enter into an appreciation +of them with a keen and boyish interest. The present concern is with a +limited number of stories that are so wholly good and so very necessary +to the child that he should come to know them completely. Then from this +beginning the boy can wander at his own sweet will and keep friends with +Jacobs, Perrault, Grimm, Andersen, and, last of all and no doubt best of +all, "The Arabian Nights' Entertainments." But from all of these the +rude vigour, the dramatic directness, and above all the playful humour +of the English tales will first captivate him. They have not quite the +grace, simplicity, and elegance of the French tales, nor the more +fanciful and romantic touches of the German tales; yet, as Mr. Jacobs +has told us, "They have the quality of going home to English children. +The English folk-muse wears homespun and plods afoot, albeit with a +cheerful smile and a steady gaze." + +"English Fairy Tales" and "More English Fairy Tales" should be in the +hands of every child. The stories are told in a way that preserves all +of their dramatic interest and humour of phrase and situation. This +characteristic humour of English folk-fancy, Mr. Jacobs has skilfully +caught. He has this to say of his way of telling them: "I am inclined to +follow the traditions of my old nurse, who was not bred at Girton and +scorned at times the rules of Lindley Murray and the diction of polite +society. And I have left vulgarisms in the mouths of vulgar people. +Children appreciate the dramatic propriety of this as much as do their +elders. Generally speaking, it has been my ambition to write as a good +old nurse would speak when she tells Fairy Tales. I am doubtful of my +success in catching the colloquial-romantic tone appropriate for such +narratives, but they had to be done or else my object, to give a book of +English Fairy Tales which children would listen to, would have been +unachieved. This book is to be read aloud and not merely to be taken by +the eye." All children should rejoice, that, so long after Puritanism +had suppressed these tales in many parts of England, and after its +decline they had come to be supplanted by the Mother Goose tales of +Perrault, there has come such an excellent retelling of them in the +Jacobs books. If there be anything in fairy literature better than "Tom +Tit Tot," I have not found it. It is altogether fitting to have it stand +first in such a great collection. And with other such very good tales as +"Cap o' Rushes," "The Three Sillies," and "Jack and the Golden Snuff +Box," to say nothing of the dramatic telling of "Hop o' My Thumb," "Jack +the Giant Killer," and "Jack and the Bean Stalk," the pleasure from +reading the book at the right age will mayhap never be surpassed. One +might regret that the curious and helpful information of the notes had +not been reserved for a separate treatise for mature readers, did not +the amusing illustration of the court-crier by John D. Batton give the +warning that the tales are closed and children must not read any +further. After having learned some of the best stories through the ear, +the boy must certainly buy and keep these two books. + +After the English tales are familiar, the boy might be given the Mother +Goose tales as first collected by Charles Perrault in 1696. They had +been current orally in France for many years before this, and they +undoubtedly had their origin in the oldest folk-lore of the world. It is +said Perrault wrote them down as he heard them with the intention of +writing them over in verse after the manner of the fables done by La +Fontaine. But his little son, to whom they had been told, rewrote them +from memory as an exercise, and the lad's version, being so simple and +direct, was given to the world in that form by his father. They slowly +found their way into England and for a while supplanted the native +tales. There is surely a universal appeal in such stories as "Little Red +Riding Hood," "Cinderella," "Puss in Boots," and "Sleeping Beauty." The +best rendering of these to-day is a small volume by Charles Welsh, +entitled "The Tales of Mother Goose." It has none of the poetic justice +that refuses to have the wolf eat up Little Red Riding Hood. It would be +well for some publisher to reprint an edition issued in New York in 1795 +under the title of "Tales of Passed Times, by Mother Goose." Some good +renderings of particular tales, however, may be found scattered through +collections of fairy stories that have appeared. + +The temptation to say something about the famous "Cruikshank Fairy Book" +in which some of these Mother Goose tales appeared cannot be resisted at +this point. It is a very noticeable illustration of the inability of a +man of talent always to keep to his last. No artist has ever drawn such +superior pictures for children as did Cruikshank. Where can anything +better be found than Jack's descent on the harp, the Ogre's flight, or +the presentation of the boots to the King? Why then did not Cruikshank +make a picture book with pictures only? Why did he leave his last to +write the stories anew in order that he might take the opportunity to +give his own views and convictions on what he considered important +social and educational questions; or "to introduce a few temperance +truths with a fervent hope that some good may result therefrom"? The +notion that moralizing makes children good has spoiled many an artistic +horn and has never made a good educational spoon. + +In Cruikshank's work in illustrating "Household and Fairy Tales" by the +brothers Grimm, we have a masterful production from the best period of +his genius, and we have it illustrating a superior text, the translation +made by Edward Taylor in 1823 and reprinted in 1868 with an introduction +by John Ruskin. Thackeray said that they had been the first real, +kindly, agreeable, and infinitely amusing and charming illustrations for +a child's book in England, and that they united beauty, fun, and fancy. +And who was a better judge of this than Thackeray? If it was not too +bold to say that "Tom Tit Tot" is the best household fairy story in the +language, it could be said with equal truth that Cruikshank's etching of +the two elves in "The Elves and the Shoemaker" is the best fairy +illustration yet done. These German stories are charming. The contention +that the stories are creepy is but the contention of a moralist. It +should carry no weight with the teacher who would give the boy artistic +notions of beauty, love, and mystery. These notions are always safer +than those of cold realism worked out in artificial conduct. Sir Walter +Scott wrote in this strain to Edward Taylor in 1832: "There is a sort of +wild fairy interest in them which makes me think them fully better +adapted to awaken the imagination and soften the heart of childhood than +the good boy stories which have in late years been composed for them. In +the latter case, their minds are, as it were, put into stocks, like +their feet at the dancing-school, and the moral always consists in good +moral conduct being crowned with temporal success. Truth is, I would not +give one tear shed over Little Red Riding Hood for all the benefit to be +derived from a hundred histories of Johnny Goodchild. In a word, I think +the selfish tendencies will soon enough be acquired in this arithmetical +age; and that, to make the higher class of character, our wild +fictions--like our own simple music--will have more effect in awakening +the fancy and elevating the disposition than the colder and more +elaborate compositions of modern authors and composers." It is hoped the +pictures of Cruikshank and the translation of Taylor will soon appear in +a large and attractive volume. + +When the dramatic colloquialism and humour of the English tales, the +superior grace, elegance, and beauty of the French tales, and the light, +airy fancy of the German tales have been presented to the boy, the +Scandinavian tales of Hans Christian Andersen will give him a refinement +in fairy life that he has not found before. They do not have, save in a +few such cases as "Holger the Dane," the quality of appealing to +grown-ups as well as to children--the test of a child's book that is +literature, or rather the test of a man yet on good terms with the +world. They are somewhat dull, wearisome, and overdone in places and do +not stop when the story is ended, as we find in "The Fir Tree"; yet in +some way they temper the English and German tales and meet Ruskin's +requirement that a child's tale should sometimes be both sweet and sad. +In fact, these stories are great favourites with many children, who +actually prefer "The Ugly Duckling" to "The Golden Bird." The boy might +early start with a few of the individual stories so delightfully +illustrated by Helen Stratton, and then when he can afford it buy the +excellent edition illustrated by the Danish artist, Hans Tegner, from +all of which he will get a new and pleasant touch of fairy life. + +There yet remains one book, not always called a fairy book, that must be +read before the boy leaves the land of fancy and wonder. It was the +favourite volume of Stevenson, and small surprise is it to any one who +knows the book and knows of the man. Nor is it less surprising to think +that the Oriental scholar, Antoine Galland, who first gave these stories +to Europe two hundred years ago, would be called out of bed at night to +tell them to an eager crowd under his window, the crowd always begging +for just one story more. One might search in vain for a companion +volume to this most capital of all books, "The Arabian Nights' +Entertainments." The tales are on a bigger scale than are the English +and German tales. There is a vastness of desert and starry sky in the +tent life of the Arab that is unknown in the cottage life of the English +peasant. And this is reflected in the tale that is told. Immensity and +Oriental mystery have taken the place of colloquial directness and +humour, and we have almost pure romance. Their richness and splendour +captivate the reader and transport him into a wonderland of powerful +magicians and magnificent palaces. The book is elemental in its appeal +and will always furnish royal entertainment for man or boy. And the man +who is not too completely grown up will keep his Lane's translation +within arm's reach against the hours when the dull cares of the world +are weighing him down. + +As fairy tales have a common plot in many languages, so has there been a +common way of preserving and transmitting them. This has been by oral +tradition. They were originally to be given by word of mouth, a method +that is yet best fitted to curious children. The teacher must give them +through the ear, if they are to be learned and retained. Whenever it is +possible in doing this, he must not forget to start with the pleasant +beginning, "once upon a time," nor yet to omit the best of all +conclusions, "and all went well ever afterwards"--neglecting, of +course, to add that truism for grown-ups, "that didn't go ill." In this +practice of giving a few choice tales through the ear is the preparation +for the time when a boy will eagerly thumb a favourite volume of his own +in some quiet nook. But a few of the better tales must first have been +mastered so that they can be told with dramatic directness. Here then +the same practice must hold that is followed in all reading: do not +overread. A few stories are to be well learned and a few books to be +owned, but only a few. If the boy once comes to feel his strength from a +limited number of good stories, the made-to-order story for the fellow +with the curls will never appeal to him. What he knows he will know and +be glad to know. + +If it be presumption to select a limited list of stories by grades when +the world is so full of stories, it must be presumption. There are +stories that can have no substitutes until the world has had another +accumulated experience of some hundreds of years of fireside lore. The +list that follows has been found good for a limited list, yet as +complete a one as a child can master. No apology need be offered for the +insertion of Ruskin's great story or the two stories of jungle life by +Kipling. They are modern, but form a good bridge to modern books that +have real merit. A boy who will not read "Red Dog" with an interest on +fire had better grow weak on a Rollo book. His taste is surely to be +lamented. He will early fall in love and later fall into cynicism. + +Here is the list for the first four or five grades to be given in about +the order in which they are written: "The Old Woman and Her Pig," "The +Three Little Pigs," and "Henny-Penny," all as told by Jacobs in "English +Fairy Tales"; "The Three Bears" as told by the poet Southey, where the +little old woman continues to play a part; "Little Red Riding Hood" in +which the wolf eats her up, "Cinderella; or, the Glass Slipper," and +"The Master Cat; or, Puss in Boots" from "The Tales of Mother Goose" as +told by Charles Welsh; "Tom Tit Tot," "The History of Tom Thumb," "Jack +the Giant Killer," and "Whittington and His Cat" from "English Fairy +Tales"; "Beauty and the Beast" and "Hop o' My Thumb" from "The +Children's Book"; "Hansel and Grethel," "The Blue Light," and "The +Golden Bird" from Taylor's translation of the Grimm tales; "The Ugly +Duckling" and "The Fir Tree" from Andersen; "The Story of Aladdin; or, +the Wonderful Lamp," "The History of Ali Baba and the Forty Robbers +Killed by One Slave," and "The Story of Sinbad the Sailor" from "The +Arabian Nights' Entertainments"; "The King of the Golden River" by John +Ruskin; "Kaa's Hunting" and "Red Dog" from "The Jungle Books" of Rudyard +Kipling. + +When these stories have been well learned through the ear, their +purpose as literature and as groundwork for narrative speech will have +been accomplished. Of course, the teacher must read many stories to his +class besides the ones named above; but he is not to require more than a +mere listening to the reading from a point of interest only. By and by +the boy will fall into the habit of reading aloud to some one else, and +this may now be trusted to carry him along. Wise suggestion on the part +of the teacher will direct him in getting a few good volumes that he can +call his own. A fairy library, not large but well selected, will become +a comfort to him in later years when the lamp is getting dim. For the +man who finds himself unable to read with pleasure a fairy tale that +charmed him in youth proclaims himself a slave either to relentless +materialism or to cold and dignified egotism. And if he be not +obstinately short-sighted, he cannot help seeing that the man who yet +loves a fairy tale is one who also fears God, is clear of head, and is +brave of heart. + +In the succession of the seasons, the coming of spring puts young blood +into old veins much as it dresses the gray of winter in a lively green. +The possibilities of the daughter of Ceres while she dwells beneath the +earth are likewise to be found between the covers of a fairy library. A +man might travel many a long way in search of a better fountain of +youth. + + + + +CHAPTER II + +CLASSIC MYTHS IN LITERATURE + + "Oft of one wide expanse had I been told + That deep-brow'd Homer ruled as his demesne."--KEATS. + + "They hear like Ocean on a western beach + The surge and thunder of the Odyssey."--LANG. + + +THERE is not the slightest necessity for schoolmen's staring at one +another when it is proposed to let boys once more look through magic +casements at the classic myths of Greece and Rome. These masters of +knowledge can depend upon it that their pedagogic systems are wrong if +they set themselves up against the primitive feelings of mystery and +fear. There is yet too strong a trace in the blood to forsake the gods +and heroes that have satisfied instincts, very human and commendable, +for many generations. No goblin nor witch needs to be cast out when the +blood flows red; it is merely an indication of abundant life drawn from +the strength and courage that marked an heroic age. If a boy's talents +be anything but mediocre, they will naturally turn to this age to +satisfy a longing. It is small wonder that the young Keats should stay +up all night reading Chapman's Homer, or should translate the Æneid +into English "just for fun." These glimpses were pure serene to a poet +who afterwards caught in such a rare way their classic beauty; and the +gods surely loved him for it, for they decreed that he should die young. + +The charm of the myths of Greek and Roman literature is enduring, +because they embody both truth and beauty--sometimes held to be one and +the same. Nothing but a perverted taste, that is fed on the prosaic +processes of material achievements or the artificial standards of a +moral system, could fail to find pleasure and inspiration in them. Their +appeal is artistic, to the sense of beauty. Their truth is a deification +of the longings of the human heart as it seeks for comfort and +protection in a world whose mysterious events can hardly be fathomed. +And their gods and heroes embody the great virtues that marked a classic +people as much as they did the beauty of their intellectual +achievements--the virtues of courage, patience, honour, loyalty, +contentment. A normal disposition will take satisfaction in this +interpretation of truth and beauty. Not only will its possessor be +satisfied, but he will be ennobled by the very presence of these +qualities before his keen senses. The world will seem to him more than a +place in which he is to toil and spin day after day; his soul will dwell +apart on a mountain where not all mortals can ever climb, a mountain +crowded with culture. He can temporarily leave the common crofts, seek +his solace and confession, and be all the better to ply again his +allotted task. He will learn of one spot where the greed and brutality +of industrial progress cannot set its heel and leave the print of what +is practical and ugly. + +This cry for the practical has laid a curse on the culture of many a +boy. He has been educated for the eight or ten hours that he works for +his board and keep, and the rest of his waking day finds him ill at ease +in a field of study or an appreciation of the better things of life. Not +being able to "speak Greek" or to talk with men who do speak Greek, he +naturally turns to the spectacular, the ornate, the frivolous. Nothing +of an order above the broadly burlesque or the melodramatic will hold +his interest and attention. The theatre of Dionysus is too severely +classical in the beauty with which it represents life in action, and he +never learns to sit out a pure tragedy, hear "sweetest Shakespeare +warble his native wood-notes wild," or dilate on the right emotions, if +"Jonson's learnéd sock be on." + +The boy's talents are in all probability not at fault. They are merely +dressed in the prevailing fashion. This fashion is set by a standard of +what is useful for material success in life. The subject-matter of +education must be scientific facts, and with these facts the boy must be +taught to reason. The uselessness of imagination and memory as mental +powers is held up to him. It is not for him to enrich his mind by what +an active and retentive memory can give him of classic literature. In +fact, the memory is looked upon, by the "scientific gent" (as Thackeray +labelled him) in his laboratory, as a minor concern and left to work out +its own salvation--if it really needs to be saved. And as for the memory +being used to chronicle the exploits of mythical heroes in an age of +superstition, that would be unthinkable in the day of scientific +research. Let not the boy then be held up to blame if he is no more able +to name the Olympian council than was Tom Sawyer to name the first two +disciples chosen. The fault is with the system, the rational scientific +system. + +Greek is well nigh gone from the high school course. Latin is under +indictment. In their stead we are to have such substitutes as biology +and chemistry. The exploits of Achilles and the wanderings of Æneas are +to be supplanted by the dissection of an oyster and the making of soap. +Now oysters and soap are all right in their way, and it is a good thing +we have the one to eat and the other to wash with; but when it comes to +using them to satisfy the instinct for a fight or for the discovery of a +hidden treasure, that is a stupid and brutal forcing of a theory. If +progress must come at the price of selling a boy's birthright for a mess +of pottage, it is a pity some one cannot smite her with the edge of a +sword. The study of the humanities that has been the bone and sinew of +generations past cannot give place to the scientific vogue without +wrecking the hope and desire of many a romantic youth. To leave out the +classics is to proclaim a material age to be bigoted, boastful, and +self-sufficient. Yet that is exactly what the scientific educator, who +calls himself modern and progressive, is proposing, because business +demands it. What claim has a business demand on academic policy, anyhow? +Is not vagabondia as much entitled to the floor? + +"The descent to Avernus is easy." Reformed spelling is not so hard as +Greek roots. In fact, the plan is to follow along the line of least +resistance. The memory must not be cumbered with dead matter if the boy +can reason on experiments for practical business demands. And are not +the myths of these Greek and Latin languages too imaginative and +impractical, covered with too much of academic dust, to serve a purpose +in a practical age? This is heralded from educational convention to +educational convention, and whilst the breaking of idols goes merrily +on, a few brave teachers who speak Greek are regularly taking a Spartan +stand to preserve what yet remains of the classic structure. In a +boastful age they are not going to forget. If Homer and Ovid are forced +by business demands from the academic halls, what hope is there left in +Israel? + +The one and only one seems to be the myths in translation. Their claim +to the attention of teachers can be clearly given from the preface to +the best telling of them that has yet appeared, Bulfinch's "Age of +Fable; or, Beauties of Mythology," a happy title to such a valuable +book: "If no other knowledge deserves to be called useful but that which +helps to enlarge our possessions or to raise our station in society, +then Mythology has no claims to the appellation. But if that which tends +to make us happier and better can be called useful, then we claim that +epithet for our subject; for Mythology is the handmaid of literature, +and literature is one of the best allies of virtue and promoters of +happiness. + +"Without a knowledge of mythology much of the elegant literature of our +own language cannot be understood and appreciated. When Byron calls Rome +'the Niobe of nations,' or says of Venice, 'she looks a Sea-Cybele fresh +from ocean,' he calls up to the mind of one familiar with our subject +illustrations more vivid and striking than the pencil could furnish, but +which are lost to the reader ignorant of mythology. Milton abounds in +similar allusions. The short poem 'Comus' contains more than thirty +such, and the ode 'On the Morning of the Nativity' half as many. Through +'Paradise Lost' they are scattered profusely. This is one reason why we +often hear people say that they cannot enjoy Milton. But were these +persons to add to their solid acquirements the easy learning of this +little volume, much of the poetry of Milton which has appeared to them +'harsh and crabbed' would be found 'musical as is Apollo's lute.'" + +The truth of this last statement is very evident to the English teacher +in high school work. He must stop to teach myths that should be the +common possession of all children before he can go on with his work in +the "Minor Poems." If boys would enter the high school with some of the +classic myths firmly drilled into them, they would read with pleasure +the most imaginative of all the English poets. Mythology in translation +is a fixed possession of English literature, and it must be grasped more +or less in detail before the boy can ever expect to have the marks of +literary culture and to read figurative composition with ease. With the +beginning of school life must begin the learning of myths by word of +mouth. No classical dictionary can later take the place of this +practice. These myths are to be mastered and reproduced in good English; +and after a few years of such drill the children will read the stories +of gods and heroes with the same ease that they do a colloquial fairy +tale. It is the same old step from the story-teller to the book and a +quiet corner where no one can break the spell. + +Fortunately there is not so extensive a field of mythology suitable for +use as there is of fairy literature, and the boy can easily hope to make +it his own. The field must exclude both the modern nature myths that +have been compounded to suit the occasion, and the cruder and more +recent discoveries of savage races. In short, Greek mythology must make +both the beginning and the end of what is to be learned; for there has +been no nation other than Greece that has developed a mythical faith so +intellectual in its scope and so beautiful in its expression. This +beauty has been expressed through both art and literature. It would be +an almost unpardonable neglect on the part of a teacher if a boy were +permitted to go through school and not be familiar with the heroic age. +He should know the stories of the gods and heroes; know the Olympian +council, the labours of Hercules, the adventures of Jason, of Perseus, +of Achilles; he should know the Trojan War in its picturesque greatness +and the wonderful exploits of Odysseus on his homeward journey; and he +should know such stories as those of Apollo, of Oedipus, of Orpheus, +of Admetus, of Proserpine, of Niobe, and of Psyche. This knowledge of +Greek mythology will bring one of the most pleasurable and stimulating +of all feelings to a boy, the consciousness of wandering at ease in a +domain where all mortals have not been privileged to enter. + +Almost hand in hand with the Greek myths must be taken their variations +in Roman life and the few that seem to be original there. Although the +Greek and Roman deities had most attributes in common, they were yet +distinct, each having his particular name. It is unfortunate that the +Latin names have come into such extensive use and that we always speak +of Jupiter instead of Zeus, and Venus instead of Aphrodite. But the +Hellenic spirit is hard to keep foremost in this commercial age. If the +glare of the arc light could be screened at times and the starry sky be +read as a book wherein the constellations still hold their Greek names, +some of the heroes that have been made permanent might inspire the +observer with a feeling to read again their story. Yet let us have the +sweetness of the rose, whatever be its name. + +It is rather perplexing to know what myths to give the child when he +first enters school and through the first four or five years of his +school life. The taste and culture of the teacher have much to do with +this. But whatever is given, give it as it is written without deforming +it by having it adapted to suit the years of the boy. He can understand +many things of which the teacher is not aware. Take it directly from +"The Age of Fable," and at the start remove all difficulties of telling +by drilling on the pronunciation of proper names. Then let the boy learn +the myth through the ear and tell it fluently and exactly. While doing +this, the art that is so closely woven with Greek myths must become +familiar also. The boy must be able to recognize such works as +"Aphrodite of Melos," "Apollo of the Belvidere," "Diana of Versailles," +"The Faun of Praxiteles," "The Laocoön Group," and "Niké of +Samothrace." The refining influence that comes through them is not easy +to explain, but it comes. Take it for what it is worth, as you take the +myths themselves. And at no time should the teacher seek for +philosophical arrangement and interpretation, that at best is merely a +confusion of words, or moralize on something that is purely dramatic +instead of didactic. The myths are stories and should be used as +stories. + +A reasonably good list to use for this kind of drill work in, say the +first four grades, is the following, to be learned in the order written: +"Latona and the Frogs," "Arachne," "Niobe," "Midas and the Golden +Touch," "Apollo and Daphne," "Pandora and her Box." "Narcissus," "Ceres +and Proserpine," "Ulysses and Polyphemus," "Dædalus," "Æolus," +"Philemon," "Vulcan," "Cyparissus and the Stag," "Arion," "Ulysses and +the Sirens," "Callisto and Areas," "Ariadne's Thread." "Io and the +Gadfly," "Perseus and Medusa," "The Wooden Horse," "Phaeton," "Pygmalion +and Galatea," "Æsculapius and Apollo," "Jason and the Golden Fleece," +"The Death of Hector," "Cupid and Psyche," "Ulysses and Penelope," +"Pegasus," "Orpheus and Eurydice," "The Labors of Hercules," "Admetus +and Alcestis." After mastering these stories, the boy will be ready to +read for himself. + +Let him first read Hawthorne's "The Wonder-Book for Girls and Boys," +and then the companion volume, "Tanglewood Tales for Girls and Boys; a +Second Wonder-Book." These are indispensable. Then he must read a good +edition of Kingsley's "Heroes; or, Greek Fairy Tales for My Children." +That is a delightful book, despite its deplorable tendency to preach. +Now he is ready for that charming continuous tale, Lamb's "Adventures of +Ulysses," which of course he must own and keep near at hand. He can now +take up and learn the second most valuable work he can own as a student +of literature, Bulfinch's "Age of Fable." Of course it is understood +that Palgrave's "Golden Treasury" is to be the first most valuable one. + +Some dozen years ago there appeared in a magazine a story called "The +Little Brother of the Books." It was the story of a small crippled boy +who each afternoon went his way to a certain book stall and was always +found absorbed in the same book. The book was the "Age of Fable." That +he did this is not strange to any one who owns the book and knows it +well. There are few compilations in which the richness of a literature +is gathered together and retold in a way that will make it endure as a +book. Yet this is true of the "Age of Fable." Every student should own +an illustrated copy of it, and preferably one that has never been +edited. It is told as a story, and a captivating story it is. A +quotation from the preface cannot be resisted here: "Our book is not +for the learned, nor for the theologian, nor for the philosopher, but +for the reader of English literature, of either sex, who wishes to +comprehend the allusions so frequently made by public speakers, +lecturers, essayists, and poets, and those which occur in polite +conversation. + +"We trust our young readers will find it a source of entertainment; +those more advanced, a useful companion in their reading; those who +travel, and visit museums and galleries of art, an interpreter of +paintings and sculptures; those who mingle in cultivated society, a key +to allusions which are occasionally made; and, last of all, those in +advanced life, pleasure in retracing a path of literature which leads +them back to the days of their childhood, and revives at every step the +associations of the morning of life. + +"The permanency of these associations is beautifully expressed in the +well-known lines of Coleridge: + + "'The intelligible forms of ancient poets, + The fair humanities of old religion, + The Power, the Beauty, and the Majesty + That had their haunts in dale or piny mountain, + Or forest, by slow stream, or pebbly spring, + Or chasms and watery depths; all these have vanished. + They live no longer in the faith of reason; + But still the heart doth need a language; still + Doth the old instinct bring back the old names, + Spirits or gods that used to share this earth + With man as with their friend; and at this day + 'Tis Jupiter who brings whate'er is great + And Venus who brings every thing that's fair.'" + + + + +CHAPTER III + +BOOKS TO BE OWNED, TO BE READ, AND TO BE REREAD + + "The first time I read an excellent book, it is to + me just as if I had gained a new friend. When I + read a book I have perused before, it resembles + the meeting with an old one."--GOLDSMITH. + + +JUST how far books and reading are questions of taste, or should be +looked on as questions of taste merely, is passing hard to say. That +there are prevailing fashions, local-colour variations, and a few more +or less permanent models is noticeable to such a degree that an observer +might conclude motley to be the only wear. The readers seem to be no +more able to agree in what they like than did the urchins over the +pease-porridge in the nursery rhyme: + + Some like it hot, + Some like it cold, + Some like it in the pot + Nine days old. + +So it goes in books with every one to his own liking, though the +particular likings are a very unsubstantial guide to the literary merits +of the books liked. A book may become a fashion based on conventional +acquiescence and appearances rather than on real worth. Let the +judgment of individualism, with courage and restraint, lay bare the +fashion, and where then is its habitation or what is its name? Such +judgment sets up more or less arbitrary lines of taste that run wide, +and it makes a guess at what is enduring literature, a hazardous kind of +guess. Yet the peculiar thing of it all is that in this guess pedantry +is as likely to play false as is the capricious fancy of the reading +public that takes the book of the hour, whatever it be. This makes a +kind of self-constituted division of readers, each satisfied with his +lot and each serving a purpose. + +Some readers' tastes, however, are neither prudish nor slovenly. They +are very catholic and succeed in picking out what is good from both the +bookish and the popular kinds of books. They can read any book that is a +book. But you recall that Charles Lamb could not reckon directories, +scientific treatises, the works of Hume and Gibbon, and generally those +"volumes which no gentleman's library should be without" as being books. +If to these were added those books which no gentleman's library should +contain, we come to a field fairly easy of investigation. In other +words, we must get back to that field that includes the literature of +power rather than the literature of knowledge. Of course, if somebody +chooses to read blockheaded encyclopædias, withering economic essays, +proper Sunday school books, sophomoric novels, or privately printed +verse, that is purely his own concern; but such reading is beyond the +pale of real books as they relate to well-regulated courses in the home +or in school life. + +How far is a teacher to be influenced in his selection of books for +students by their lines of taste? That depends on how far the tastes of +readers in general indicate that books of their liking are to be classed +as books of power, as real literature. It is rash to say that a book has +real merit because it becomes the best seller of a season; nor is it to +be condemned for the very reason that it is a best seller. However, the +general praise of a hundred thousand readers is not so much an index to +the book's merit as the book is an index to the character of the readers +who praise it. Unqualified laudation of a new book, especially a novel, +is an annoying kind of hysteria that has failed to find any other +outlet. But the very fact that the book is opportune or spectacular +carries it along. It grows up and flourishes in a day, and in a day dies +out. + +It is curious to note how times change in the reading world and with +them lines of taste. To-day the line most evident in the American +reading public, and the one most difficult to meet in the development of +a taste for good books, is the passion to be up-to-date, as its +commercial phraseology would have it. It is awakened by that wonderful +agent, the advertising appeal, that deals not with quality but with +quantity. In books it calls for a story, and that story must be the +latest or it is certain to be absolutely neglected. On being asked what +dish he preferred at a dinner, Thoreau said, "The nearest." That was in +keeping with his theory of cutting down the denominator; the theory of +the reader of the latest is one of multiplying the numerator. As the +proper thing, each new book is taken, horns, hide, and tallow. The +reader's reverence for the present grows apace, and he no longer has use +for old wine, old friends, and old books. This is a reflection of a +widespread impression in American life that up to the present time but +little truth of substantial value as to methods of living and thinking +has been found out. A wonderful industrial progress, working through +inventive skill, has given the notion that anything over a generation +old is scarcely worth a passing notice, a notion fatal to all art. Every +one must seize in a hurry the newest thing in the market, lest he be +branded as out of date. And it all looks as if everybody was trying to +do what Alice found them trying to do in Wonderland, running as fast as +they could to keep where they were. + +This mad rush for the latest is largely aided and abetted by that +invention of the devil, the literary section of many Sunday newspapers. +Finding research a bit dull, the ambitious or needy doctor of philosophy +launches into literary criticism for the reading public. He at once +discovers that the college sophomore who wrote a particular story is +another Thackeray in style. Then in turn a Dickens or a Balzac is found +out. Finally the news is passed on the Rialto that there is being issued +a story combining the delightful characteristics of the three old +masters. And thus and thus it goes, with the whirligig of Sunday +newspaper criticism spinning out the tastes of the reading public. + +Now if these titled critics ever cease discovering great new books as +regularly as the day of rest comes around, or if the paper reading +public cease to take these critics as truthful, then the teacher may +hope to find a more sympathetic field in which to work. Of course the +teacher must shake off his pedantry and quit his foolishness in taking a +classic beyond the years of the boy whose veins are full of red blood, +and putting it on a dissecting table for the study of etymology and +syntax. He must know fairly well the boy's likes and dislikes and +remember that they are very strong. And he must also remember that the +boy is joined to his idols, and these are not to be broken until better +ones are substituted. Iconoclasm for its own sake is sheer waste. The +teacher himself must be wedded to good literature, or his efforts will +avail little. If he knows, from his own quiet reading, a few good books +well, that is enough. Sympathetic appreciation, like good nature, is +contagious. If the teacher does not appreciate the book, the boy will +not--unless he does it out of pardonable perversity. + +The teacher has more to do with shaping the boy's reading than he at +first sees. He is apt to hesitate because the public library, ambitious +for a circulation record, gives the boy what he will be likely to read; +the Sunday school library, anxious to inculcate moral principles through +stories false to life, gives him what he does not want; the home, eager +to please him in every way, gives him anything he asks for. Yet in the +face of this threefold condition, the wise and sympathetic teacher can +direct an average course of reading that has in it more good than poor +books. To do this, he must work along two lines: discourage overreading +and encourage ownership in books. The practice of overreading is the +worst reading practice in modern life. Like all extremism, it is hard to +meet. It is as unpopular to oppose unlimited reading as it is to oppose +unlimited charity or unlimited education; yet they all need to be +carried out in moderation. The aim should be the mastery of a few good +books and the discouragement of the passion for constant variety that +indicates a lack of singleness of purpose through a lack of self-control +and the power of sustained attention. The greatest aid to this will be +the encouragement of small savings and the buying of good editions. When +this is done, encourage the boy to read out loud to his family at home +in the evenings the portions of his book he likes best. If he does +this, he and his book are friends as long as he continues reading. Soon +he will have a small, well-chosen, and much-used library. The boy who +will buy a book with his own money, will read aloud from it to his +family, will reread it, is safely started on the way to becoming a +well-read man. + +After feeling the need of good books in the home where they can be +turned to as the fancy directs, and after feeling a desire to buy such +books, the boy will next need to know what titles to select. And that is +no easy question. Temperament, home circumstances, occupation, and many +other factors enter into it. But the thing that helps out is the fact +that the range of books of power is universal, embracing so many moods, +that enough good titles may be found for any one, however whimsical his +tastes may be. In fact the boy will find many more good books to his +liking than he will ever find time to read, or than he needs to read. +The problem will become one of exclusion. Two lists for two boys of +different dispositions may vary widely and yet both be good literature. +But in the range of English books there are a few that the common +judgment of readers and the praise of critics have so generally classed +as necessary to the shelves of a cultivated man, that they should be +given first place and in some way or other a reading and a rereading of +them be secured. It is not meant that reading is never to depart from +this seemingly arbitrary standard. That would be at least prudish, to +say nothing of its being impracticable. What is meant is that such +things as comic supplements, at once stupid, silly, and debauching to +both the intellectual and the artistic tastes, should be kept from all +boys. The daily newspaper with its sensational head-lines telling of +crimes is as bad, and the schoolboy has no business with it at all. But +maybe the practice most widespread and fatal to an appreciation of books +of real worth and power is the addiction to "juveniles" in the ever +issuing series. If he has drunk to excess of these, the boy will have +hopelessly weakened his ability ever to appreciate anything great. He +will never be able to warm to the powerful deeds of Odysseus, Hector, or +Joshua--he will be only a tolerable but proper grown-up. In the face of +these and many more hindrances, reading will have to be rigidly +directed, and in that directing, lines of appeal in the field of good +literature can be drawn out. Generally the reason for a boy's revolting +against a good book is the fact that whoever is in control of his +reading presupposes that very thing. The book is often timidly handed +out and with something of an apologetic air. By some peculiar piece of +judgment it is believed that the boy prefers the book that is both +insipid and stupid. This ineffectual effort arises from a lack of +courage on the part of preceptor and parent: the old, old story of +overindulgence. What may be sauce for the father should not always be +sauce for the son. The theory that what is good for the one ought to be +good for the other, even to food and drink, is only another sophism of a +falsely sentimental age that is over-tolerant of what is called personal +rights. The fact that Senator Hoar delighted in an occasional yellow +back, is no reason why a boy should have such a story when he should be +learning his catechism. + +Before venturing on a list of books that will serve the boy fairly well +as he passes through the primary and the grammar grades of school, a few +of the superior books that have stood the test of time must be noticed. +They are fundamental in school and in general reading. The arguments of +literary critics as to what constitutes this good literature have no +place in a work of this nature that aims to aid teachers and parents in +selecting books for their children. It is enough to know that the +verdict of time has been rendered in favour of such books as "The +Arabian Nights' Entertainments," "Robinson Crusoe," and "Gulliver's +Travels." A knowledge of such books is fundamental to any one who is +ambitious to master the elements of English literature. And the mere +fact that he knows them well will give him a conscious strength and +pardonable feeling of superiority that the unlettered youth cannot have. +After this he can be trusted to browse pretty much as he chooses. He may +occasionally find the bars down, or maybe later go over the fences; but +he has learned to judge of what is worth while, and will surely return +to the books that gave him happy hours, whatever other tasks were laid +on him. + +In selecting this list for schoolboys there is a temptation to take +works too mature for school age. This may come from that lingering +instinct that supposes every one, no matter what the age, to be +interested in the same things in which you are interested. The very best +things for manhood are to be reserved for that time of life. Grammar +school boys cannot appreciate the playful humour of Lamb, the prophetic +scolding of Carlyle, or Thackeray's keen analysis of human weaknesses +and foibles; neither can a high school boy do it, and it is foolish to +insist that it be done. Schoolboys are not men, and they might be told +to reserve the greater part of Carlyle and Thackeray until two or three +years after they have cast their first vote. Neither author is adapted +to a beardless youth. But then we have that wonderful pair of +story-tellers, Scott and Stevenson! What boy can resist them or would +ever think of trying to do so? If Margaret Ogilvy would not lay down a +book of "that Stevenson man" until she had found out how the laddie got +out of the barrel, do you suppose that a boy with adventurous blood in +his veins could do so? Though the best test for a child's book is the +fact that it has charms for the grown-up, he would certainly be foolish +who would insist that the great books for mature men and women be read +in youth. It is after all school days are ended and the boy has become a +man well started in the actual affairs of life that he can read and +appreciate "Vanity Fair," "Adam Bede," "Tess of the D'Urbervilles," or +"Anna Karénina." The tendency to take great books for mature readers, +abridge and overedit them, and then present them to adventurous boys by +a laboratory method of minute dissection, is annoying and foolish. Boys +who still enjoy harnessing a dog to a wagon are neither university +students nor good literary critics. But they do like to find out how +Robinson Crusoe made a canoe, Tom Canty ate his first royal dinner, or +David Balfour helped Alan Breck defend the roundhouse. + +Naturally, the first book to put into the hands of the primary school +child to be called his own is a good illustrated edition of the Mother +Goose rhymes. There is nothing to take the place of that accumulated +wisdom of the nursery that is so charming to the ear. He has learned +many of the jingles by word of mouth before his school age; but he now +needs to own the book himself, read the words, and look at the pictures. +The whole thing must be in one volume for him. But what volume? It is +hardly safe to presuppose the possession of these nursery rhyme books +before the school age, though that is exactly where they belong. Maybe +for this reason it is better to start with the edition of Kate Greenaway +that makes up in refinement and delicacy for what it lacks in power and +intensity. It is unfortunate that there is no available reprint of the +original edition of "Mother Goose's Melody" compiled by Oliver Goldsmith +for John Newbery about 1765, which contained the "most celebrated songs +and lullabies of the old British nurses, calculated to amuse children +and incite them to sleep." To own such a quaint edition would surely be +a delight. Nearly as quaint and delightful, especially the +illustrations, is the "Only True Mother Goose Melodies" now reprinted +from the Boston edition of 1839. Of the editions of recent years there +are many good ones, the one appearing under the title of "National +Rhymes of the Nursery" having superior illustrations by Leslie Brooke, +but being marred by an artificial arrangement. If some artist with the +genius of Cruikshank would give a few of the best years of his life to +illustrating a complete collection of these rhymes, he would become a +benefactor of childhood. And if such an edition were well made +mechanically, printed on good unglazed linen paper from large type and +good woodcuts, well sewed, and bound in linen or leather, the boy might +consider himself favoured of the gods if he could call such a book his +own. These "things that are old and pretty" deserve to be well arrayed. +Yet they deserve to be read for their own sake, an enduring charm of +sound. Professor Saintsbury has clearly pointed out that they should +never be twisted into an authentic meaning according to the spirit of +severest "scientism"; but they should be made "to serve as anthems and +doxologies to the goddess whom in this context it is not satirical to +call 'Divine Nonsensia,' who still in all lands and times condescends +now and then to unbind the burden of meaning from the backs and brains +of men, and lets them rejoice once more in pure, natural, senseless +sound." + +After the nursery rhymes, the next volumes for the boy's book shelf will +be collections of fables and fairy tales. The animal fable is easiest to +start with, and children like it best as a rule. Talking beasts kindle +their imagination and stimulate their awakening powers. Fables are +direct, simple, wise, and have a universal appeal. In the delightful +first chapter of "The Newcomes," Thackeray tells us that long ages +before Æsop, asses under lions' manes roared in Hebrew, sly foxes +flattered in Etruscan, and wolves in sheep's clothing gnashed their +teeth in Sanscrit. They are a common inheritance for childhood. The +English-speaking child has a number of very good collections at his +command, among them being the one recently issued with illustrations by +Arthur Rackham and another in the New Cranford series illustrated by +Richard Heighway, and he should surely own the one or the other. But in +neither is the drawing quite so charming as is that of Boutet de Monvel +for the French fables of La Fontaine. + +What a pity that there is no single volume of fairy tales to meet the +child's demands! It should contain the best of the English folk tales, +the best of Perrault, the brothers Grimm, Andersen, and others; should +have illustrations of the merit of Cruikshank's; should be artistically +printed and bound--and it should be a big book. Children love big books. +A child's book on thin paper and bound in limp leather would not be a +child's book. Coloured illustrations are not necessary; children like a +few lines in black and white; but it is necessary to have the book a +kind of "ponderous tome." Then it can be read on the floor while it +rests on the boy's knees as he sits cross-legged before the fire; or, +better still, while he lies on his belly, his chin in his hands and his +feet swaying in the air. While he is small, no real boy was ever +designed to sit upright on a chair and hold a small book ten inches from +his eyes, with the light coming over his left shoulder. Maybe some +philanthropic publisher will some day issue a big book of tales to be +owned by the boy and read at his ease. But the lack of it to-day +necessitates the building up of a fairy library. + +The first book to be put into the fairy library might be the charming +"Golden Goose Book" of Leslie Brooke, followed by Cruikshank's "Fairy +Book." The Mother Goose tales as first collected by Perrault should now +be owned in a well-illustrated English translation. On account of their +humour and their common everyday tone, the English household and folk +tales will make a strong appeal. Scudder's "Folk Stories," S. +Baring-Gould's "Old English Fairy Tales," and "Fairy-Gold" by Ernest +Rhys are all good in their way; but "English Fairy Tales" by Joseph +Jacobs, with its amusing illustrations by John Batton, is told in the +simplest and most dramatic way, and it should be owned by every boy. + +There is one collection of fairy tales that should come into the boy's +possession about the end of the third school year, and that book is the +excellent work of the brothers Grimm, whatever be the title. The one +superior translation is the one made by Edward Taylor about 1826, and a +reprint of it issued in 1878, with Cruikshank's etchings and Ruskin's +introduction. But there are many good and simple translations that are +well illustrated. After these highly imaginative tales of the German +fireside, there should be owned a good translation of the romantic and +refined tales of the North, the fairy tales of Hans Christian Andersen. +To these stories are many excellent illustrations, including those of +Stratton, Tegner, and Dulac. It may not be possible and maybe not +desirable to own editions of the tales of D'Aulnoy, Laboulaye, Hauff, +and others, for the best of their stories may be found in some +compilations. Among these are "Mother Goose Nursery Tales" issued by +Nister, Andrew Lang's "Blue Fairy Book," "Big Book of Fairy Tales" +collected by Walter Jerrold, "A Child's Book of Stories" illustrated by +Jessie Wilcox Smith and the recently issued attractive edition of "The +Fairy Book" by Dinah Maria Mulock. A distinct service could have been +rendered to children if Andrew Lang had selected the best of the stories +from his voluminous and unequally good colour fairy books and had issued +them in one large, well-made volume with artistic illustrations. + +And yet there remains the greatest and most wonderful of all fairy +tales, the "Tales of a Thousand and One Nights," to be begun with the +easier tales now, but only to be enjoyed thoroughly in the upper grammar +grades. No other book is so romantic or so entrancing, nor does anybody +ever get too old to read it. It worked its spell on Coleridge, for he +wrote: "Give me the 'Arabian Nights' Entertainments' which I used to +watch, till the sun shining on the bookcase appeared, and, glowing full +upon it, gave me the courage to take it from the shelf." And was it not +this book that made wonderful little Marjorie Fleming willing to sleep +at the foot of the bed where she could continually read it? The +translation made by Edward William Lane in 1839 and illustrated by +William Harvey under his direction will never be surpassed; but Jonathan +Scott's translation is easier for the boy to read. Many well-illustrated +but not always well-edited editions may be found. + +Will a boy read "Alice's Adventures in Wonderland"? Should a boy read +"Alice's Adventures in Wonderland"? Yes and yes! Any boy who cannot +enjoy the most delightful fooling that was ever put into a book deserves +the greatest of sympathy. He is certainly full of unmannerly sadness in +his youth. Where else was there ever such clever and curious nonsense? +What mathematician other than Dodgson ever put before boys and girls +such enduring work? It is a case where two and two does not always make +four, but it does always make the pleasing thing. Much that goes as +serious literature is not half so wise as is the playfulness of this +book, nor is it so worthy of being thoroughly known and appreciated. Of +course there are a few perpendicular people who see not that it has +abiding charms. They cannot double or shake to the mood of its +nonsense--nor do they find it grow "curiouser and curiouser" with each +reading. Yet it is a classic for children, and it is going to endure. + +As a general rule, books for children are cast in a rather serious mood. +This is true of the myth and the romantic fairy tale. But the element of +humour creeps into the English and the German household tales, for +humour is necessary to all earnest living. How far this sense of humour +is to be developed is a question hard to answer. This much is true, +however: in mature years and under the full responsibility of life, a +keen sense of humour is about the only thing that will save a man from +himself at times, preserve his balance when he is nearing the borderland +of tragedy. Now what is to be the nature of this humour? Is it to be the +insipid burlesque that finds its pleasure in the medical almanac and the +comic supplement? Or is it to be the kind that wears the sock with +brains and taste, the kind that Touchstone has? The latter is the one +that sparkles and is worth while. It is the kind that the child starts +with in "Alice's Adventures in Wonderland" and "The Rose and the Ring." +It is the product of men who possess qualities of mind and heart such as +Thackeray did. How Shakespeare must have doted on his jesters! And what +musical nonsense refrains he wrote. + +All this bears out De Quincey's saying that only a man of extraordinary +talent can write nonsense. And nonsense literature is a test of the +ability of a reader. Pitt once exclaimed: "Don't tell me of a man's +being able to talk sense; every one can talk sense. Can he talk +nonsense?" Now a child will talk nonsense and delight in it, even if it +is nothing but a counting-out rhyme. Then he will come to prefer +nonsense of a refined type, innocent and fantastic verse. A book of +this kind that he will take a fancy to is Edward Lear's "Nonsense +Songs"; and if it is the edition illustrated by Leslie Brooke, he will +be grateful when a nonsense mood is on him. Ruskin called it the most +beneficent and innocent of all nonsense books. The boy might start with +this book, go to "Alice's Adventures in Wonderland," and then try "The +Rose and the Ring." When he reaches the upper grammar grades, he will +then enjoy the splendid retelling of "The Adventures of Don Quixote," by +Judge Parry, with Walter Crane's illustrations. If he does this, on +reaching man's estate he will keep some favourite translation of this +wonderful book of Cervantes in a convenient pocket edition along with +his "Pickwick Papers." + +Before going to the class of books based on myths, one brief work must +be mentioned, not only because it marks an epoch in the making of +children's books, but also because it is a child's classic with real +merit, and about the only one on such a theme. Nearly all others of this +kind are prudish, priggish, and inartistic. This one happens to have a +loftiness of tone. Its style is as charming as this whimsical title: +"The History of Little Goody Two Shoes, otherwise called Mrs. Marjory +Two Shoes, the means by which she acquired her learning and wisdom, and +in consequence thereof her estate; set forth at large for the benefit of +those + + "Who from a state of Rags and Care, + And having Shoes but half a Pair; + Their Fortune and their Fame would fix, + And gallop in a Coach and Six." + +If any one is in doubt as to who wrote this book, the inscription "to +all young gentlemen and ladies who are good, or intend to be good" ought +to convince him. Intend to be good, was not that Goldsmith--and the rest +of us? An edition of this historic story with pictures after the +original woodcuts of 1765 should be in the hands of every child. + +Though America's contribution to children's literature of an enduring +type has been limited, it is gratifying to know that America's most +finished artist, Nathaniel Hawthorne, has given to that literature two +books that every boy must know, "Wonder-Book for Girls and Boys" and +"Tanglewood Tales for Girls and Boys; a Second Wonder-Book." That every +boy who is going to become a mature reader of good books needs to know +the myths of Greece and Rome, goes without saying. Now he had better +learn these from a book having a literary touch than from the ordinary +telling of text-books. For this reason he should completely master these +two books by Hawthorne. The illustrated edition of the former by Walter +Crane and George Wharton Edwards' illustrations of the latter are both +fine. Not so good as these two, yet necessary, is Charles Kingsley's +"Heroes; or, Greek Fairy Tales for My Children." And the telling of the +story of the Odyssey by Charles Lamb in his "Adventures of Ulysses" is +good to read, but rather difficult before the last year of the grammar +grades. The wonderful exploits of the heroes in the Iliad should be +familiar to every boy, and he can get them about all in Bulfinch's "Age +of Fable" as well as anywhere else. This book he must surely own, and +whether it is called merely a text-book or not, it is the best work that +has yet appeared on the mythology of the world as it is found in +classical allusions of English books. If he learns the story of the +siege of Troy and the return to Ithaca from this book, he may want to +hear Chapman speak out loud and bold a few years later. + +Does any schoolboy from a home other than one in which Puritan notions +yet prevail read "Pilgrim's Progress"? If he does not, the fault is not +in the book. It is as interesting as it is vitally true, and has been +positively helpful. According to Macaulay, it has been loved by those +too simple to admire it. There is really no such thing as an +uninteresting great book. There are uninterested people, though there +should not be an uninterested normal boy. If there is, he is a victim of +the emasculating process of sugar-coated teaching, parental indulgence, +and vaudeville amusement. Or maybe he has the habit of the boy's series, +that cuts all characters to the same fashion, the fashion of prudery. In +either case he will never be a pilgrim. Of course it would be foolish +to insist on a boy's reading many such books, even if there were more +like it written. You might as well insist on seven sermons a week for a +man. One in seven days seems often enough to be effective; and one great +book like this one, if well mastered, is all that the boy needs. In +mature years he can again read it and marvel at its intrinsic greatness +and find it something of a reflection of his own experiences in life. +And by having done this he may chance to read such great poetical +allegories as the "Faerie Queene" and the "Divine Comedy." + +As this allegory of Bunyan's represented the spiritual experiences of +life as the Puritan saw it, so does "Robinson Crusoe" represent the +Puritan view of the practical virtues in experience, such as the virtues +of prudence, ingenuity, and patience. But for all this it is one of the +most fascinating and typical of English stories, and one of the really +great ones. Every lad must know this book. Stevenson tells of a Welsh +blacksmith who learned to read that he might add this hero to his +possibilities of experience. + +The third book of that great half-century following the Restoration is +one of the few books written to be read by men that has become a child's +classic. No wonder Swift afterwards exclaimed, "What a genius I had when +I wrote that book!" Yet children read it with pleasure without seeing +anything in it but the interesting adventures of Gulliver. Of course, +the voyages to Lilliput and to Brobdingnag are the only ones to be given +to the boy, and it is unfortunate that publishers have not generally +recognized this in issuing "Gulliver's Travels" for children. It is less +necessary to read the other two voyages than it is to read the second +part of "Pilgrim's Progress" and the "Further Adventures of Robinson +Crusoe." + +There is a field of reading very much akin to the field of mythology in +which there is no single book that the boy can read that is so permanent +in its form as is the "Wonder-Book," yet it is a field in which the boy +should feel at home. That is the field that includes the Arthurian +legends and the Robin Hood stories. Among the many books that have +appeared, the excellent work done by the poet Lanier in his "Boy's King +Arthur" and by the late artist Howard Pyle should surely find a place on +every boy's book shelf. Much of Malory is retained in the former, and +the conventional drawings in the latter make a strong appeal despite the +widespread mania for colour. The boy who has become attached to his "Age +of Fable" might satisfy his curiosity in this romantic field by the +almost equally good "Age of Chivalry" and "The Legends of Charlemagne." + +At what age should a boy turn to Shakespeare? That depends on the boy. +If he is an average child, he should have something of the plays read to +him at a fairly young age; but it is doubtful if he can do much on his +own account before the high school age is reached. He might, however, be +urged to attempt "A Midsummer-Night's Dream," "The Tempest," and "King +Henry V." At about the age of twelve or fourteen years he should own a +good illustrated edition in one volume such as the one done by Sir John +Gilbert. But be this as it may, he has a right to get something of a +glimpse of the wonderful things in these plays through that admirable +telling of some of them in Lamb's "Tales from Shakespeare." Though it +may be Lamb instead of Shakespeare, there is no better book of retold +stones in English than this work of Thackeray's "Dear Saint Charles" and +his sister Mary. + +This brings up the question of the boy's reading of poetry and the books +that he should own. As suggested in a former chapter, the one good +collection is Palgrave's "Children's Treasury of English Song." There is +no second one in this class; for all others seem to have some fatal +defects of judgment, though they are usually printed in more attractive +form. The publishers of this anthology need to issue a well printed, +well illustrated, and well bound edition, and the book stores need to +put it on their shelves, where it is now almost a total stranger. But +the approach to such a collection should be gradual. It might start in +the second grade with Kate Greenaway's edition of "Dame Wiggins of Lee +and Her Seven Wonderful Cats; a Humorous Tale Written Principally by a +Lady of Ninety," and Caldecott's "John Gilpin's Ride." This could be +followed with Kate Greenaway's or Hope Dunlap's "Pied Piper of Hamelin." +And all children must have Stevenson's "A Child's Garden of Verses" with +illustrations by either Florence Edith Storer or Jessie Wilcox Smith. +Eugene Field's "Poems of Childhood," illustrated by Maxfield Parrish, +deserves a place, as does the dainty volume of Blake's "Songs of +Innocence," illustrated by Geraldine Morris. If on reaching the upper +grammar grades the boy has found pleasure in his "Children's Treasury of +English Song," he might be urged to own complete editions of a few of +the poets. The first volume should be the poems of Longfellow, not +because of his greatness but because he is the best loved of our noted +poets and the easiest one for the boy to read. The next volume should be +one of Tennyson, where he will find things actually great. If he comes +to prefer "The Passing of Arthur" to "Enoch Arden," he is developing +taste and judgment and will later enjoy Milton and Wordsworth. + +There are two books of recent years, "The Jungle Book" and "The Second +Jungle Book," that have intrinsic worth and charm and should be owned by +every boy about his fifth school year. The superior tales are the Mowgli +stories, and it is a pity they are not issued in a single volume. Where +was there ever a more intense or dramatic story written than "Red Dog"? +How does it happen that teachers seldom give these stories to children, +but manage to waste plenty of good time on insipid, made-to-order +stories designed to teach mercy to animals? These animal stories for a +purpose are like most verse for an occasion--an offence against literary +art. Let the boy learn of the charms and the tragedies of animal life in +the jungle. + +When the boy's reading shifts toward the romance and the novel, he needs +to guard against overreading, indiscriminate reading, and being +bewildered by the multitude of books from which to choose. For a while +he had better keep to such books as "The Prince and the Pauper" and +"Treasure Island." If he is not at once interested in that plot based on +the universal desire to change lots with some one else, or the universal +longing to find a hidden treasure, he either has perverted tastes or is +without any tastes at all. From these it is an easy step to the forest +life of "The Last of the Mohicans" and the life of chivalry presented in +"Ivanhoe." He will then surely like that charming story of romantic home +life, "Lorna Doone." + +Some teacher may wonder if books other than stories and verse are not to +be read. Of course they are, and they will be anyhow. Yet they are not +books of power, fundamental to the growth of personality; they are +books of knowledge of one kind or another. Just where the division line +is to be drawn and which is the right class for this book and that, is +hard to say, and matters little when it is determined; but the place of +a few has been definitely fixed by experience, and they happen to be +stories. That great literary field of comfort to men, the personal +essay, is beyond the schoolboy. And so is much of biography and history. +But there can be found for him to read many books, such as "Tales of a +Grandfather," "A Child's History of England," Southey's "Life of +Nelson," "Two Years Before the Mast," "The Oregon Trail," Franklin's +"Autobiography," and some good abridgment of "Plutarch's Lives," that +make an order of books different from "Robinson Crusoe," "Pilgrim's +Progress," and "Arabian Nights' Entertainments"; yet they ought to be +read after a few of the greater ones have been mastered. Many a boy may +be greatly helped and inspired to honest effort by Samuel Smiles' +"Self-Help," yet no one would think of classing it as great literature. +This, together with books on travel and the wonders of science and +invention will take care of themselves, and the average boy will pick up +enough of them of his own accord. What he needs is a book that by its +imaginative power lifts him above the commonplace facts of everyday +life. If the foundation be laid in the enduring work of a few great +books, what is built thereon will abundantly reward the early effort of +mastering them. + +There is yet one book of powerful and pure English that must be +mentioned. The boy should have early heard it read aloud, learned +passages from it by heart, and have read parts of it on his own account. +In proportion as he has gathered the richness of this book will he have +a grasp on clear language and clear understanding. That book is the +version of the Bible authorized by King James. It gave to our fathers +not only their faith but also that grip on racy, clear, and vigorous +English that made many an artisan a better talker and writer than the +man trained in the halls of higher learning. It has had a power above +all other books in English to stir the imagination and move the soul, +and this without regard to any particular religious belief. No book has +ever told stories with the ease, directness, and intensity of this one. +Its style expresses the strongest and deepest feelings of +English-speaking men. And this style has been caught by such masters of +prose in their own centuries as Bunyan and Lincoln. Yet it is evident to +teachers that the great stories of the Scriptures are not known by +children. The Bible needs to be dusted and read, even if it is brought +about by the strong hand of authority in the home and in the school. + +Taste in books can be directed, or at least modified, and the authority +to direct must be about its business with the urchins at school. The +aphorism that you can lead a horse to the water but you cannot make him +drink, is only half true. If the water is kept under his nose and there +is a good grip on the halter, he will be drinking before he is aware of +it. In fact, he may need to be led away at times to keep him from +drinking too much. The business of the school teacher is to get the boy +to the trough and then see that he does not drink too much. This will be +a thing of effort, for at every turn there are the springs of juvenile +series, Sunday School Pharisees, comic supplements, and penny-dreadfuls +that flow as if they would never cease. The boy needs to develop a sort +of anchorite spirit and seek out a secluded place with an armful of +books that are really worth while. + +The armful which he needs to own and be friends with might be something +like the following, if such a list can be ventured without offence to +that strong spirit of individualism that will call it wooden and +lock-step; yet that in its iconoclasm and mental anarchy gets nowhere +and does nothing. This is the list by grades: First grade--"Mother Goose +Rhymes," Brooke's "The Golden Goose Book," "Dame Wiggins of Lee and Her +Seven Wonderful Cats"; second grade--"Æsop's Fables," "The Cruikshank +Fairy Book," Goldsmith's "The History of Little Goody Two Shoes"; third +grade--Carroll's "Alice's Adventures in Wonderland," Jacobs' "English +Fairy Tales," Stevenson's "A Child's Garden of Verses," Scudder's "The +Children's Book"; fourth grade--Grimm's "Fairy and Household Tales," +Andersen's "Fairy Tales," Browne's "Granny's Wonderful Chair," +Thackeray's "The Rose and the Ring"; fifth grade--Hawthorne's "The +Wonder-Book for Girls and Boys" and "Tanglewood Tales for Girls and +Boys; a Second Wonder-Book," Kingsley's "Heroes; or, Greek Fairy Tales +for My Children," Swift's "Gulliver's Travels into Several Remote +Nations of the World," Kipling's "The Jungle Book" and "The Second +Jungle Book"; sixth grade--"Arabian Nights' Entertainments," Lamb's +"Adventures of Ulysses," Defoe's "The Life and Strange Adventures of +Robinson Crusoe," Pyle's "The Merry Adventures of Robin Hood," +Palgrave's "The Children's Treasury of English Song"; seventh +grade--Bunyan's "The Pilgrim's Progress," Lanier's "The Boy's King +Arthur," Twain's "The Prince and the Pauper," Cervantes' "The Adventures +of Don Quixote of the Mancha," Stevenson's "Treasure Island"; eighth +grade--Lamb's "Tales from Shakespeare," Cooper's "The Last of the +Mohicans," Scott's "Ivanhoe," Blackmore's "Lorna Doone," Bulfinch's "The +Age of Fable; or, the Beauties of Mythology." + +The savings necessary to buy these books, the time spent in reading and +rereading them, the power and taste that will come from both of these +efforts,--these will serve the boy when he comes to man's estate. For no +work in a finishing school or in college English can ever give him what +he will get of his own accord by having good books as his companions +during his public school life. Let him try the list with the hope that +it will meet Ruskin's comment: "Of course you must or will read other +books for amusement, once or twice; but you will find that these have an +element of perpetuity in them." + + + + +CHAPTER IV + +ON THE PURCHASE AND CARE OF BOOKS + + "Knowing I lov'd my books, he furnish'd me, + From my own library, with volumes that + I prize above my dukedom."--PROSPERO. + + +THE publishing of books is like the brook in the poem, it goes on +forever. The number and variety found on sale at the end of each year is +truly bewildering. The flesh is becoming wearied with the number and the +spirit perturbed with the variety. The prospective buyer does not know +where or how to begin, and about the only way out of the confusion is to +do as the brothers did in the story, buy them by the yard. For the man +of long purse it is a convenient way to untie the library knot; but +after this has been done the question of where to begin reading is a +harder one than where to begin buying had been. There was much +philosophy in the remark of the quickly made millionaire, who after +having bought many editions de luxe of standard authors, said: "Now give +me something that I can read, a few stories of Old Sleuth and Nick +Carter." Though his taste might be questioned, his remark hit the nail +on the head--a few books that can be read. + +That is what the average buyer is after. And these few must be books +that are worth while, must be taken from the multitude, and must be +taken one or two at a time if they are to be properly enjoyed. Each +season brings a few of these in new and attractive editions. By them +must the library be slowly built up. The purchase of many volumes at a +time, even if they are good volumes, is something few readers can stand. +It is like the sudden acquisition of wealth or the sudden coming into +fame: a stumbling block to the greatest of pleasures, the slow but +certain enrichment of life. Many a good student has been spoiled by +being turned loose in a school library that cost him no effort or +inconvenience to acquire. Ease of access and intemperance of use are +things on which he will fall down. And therein is the foolishness of +parents in supplying their children all at once with that great and +varied load that has several times appeared under different names, but +with the general title of libraries for young folk. There is much good +and conveniently arranged material in all of them; but it is this very +thing of coming into the child's possession all at once that makes them +objectionable. Books, like many other luxuries, should not be indulged +in to excess. + +Books for the boy should largely be purchased out of his own savings. No +book bought in this way will be left unread. Some persuasion on the +part of teachers and parents will be necessary to bring about this +practice of saving. A month or so before Christmas or the summer +vacation the town boy ought to be told to save the money he is used to +spending on candy and picture shows that he may buy for himself a book. +The country boy can do the same thing by hoeing corn a few more days for +a neighbour or raising a few more chickens on his own account. As they +should, books will also come as gifts, and poor judgment on the part of +the giver is very unfortunate. The giving of a poor book that can hardly +be afforded is kind-hearted as an act; but the boy who feels by courtesy +bound to read it is surely a helpless victim. Yet in his own family he +should be given a book twice each year, on his birthday and at Christmas +time. In fact he needs to be taught always to celebrate the one and hang +up his stocking on the other; for no two practices will be so likely to +keep him from falling into cynicism in mature years--especially if each +anniversary brings with it a helpful book. Highly prized as will be +these good books the boy receives as gifts, they will never mean quite +the same to him as the books bought at a sacrifice to himself. When all +is said and done, about the best indication of practical wisdom in this +age of prodigality is economy of savings. It will surely be followed by +economy of time and energy. The boy who is taught to save money for the +purchase of something of permanent value has a good start in the right +direction. The most reasonable thing to buy with these savings is a few +good books. + +What shall the reader buy, and where shall it be bought? To the former +question a partial answer has already been attempted, but to the latter +one the answer is more uncertain. In a general way a book might be +bought as any other article is bought, where the same quality can be +bought cheapest. But that principle is based on the advertising appeal, +an appeal that is strong where extravagance and wastefulness abound. The +making, selling, and buying of books is no exception to this rule of +trade. Books, like other articles, are now bought and sold according to +fashion, and the official pot of fashion must be kept boiling if it +takes the last penny. And like other fashions book fashions change, even +to morals and heroines; so that a body might as well be out of the +reading world as to be out of fashion in it. Just now the fashion seems +to turn out books with morbid morals and mediocre heroines, and yet the +people continue to read them and talk about them. The story is drawn, +printed, bought, read, dramatized, heard, and praised--even from the +pulpit. And before there is time for you to compose yourself in peace, a +new emotion is sprung on which all must dilate alike. This is the hubbub +about the multitude of new books that makes the buying of a few standard +ones something of a problem. The classics, especially for children, +either in old or in new editions, are hidden in the confusion. And +because of the talk the youngsters hear they want to read the book their +parents are reading, as they are curious to read the daily paper, a +thing never designed for any schoolboy to do. For this reason they need +to be urged strongly to buy the book that is old and tried by years of +helpful reading. + +The advertising appeal that persuades a buyer of books to invest in what +he does not want and cannot use is active in two ways, through +travelling agents and at the book counters of department stores. Of all +the hindrances to the building up of a small library out of savings for +that purpose, the proverbial book agent is the greatest. This master of +the art of persuasive perseverance, with his oilcloth bag hidden under +the frock of his coat, has filched many a hard-earned dollar from the +farmer. If he had had either the artifice or the charity to get the +money and not deliver the book, the effect of his pernicious activity +would not be so marked. Yet what he sells as a book takes its place on +the centre-table with others of its kind to waste the time of winter +evenings and wet days for a generation. That interesting and rather +convenient character, the pedler with his pack, has passed away; but the +agent and his book continue to flourish. Can no one propose a short way +with book agents? + +In the city the confusion is wrought by the woman agent and the girl +clerk. Next to resisting civilly the entreaties of the agent in black is +for a man, after having threaded that modern labyrinth, the department +store, and having halted at the book counter to take his bearings, to be +pounced upon by the clerk in black before he has had time to thumb a +single volume, and asked if he has been waited on. He watches the +cosmopolitan stream of buyers tossing about the cosmopolitan collection +of book bargains on the main aisle counter, and then retreats in +confusion to seek some old-fashioned book store where he can loaf in +ease and think of what he wants to buy. Though scarcely willing to admit +the claim of many buyers and readers of books that it is not good +book-buying etiquette to purchase a book at a department store, he feels +at least that it is not a quiet, convenient, and wise way. And the pity +of it all is, that out of this shuffle and clatter the child is made the +victim of the poor book that is bought because it can be bought cheap. + +The fairly well arranged book store is the one place where a book for a +boy may be bought in proper form. Though the second-hand book store is +an interesting place for the man who has not the germ fear, it is no +place to get a boy's book. And the old-fashioned book shop that must +have been a joy to the man of reading tastes has passed, as has the old +apothecary shop. From their modern offspring, the book store and the +drug store, we must get our books and our physic. It is on the shelves +of these book stores that buyers like to explore and make discoveries of +editions. If the particular edition be known, a good way to buy is to +order books directly by mail from the publisher. In fact, this is what +often has to be done in small towns and in country districts where +well-stocked shelves are not within reach. Yet few buyers can adjust +themselves to the practice of buying anything that they have not seen. +They like to feel the response of the book to the touch, see the type +and the illustrations and the binding. This is all good where the store +carries a complete stock; but if every good book wanted has to be +ordered for the buyer, he might as well do it himself directly from the +publisher. From these publishers good descriptive catalogues may be had +for the asking, and by means of them the book not found at the store may +be ordered. + +At the usual book store, whether purely secular or connected with the +publishing house of a denominational church, books for men are bought +with greater ease than books for children. A well-selected list of +titles for boys is seldom found. The ubiquitous juveniles are lined up +as usual, but good reprints of children's classics are absent. The +uninformed buyer is at the mercy of the more uninformed clerk. Out of +the indecision of the one and the advice of the other something wholly +unfit for the boy is bought. The poor book received as a gift is beyond +the boy's control and a delicate matter to handle; but the buying of a +poor book with good money is a serious blunder. About the only safe way +is to know what you want before you go into the store, dig it out from +the shelves yourself, and have the clerk do nothing but wrap it up and +give you your change. If you are not settled on what you want, get into +the habit of reading the book numbers of some journal like _The Nation_, +or consult with the well-informed heads of the children's departments of +public libraries. + +The particular edition of a book to be bought is largely a question of +taste and of the money at the command of the buyer. Many a boy sees +little in fine, well-illustrated editions. What he wants is the story +without regard to its dress. He may become wedded to the poorly made, +unattractive book that has opened up new lands to him, just as many a +child has formed a greater attachment for a small rag doll than for an +expensive one of wax. Again, circumstances may necessitate the buying of +a twenty-five or fifty-cent edition of a book instead of a two or three +dollar one. Yet this is true: if the book is bought at a sacrifice and +is to serve for a lifetime (and no old book that has served its owner +well ought ever to be replaced by a new one), the best edition available +should be bought, even if it is expensive. Of course, this largely +depends on the book. Mother Goose, some treasury of poetry, Æsop, +stories from Shakespeare, a favourite collection of fairy tales, and +all such books often used need to be in the best of editions; but the +ones less often read may be in cheaper form. + +In selecting an edition the first thing to look to is the type and +paper. Even a standard edition may be printed from worn plates giving an +indistinct impression. A clear-cut, large type on unglazed paper is +certainly the best. The detailed colour illustration on a special sized +plate-paper does not appeal to the average child any more than do the +simpler black and white drawings done in a few lines and put on the +ordinary reading page. But the best illustrations that are being done +to-day are very often done in colour, and at first glance they catch the +fancy of the child--then, too, they are the fashion. Whatever kind they +may be, illustrations are almost necessary to a child's book. The next +consideration is the binding. What may have been gained in +attractiveness of page has surely been lost in mechanical execution on +binding. Books, even high-priced books, are now cased instead of bound. +The machine-made back is hung to the book in an insecure way. There is +no hand shaping or building of the back to the book. A child's book +costing three dollars will in a short time become loose, hollow-backed, +and the plate illustrations will fall out. Hand-craft at a reasonable +price has gone by the way here as it has in many other fields of +workmanship. What the publisher has failed to do in the binding of the +book, the boy must be urged to make up in the handling of it. + +This brings up the question of the care of books. Vandalism may do its +work among books as well as anywhere else. A good book deserves the best +of care and needs to be secure from the hand that would soil or deface +it. It is a friend to be kept in comfortable quarters, and its rights +are to be respected. It is never to be used as a flower press nor as a +window stick; neither is it to have its back carelessly broken nor its +leaves turned down. It was made to be read and to be enjoyed, and this +without regard to the fact that it came as a gift or was bought with +hard-earned money. The boy should early be taught how to take care of it +as he would any other product of art. + +The best-made book may be broken by opening it carelessly the first +time. Glue is flexible under slow pressure, but will break under sudden +strain. If the book is taken in the middle and the halves suddenly +jerked open, it will be broken beyond repair; but if the back of the +book is placed on a table and the leaves turned down slowly from both +covers to the centre, the glue will give and the book will not be +damaged. By going over the whole book carefully in this way once or +twice, it will be ready for use. At no time, however, while reading, +should the covers or leaves be turned farther back than they would be in +lying flat open on a table. The next thing for the boy to learn is how +to take care of the leaves of the book. The leaves should be carefully +turned with the dry tips of the fingers from the top of the page and +pressed down gently but firmly. And under no circumstances should the +corner of a leaf be turned down to mark the place where the reader left +off--an interested memory and a book mark are designed for that purpose. +To keep his books, every boy should have a book shelf or two of his own +that he can easily reach. Any kind of home-made shelf will do; and in it +the books are to be set on end, never on the front of the book, each in +its particular place so that it might be found in the dark. He ought to +learn all of his books by touch. After each reading the book is to be +carefully put in its stall and left there until the owner chooses to +take it out again. + +When a book has been bought or received as a gift, the boy should, +according to the old style, write therein his name, the date it came +into his possession, and the warning that it is his book. Book plates +are really unnecessary to a small library, unless the owner can well +afford them. But it is necessary that the owner's name be written in +each one. Now, should the boy lend his book? It is a question whether +the refusal to lend it is a selfish act or not. Like umbrellas, books +are often looked on as stray blessings to be taken in by any one who +chances to come across them or who needs them. The well-conceived +chaining idea has long since disappeared, but the purloining habit still +lingers. It and its handmaiden, borrowing, have wrought much confusion +and inconvenience in private libraries. Few people ever think to return +a book, or at least to return it in good condition. If the truth were +always told, the couplet of the satirist would fit the possessor of many +a repleted library: + +"Next, o'er his books his eyes began to roll, In pleasant memory of all +he stole." + +Selfish or not selfish, the wise thing for the boy to do is to refuse to +lend his books. It is too much like lending a meal or a friend; but they +can all be shared in the presence of the owner. If the boy's chum has a +hungry mind and clean hands, he may be asked to drop in and read the +book where it belongs, but not to carry it off elsewhere. Or better +still: the owner of the book who knows its riches may fall into the +habit of reading his favourite portions aloud to his boy friends who +have gathered in for that purpose. No single thing will awaken such a +love for good literature as the gathering of choice bits of it through +the ear. That is the good lesson that has come from the tent of the +Arab. And it is a lesson that readers must learn to-day. By no means let +the book of the boy fail to entertain his chums, but let it entertain +them at his own home. + +Does any one who has laboured hard to build a house move out of it as +soon as it is completed? Does any one who has cultivated a friendship +give it up as soon as it is secure? Should any one who has learned to +thoroughly enjoy a good book throw it aside as soon as this is done? +Like the house or the friend, that book should continue to be a comfort +to him who has learned to appreciate it. In short, the boy must make +friends with a few books and then keep them without capitulation. If he +does, he may some day feel the truth of these verses: + + "Books, we know, + Are a substantial world, both pure and good; + Round these with tendrils strong as flesh and blood, + Our pastimes and our happiness will grow." + + + + +CHAPTER V + +EDITIONS OF STANDARD BOOKS + + "A precious treasure had I long possessed, + A little yellow canvas-covered book, + A slender abstract of the Arabian Tales; + And for companions in a new abode, + When first I learnt, that this dear prize of mine + Was but a block hewn from a mighty quarry-- + That there were four more volumes, laden all + With kindred matter, 'twas to me, in truth, + A promise scarcely earthly." --WORDSWORTH. + + +WHAT edition of a book to buy is determined in about the same way as is +the pattern of our clothes--by a compromise between our means and our +likings. But in the case of our children it is a pretty well-known fact +that their likings must be directed and the means at their disposal +regulated--even in the purchase and reading of books. A boy left to +himself will about as often fall into extravagant habits of taste as he +will into extravagant habits in the use of his pocket money. He is no +more able to judge of the good investment of knowledge than of the good +investment of money. In the desire to appear as a good fellow among his +companions he disregards either economy of time or economy of means. He +needs to be shown the wisdom of saving along both lines. This can be +done in no better way than by indicating to him an edition of a book +that will require some sacrifice on his part to buy, and maybe to find +time to read. This may all have to be done without regard to his tastes. + +To let the mere notions of a boy determine the edition of a book to be +bought and to estimate the merits of different editions by these same +notions is foolish. This is neither directing nor cultivating tastes. +The old plan of fencing in the pasture and of not letting the boy wander +too far afield was many times a very good plan. Tastes need to be +directed and boundaries fixed. Instead of permitting the boy to +determine the merits of the illustrations and the binding, he should +have pointed out to him repeatedly what good illustrations and good +binding are, and whether they can both be afforded. + +Both tastes and circumstances may lead to the buying of a cheap, +modest-looking book. This may serve its owner well, and he may never +miss what might be called the charm of a well-illustrated, well-printed, +and well-bound edition--one pleasant to look into and to touch. He may +be as little able to judge of the artistic make-up of a book as of the +cut of his clothes or the quality of his food; what he wants is +something to satisfy hunger and to cover nakedness, in whatever form it +may be given. Because of this the boy can bury himself in the pages of +an ill-made book if the words tell an enchanting story. But it is safe +to say that most boys do like well-made books with good illustrations. + +The pencil of the artist seems almost necessary to give the right touch +to a child's book that is great literature. Not in that they enable the +boy to get the story more easily are illustrations valuable, but in the +fact that they lend an artistic touch to a thing that is of itself a +work of art. A guess, however, at the kind of illustrations needed for +children's books would be very arbitrary. No one could hold that the +present-day coloured illustrations, with what is termed life in action +instead of decoration and convention, are the only right ones for +children. Nor are the old line-drawings in black and white to be +discarded. We need woodcuts as well as the engraved colour-plate; we +need Cruikshank, Tenniel, Greenaway, and Crane, as well as Brooke, +Rackham, Parrish, and Smith, for each has added a charm to some of the +great literature of childhood. May children's books continue to fare +well at the hands of talented artists. No more enduring work can be +wrought than that in which a keen and sympathetic imagination gives +expression to a picture that was first put into words. + +The work in hand for the teacher is to secure the buying of as good an +edition of a book as the boy can afford. The fact should be kept before +him at all times that he can usually get the good edition if he is +willing to do so. If it should happen that in any particular year the +boy cannot afford all of the books that might be bought in that year, +the teacher should see that the one or two most valuable ones are +secured. For example, if he is a sixth-grade boy, he must by some means +manage to get "Robinson Crusoe" and "The Arabian Nights' +Entertainments." The teacher's own interest, enthusiasm, and good taste +will successfully solve what is to be done. As an aid in this direction +it is to be hoped that book stores will display a number of good +editions of each title of the standard books for children in order that +a more satisfactory choice may be made of any one title. And the stores +could do a good turn by having well-informed and painstaking clerks to +aid in the selection of the right edition. + +In the list that follows, a few low-priced editions without +illustrations are given as well as the more artistic and expensive ones. +The teacher may not care to own the large illustrated edition that +appeals to the boy. Nor does he want an abridged edition. He may have to +depart from the list in order to get a complete copy of such great books +as "Don Quixote." For this particular title the teacher may range from +the single volume of Motteaux's translation in "Everyman's Library" (one +of the best issues of standard books for the teacher to select from at a +low price) to that of the excellent translation by Shelton issued in the +expensive "Tudor Translations." So does he need some complete edition of +Lane's translation of "A Thousand and One Nights" with Harvey's +illustrations if possible, such as the three-volume edition imported by +Scribner, the four-volume edition in "Bohn's Standard Library," or the +six-volume edition in the "Ariel Classics." Then again, it may happen +that an edition such as the two-shilling edition of Grimm translated by +Taylor and illustrated by Cruikshank, issued by the Oxford Press, is as +good for the teacher as for the boy. But the appended list will not +include and designate editions suitable for teachers only. The working +out of such a list by the teacher for himself will indicate his interest +in the task that is before him. + +The list is not intended as a guide in building up an extensive library +for the use of children. Its chief merit, no doubt, is in the fact that +it is a limited list. And its first good result must be in the practice +of the boy's buying a few books that are good and that will be read and +reread. But little comment will be offered here and there on the +preference of one edition over another. All editions designated by a +star are well worth owning. A guess at the age for reading a book has +been made, but with considerable latitude because of the unequal reading +ability among children. The age from six to ten years, the primary +grades of public school, will be indicated by the letter "P" placed +before the title; the age from ten to fifteen years, the grammar grades +of school, will be indicated by the letter "G" placed before the title. +Any suggestions on included editions found unsatisfactory by +experience, or on good editions omitted, will be gladly received. The +sole aim herein is to present a list that will be of help to the teacher +and the boys under him in finding the best that publishers have to give +of the enduring literature for children. + + + + +BIBLIOGRAPHY + + +MOTHER GOOSE NURSERY RHYMES + +P--but must be learned even if done in the college class in English. + +*"Randolph Caldecott's Picture Books." Any or all of the following are +merrily done: "The House That Jack Built"; "Sing a Song of Sixpence"; +"The Queen of Hearts"; "Hey Diddle Diddle, and Baby Bunting"; "Ride a +Cock Horse"; "The Frog That Would a-Wooing Go." 4to. Picture wrappers, +25 cents each. Warne. + +"The Baby's Opera: Old Rhymes with New Dresses, Set to Music." Walter +Crane. Small 4to. Varnished boards, $1.50. Warne. A second volume is +"The Baby's Bouquet." + +*"Our Old Nursery Rhymes." The original tunes harmonized by Alfred +Moffat. Illustrated in colour by H. Willebeek LeMair. 11 × 9. Cloth, +$1.50. McKay. Thirty well-known rhymes with dainty and aristocratic +illustrations of unusual beauty. A second volume is called "Little Songs +of Long Ago." + +"Thirty Old-time Nursery Songs." Arranged by Joseph Moorat and pictured +by Paul Woodroffe. Large 4to. Boards, $2.00. Schirmer. + +"Old Songs and Rounds." Decorated in full colour by Boutet de Monvel. +Arranged to music by Wider. Cloth, $2.25. Duffield. Both English and +French texts are given. There is nothing more charming in all the realm +of picture books, according to The Nation. + +*"Mother Goose; or, The Old Nursery Rhymes." Illustrated in colour by +Kate Greenaway. 16mo. Decorated boards, 60 cents. Warne. Forty-four +rhymes done with this artist's usual charm and nursery propriety. + +"The Only True Mother Goose Melodies." An exact reproduction of the text +and illustrations of the original edition printed in Boston in 1834 by +Munroe and Francis. An introduction by Edward Everett Hale. 16mo. Cloth, +60 cents. Houghton. + +*"The Nursery Rhyme Book." Collected by Andrew Lang and illustrated by +Leslie Brooke. Crown 8vo. Cloth, $1.50. Warne. Well illustrated. + +"National Rhymes of the Nursery." Collected by George Saintsbury and +illustrated by Gordon Browne. 8vo. Cloth, $1.50. Stokes. A splendid +introduction for a teacher to read. + +"Big Book of Nursery Rhymes." Edited by Walter Jerrold and illustrated +by Charles Robinson. 8vo. Cloth, $3.00. Dutton. + +"A Book of Nursery Songs and Rhymes." Edited by S. Baring-Gould. +Illustrated and decorated. 12mo. Cloth, $1.50. McClurg. + +"Mother Goose's Melodies for Children; or, Songs for the Nursery." +Edited by William A. Wheeler. Illustrated by numerous woodcuts. 4to. +Cloth, $1.50. Houghton. + +*"Mother Goose." Illustrated in colour and black-and-white by Arthur +Rackham. 4to. Cloth, $2.50. Century. Fine for a child. + +"Mother Goose." Illustrated in colour by Fanny Y. Cory. 4to. Cloth, +$1.50. Bobbs-Merrill. + +"Mother Goose Nursery Rhymes." Illustrated in colour and black-and-white +by Tenniel, Hardy, and others. 4to. Cloth, $2.50. Dutton. A Nister +book. + +"Mother Goose." Edited by Clifton Johnson. Illustrated in duo-tone with +line cuts by Will Bradley and others. Square 8vo. Cloth, $1.50. Baker. + +"Nursery Rhymes." Chosen by Louey Chisholm. Illustrated in colour and +black-and-white by F. M. B. Blaikie. 4to. Cloth, $2.00. Stokes. + +"Nursery Rhymes from Mother Goose." Illustrated in colour and +black-and-white by Grace E. Wiederseim. Large square 8vo. Cloth, $1.50. +Scribner. + +"The Complete Mother Goose." Illustrated in colour and black-and-white +by Ethel Franklin Betts. 8vo. Cloth, $1.50. Stokes. + +"Mother Goose's Nursery Rhymes." Collected by Walter Jerrold. +Illustrated by John Hassall. 6-1/2×9. Cloth, $1.50. Dodge. + +"Our Nursery Rhyme Book." Edited by Letty and Frank Littlewood. +Illustrated by Honor C. Appleton. Small 4to. Cloth, $1.50. Dana. + +"Favourite Rhymes of Mother Goose." Illustrated in colour by Maria L. +Kirk. Large 4to. Cloth, $1.25. Cupples. + +*"Old Mother Goose Nursery Rhymes." Illustrated by E. Stewart Hardy. +Decorated cloth, 12mo, $1.25. Dutton. + +"Mother Goose in Silhouettes." Cut by Katharine G. Buffum. 6×6. Cloth, +75 cents. Lathrop. Forty-one clever pictures to twenty-three old rhymes. + +"Mother Goose Book of Nursery Rhymes and Songs." From Everyman's +Library. 12mo. Cloth, 35 cents; leather, 70 cents. Dutton. + +*"Mother Goose: A Book of Nursery Rhymes." Collected by Charles Welsh. +Illustrated by Clara E. Atwood. 12mo. Cloth, 30 cents. Heath. A good +cheap edition. + +"Heart of Oak Books: Book I." Edited by Charles Eliot Norton. +Illustrated by Frank T. Merrill. 12mo. Cloth, 25 cents. Heath. + +*"This Little Pig's Picture Book." Illustrated by Walter Crane. 4to. +Cloth, $1.25. Lane. Contains also "The Fairy Ship and King Luckieboy's +Party." + +"Mother Hubbard's Picture Book." Illustrated by Walter Crane. 4to. +Paper, $.25. Lane. + +"April Baby's Book of Tunes, The." By the author of "Elizabeth and her +German Garden." Col. Ill. by Kate Greenaway. 12mo. Cloth, $1.50. +Macmillan. + +"Jingle Book." By Carolyn Wells. (Standard School Library.) Ill. 12mo. +Cloth, $.50. Macmillan. + + +G--COLLECTIONS OF VERSE + +*"The Children's Treasury of English Song." Selected by Francis Turner +Palgrave. 16mo. Cloth, $1.00. Macmillan. This is the best collection +that has yet been made for children. The publishers of this collection +could do a great service by issuing a large, attractive, +well-illustrated edition, adding to it a judicious selection from the +great volume of verse covering the last quarter of the nineteenth +century. + +"The Children's Garland from the Best Poets." Selected by Coventry +Patmore. 16mo. Cloth, $1.00. Macmillan. + +"The Blue Book of Poetry." Selected by Andrew Lang. Illustrated by H. J. +Ford and Lancelot Speed. Large crown 8vo. Cloth, $2.00. Longmans. + +"A Book of Famous Verse." Selected by Agnes Repplier. 16mo. Cloth, 75 +cents. Houghton. A good selection, especially for boys. + +"One Thousand Poems for Children: A Choice of the Best Verse Old and +New." Selected by Roger Ingpen. 8vo. Cloth, $1.25. Jacobs. + +"Lyra Heroica: A Book of Verse for Boys." Selected and arranged by +William Ernest Henley. 12mo. Cloth, $1.25. Scribner. + +"Our Children's Songs." Illustrated. 8vo. Cloth, $1.25. Harper. + +*"The Listening Child: A Selection from the Songs of English Verse, Made +for the Youngest Readers and Hearers." Selected by Lucy W. Thatcher. +12mo. Cloth, $1.00. Macmillan. An edition at $.50. + +"A Book of Verse for Children." Compiled by E. V. Lucas. 8vo. Cloth, +$2.00. Holt. + +"The Posy Ring: A Book of Verse for Children." Selected by Kate Douglas +Wiggin and Nora Archibald Smith. 12mo. Cloth, $1.25. Doubleday. + +"Poems Children Love." Edited by Peurhyn W. Coussens. 12mo. Cloth, +$1.25. Dodge. + +"Little Folks' Book of Verse." Edited by Clifton Johnson. Illustrated. +12mo. Cloth, $1.00. Baker. + +"A Treasury of Verse for Little Children." Selected by M. G. Edgar. +Illustrated in colour and black-and-white by W. Pogány. 8vo. Cloth, +$2.50. Crowell. + +"The Golden Staircase." Selected by Louey Chisholm Illustrated in colour +by M. Dibdin Spooner. Large 8vo. Cloth, $2.50. Putnam. + +"A Child's Book of Old Verse." Selected and illustrated by Jessie Wilcox +Smith. Large 8vo. Cloth, $2.50. Duffield. + +"The Treasure Book of Children's Verse." Edited by Mabel and Lillian +Quiller-Couch. Illustrated in colour by M. Ethelred Gray. 4to. Cloth, +$5.00. Hodder. Popular edition, $2.00. + +*"The Golden Treasury of the Best Songs and Lyric Poems in the English +Language." By Francis Turner Palgrave. 16mo. Cloth, $1.00. Macmillan. +Before entering high school, the boy should own some edition of this +great collection of verse. + +"The Golden Treasury of Songs and Lyrics." Illustrated by Hugh Thompson, +W. Heath Robinson, and A. C. Michael. Small 4to. Cloth, $1.50. Hodder. A +good edition. + +"The Golden Treasury of Songs and Lyrics." Illustrated in colour by +Maxfield Parrish. 4to. Cloth, $2.50. Duffield. + +"Golden Treasury of Songs and Lyrics." Illustrated in colour by Anning +Bell. Square 8vo. Cloth, $3.00. Dutton. + +"The Oxford Book of English Verse." By Sir Arthur Quiller-Couch. Crown +8vo. Cloth, $1.90; leather and India paper, $3.50. Oxford Press. A good +substitute for "The Golden Treasury." + +"The Boy's Percy." Being old ballads of war, adventure, and love, from +Bishop Thomas Percy's "Reliques of Ancient Poetry." Edited for boys by +Sidney Lanier. Illustrated from original designs by E. B. Bonsell. 8vo. +Cloth, $2.00. Scribner. A capital book for any boy who is a real reader. + +*"A Book of English Ballads." Collected by Hamilton Wright Mabie. +Decorative illustrations by George Wharton Edwards. 12mo. Cloth, $1.25. +Macmillan. + +"The Ballad Book." Katharine Lee Bates. 12mo. Cloth, $.50. Sibley. A +very good selection deserving a more attractive make-up. + +"The Ballad Book." William Allingham. 16mo. Cloth, $1.00. Macmillan. + +*"Robin Hood: His Deeds and Adventures." The original ballads +illustrated in colour by Lucy Fitch Perkins. 4to. Cloth, $1.00. Stokes. + +"Ballads of Famous Fights." Illustrated in colour by W. H. C. Groome, +Archibald Webb, and Dudley Fennant. Large 4to. Decorated boards, $1.25. +Doran. + +"The Oxford Book of Ballads." Chosen and edited by Sir Arthur +Quiller-Couch. Crown 8vo. Cloth, $2.00; leather and India paper, $3.50. +Oxford Press. Very complete and good for the high school age. + +"English Narrative Poems." Selected and edited by Claude M. Fuers and +Henry N. Sanborn. 24mo. (Pocket Classics.) Cloth, $.25. Macmillan. + +"Story Telling Poems." Edited by Frances J. Olcott. Narrow 12mo. Cloth, +$1.25. Houghton. + +"Old English Ballads and Folk Songs." (Pocket Classics.) Edited by W. D. +Armes. 24mo. Cloth, $.25. Macmillan. + +"Collection of Poetry for School Reading." By M. White. 12mo. Cloth, +$.40. Macmillan. + +"Another Book of Verses for Children." By E. V. Lucas. Col. Ill. 8vo. +$1.50. Macmillan. + +"Nature Pictures by American Poets." By Annie R. Marble. 12mo. Cloth, +$1.25. Macmillan. + +"The Sunday Book of Poetry for the Young." Selected by C. F. Alexander. +(Golden Treasury Series.) 16mo. Cloth, $1.00. Macmillan. + +"English Poets, The. Selections." 4 vols. By T. Humphry Ward. Each, +12mo. Cloth, $1.00. Macmillan. For reference and for the use of the +teacher. + +"Treasury of Irish Poetry, A." (Globe.) By S. A. Brooke and T. W. +Rolleston. 12mo. Cloth, $1.75. Macmillan. + + +INDIVIDUAL WRITERS OF VERSE + +*P--"Dame Wiggins of Lee and Her Seven Wonderful Cats." Written +principally by a lady of ninety (Mrs. Sharp) and edited by John Ruskin. +Illustrated by Kate Greenaway. 16mo. Cloth, 1_s._ Allen. + +*P--"John Gilpin's Ride." By William Cowper. Illustrated by Randolph +Caldecott. 4to. Paper, 25 cents. Warne. + +*P--"Nonsense Songs." By Edward Lear. Illustrated in colour by Leslie +Brooke. Small 4to. Cloth, $2.00. Warne. + +*P--"The Pied Piper of Hamelin." By Robert Browning. Illustrated in +colour by Kate Greenaway. Post 4to. Varnished boards, $1.50. Warne. + +"The Pied Piper of Hamelin." Illustrated in colour by Hope Dunlap. 4to. +Cloth, $1.25. Rand. + +"The Pied Piper of Hamelin." Illustrated in colour and black-and-white +by Margaret Terrant. 8vo. Decorated cloth, $1.25. Dutton. + +*P--"A Child's Garden of Verses." By Robert Louis Stevenson. Illustrated +in colour and black-and-white by Florence Storer. Square 8vo. Cloth, +$1.50. Scribner. + +"A Child's Garden of Verses." Illustrated by Charles Robinson. 12mo. +Cloth, $1.50. Scribner. + +"A Child's Garden of Verses." Illustrated in colour by Jessie Wilcox +Smith. Royal 8vo. Cloth, $2.50. Scribner. + +"A Child's Garden of Verses." Illustrated by Bessie Collins Pease. 12mo. +Cloth, $1.50; leather, $2.00. Dodge. + +"A Child's Garden of Verses." Illustrated in colour. 4to. Cloth, $2.00. +Harper. + +"A Child's Garden of Verses." Illustrated by Millicent Sowerby. 12mo. +Cloth, 75 cents. McKay. + +"A Child's Garden of Verses." Illustrated. In the Ariel Classics. 16mo. +Limp leather, 75 cents. Putnam. Good for a teacher. + +*P--"Songs of Innocence." By William Blake. Illustrated by Geraldine +Morris. 16mo. Cloth, 50 cents; leather, 75 cents. Lane. + +"Songs of Innocence." Illustrated in colour by Honor C. Appleton. 4to. +Cloth, $1.50. Dana. + +"Songs of Innocence." In Ariel Classics. 16mo. Leather, $.75. Putnam. + +*P--"Sing Song: A Nursery Rhyme Book." By Christina Rossetti. +Illustrated by Arthur Hughes. 16mo. Cloth, $.80. Macmillan. + +*P--"Lullaby Land." By Eugene Field. Selected by Kenneth Graham and +illustrated by Charles Robinson. 12mo. Cloth, $1.50. Scribner. + +*P--"Poems of Childhood." By Eugene Field. Illustrated in colour by +Maxfield Parrish. Royal 8vo. Cloth, $2.50. Scribner. + +*G--"The Rime of the Ancient Mariner." By Samuel Taylor Coleridge. +Illustrated in colour by W. Pogány. 4to. Cloth, $5.00. Crowell. + +G--"Tales of a Wayside Inn." By Henry W. Longfellow. Edited by J. H. +Castleman. 24mo. Cloth, $.25. Macmillan. + +*G--"The Song of Hiawatha." By Henry W. Longfellow. Cover in colour by +Maxfield Parrish, frontispiece in colour by N. C. Wyeth, and 400 text +illustrations by Frederic Remington. Square 8vo. Cloth, $2.50. Houghton. +A good edition. + +G--"Hiawatha." By Henry W. Longfellow. Illustrated by Harrison Fisher. +Large 8vo. Cloth, $1.50. Bobbs-Merrill. + +G--"The Children's Longfellow." Illustrated in colour. 8vo. Cloth, +$3.00. Houghton. + +G--"Poetical Works." Sir Walter Scott. With a memoir by Palgrave. 12mo. +Cloth, $1.75. (New Globe Poets.) Macmillan. + +G--"Lyrical Poems." Alfred Lord Tennyson. Edited by Palgrave. 16mo. +Cloth, $1.00. (Golden Treasury Series.) Macmillan. + + +FAIRY STORIES + +P--GENERAL COLLECTIONS OF FAIRY AND HOUSEHOLD STORIES + +*"Puss in Boots" and "Jack and the Beanstalk." Illustrated by H. M. +Brock. 10-1/2×9. Art boards, $1.00. Warne. Delightful! + +*"Beauty and the Beast Picture Book." Done by Walter Crane. Large 4to. +Cloth, $1.25. Lane. Contains also "The Frog Prince" and "The Hind in the +Wood." + +*"The Golden Goose Book." Illustrated by Leslie Brooke. Square 8vo. +Cloth, $2.00. Warne. Contains also "The Three Bears," "The Three Pigs," +and "The History of Tom Thumb." A delightful volume. + +*"The Cruikshank Fairy Book." Illustrated by George Cruikshank. Crown +8vo. Cloth, $2.00; a cheaper edition at $1.00. Putnam. Contains the +famous stories of "Puss in Boots," "Jack and the Beanstalk," "Hop o' My +Thumb," and "Cinderella." Every child should own this book. + +*"English Fairy Tales." Edited by Joseph Jacobs. Illustrated by John D. +Batton. Crown 8vo. Cloth, $1.25. Putnam. Too entertaining to miss. The +editor and illustrator have done almost as good work in "More English +Fairy Tales," "Celtic Fairy Tales," and "More Celtic Fairy Tales." + +"English Fairy Tales." Edited by Ernest and Grace Rhys. Illustrated by +Anning Bell and Herbert Cole. 12mo. Cloth, $.50. Dutton. A few of the +more common tales. + +"Mother Goose Nursery Tales." Illustrated in colour and black-and-white +by E. Stewart Hardy and others. 4to. Cloth, $2.50. Dutton. A Nister +book. + +"Tales of Past Times." As written down by Perrault. Illustrated by +Charles Robinson. 16mo. Cloth, $.40; leather, $.60. Dutton. + +"Perrault's Fairy Tales." Illustrated with colour plates by Honor C. +Appleton. 4to. Cloth, $1.50. Dana. + +"Perrault's Tales of Mother Goose." Edited by Charles Welsh and +illustrated after Doré. 12mo. Cloth, $.20. Heath. + +"Mother Goose Nursery Tales." Edited by Walter Jerrold and illustrated +by A. E. Jackson. 12mo. Cloth, $1.25. Dutton. + +"The English Fairy Book." Edited by Ernest Rhys. Illustrated in colours. +12mo. Cloth, $1.35. Stokes. Uniform with this may be had well-selected, +well-illustrated, and well-made volumes of Scottish and Italian fairy +tales. + +"Fairy Gold: A Book of Old English Fairy Tales." Chosen by Ernest Rhys +and illustrated by Herbert Cole. 8vo. Cloth, $2.50. Dutton. A cheap +edition in Everyman's Library. + +"A Child's Book of Stories." Edited by Peurhyn Wingfield Coussens. +Illustrated in colour by Jessie Wilcox Smith. Quarto. Cloth, $2.25. +Duffield. Eighty-seven well-known tales. + +"The Big Book of Fairy Tales." Selected and edited by Walter Jerrold. +Illustrated by Charles Robinson. Large 4to. Cloth, $2.50. Caldwell. +Thirty well-known tales. + +*"The Fairy Book." Edited by Dinah Maria Mulock. Illustrated with 36 +plates in colour by Walter Goble. Large 8vo. Cloth, $5.00. Macmillan. An +excellent edition of one of the best collections of fairy tales ever +made. Dainty and artistic coloured plates. + +"The Blue Fairy Book." Edited by Andrew Lang. Illustrated by H. J. Ford +and G. P. Jacont Hood. Crown 8vo. Cloth, $2.00. Longmans. The dozen +colour fairy books are not all equally good, this being the best one. + +"The Fairy Book." Collected by Dinah Maria Mulock. Illustrated. 12mo. +Cloth, $1.25. Harper. Thirty-six familiar tales. + +"The Oak Tree Fairy Book." Edited by Clifton Johnson. Illustrated from +pictures by Willard Bonte. Crown 8vo. Cloth, $1.50. Little. A +half-hundred stories with all of the terrible taken out. There are more +tree books. + +"The Fairy Ring." Edited by Kate Douglas Wiggin and Nora Archibald +Smith. Illustrated by E. M. Mackinstry. 8vo. Cloth, $1.35. Doubleday. +Other titles by the same editors are "Magic Casements," "Tales of +Wonder," and "Tales of Laughter." + +"Fairy Tales Old and New." With colour plates and text illustrations by +Arthur Rackham and other artists. 8vo. Cloth, $1.25. Cassell. + +"In Fairy Land: Tales Told Again." Edited by Louey Chisholm. Illustrated +in colour by Katharine Cameron. 8vo. Cloth, $3.00. Putnam. Twenty-six +familiar tales. A second volume is "The Enchanted Land." + +"The Reign of King Oberon." Edited by Walter Jerrold and illustrated by +Charles Robinson. 12mo. Cloth, $1.50. Dutton. A cheap edition in +Everyman's Library. In uniform editions are "The Reign of King Cole" and +"The Reign of King Herla." + +"Household Tales and Fairy Stories." Illustrated by Sir John Gilbert and +others. 8vo. Cloth, $2.00. Dutton. + +"Forty Famous Fairy Tales." From Jacobs, Grimm, Perrault, and Andersen. +Fully illustrated. Crown 8vo. Cloth, $1.00. Putnam. + +"Fairy Tales Children Love." Edited by Charles Welsh. 12mo. Cloth, +$1.35. Dodge. + +"The Sleeping Beauty and Other Fairy Tales from the Old French." Retold +by Sir Arthur T. Quiller-Couch. Illustrated in colour by Edmund Dulac. +4to. Cloth, $5.00. Hodder. Contains "Beauty and the Beast," +"Cinderella," and "Bluebeard," as well as a good introduction and +artistic plates. Popular edition at $2.00. + +"Old, Old Fairy Tales." Selected by Mrs. Valentine. Fully illustrated. +Square crown 8vo. Cloth, $1.75. Warne. Also in the Chandos Classics at +$.75. Thirteen good tales. + +"The Fairy Book." (Everychild's Series.) By Kate Forrest Oswell. 16mo. +Ill. Cloth, $.40. Macmillan. + +"The Twenty Best Fairy Tales." Illustrated in colour and +black-and-white by Lucy Fitch Perkins. 4to. Cloth, $1.00. Stokes. + +"Favourite Fairy Tales." Illustrated by Peter Newell. 8vo. Cloth, $1.50. +Harper. Seventeen familiar stories. + +"The Rose Fairy Book." Edited by Mrs. Herbert Strang. Illustrated by +Lillian A. Govey. Large 8vo. Cloth, $2.00. Doran. + +"Where the Wind Blows: Being Ten Fairy Tales from Ten Nations." +Collected by Katharine Pyle and illustrated by Bertha Corson Day, in +colour. 12mo. Cloth, $2.00. Dutton. + +"The Wild Flower Fairy Book." Compiled by Esther Singleton. Illustrated +by Charles Buckles Falls. 8vo. Cloth, $2.00. Dodd. Twenty-five tales +from all countries. + +"Fairy Tales." Comtesse d'Aulnoy. Translated by J. R, Planché. +Illustrated by Gordon Browne and Lydia F. Emmet. 12mo. Cloth, $1.25. +McKay. + +"Fairy Tales." By Edward Laboulaye. Fully illustrated by Arthur A. +Dixon. 8vo. Cloth, $2.50. Dutton. A Nister book. + +"Fairy Tales." By William Hauff. Translated by L. L. Weedon. Fully +illustrated by Arthur A. Dixon. 8vo. Cloth, $2.50. Dutton. A Nister +book. + +"The Hungarian Fairy Book." Collected by Nander Pogány and illustrated +in black and red by Willy Pogány. 12mo. Cloth, $1.35. Stokes. With all +of the terrible left in. + +"Folk Tales From Many Lands." Collected by Lillian Gask and illustrated +by Willy Pogány. Large 8vo. Cloth, $1.50. Crowell. + +"Outlook Fairy Book for Little People." By Laura Winnington. Ill. 8vo. +Cloth, $1.00. Macmillan. + +"Folk Tales of East and West." Collected by John Harrington Cox. 12mo. +Cloth, $1.00. Little. + +"The Book of Folk Stories." Rewritten by Horace E. Scudder. 16mo. Cloth, +$.50. Houghton. Good for a teacher. + +"Fairy Tales." Selected and adapted by W. J. Rolf. 12mo. Cloth, $.50. +American. + +"Fairy Tales." Illustrated by Charles Copeland. 16mo. Cloth, 2 vols., +$.35 each. Ginn. + +"Six Nursery Classics." Edited by M. V. O'Shea. Illustrated by Ernest +Fosbery. 12mo. Cloth, $.20. Heath. Contains "Dame Wiggins of Lee" with +the Greenaway pictures. + +"Old World Wonder Stories." Edited by M. V. O'Shea. Illustrated by J. V. +Hollis. 12mo. Cloth, $.20. Heath. + +*"The Children's Book." A collection of the best and most famous poems +and stories in the English language, chosen by Horace E. Scudder. +Illustrated in fifteen full-page plates and many text illustrations by +Doré, Chruikshank, and others. Cover design by Maxfield Parrish. Small +4to. Cloth, $2.50. Houghton. In this book are ballads, fables, fairy +stories from Grimm, Perrault, Andersen, "Arabian Nights' +Entertainments," and other sources, as well as "Goody Two Shoes," +selections from "Gulliver's Travels," classic myths, and other +well-known stories. The best single book for a child to own. Big and +good. + + + "TALES OF A THOUSAND AND ONE NIGHTS" + + P and G--or any age. Lovers of a good tale, both + young and old, should be thankful for this work of + Queen Scheherazade, done as it was to prevent her + husband from cutting off her head. While kings are + yet in fashion could not some other one succeed as + well? + + +*"Fairy Tales from the Arabian Nights." Retold by Gladys Davidson and +illustrated by Helen Stratton. Large 4to. Cloth, 5_s._ Blackie. Eight +tales for young children. + +"The Arabian Nights." Selected and retold by Gladys Davidson. +Illustrated by Helen Stratton. Large crown 8vo. Cloth, $1.50. Caldwell. + +*"Fairy Tales from the Arabian Nights." Edited by E. Dixon. Illustrated +by John D. Batton. Large 8vo. Cloth, $2.50. Dent. Sixteen of the +better-known tales told for boys and girls. An attractive edition. + +"The Arabian Nights." Edited by Andrew Lang and illustrated by H. J. +Ford. Crown 8vo. Cloth, $2.00. Longmans. + +"The Arabian Nights." Edited by W. H. D. Rouse. Illustrated in colour +and black-and-white by Walter Paget. 8vo. Cloth, $2.50. Dutton. A Nister +book. Eight tales that are well known. + +"The Arabian Nights: Their Best Known Tales." Edited by Kate Douglas +Wiggin and Nora Archibald Smith. Illustrated in colour by Maxfield +Parrish. Square 8vo. Cloth, $2.50. Scribner. Eleven tales. + +"The Arabian Nights." Illustrated in colour and black-and-white by Rene +Bull. Large 8vo. Cloth, $3.50. Dodd. + +"Stories from the Arabian Nights." Retold by Laurence Houseman. +Illustrated by Edmund Dulac, with 50 colour plates. Large square 8vo. +Cloth, $5.00. Hodder. Six tales. Issued in an edition at $1.50. + +"Arabian Nights." A six-volume edition from the Lane text with additions +by Stanley Lane-Poole. 16mo. Leather, $.75 a volume. Putnam. In the +Ariel Classics. Good for the teacher. + +"The Arabian Nights' Entertainments." Translated by E. W. Lane. Edited +by S. Lane-Poole. 4 vols. 12mo. Cloth, $1.00 each. Macmillan. + +"Arabian Nights' Entertainments." Translated by Edward William Lane. +Illustrated from the original Lane designs by eminent artists. Royal +8vo. Cloth, $1.50. McKay. Good for the teacher. + +*"Fairy Tales from the Arabian Nights." 12mo. Cloth, $.35; leather, +$.75. Dutton. Everyman's Library. + +"The Arabian Nights' Entertainments." Edited by George Tyler Townsend. +Fully illustrated. Square crown 8vo. Cloth, $1.75. Warne. Issued also in +the Chandos Classics at $.75. + +"The Arabian Nights." Illustrated by W. Heath Robinson, Helen Stratton, +and others. 8vo. Cloth, $1.50. Dodge. + +*"The Arabian Nights." Edited by Frances J. Olcott, from the Lane +translation. Illustrated by Munro Orr. 12mo. Cloth, $2.50. Heath. A +judicious selection of stories. + +"The Arabian Nights." Edited by Clifton Johnson. Illustrated by Casper +Emerson and Leon D'Elmo. 12mo. Cloth, $1.00. Baker. + +"Stories from the Arabian Nights." Illustrated. 16mo. Half leather, +$.60. Houghton. In the Riverside School Library. + +"Arabian Nights." Illustrated. 16mo. Cloth, $.50. Crowell. + +"The Arabian Nights." Selected and edited by Edward Everett Hale. 12mo. +Cloth, $.45. Ginn. + +"Stories from the Arabian Nights." 12mo. Cloth, $.60. American. + +P--"FAIRY AND HOUSEHOLD TALES" + +AS COLLECTED AND ARRANGED BY JACOB AND WILHELM GRIMM + + +*"Grimm's Fairy Tales: Selected and Edited for Little Folks." +Illustrated by Helen Stratton. Large 4to. Cloth, 6_s._ Blackie. Fifteen +tales well done. + +"Grimm's Fairy Tales." Translated by L. L. Weeden. Illustrated in colour +by Ada Dennis and black-and-white by E. Stewart Hardy. 4to. Cloth, +$2.50. Dutton. A Nister book. Thirty-two tales illustrated for young +children. + +*"Household Stories." Translated from the German of the Brothers Grimm +by Lucy Crane and done into pictures by Walter Crane. 12mo. Cloth, +$1.50. Macmillan. In the New Cranford Series. "A lasting joy." + +"Grimm's Household Tales." Translated by Marion Edwards. Illustrated by +R. Anning Bell. 12mo. Cloth, $2.50. Dutton. Forty-nine tales. + +"Grimm's Household Stories." Edited and illustrated by J. R. Monsell, in +colour and black-and-white. 12mo. Cloth, $1.25. Cassell. + +*"Grimm's Fairy Tales." From the Taylor translation with an introduction +by John Ruskin. Illustrated in colour by Charles Folkard. 8vo. Cloth, +6_s._ Black. Fifty-six tales. + +"Fairy Tales from Grimm." With an introduction by S. Barring-Gould and +illustrations by Gordon Browne. 8vo. Cloth, $1.50. Stokes. Forty-four +tales. + +"Grimm's Fairy Tales." All of the best-known stories edited by Walter +Jerrold. Illustrated in colour and black-and-white by Charles Robinson. +12mo. Cloth, $1.25. Dutton. + +"Grimm's Fairy Tales." Illustrated in colour by Hope Dunlap. Large 8vo. +Cloth, $1.20. Rand. + +"Grimm's Fairy Tales." Translated by Mrs. Edgar Lucas and illustrated by +Arthur Rackham. Large 12mo. Cloth, $1.50. Lippincott. Sixty-three tales. + +"Grimm's Fairy Tales and Stories." A complete translation by Mrs. H. B. +Paull. Fully illustrated in colour and black-and-white. Square 8vo. +Cloth, $1.75. Warne. Also in the Chandos Classics at $.75. + +"Grimm's Fairy Tales." Illustrated with colour plates by Noel Pocock. +Large 8vo. Cloth, $2.00. Doran. Fifty-five tales. + +"The House in the Woods and Other Fairy Stories." Illustrated in colour +and pen-and-ink drawings by Leslie Brooke. Large 8vo. Boards, $1.35. +Warne. + +"Grimm's Animal Stories." Decorations and pictures in colour by John +Rae. Small 4to. Cloth, $1.50. Duffield. + +*"Gammer Grethel; or, Fairy Tales and Stories." The original stories as +taken down from a peasant woman by Jacob Grimm. Illustrated with +woodcuts after George Cruikshank. 12mo. Cloth, $1.00. In Bohn's +Illustrated Library. Macmillan. + +"The Popular Stories Collected by the Brothers Grimm." A reprint of the +first English edition, with notes and illustrations by George +Cruikshank. 12mo. Cloth, $.50. Oxford Press. + +"Grimm's Fairy Tales." 12mo. Cloth, $.35; leather, $.70. In Everyman's +Library. Dutton. Any one of the last three would be good for the +teacher. + +"Grimm's Household Tales." Illustrated. 16mo. Half leather, $.60. +Houghton. In the Riverside School Library. + +"Grimm's Tales." Translated by Lucy Crane. Illustrated. 16mo. Cloth, +$.50. Crowell. + +"Grimm's Fairy Tales." Edited by J. H. Fassett. (Pocket Classics +Series.) 24mo. Cloth, $.25. Macmillan. + +*"Grimm's Fairy Tales." Illustrated with 50 colour plates and +black-and-white drawings by Arthur Rackham. 7-1/2×10. Cloth, $6.00. +Doubleday. An elegant edition. In cheaper form at $1.50. + + +P--"DANISH LEGENDS AND FAIRY TALES" + +BY HANS CHRISTIAN ANDERSEN + +*"Andersen's Fairy Stories for Youngest Children." Translated by Mrs. E. +Lucas and illustrated by Helen Stratton. Large 4to. Cloth, 5_s._ +Blackie. + +*"Wonder Stories Told for Children." Illustrated. Crown 8vo. Cloth, +$1.00. Houghton. + +"Andersen's Fairy Tales." Illustrated in colour by A. Duncan Carse. 8vo. +Cloth, 6_s._ Black. + +"Andersen's Fairy Tales." Translated by Mrs. E. Lucas. Illustrated by +Thomas, Charles, and William Robinson. 12mo. Cloth, $2.50. Dutton. +Thirty-eight of the best-known tales. + +*"Fairy Tales from Hans Andersen." Translated by Mrs. E. Lucas. +Illustrated with colour plates and line drawings by Maxwell Armfield. +Large 8vo. Cloth, $3.00. Dutton. Forty-one tales. + +"Fairy Tales from Hans Andersen." Edited by Walter Jerrold. Illustrated +in colour and black-and-white by F. Papé. 12mo. Cloth, $1.25. Dutton. + +"Fairy Tales from Hans Andersen." Translated by W. Angledorff. +Illustrated by E. Stewart Hardy, in colour and black-and-white. 4to. +Cloth, $2.50. Dutton. A Nister book. Twenty-nine tales. + +"Andersen's Fairy Tales." Introduction by Edward Everett Hale. +Illustrated by Helen Stratton. Large square 8vo. Cloth, $1.50. +Lippincott. + +"Fairy Tales from Hans Andersen." With an introduction by Edward Clodd +and illustrations by Gordon Browne. Large 8vo. Cloth, $1.50. Stokes. +Twenty-five tales. + +"Hans Andersen's Fairy Tales." Illustrated by J. J. Mora. 4to. Cloth, +$1.00. Dana. + +"Danish Legends and Fairy Tales." Fully illustrated by wood engravings. +12mo. Cloth, $1.50. In Bohn's Illustrated Library. Macmillan. + +"Andersen's Fairy Tales." 12mo. Cloth, $.35; leather, $.70. In +Everyman's Library. Dutton. Either of the last two is convenient for the +teacher. + +"Hans Andersen's Fairy Tales." Fully illustrated. Square crown 8vo. +Cloth, $1.75. Warne. Also in the Chandos Classics at $.75. + +"Andersen's Fairy Tales." Illustrated. 16mo. Cloth, $.50. Crowell. + +"Hans Andersen's Fairy Tales." Translated by H. Oscar Sommer. +Illustrated in colour by Cecile Walton. Large 8vo. Cloth, $2.50. Stokes. + +*"Hans Andersen's Fairy Tales and Stories." Translated by H. L. +Breakstead, with an introduction by Edmund Gosse and illustrations by +Hans Tegner. Imperial 4to. Cloth, $5.00. Century. Forty-two stories. + +"Stories from Hans Andersen." Illustrated with 28 colour-plates by +Edmund Dulac. 4to. Cloth, $5.00. Doran. Six tales, including "The Snow +Queen." + +"Hans Andersen's Fairy Tales." Illustrated in colour by W. Heath +Robinson. 4to. Cloth, $3.50. Heath. + +"The Snow Queen and Other Stories from Hans Andersen." Illustrated in +colour-plates by Edmund Dulac. Small 4to. Cloth, $2.00. Doran. + +"Danish Fairy Legends and Tales." By Hans Andersen. Trans, by Caroline +Peachey and H. W. Dulcken. Introd. by Sarah C. Brooks. (Pocket Classics +Series.) 24mo. Cloth, $.25. Macmillan. + + +P--"THE HISTORY OF LITTLE GOODY TWO SHOES, OTHERWISE CALLED MRS. MARGERY +TWO SHOES" + +BY OLIVER GOLDSMITH + +*"Little Goody Two Shoes." Illustrated by Marion L. Peabody after the +woodcuts of the original edition of 1765. 12mo. Cloth, $.20. Heath. + +"Little Goody Two Shoes." Illustrated by Jessie M. King. 16mo. Leather, +$.75. Dutton. + +"Little Goody Two Shoes." Found in the second book of the "Heart of Oak +Books." Illustrated by Frank T. Merrill. 12mo. Cloth, $.35. Heath. + + +P--"GRANNY'S WONDERFUL CHAIR AND ITS TALES OF FAIRY TIMES" + +BY FRANCES BROWNE + +*"Granny's Wonderful Chair and the Tales That It Told." Edited by M. V. +O'Shea. Illustrated by Clara E. Atwood after Mrs. Seymour Lucas. 12mo. +Cloth, $.30. Heath. Fairy tales of great merit. + +"Granny's Wonderful Chair and Its Tales of Fairy Times." Illustrated in +colour by W. H. Margetson. Square 12mo. Cloth, $.50. Doran. + +"Granny's Wonderful Chair." 12mo. Cloth, $.35; leather, $.70. In +Everyman's Library. Dutton. + + +P--"THE ROSE AND THE RING; OR, THE HISTORY OF PRINCE GIGLIO AND PRINCE +BULBO + +A FIRESIDE PANTOMIME FOR GREAT AND SMALL CHILDREN" + +BY MR. M. A. TITMARSH (THACKERAY) + +*"The Rose and the Ring." With an introduction by Edward Everett Hale +and woodcuts after the originals by Thackeray. 12mo. Cloth, $.20. Heath. + +"The Rose and the Ring." Illustrated. 16mo. Cloth, $.50. Macmillan. + +"The Rose and the Ring." 16mo. Leather, $.75. In Ariel Classics. Putnam. + +"The Rose and the Ring." Illustrated. 16mo. Cloth, $1.25. Dutton. + +*"The Rose and the Ring." The original illustrations with others in +colour by J. R. Monsell. 8vo. Cloth, $1.50. Crowell. + + +P--"ALICE'S ADVENTURES IN WONDERLAND" + +BY LEWIS CARROLL + +*"Alice's Adventures in Wonderland." Illustrated by Sir John Tenniel. +12mo. Cloth, $1.00. Macmillan. It is hard to prefer any other edition to +this one. + +"Alice's Adventures in Wonderland." Illustrated by Sir John Tenniel. +Crown 8vo. Cloth, $.75. Putnam. + +"Alice's Adventures in Wonderland." Illustrated by John Tenniel with +colour plates by Maria L. Kirk. 12mo. Cloth, $1.25. Stokes. + +"Alice's Adventures in Wonderland." Illustrated by John Tenniel. 16mo. +Leather, $.75. Putnam. In the Ariel Classics. Good for the teacher. + +"Alice's Adventures in Wonderland." Illustrated. 16mo. Cloth, $.50. +Crowell. + +*"Alice in Wonderland." Illustrated in colour by Arthur Rackham. 8vo. +Cloth, $1.40. Doubleday. A fine edition. + +"Alice's Adventures in Wonderland." Illustrated in colour and +black-and-white by Bessie Collins Pease. 8vo. Cloth, $1.50. Dodge. + +"Alice in Wonderland." Illustrated in colour and line by George Soper. +Square 8vo. Cloth, $1.50. Baker. + +"Alice in Wonderland." Illustrated in colour and black-and-white by +Charles Robinson. 8vo. Cloth, $1.10. Cassell. + +"Alice in Wonderland." Pictures in colour by Millicent Sowerby. 8vo. +Cloth, $1.25. Duffield. + +"Alice's Adventures in Wonderland." (Standard School Library.) Ill. +12mo. Cloth, $.50. Macmillan. + +"Alice's Adventures in Wonderland." Illustrated in colour and line by W. +H. Walker. 12mo. Cloth, $1.00. Lane. + +"Alice in Wonderland." With an introduction by E. S. Martin and +illustrations by Peter Newell. 8vo. Cloth, $3.00. Harper. + +"Alice's Adventures in Wonderland." Illustrated with 90 coloured plates +by Henry Rosentree. Large 8vo. Cloth, $2.50. Nelson. + + +P--"THROUGH THE LOOKING GLASS AND WHAT ALICE FOUND THERE" + +BY LEWIS CARROLL + +*"Through the Looking Glass." Illustrated by Sir John Tenniel. 12mo. +Cloth, $1.00. Macmillan. + +"Through the Looking Glass." Illustrated by Sir John Tenniel. Crown 8vo. +Cloth, $.75. Putnam. + +"Through the Looking Glass." Illustrated by Sir John Tenniel. 16mo. +Leather, $.75. In the Ariel Classics. Putnam. + +"Through the Looking Glass." Illustrated in colour and pen-and-ink +sketches by Bessie Collins Pease. 8vo. Cloth, $1.50. Dodge. + +"Through the Looking Glass and What Alice Found There." (Standard School +Library.) 12mo. Cloth, $.50. Macmillan. + +"Through the Looking Glass." Illustrated by Peter Newell. 8vo. Cloth, +$.60. Harper. + +"Through the Looking Glass." Illustrated. 16mo. Cloth, $.50. Crowell. + +"Through the Looking Glass." Bound with "Alice in Wonderland." +Illustrated in colour by Eleanore Plaisted Abbot. Original illustrations +by Tenniel. 12mo. Cloth, $1.50. Jacobs. + + +P--"THE WATER-BABIES: A FAIRY TALE FOR A LAND-BABY" + +BY CHARLES KINGSLEY + +"Water Babies." Illustrated in colour by Katherine Cameron. 8vo. Cloth, +$2.50. Stokes. + +*"Water-Babies." With an introduction by Rose G. Kingsley and +illustrations in colour by Margaret W. Tarrant. 8vo. Cloth, $2.50. +Dutton. + +"The Water-Babies." Illustrated in colour and black-and-white by Arthur +Dixon. 8vo. Cloth, $2.50. Dutton. A Nister book. + +"The Water-Babies." Illustrated in colour and black-and-white by George +Soper. Square 8vo. Cloth, $1.50. Baker. + +"The Water-Babies." Illustrated in colour by Ethel Everett. 12mo. +Decorated cloth, $1.25. Little. + +*"The Water-Babies." Illustrated by Linley Sanbourne. 12 mo. Cloth, +$1.25. Macmillan. + +*"The Water-Babies." Illustrated by C. E. Brock. 12mo. Cloth, $.80. +Macmillan. + +"Water-Babies." Illustrated in colour by Agnes Foringe. Square 12mo. +Cloth, $.50. Doran. + +"The Water-Babies." Illustrated. 16mo. Cloth, $.50. Crowell. + +"Water-Babies, The." (Standard School Library.) Ill. 12mo. Cloth, $.50. +Macmillan. + + +G--"AT THE BACK OF THE NORTH WIND" + +BY GEORGE MACDONALD + +"At the Back of the North Wind." Illustrated in colour by Frank C. Papé +and in black-and-white by Arthur Hughes. Large crown 8vo. Cloth, $1.50. +Caldwell. + +"At the Back of the North Wind." Illustrated. 12mo. Cloth, $1.50. +Dutton. + +*"At the Back of the North Wind." With the original illustrations by +Arthur Hughes and plates in colour by Maria L. Kirk. Large 8vo. Cloth, +$1.50. Lippincott. + +"At the Back of the North Wind." Illustrated in colour. 8vo. Cloth, +3_s._ 6_d._ Blackie. + + +FOUR WORTHIES + +"ÆSOP'S FABLES" + + P--This enduring form of literature may be read in + almost any grade. The edition is to be determined + largely by the grade for which it is designed. In + point of effectiveness in showing human + experiences and weaknesses by means of animal + action, the classic fable has never been equalled + by any other form of literature. He would be a + rash man who would claim that Lincoln owed to + Euclid more of his power to think out a question + and carry his point than he did to Æsop. Fables + are imaginative literature, and in that lies their + power rather than in their didactic assertion that + later became attached as a moral to be pointed. + They need but one moral, as G. K. Chesterton so + aptly observes; for nothing in this world has more + than one moral. + +*"The Fables of Æsop." Selected and told anew by Joseph Jacobs. +Illustrated by Richard Heighway. 12mo. Cloth, $1.50. In the New Cranford +Series. Macmillan. Good for younger children, but should be printed +without notes and advertisements. + +*"Æsop's Fables." Illustrated by Arthur Rackham, in colour-plates. 12mo. +Cloth, $1.50. Doubleday. An attractive edition, except the poor binding, +for older children. The introduction by G. K. Chesterton is very +readable for grown-ups. + +*"A Hundred Fables of Æsop." From the English version of Sir Roger +L'Estrange with an introduction by Kenneth Grahame and illustrations by +Percy J. Billinghurst. Square 8vo. Cloth, $1.50. Lane. Good in its +quaint English. + +"Æsop's Fables." Illustrated by Boyd Smith. 8vo. Cloth, $2.00. Century. + +"The Fables of Æsop." Illustrated with colour-plates by Edward Detmond. +Large 8vo. Cloth, $2.00. Doran. + +"Æsop's Fables." Illustrated in colour and black-and-white by Harrison +Weir. Crown 8vo. Cloth, $1.50. Harper. + +"Æsop's Fables." Edited by Gordon Holmes and illustrated by Charles +Folkard. 8vo. Cloth, 6_s._ Black. + +"Big Book of Fables." Edited by Walter Jerrold and illustrated in +colour and black-and-white by Charles Robinson. Royal 8vo. Cloth, $3.00. +Caldwell. + +"Æsop's Fables." Illustrated in colour and black-and-white by J. M. +Condé. 8vo. Cloth, $1.25. Moffat. + +"Æsop's Fables." Illustrated in colour and line by Lucy Fitch Perkins. +4to. Cloth, $1.00. Stokes. + +"The Book of Fables." Chosen and phrased by Horace E. Scudder. 16mo. +Cloth, $.50. Houghton. Good. + +"Æsop's Fables." Translated from the original sources by the Reverend +Thomas James. Illustrated by Sir John Tenniel. In the Ariel Classics. +16mo. Leather, $.75. Putnam. A useful old edition for the teacher and +for the older boy who will read a dainty book done in red binding. + +"Æsop's Fables." Illustrated. In the Chandos Classics. 12mo. Cloth, +$.75. Warne. Good for the teacher. + +"Æsop's Fables." Edited by J. H. Stickney. Illustrated. 12mo. Cloth, +$.35. Ginn. + +"The Talking Beasts: A Book of Fable Wisdom." Edited by Kate Douglas +Wiggin and Nora Archibald Smith. Illustrated by Harold Nelson. 12mo. +Cloth, $1.25. Doubleday. From Æsop, La Fontaine, Bidpai, and other +sources. + +*"Select Fables from La Fontaine adapted from the Translation of Elizier +Wright for the Use of the Young." Illustrated in colour by Boutet de +Monvel. 11 x 9. Cloth, $2.25. Society for Promoting Christian Knowledge. +No better illustrations have yet appeared to any child's book. + + +G--"GULLIVER'S TRAVELS INTO SEVERAL REMOTE NATIONS OF THE WORLD" + +BY JONATHAN SWIFT + + Though abridged texts are generally a presumption + and a blunder, there is little warrant for school + children's having more than the first two voyages, + to Lilliput and to Brobdingnag, of this remarkable + book. An expurgated edition is probably necessary + in an age accustomed to a cloak of conventional + insinuation in a story rather than to the blunt + frankness that obtained in the times of Swift. + +*"Gulliver's Voyages to Lilliput and Brobdingnag." Illustrated in colour +by P. A. Stozios. 8vo. Cloth, $2.25. Holt. + +"Gulliver's Travels into Several Remote Nations of the World." +Illustrated in colour and black-and-white by Arthur Rackham. 8vo. Cloth, +$2.50. Dutton. + +"Gulliver's Travels." Adapted for the young by W. B. Scott. Illustrated +in colour and black-and-white by A. E. Jackson. 4to. Cloth, $2.50. +Dutton. A Nister book. + +"Gulliver's Travels." (Pocket Classics Series.) Edited by C. Johnson. +24mo. Cloth, $.25. Macmillan. + +"Gulliver's Travels." Illustrated by Stephen de la Bere. 12mo. Cloth, +$2.00. Macmillan. + +*"Gulliver's Travels." With an introduction by Sir Henry Craik and +illustrations by C. E. Brock. 12mo. Cloth, $1.50. In the New Cranford +Series. Macmillan. All of the voyages with old-fashioned spelling and +capitalization that make it an attractive edition to the student. + +*"Gulliver's Travels." The voyages to Lilliput and Brobdingnag, +illustrated by Arthur Rackham. 12mo. Cloth, $.50. Dutton. Good edition. + +"Gulliver's Travels." Illustrated in imitation of woodcuts by Louis +Rhead. Introduction by William Dean Howells. 8vo. Cloth, $1.50. Harper. + +"Gulliver's Travels." Reprinted from the first edition, expurgated and +revised. Illustrated by Herbert Cole. Square 12mo. Cloth, $1.50. Lane. + +"Gulliver's Travels." Illustrated by Gordon Browne. 12mo. Cloth, $1.00. +Scribner. + +*"Gulliver's Travels." The separate voyages each in a single volume. In +the Ariel Classics. 16mo. Leather, $.75. Putnam. + +"Gulliver's Travels." Illustrated. 16mo. Half-leather, $.60. In the +Riverside School Library. Houghton. + +"Gulliver's Travels." In Everyman's Library. 12mo. Cloth, $.35; leather, +$.75. Dutton. + +"Gulliver's Travels." Illustrated. 16mo. Cloth, $.50. Crowell. + +*"Gulliver's Travels." The voyages to Lilliput and Brobdingnag only. +Edited by T. M. Balliet. Illustrated. 12mo. Cloth, $.30. Heath. + +"Gulliver's Travels." Illustrated in colour by Leo Winter. Large 8vo. +Cloth, $1.20. Rand. + + +G--"THE PILGRIM'S PROGRESS FROM THIS WORLD TO THAT WHICH IS TO COME; +DELIVERED UNDER THE SIMILITUDE OF A DREAM" + +BY JOHN BUNYAN + +*"The Pilgrim's Progress." Illustrated in colour and black-and-white by +Frank C. Papé. 8vo. Cloth, $3.00. Dutton. A stately edition of both +parts. + +"The Pilgrim's Progress." Fourteen etchings by William Strang. A new and +cheaper reissue of the original plates. Large 8vo. Cloth, $3.00. Dutton. +A good edition. + +"The Pilgrim's Progress." With an introduction by the Bishop of Durham. +Illustrated in colour and black-and-white by Walter Paget. 8vo. Cloth, +$2.50. A Nister book. Dutton. + +"The Pilgrim's Progress." Illustrated in colour by Byam Shaw. Square +8vo. Cloth, $2.50. Scribner importation. A fine edition. + +"The Pilgrim's Progress." With a life of the author by the Reverend John +Brown. Illustrated in colour by James Clark. Super royal 8vo. Cloth, +$3.40. Cassell. + +"The Pilgrim's Progress." Illustrated in colour by Gertrude Hammond. +8vo. Cloth, $2.00. Macmillan. + +*"The Pilgrim's Progress." Introduction by the Reverend H. R. Haweis. +Illuminated pages and 120 designs by the Brothers Rhead. Large 4to. +Cloth, $1.50. Century. This attractive edition contains the first part +only. + +"The Pilgrim's Progress." Illustrated by Harold Copping. Large 12mo. +Cloth, $1.00. Revel. Has the authentic text with illustrations in +Puritan dress. + +*"The Pilgrim's Progress." Illustrated. 16mo. Half-leather, $.60. +Houghton. In the Riverside School Library. + +"The Pilgrim's Progress." Illustrated. 16mo. Cloth, $.50. Crowell. + +*"The Pilgrim's Progress." Edited by Canon Venable and Mabel Peacock. +With illustrations by George Cruikshank. 12mo. Cloth, $.50. Oxford +Press. + +"The Pilgrim's Progress." 12mo. Linen boards, $.75. In the Chandos +Classics. Warne. + +*"The Pilgrim's Progress." Edited by Ernest C. Noyes. 16mo. Cloth, $.40. +The first part only. Merrill. + +"The Pilgrim's Progress." In Everyman's Library. 12mo. Cloth, $.35; +leather, $.70. Dutton. + +"The Pilgrim's Progress." Edited by D. H. Montgomery. 12mo. Cloth, $.30. +Ginn. + + +G--"THE LIFE AND STRANGE SURPRISING ADVENTURES OF ROBINSON CRUSOE OF +YORK, MARINER, AS RELATED BY HIMSELF" + +BY DANIEL DEFOE + +*"Robinson Crusoe." Illustrated with 24 separately mounted colour plates +by Noel Pocock. Large 8vo. Cloth, $2.00. Hodder. A fine edition, +including the first part only. The cover page, illustrated with nothing +but a human footprint in the sand, could not have been more happily +done. + +*"Robinson Crusoe." Illustrated with over a hundred pen-and-ink +drawings, head-and-tail pieces, and decorations done in old woodcut +style by the Brothers Rhead. 8vo. Cloth, $1.50. Harper. The first part +only. A good edition. + +*"Robinson Crusoe." Illustrated in colour and with chapter headings by +E. Boyd Smith. Crown 8vo. Cloth, $1.50. Houghton. The first part only. +Good. + +"Robinson Crusoe." Illustrated in colour by W. B. Robinson. Large 12mo. +Cloth, $1.50. Stokes. + +"Robinson Crusoe." Edited by Walter Jerrold and illustrated in colour +and black-and-white by Archibald Webb. 12mo. Cloth, $1.25. Dutton. + +"Robinson Crusoe." Edited by H. Kingsley. Illustrated in colour. 12mo. +Cloth, $1.25. Macmillan. + +"Robinson Crusoe." Illustrated by Gordon Browne. Crown 8vo. Cloth, +$1.25. Scribner importation. + +"Robinson Crusoe." Illustrated in colour by Eleanore P. Abbott. 12mo. +Cloth, $1.00. Jacobs. + +"Robinson Crusoe." Edited with introduction and notes by Charles R. +Gaston. (Pocket Classics Series.) 24mo. Cloth, $.25. Macmillan. + +*"Robinson Crusoe." Edited by Ernest C. Noyes. 16mo. Cloth, $.50. The +first part only. Merrill. + +"Robinson Crusoe." Illustrated in colour and black-and-white by Walter +Paget. 8vo. Cloth, $1.40. Cassell. Both parts. + +"Robinson Crusoe." Illustrated in colour and line by J. A. Symington. +12mo. Cloth, $2.50. A Nister book. Dutton. Both parts. + +"Robinson Crusoe." Reprinted from the original edition of 1718 with an +introduction by William Lee, Esq. Illustrated by Ernest Griset. Square +crown 8vo. Cloth, $1.75. Warne. Also in the Chandos Classics at $.75. + +"Robinson Crusoe." Illustrated. 16mo. Half-leather, $.60. In the +Riverside School Library. Houghton. + +*"Robinson Crusoe." Reprinted from the edition of 1719. With an +introduction by Edward Everett Hale and illustrations by C. E. Brock and +D. L. Munro. 12mo. Cloth, $.60. Heath. The first part only. + +"Robinson Crusoe." In Everyman's Library. 12mo. Cloth, $.35; leather, +$.70. Dutton. + +"Robinson Crusoe." 16mo. Cloth, $.50. Crowell. + +"Robinson Crusoe." 12mo. Cloth, $.25. Cassell. + + +BOOKS OF DISTINCTION MADE FROM OTHER BOOKS ON PURPOSE FOR BOYS AND GIRLS + +"TALES FROM SHAKESPEARE" + +BY CHARLES AND MARY LAMB + +*"Tales from Shakespeare." Illustrated in colour and black-and-white by +Arthur Rackham. 8vo. Cloth, $2.50. Dutton. + +"Tales from Shakespeare." Illustrated in colour and black-and-white by +George Soper. Square 8vo. Cloth, $1.50. Baker. An attractive edition. + +*"Tales from Shakespeare." Illustrated by Byam Shaw. 8vo. Cloth, $1.00. +Macmillan. An 8vo. edition at $2.50. + +"Tales from Shakespeare." Illustrated in colour by N. M. Price. 8vo. +Cloth, $2.50. Scribner importation. + +"Tales from Shakespeare." Illustrated by twelve plates from the Boydell +Gallery. 8vo. Cloth, $3.00. Scribner importation. + +"Tales from Shakespeare." Illustrated in colour and black-and-white by +Walter Paget. 8vo. Cloth, $2.50. A Nister book. Dutton. With the +original preface and with "Pericles" omitted. + +"Tales from Shakespeare." Introduction by Andrew Lang. Illustrated. +Crown 8vo. Cloth, $1.50. Lippincott. + +*"Tales from Shakespeare." Illustrated by Romney, Hamilton, Kauffman, +and others, selected from the Boydell engravings. 12mo. Cloth, $.50. +Oxford Press. + +"Tales from Shakespeare." Illustrated. 16mo. Half-leather, $.60. In the +Riverside School Library. Houghton. + +"Tales from Shakespeare." Illustrated by Homer W. Colby after Pillé. +12mo. Cloth, $.40. Heath. + +"Tales from Shakespeare." Illustrated. 12mo. Linen boards, $.75. In the +Chandos Classics. Warne. + +"Tales from Shakespeare." 12mo. Cloth, $.35; leather, $.70. In +Everyman's Library. Dutton. + +"Tales from Shakespeare." 16mo. Cloth, $.50. Crowell. + +"Tales from Shakespeare." 12mo. Cloth, $.25. Cassell. + +"Lamb's Tragedies and Comedies." Edited by W. J. Rolfe. 12mo. Cloth, +$.60. American. + +"Lamb: Tales from Shakespeare." Edited by A. Ainger. (Pocket Classics +Series.) 24mo. Cloth, $.25. Macmillan. + + It might not be amiss to insert several other + volumes of tales from Shakespeare's plays at this + point. Among these the following have proved + themselves good: + +"Shakespeare in Tale and Verse." By G. Louis Hufford. 12mo. Cloth, +$1.00. Macmillan. + +"The Shakespeare Story-Book." Told by Mary Macleod. With an introduction +by Sidney Lee and illustrations by Gordon Browne. 8vo. Cloth, 6_s._ +Gardner. Sixteen tragedies and comedies. + +"Stories from Shakespeare." Told by Thomas Carter. Illustrated in colour +by Gertrude Hammond. 8vo. Cloth, $1.50. Crowell. + +*"Shakespeare's Stories of the English Kings." Illustrated in colour by +Gertrude Hammond. 8vo. Cloth, $1.50. Crowell. This and the preceding +volume are rich in excerpts from the plays. After Lamb has been +appreciated, the reading of these stories will help the boy along toward +the plays in the original text. + +"Historic Tales from Shakespeare." Told by Sir Arthur T. Quiller-Couch. +12mo. Cloth, $1.50. Scribner. + +"A Midsummer Night's Dream." Edited by Ernest C. Noyes. 24mo. Cloth, +$.25. (Pocket Classics.) Macmillan. + +"The Tempest." Edited by S. C. Newson. 24mo. Cloth, $.25. (Pocket +Classics.) Macmillan. + +"The Merchant of Venice." Edited by Charlotte Underwood. 24mo. Cloth, +$.25. (Pocket Classics.) Macmillan. + + +G--"THE WONDER-BOOK FOR GIRLS AND BOYS." "TANGLEWOOD TALES FOR GIRLS AND +BOYS: A SECOND WONDER-BOOK." + +BY NATHANIEL HAWTHORNE + +"Hawthorne's Wonder-Book." (Pocket Classics Series.) Edited by L. E. +Wolfe. 24mo. Cloth, $.25. Macmillan. + +"Hawthorne's Tanglewood Tales." (Pocket Classics Series.) Edited by R. +H. Beggs. 24mo. Cloth, $.25. Macmillan. + +*"A Wonder-Book for Girls and Boys." Illustrated in colour and +decorated by Walter Crane. Square 8vo. Cloth, $3.00. Houghton. A fine +edition. + +*"Tanglewood Tales." Illustrated and decorated by George Wharton +Edwards. 4to. Cloth, $2.50. Houghton. + +*"The Wonder-Book and Tanglewood Tales." Illustrated in colour by +Maxfield Parrish. Large 8vo. Cloth, $2.50. Duffield. A very good +edition. + +*"A Wonder-Book and Tanglewood Tales." Illustrated in colour by H. +Granville Fell. 8vo. Cloth, $2.50. Dutton. The pictures have a classic +touch. + +"A Wonder-Book for Girls and Boys." Illustrated by F. S. Church. 4to. +Cloth, $2.50. Houghton. + +"A Wonder-Book." Illustrated in colour by Lucy Fitch Perkins. 4to. +Cloth, $1.00. Stokes. + +"The Wonder-Book and Tanglewood Tales." Illustrated. 12mo. Cloth, $1.00. +Jacobs. + +"A Wonder-Book." Illustrated in colour by Leo Winter. Large 8vo. Cloth, +$1.20. Rand. + +"Tanglewood Tales." Illustrated in colour by Leo Winter. Large 8vo. +Cloth, $1.20. Rand. + +"Tanglewood Tales." Illustrated in colour by George Soper. 12mo. Cloth, +$1.50. Crowell. + +*"A Wonder-Book and Tanglewood Tales." Illustrated 8vo. Half-leather, +$.75. In the Riverside School Library. Houghton. + +"Wonder-Book and Tanglewood Tales." In Everyman's Library. 12mo. Cloth, +$.35; leather, $.75. Dutton. + +"Wonder-Book." Illustrated. 16mo. Cloth, $.50. Crowell. + +"Tanglewood Tales." Illustrated. 16mo. Cloth, $.50. Crowell. + + +G--"THE ADVENTURES OF ULYSSES" + +BY CHARLES LAMB + + It is strange that educators and publishers have + not recognized the merits of this work and that it + has not been issued in a well-illustrated form. + Lamb's own estimate of it in a letter to a friend + is right: "Chapman is divine and my abridgement + has not quite emptied him of his divinity." + +*"The Adventures of Ulysses." Edited by W. P. Trent and illustrated +after Flaxman. 12mo. Cloth, $.25. Heath. + +"The Adventures of Ulysses." 12mo. Cloth, $.30. Ginn. + +*"The Adventures of Ulysses." With an introduction by Andrew Lang. +Square 8vo. Cloth, $.50. Longmans. + +"The Heart of Oak Books." Book IV. Illustrations after Flaxman, Turner, +and Burne-Jones. 12mo. Cloth, $.45. Heath. + + +P--"THE HEROES; OR, GREEK FAIRY TALES FOR MY CHILDREN" + +BY CHARLES KINGSLEY + +"Heroes; or, Greek Fairy Tales for My Children." Illustrated in colour +by T. H. Robinson. 8vo. Cloth, $2.50. Dutton. A Nister book. + +*"The Heroes; or, Greek Fairy Tales for My Children." Illustrated in +colour and line by George Soper. Square 8vo. Cloth, $1.50. Baker. + +*"The Heroes; or, Greek Fairy Tales for My Children." Illustrated. 12mo. +Cloth, $1.25. Macmillan. + +"Greek Heroes." Illustrated. 16mo. Limp leather, $.75. In the Ariel +Classics. Putnam. + +"Greek Heroes." In Everyman's Library. 12mo. Cloth, $.35; leather, $.70. +Dutton. + +*"Greek Heroes." Illustrated. 16mo. Cloth, $.50. Crowell. + +"Greek Heroes." Edited by John Tetlow. 16mo. Cloth, $.30. Ginn. + +"Kingsley's Heroes: Greek Fairy Tales." Edited by C. A. McMurry. (Pocket +Classics Series.) 24mo. Cloth, $.25. Macmillan. + +"Kingsley's Heroes." American edition. 12mo. Cloth, $1.00. Macmillan. + + +G--"THE ADVENTURES OF DON QUIXOTE DE LA MANCHA" + +BY MIGUEL DE CERVANTES SAAVEDRA + +*"Don Quixote of the Mancha." Retold for children by Judge Parry from +Shelton's translation. Illustrated in colour and black-and-white by +Walter Crane. Square 8vo. Cloth, $1.50. Lane. A delightful volume that +will entertain royally any boy who has a sense of humour. The right one +to own. + +"Don Quixote." Adapted for the young from Motteaux's translation. +Illustrated in colour and black-and-white by Paul Hardy. 8vo. Cloth, +$2.00. Dutton. + +"The Adventures of Don Quixote." Translated and abridged by Dominick +Daly. Illustrated in colour by Stephen de la Bere. Square 8vo. Cloth, +6_s._ Black. + +*"Don Quixote." Edited by Clifton Johnson. 12mo. Cloth, $.75. Macmillan. + +"Don Quixote de la Mancha." Abridged from the translation of Duffield +and Shelton by Mary E. Burt and Lucy Leffingwell Cable. 12mo. Cloth, +$.50. Scribner. + +"Don Quixote of La Mancha." Abridged and edited by Mabel E. Wharton. +12mo. Cloth, $.50. Ginn. + +"Don Quixote for Young People." Rewritten by James Baldwin. 12mo. Cloth, +$.50. American. + +"Adventures of Don Quixote." Translated by D. Daly and illustrated in +colour by S. B. de la Bere. 8vo. Cloth, $2.00. Macmillan. For the +teacher. + + +MYTHS, LEGENDS, AND STORIES OF ROMANCE FROM VARIOUS SOURCES + +G--ROBIN HOOD + +*"The Merry Adventures of Robin Hood of Great Renown in +Nottinghamshire." Written and illustrated by Howard Pyle. Royal 8vo. +Cloth, $3.00. Scribner. A capital book for any boy. + +"Robin Hood and His Adventures." Written by Paul Cheswick and +illustrated by T. H. Robinson. 8vo. Cloth, $2.50. A Nister book. Dutton. + +*"Robin Hood." Written by Henry Gilbert. Illustrated in colour by Walter +Crane. Large 8vo. Cloth, $2.50. Stokes. + +*"The Story of Robin Hood and His Merry Men." Told by John Finnemore and +illustrated in colour by Allen Stewart. 12mo. Cloth, $1.50. Macmillan. + +"Bold Robin Hood and His Outlaw Band." Penned and pictured by Louis +Rhead. 8vo. Cloth, $1.50. Harper. + +"Robin Hood." Told by Clifton Johnson. Illustrated by Bonté. 12mo. +Cloth, $1.00. Baker. + +*"Life in the Greenwood." Edited by Marion Florence Lancing and +illustrated by Charles Copeland. 16mo. Cloth, $.35. Ginn. For very young +children. + +"Robin Hood: His Book." Told by Eva March Tappan. Illustrated. 12mo. +Cloth, $1.50. Little. + + +G--KING ARTHUR + +*"The Boy's King Arthur." Edited by Sidney Lanier. Illustrated by Alfred +Kepper, Alfred Fredericks, and E. B. Bonsell. Crown 8vo. Cloth, $2.00. +Scribner. The boy should also read the author's "Knightly Legends of +Wales." + +"The Story of King Arthur and His Knights." Written and illustrated by +Howard Pyle. Royal 8vo. Cloth, $2.00. Scribner. The author has these +volumes to his credit. "The Story of the Champions of the Round Table," +"The Story of Sir Lancelot," "The Story of the Grail and the Passing of +Arthur." + +"King Arthur's Knights." Told by Henry Gilbert and illustrated in colour +by Walter Crane. 8vo. Cloth, $2.50. Stokes. + +*"The Book of King Arthur and His Noble Knights: Stories from Sir Thomas +Malory's Morte D'Arthur." Told by Mary Macleod and illustrated by A. G. +Walker. 8vo. Cloth, $1.50. Stokes. + +"Tales of King Arthur and His Knights of the Round Table." Told by +Margaret Vere Farrington. Illustrated. Crown 8vo. Cloth, $1.25. Putnam. + +"The King Who Never Died." By Dorothy Senior. Illustrated in colour +plates. 8vo. Cloth, $1.50. Macmillan. + +"The Legends of King Arthur and His Knights." Compiled from Malory by +Sir James Knowles. Illustrated in colour and black-and-white by Lancelot +Speed. Large 8vo. Cloth, $2.00. Warne. + +"Malory's King Arthur and His Knights." Version by B. H. Lathrop. +Illustrated. 12mo. Cloth, $1.50. Baker. + +*"Page, Esquire, and Knight." Told by Marion Lancing and illustrated by +Charles Copeland. 16mo. Cloth, $.35. Ginn. For young children. + +*"The Age of Chivalry; or, Legends of King Arthur." By Thomas Bulfinch. +Edited by J. Loughran Scott. Fully illustrated. Crown 8vo. Cloth, $1.50. +McKay. This is about as good a telling as the studious boy can find. But +if he has a taste for pure literary form, he will surely come to know +Tennyson's "Idylls of the King" and prefer it to any prose version. + +"Malory's Le Morte d'Arthur. Text of Caxton." (Globe.) 12mo. Cloth, +$1.75. Macmillan. + +"Malory's Morte d'Arthur Selections." (Pocket Classics Series.) Edited +by D. W. Swiggett. 24mo. Cloth, $.25. Macmillan. + + +G--CLASSIC MYTHS OF GREECE AND ROME + +*"The Age of Fable; or, the Beauties of Mythology." Told by Thomas +Bulfinch. Edited by J. Loughran Scott. Fully illustrated. Crown 8vo. +Cloth, $1.25. McKay. Every boy should own this or some other edition of +this great work. + +"The Age of Fable; or, the Beauties of Mythology." Edited by W. H. +Knapp. Fully illustrated. 12mo. Cloth, $1.25. Altemus. + +"The Age of Fable; or, the Beauties of Mythology." Edited by Edward +Everett Hale. Fully illustrated. 8vo. Cloth, $1.25. Lathrop. + +"The Æneid for Boys and Girls." By Alfred J. Church. Illustrated in +colour. 12mo. Cloth, $1.50. Macmillan. + +*"A Story of the Golden Age." Told by James Baldwin and illustrated by +Howard Pyle. 12mo. Cloth, $1.50. Scribner. Ends where the Iliad begins. + +"The Greek Heroes: Stories Translated from Niebuhr." Illustrated in +colour and black-and-white by Arthur Rackham. 12mo. Cloth, $1.00. +Cassell. + +"The Boy's Iliad." Told by Walter C. Perry. Illustrated. 12mo. Cloth, +$1.50. Macmillan. + +"The Boy's Odyssey." Told by Walter C. Perry. Illustrated. 12mo. Cloth, +$1.50. Macmillan. + +*"Story of the Iliad." Told by Alfred John Church. With illustrations +after Flaxman. 12mo. Cloth, $1.00. Macmillan. An edition in colour +plates at $1.50. + +"Story of the Odyssey." Told by Alfred John Church. With illustrations +after Flaxman. 12mo. Cloth, $1.00. Macmillan. An edition in colour +plates at $1.50. + +"Heroes of Chivalry and Romance." By A. J. Church. Ill. in colour plates +by G. Morrow. 12mo. Cloth, $1.75. Macmillan. + +"Heroes of the Olden Time." By Pamela M. Cole. Ill. 12mo. Cloth, $.40. +Macmillan. + +"Story of the Golden Apple." By Pamela M. Cole. Ill. 12mo. Cloth, $.40. +Macmillan. + +*"Adventures of Odysseus." By F. S. Marvin and others. Illustrated by +Charles Robinson. 12mo. Cloth, $1.50. Dutton. An easy telling done with +attractive pictures. + +"The Odyssey Translated into English Prose." By George H. Palmer. Crown +8vo. Cloth, $1.00. Houghton. A complete story that will be a little +difficult for the child to read, but well worth his while. + +"Half-a-Hundred Hero Tales of Ulysses and the Men of Old." Edited by +Francis Storr and illustrated by Frank C. Papé. 8vo. Cloth, $1.50. Holt. + +"Gods and Heroes; or, the Kingdom of Jupiter." By Robert Edward +Francillion. The authorized American edition. 12mo. Cloth, $.40. Ginn. + +*"Stories of Old Greece and Rome." By Emilie Kip Baker. 12mo. Cloth, +$1.50. Macmillan. A very good combination of literature and mythology. +An edition with pronouncing index at $1.00. + + +G--NORSE MYTHS + +*"Norse Stories Told from the Eddas." By Hamilton Wright Mabie. +Illustrated in colour and decorated by George Wright. 8vo. Cloth, $1.80. +Dodd. + +"In the Days of Giants: A Book of Norse Tales." By Abbie F. Brown. +Illustrated by E. Boyd Smith. Square 8vo. Cloth, $1.10. Houghton. Easier +to read than the one above. + +"Stories of the Norse Heroes." Retold from the Eddas and Sagas by E. M. +Wilmot-Buxton. Illustrated by J. C. Donaldson. 8vo. Cloth, $1.50. +Crowell. + +"One for Wod and One for Lok." Told by Thomas Cartwright. Illustrated in +colour. 16mo. Cloth, $.50. Dutton. + +*"Heroes of Asgard." By A. and E. Keary. 12mo. Cloth, $.50. Macmillan. + +"Brave Beowulf." Told by Thomas Cartwright. Illustrated in colour by +Patten Wilson. 16mo. Cloth, $.50. Dutton. + +"Beowulf." Told by John Harrington Cox. Illustrated. 12mo. Cloth, $.50. +Little. + +"Popular Tales from the Norse." By Sir George Webb Dasent. Illustrated. +8vo. Cloth, $2.50. Putnam. A collection of folk-tales. + +"Out of the Northland." By E. K. Baker. (Pocket Classics Series.) 24mo. +Cloth, $.25. Macmillan. + +*"Stories from Northern Myths." By E. K. Baker. 12mo. Cloth, $1.50. +Macmillan. + + +G--FROM CHAUCER + +*"Tales of the Canterbury Pilgrims." Told by F. J. H. Darton. With an +introduction by F. J. Furnival and illustrations by Hugh Thompson. 8vo. +Cloth, $1.50. Stokes. + +"The Chaucer Story Book." By Eva March Tappan. Illustrated. 8vo. Cloth, +$1.50. Houghton. + +"Canterbury Chimes; or, Chaucer Tales Retold to Children." By Francis +Storr and Hawes Turner. 12mo. Cloth, 3_s._ 6_d._ Kegan Paul. + +"The Canterbury Tales of Geoffrey Chaucer: A Modern Version in Prose of +the Prologue and Ten Tales." By Percy MacKaye. Illustrated in colour by +Walter Appleton Clark. 8vo. Cloth, $2.50. Duffield. + +"Stories from Chaucer." By J. W. McSpaden. Illustrated. 16mo. Cloth, +$.50. Crowell. + +"Chaucer's Prologue to the Book of the Tales of Canterbury." (Pocket +Classics Series.) Edited by A. Ingraham. 24mo. Cloth, $.25. Macmillan. + + +G--"_The Faerie Queene_" + +*"Stories from the Faerie Queene." Told by Mary Macleod. Illustrated by +A. G. Walker. 8vo. Cloth, $1.50. Stokes. Well done. + +"Fairy Queen and Her Knights, The." By Alfred J. Church. Col. Ill. 12mo. +Cloth, $1.50. Macmillan. + +"Stories from the Faerie Queene." Told by Lawrence Dawson. Illustrated +by Gertrude D. Hammond. 8vo. Cloth, $1.50. Crowell. + +"Una and the Red Cross Knight and Other Tales from Spenser's Faerie +Queene." By N. G. Royde-Smith. Illustrated in colour and decorated by T. +H. Robinson. 8vo. Cloth, $2.50. Dutton. + + +G--OTHER LEGEND AND ROMANCE + +*"Book of Legends." Gathered and rewritten by Horace E. Scudder. +Illustrated. 16mo. Cloth, $.50. Houghton. Such tales as "St. George and +the Dragon," "The Wandering Jew," and "The Flying Dutchman." + +"Heroic Legends." By Agnes Grazier Herbertson. Illustrated in colour by +Helen Stratton. Crown 8vo. Cloth, $1.50. Caldwell. Stories of "Valentine +and Orsen," "St. George and the Dragon," "Christopher," and others. + +*"Wonder-Book of Old Romance." Told by F. J. H. Darton and illustrated +by A. G. Walker. 8vo. Cloth, $1.50. Stokes. Stories such as "Guy of +Warwick," "King Horn," and "Sir Gawain and the Green Knight." + +"Stories from Old French Romance." Told by E. M. Wilmot-Buxton. 12mo. +Cloth, $.75. Stokes. Stories such as "Ogier the Dane" and "Aucassin and +Nicolete." + +"Heroes of Chivalry and Romance." By A. J. Church. Illustrated in colour +by Grace Morrow. 12mo. Cloth, $1.75. Macmillan. + +"The Story of Roland." Told by James Baldwin and illustrated by Reginald +B. Birch. 12mo. Cloth, $1.50. Scribner. + +*"A Chevalier of Old France." The Song of Roland translated and adapted +from Old French texts by John Harrington Cox. Illustrated. 12mo. Cloth, +$1.25. Little. + +"Book of Romance." By Andrew Lang. Illustrated in colour and +black-and-white by H. J. Ford. Crown 8vo. Cloth, $1.60. Longmans. The +stories of King Arthur, Robin Hood, Roland, and others. + +"Stories of Persian Heroes." Told by E. M. Wilmot-Buxton. Illustrated +and decorated. 8vo. Cloth, $1.50. Crowell. + +"Children's Tales from Scottish Ballads." Told by E. W. Grievson and +illustrated in colour by A. Stewart. 8vo. Cloth, $2.00. Macmillan. + +"Book of Ballad Stories." Told by Mary Macleod. With an introduction by +Edward Dowden and illustrations by A. G. Walker. 8vo. Cloth, $1.50. +Stokes. "Robin Hood," "Patient Griselda," "Sir Cauline," and many other +romantic tales. + +"Almost True Stories." Fully illustrated. Crown 8vo. Cloth, $1.00. +Putnam. Among others are found "The Legend of Sleepy Hollow," "The +Paradise of Children," "The Lady of Shalot," and "Cupid and Psyche." + +"Great Opera Stories." By M. S. Bender. (Everychild's Series.) Ill. +16mo. Cloth, $.40. Macmillan. + +"Thirty Indian Legends." By Margaret Bemister. Ill. 12mo. Cloth, $.40. +Macmillan. + +"Stories from the Classic Literature of Many Nations." Edited by Bertha +Palmer. (Standard School Library.) 12mo. Cloth, $.50. Macmillan. + +*"Children's Book of Celtic Stories." By E. W. Grievson. Illustrated in +colour by A. Stewart. 8vo. Cloth, $2.00. Macmillan. + + +G--A FEW LONG STORIES OF ROMANTIC ADVENTURE + +"TREASURE ISLAND" + +BY ROBERT LOUIS STEVENSON + +*"Treasure Island." Illustrated in colour by N. C. Wyeth. Royal 8vo. +Cloth, $2.50. Scribner. An excellent edition. + +*"Treasure Island." Illustrated in colour by John C. Cameron. 8vo. +Cloth, $2.00. Cassell. + +"Treasure Island." Illustrated by Walter Paget. 12mo. Cloth, $1.25. +Scribner. + +"Treasure Island." Small 12mo. Cloth, $1.25; limp leather, $1.50. Small. + +"Treasure Island." Illustrated. 12mo. Cloth, $1.00. Jacobs. + +"Treasure Island." In Everyman's Library. 12mo. Cloth, $.35; leather, +$.70. Dutton. + +*"Treasure Island." Illustrated. 16mo. Cloth, $.50. Crowell. + +"Treasure Island." 12mo. Cloth, $.25. Scribner. + +"Stevenson's Treasure Island." (Pocket Classics Series.) Edited by H. A. +Vance. 24mo. Cloth, $.25. Macmillan. + + The boy who has read this capital story of + adventure must of necessity have more of Stevenson + and had better try "Kidnapped" next. He may + sometime become absorbed in the wonderful tales of + a favourite of Stevenson himself, Dumas. Listen to + the testimony of Thackeray about the great French + story-teller as it was written in the essay, "On a + Lazy, Idle Boy": "What was the book in the hands + of my lad as he stood by the river shore? Do you + suppose that it was Livy, or the Greek grammar? + No: it was D'Artagnan locking up General Monk in a + box, or the prisoner of the Château d'If cutting + himself out of the sack fifty feet under water and + swimming to the island of Monte Cristo. Be assured + the lazy boy was reading Dumas; and as for the + tender pleadings of his mother that he should not + let his supper grow cold--I don't believe the + scapegrace cared one fig. No! Figs are sweet, but + fictions are sweeter." + + +G--"THE LAST OF THE MOHICANS" + +BY JAMES FENIMORE COOPER + +*"Last of the Mohicans." Illustrated by E. Boyd Smith. 12mo. Cloth, +$1.35. Holt. + +"Last of the Mohicans." Fully illustrated. Crown 8vo. Cloth, $1.25. +Putnam. + +"The Last of the Mohicans." Illustrated by Frank T. Merrill. 8vo. Cloth, +$1.50. Crowell. + +"The Last of the Mohicans." Illustrated. 2 vols. 16mo. Cloth, $3.00. +Macmillan. + +*"The Last of the Mohicans." Illustrated by H. M. Brock. 12mo. Cloth, +$.80. Macmillan. + +"The Last of the Mohicans." Illustrated. Crown 8vo. Half-leather, $.70. +In the Riverside School Library. Houghton. + +"Last of the Mohicans." In Everyman's Library. 12mo. Cloth, $.35; +leather, $.70. Dutton. + +*"Last of the Mohicans." 12mo. Cloth, $.50. Heath. + +"Last of the Mohicans." 24mo. Cloth, $.25. Macmillan. + + If the boy does not own, he should at least read, + the other four volumes of the Leather Stocking + Tales as well as one or two of Cooper's sea tales, + such as "The Pilot," and "The Red Rover." + + +G--"IVANHOE: A ROMANCE" + +BY SIR WALTER SCOTT + +"Ivanhoe." Illustrated in colour. 8vo. Cloth, $2.50. Lippincott. + +"Ivanhoe." Illustrated by H. M. Eaton. 8vo. Cloth, $1.50. Crowell. + +"Ivanhoe." Illustrated. 12mo. Cloth, $1.50. Appleton. + +"Ivanhoe." Fully illustrated. Post 8vo. Cloth, $1.50. In the Andrew Lang +edition. Dana. + +*"Ivanhoe." Fully illustrated. Post 8vo. Cloth, $1.00. In the Heather +edition. Harper. + +"Ivanhoe." Illustrated. Crown 8vo. Half-leather, $.70. Houghton. In the +Riverside School Library. + +"Ivanhoe." 12mo. Cloth, $.35; leather, $.70. Dutton. Everyman's Library. + +*"Ivanhoe." Illustrated by C. E. Brock. 12mo. Cloth, $.50. Heath. + +*"Ivanhoe." Illustrated in colour by E. Boyd Smith. 8vo. Cloth, $2.50. +Houghton. + +"Ivanhoe." 12mo. Cloth, $.60. Ginn. + +"Ivanhoe." 12mo. Cloth, $.40. American. + +"Ivanhoe." 24mo. Cloth, $.25. Macmillan. + +*"Ivanhoe." (Dryburgh Edition.) 12mo. Cloth, $1.25. Macmillan. + + This introduction to Scott should certainly be + followed by a reading of "Quentin Durward," "Rob + Roy," "The Talisman," and "Guy Mannering." + + +G--"LORNA DOONE: A ROMANCE OF EXMOOR" + +BY RICHARD D. BLACKMORE + +*"Lorna Doone." Illustrated in colour by Christopher Clarke. 8vo. Cloth, +$2.50. Crowell. A very good edition. + +*"Lorna Doone." Illustrated in colour and black-and-white by Gordon +Browne. 4to. Cloth, $4.20. Stokes. + +"Lorna Doone." Illustrated with photogravures. 2 vols. 16mo. Cloth, +$2.50; limp leather, $3.00. Putnam. + +"Lorna Doone." Illustrated by plates printed in sepia. 2 vols. 12mo. +Cloth, $3.00; leather, $5.00. Rand. + +*"Lorna Doone." Illustrated by Mrs. Catharine Weed Ward. Crown 8vo. +Cloth, $2.50. Harper. + +"Lorna Doone." Illustrated by Frank T. Merrill. 8vo. Cloth, $1.50. +Crowell. + +*"Lorna Doone." Illustrated. Large 12mo. Cloth, $1.25. Putnam. + +"Lorna Doone." Illustrated. Large 12mo. Cloth, $1.25. Rand. + +"Lorna Doone." Illustrated. Post 8vo. Cloth, $1.00. Scribner. + +*"Lorna Doone." 24mo. Cloth, $.25. Macmillan. + + The great field of realistic fiction will later + open up to the boy, but he must be in no hurry to + enter it. When he does enter it, however, see that + he selects well, and urge him to read in + moderation. He might well start with such books as + "David Copperfield" and "The Mill on the Floss," + leaving Thackeray untouched for a few years until + he can better appreciate him. With a taste once + formed for any one of these great novelists, he + will stand in little danger from the almost + countless current stories that are always getting + in his way. + + +G--TRAVEL, BIOGRAPHY, AUTOBIOGRAPHY, AND HISTORY + +*"Two Years Before the Mast." By Richard H. Dana, Jr. Illustrated in +colour by E. Boyd Smith. 8vo. Cloth, $1.50. Houghton. + +"Two Years before the Mast." By Richard H. Dana, Jr. Illustrated. Crown +8vo. Half-leather, $.70. Houghton. + +"Two Years before the Mast." By Richard H. Dana, Jr. 12mo. Cloth, $.60. +Crowell. + +*"Two Years before the Mast." By Richard H. Dana, Jr. 24mo. Cloth, $.25. +Macmillan. + +*"The Oregon Trail." By Francis Parkman. Fully illustrated by Frederic +Remington. Crown 8vo. Cloth, $2.00. Little. A fine edition to own. + +"The Oregon Trail." By Francis Parkman. Four illustrations by Remington. +12mo. Cloth, $1.00. Little. + +*"Parkman's Oregon Trail." Edited by C. H. J. Douglas. (Pocket Classics +Series.) 24mo. Cloth, $.25. Macmillan. + +"The Oregon Trail." By Francis Parkman. 18mo. Cloth, $.35. Crowell. + +"Boys of Other Countries." By Bayard Taylor. Illustrated in colour by +Frederick Simpson Coburn. 8vo. Cloth, $2.00. Putnam. + +"The Cruise of the Catchelot around the World after Sperm Whales." By +Frank T. Bullen. Illustrated. 12mo. Cloth, $1.50. Appleton. + +*"Plutarch for Boys and Girls." Edited by John S. White. Illustrated. +8vo. Cloth, $1.75. Putnam. + +*"The Children's Plutarch: Tales of the Greeks." Edited by F. J. Gould +with an introduction by William Dean Howells. Illustrated by Walter +Crane. 12mo. Cloth, $.75. Harper. "Tales of the Romans" uniform with the +above at the same price. + +"Plutarch's Lives." Retold by W. H. Weston and illustrated in colour by +W. Ramey. Large 8vo. Cloth, $2.50. Stokes. + +"Plutarch's Lives." Edited by Edward Ginn. Illustrated. 12mo. Cloth, +$.45. Ginn. + +"Plutarch. Lives of Cæsar, Brutus, and Anthony." Edited by Martha Brier. +(Pocket Classics Series.) 24mo. Cloth, $.25. Macmillan. + +"Hawthorne's Grandfather's Chair." Edited by H. H. Kingsley. (Pocket +Classics Series.) 24mo. Cloth, $.25. Macmillan. + +*"Grandfather's Chair and Biographical Stories." By Nathaniel Hawthorne. +Illustrated. Crown 8vo. Cloth. $.70. Houghton. + +"Tales of a Grandfather." By Sir Walter Scott. 12mo. Cloth, $2.50. +Macmillan. + +"Tales of a Grandfather." By Sir Walter Scott. Selected by Edward Ginn. +12mo. Cloth, $.40. Ginn. + +*"Life of Lord Nelson." By Robert Southey. Illustrated by engravings. +12mo. Cloth, $1.50. Macmillan. In Bohn's Illustrated Library. + +"Life of Lord Nelson." By Robert Southey. 12mo. Boards, $.75. Warne. In +the Chandos Classics. + +*"The Autobiography of Benjamin Franklin." The unmutilated and correct +version by John Bigelow. 8vo. Cloth, $1.25. Putnam. In the Ariel +Classics at $.75. + +"Franklin's Autobiography." Edited by D. H. Montgomery. Illustrated. +12mo. Cloth, $.40. Ginn. + +"Benjamin Franklin's Autobiography." With a chapter completing the story +of his life. Illustrated. 16mo. Cloth, $.75. Houghton. + +"Franklin's Autobiography." 24mo. (Pocket Classics.) Cloth, $.25. +Macmillan. + +"A Child's History of England." By Charles Dickens. Illustrated by +Patten Wilson. 12mo. Cloth, $2.50. Dutton. + +"A Child's History of England." Illustrated. 12mo. Cloth, $1.00. +Macmillan. + +*"The Boy's Parkman." Compiled by Louise C. Hasbrouck. Illustrated by +Howard Pyle and others. Crown 8vo. Cloth, $1.00. Little. The passages in +Parkman's words have to do with the manners, customs, and +characteristics of the Indians. + +*"Stories from Froissart." By Henry Newbolt. Illustrated. 12mo. Cloth, +$1.50. Macmillan. Also in a $.50 edition. + +"The Boy's Froissart." By Sidney Lanier. Illustrated by Alfred Kappes. +8vo. Cloth, $2.00. Scribner. + + +G--OLD FAVOURITES + +"Mrs. Leicester's School." By Charles and Mary Lamb. Illustrated in +colour and pen-and-ink by Winifred Green. Small 4to. Decorated cloth, +$1.50. Dutton. "One of the loveliest things in the language."--_The +Nation._ + +"Mrs. Lester's School." By Charles and Mary Lamb. 12mo. Cloth, $1.50. +Macmillan. + +"Tales from Maria Edgeworth." With an introduction by Austin Dodson and +illustrations by Hugh Thompson. 8vo. Cloth, $1.50. Stokes. + +"Parent's Assistant." By Maria Edgeworth. Illustrated by Chris Hammond. +12mo. Cloth, $.80; leather, $1.25. Macmillan. + +"Old-Fashioned Tales." Collected by E. V. Lucas and illustrated by F. D. +Bedford. 8vo. Cloth, $1.50. Stokes. Stories from Thomas Day, Mary Lamb, +Peter Parley, and others. + +"Stories Grandmother Knew." Fully illustrated. Crown 8vo. Cloth, $1.00. +Putnam. From Goldsmith, Edgeworth, Sinclair, and others. + +"Old Time Tales." By Kate Forrest Oswell. (Everychild's Series.) Ill. +16mo. Cloth, $.40. Macmillan. + +"Stories Grandmother Told." By Kate Forrest Oswell. (Everychild's +Series.) Ill. 16mo. Cloth, $.40. Macmillan. + +"The Swiss Family Robinson." By J. R. Wyss. Illustrated in colour and +black-and-white by Charles Folkard. 8vo. Cloth, $2.50. Dutton. + +*"The Swiss Family Robinson." By J. R. Wyss. With an introduction by +William Dean Howells. Illustrated from drawings made by Louis Rhead. +8vo. Cloth, $1.50. Harper. + +"Swiss Family Robinson." By J. R. Wyss. Illustrated in colour. 8vo. +Cloth, $1.50. Lippincott. + +"The Swiss Family Robinson." By J. R. Wyss. Illustrated by E. Prater. +12mo. Cloth, $1.25. Dutton. + +"The Swiss Family Robinson." By J. R. Wyss. Illustrated. 16mo. Cloth, +$.50. Crowell. + +"The Swiss Family Robinson." By J. R. Wyss. Illustrated by T. H. +Robinson with 25 colour-plates. Large 8vo. Cloth, $2.00. Doran. + +"Little Lame Prince." By Mrs. Dinah Mulock Craik. (Boy's and Girl's +Series.) Ill. 12mo. Cloth, $.75. Macmillan. + +"The Child's Rip Van Winkle." Illustrated in colour by Maria L. Kirk. +4to. Cloth, $1.50. Stokes. + +"Rip Van Winkle and the Legend of Sleepy Hollow." By Washington Irving. +Photogravures and text cuts. 2 vols. 8vo. Cloth, $3.50. Putnam. Also in +the Ariel Classics at $1.50. + +*"Rip Van Winkle and the Legend of Sleepy Hollow." By Washington Irving. +Illustrated by George Boughton. 12mo. Cloth, $1.50. Macmillan. In the +New Cranford Series. Some day the child should own an edition of Irving. + +"Rip Van Winkle." By Washington Irving. Illustrated with 50 +colour-plates by Arthur Rackham. 7×10. Cloth, $5.00. Doubleday. + +*"Old Christmas." By Washington Irving. Illustrated by R. Caldecott. +12mo. Cloth, $1.50. (Cranford Series.) Also in an $.80 edition. +Macmillan. + +"The Alhambra." By Washington Irving. Illustrated by J. Pennell. 12mo. +Cloth, $1.50. (Cranford Series.) Macmillan. Also in an $.80 edition. + +"Irving's Alhambra." Edited by A. M. Hitchcock. (Pocket Classics +Series.) 24mo. Cloth, $.25. Macmillan. + +"Irving's Sketch Book." (Pocket Classics Series.) 24mo. Cloth, $.25. +Macmillan. + +"A Christmas Carol." By Charles Dickens. Illustrated in colour by A. C. +Michael. 4to. Cloth, $2.00. Doran. + +"Dickens' Christmas Carol." Edited by J. M. Sawin and Ida N. Thomas. +(Pocket Classics Series.) 24mo. Cloth, $.25. Macmillan. + +"A Christmas Carol." By Charles Dickens. Illustrated in colour and line +by George Alfred Williams. Square 8vo. Cloth, $2.00. Baker. + +"A Christmas Carol." By Charles Dickens. Illustrated with photogravures +by F. S. Coburn. 12mo. Cloth, $1.75. Putnam. + +"A Christmas Carol." By Charles Dickens. Illustrated in colour by Ethel +Everett. 8vo. Cloth, $1.50. Crowell. + +*"A Christmas Carol." Illustrated in colour by C. E. Brock. 12mo. Cloth, +$1.00. Dutton. + +"A Christmas Carol." By Charles Dickens. Illustrated. 16mo. +Half-leather, $.60. Houghton. + +"Westward Ho!" By Charles Kingsley. Illustrated. 12mo. Cloth, $1.25. +Also in an $.80 edition illustrated by C. E. Brock. Macmillan. + +"Tom Brown's School Days." By Thomas Hughes. Edited by F. Sedgwick. +Illustrated in colour. 8vo. Cloth, $3.25. Putnam. + +"Tom Brown's School Days." By Thomas Hughes. Illustrated by Louis Rhead. +8vo. Cloth, $1.50. Harper. + +*"Tom Brown's School Days." By Thomas Hughes. Illustrated by E. J. +Sullivan. 12mo. Cloth, $1.50. In the New Cranford Series. Macmillan. + +"Tom Brown's School Days." By Thomas Hughes. Illustrated. 16mo. +Half-leather, $.60. Houghton. + +"Quentin Durward." By Sir Walter Scott. Edited by A. L. Eno. 24mo. +(Pocket Classics.) Cloth, $.25. Macmillan. + +"Little Women." By Louisa May Alcott. Fully illustrated. Crown 8vo. +Cloth, $2.00. Little. + +"Madam How and Lady Why." By Charles Kingsley. Illustrated. 12mo. Cloth, +$.50. (Standard School Library.) Macmillan. + +*"The Sundering Flood: A Romance." By William Morris. Royal 8vo. Cloth, +$2.25. Longmans. + +*"Tales from the Travels of Baron Munchausen." Edited by Edward Everett +Hale. Illustrated by H. P. Barnes after Doré. 12mo. Cloth, $.20. Heath. +For a boy with a sense of humour this will afford a rare treat. + +"The Adventures of Baron Munchausen." Illustrated. 16mo. Limp leather, +$.75. In the Ariel Classics. Putnam. + +"Girls and Boys." By Anatole France. Illustrated in charming +colour-plates by Boutet de Monvel. 4to. Boards, $2.25. Duffield. + + +G--MORE RECENT BOOKS + +*P--"The Prince and the Pauper." By Mark Twain. Crown 8vo. Cloth, $1.75. +Harper. A capital story. + +P--"Uncle Remus and Bre'r Rabbit." By Joel Chandler Harris. Illustrated +in colour by J. A. Condé. Oblong 4to. Cloth, $1.00. Stokes. + +"Uncle Remus and the Little Boy." Illustrated by J. M. Condé, in colour. +4to. Cloth, $1.25. Small. + +*"Uncle Remus: His Songs and His Sayings." By Joel Chandler Harris. +Fully illustrated by A. B. Frost. 12mo. Cloth, $2.00. Appleton. Charming +folk-lore to read aloud to children. + +"The Jungle Book." By Rudyard Kipling. Illustrated by W. A. Drake and +others. 12mo. Cloth, $1.50. Century. + +*"The Jungle Book." Illustrated in 16 full-page coloured plates by +Maurice and Edward Detmold. 12mo. Cloth, $2.50. Century. A fine book for +a child to own. + +*"The Second Jungle Book." By Rudyard Kipling. Decorated by J. Lockwood +Kipling. 12mo. Cloth, $1.50. Century. + +*P--"Just-So Stories." By Rudyard Kipling. Illustrated in full colour by +J. M. Gleason. Royal 8vo. Cloth, $2.50. Doubleday. There is a cheaper +edition illustrated by the author at $1.25. + +"Red Cap Tales." By S. R. Crockett. Illustrated in colour plates by S. +H. Vedder. 12mo. Cloth, $2.00. Macmillan. An edition at $.50. + +*"Men of Iron." Written and illustrated by Howard Pyle. Post 8vo. Cloth, +$2.00. Harper. A romantic story of the England of Henry IV. As popular +with girls as with boys. + +"The Wonder Clock." Written and illustrated by Howard Pyle. 4to. Cloth, +$2.00. Harper. Twenty-four good tales. Equally as good are "Twilight +Land" and "Pepper and Salt," delightful fairy tales. + +"Stevenson's Kidnapped." Edited by John Thompson Brown. (Pocket Classics +Series.) 24mo. Cloth, $.25. Macmillan. + +"Pinocchio Under the Sea." Translated from the Italian by Carolyn Della +Chiesa. Edited by John W. Davis. With numerous illustrations and +decorations in colours and black-and-white, by Florence Rutledge Abel +Wilde. 12mo. Dec. cloth, $1.25. Macmillan. + +"Peter Pan Picture Book, The." By Alice B. Woodward and Daniel O'Connor. +Fourth Edition. Col. Ill. 8vo. Cloth, $1.50. Macmillan. + +"Peter Pan: The Story Of." By Daniel O'Connor. Ill. 12mo. Cloth, $.30. +Macmillan. + +"Voyage of the Hoppergrass." By Edmund Lester Pearson. Ill. 12mo. Cloth, +$1.35. Macmillan. + +"Children of the Wild." By Charles G. D. Roberts. Ill. 12mo. Dec. cloth, +$1.35. Macmillan. + +"Christmas Tales and Christmas Verse." By Eugene Field. Illustrated by +Florence Storer. 8vo. Cloth, $1.50. Scribner. + +"Christmas Every Day." By William Dean Howells. Illustrated and +decorated in colour. Small 4to. Cloth, $1.75. Harper. + +"Fairies--Of Sorts." By Mrs. Molesworth. Illus. by Gertrude Hammond. +12mo. Cloth, $1.50. Macmillan. + +"Magic Nuts, The." By Mrs. Molesworth. 12mo. Cloth, $1.25. Macmillan. + +"The Queen's Museum and Other Fanciful Tales." By Frank R. Stockton. +Illustrated in colour and black-and-white by Frederick Richardson. Royal +8vo. Cloth, $2.50. Scribner. + +"Tales of the Enchanted Islands of the Atlantic." By Thomas Wentworth +Higginson. Ill. by Albert Herter. 12mo. Cloth, $1.50. Macmillan. + +"Captains Courageous." By Rudyard Kipling. Illustrated by Taber. 12mo. +Cloth, $1.50. Century. + + +THE HOLY BIBLE + +"The Child's Bible." Arranged from the Authorized Version with an +introduction by Bishop Doane. Illustrated with 100 full-page plates by +modern artists. 4to. Cloth, $3.50. Cassell. + +*"The Bible for Young People." Arranged from the Authorized Version by +Mrs. Joseph B. Gilder. Illustrated with engravings from paintings by the +old masters. 4to. Cloth, $1.50. Century. For children under twelve +years. + +"The Old, Old Story-Book." Arranged from the Authorized Version by Eva +Marsh Tappan. Illustrated. 8vo. Cloth, $1.50. Houghton. + +"Bible Story Retold for Young People." By W. H. Bennett and W. F. +Adeney. 2 parts: I. Old Testament Story. II. New Testament Story. Maps. +Ill. 12mo. Each $.60; in one vol., $1.00. Macmillan. + +"Bible Stories." (Children's Series of the Modern Reader's Bible.) By R. +G. Moulton. 2 vols.: I. Old Testament; II. New Testament. 16mo. Cloth, +each, $.50. Macmillan. + +*"Select Masterpieces of Biblical Literature." (Modern Reader's Bible.) +Edited by R. G. Moulton. 24mo. Cloth, $.50; leather, $.60. Macmillan. + + It is doubtful if Bible stories in simple language + form are of much value to the boy. If he is too + young to read the language on his own account, the + stories had better be read aloud to him from the + Authorized Version. Then as early as possible let + him cultivate the habit of learning this wonderful + book first hand. Nothing in the field of + literature will serve him better than will this + reading habit. + +*"Holy Bible, Containing the Old and New Testaments; Translated out of +the Original Tongues, and with Former Translation Diligently Compared +and Revised, by His Majesty's Special Command." 8vo. Cloth, $1.30. +Self-pronouncing in long primer type. Oxford Press. + + + + +INDEX TO FIRST LINES OF POEMS + + PAGE + A great while ago the world began 58 + A life on the ocean wave 130 + As I in hoary winter's night stood shivering in the snow 85 + At Flores in the Azores, Sir Richard Grenville lay 122 + A wet sheet and a flowing sea 86 + Bless the Lord, O my soul 152 + Blow, blow, thou winter wind 98 + Boats sail on the rivers 38 + Boot, saddle, to horse and away 93 + By the rude bridge that arched the flood 134 + Call for the robin redbreast and the wren 70 + Come, dear children, let us away 73 + Come follow, follow me 64 + Come unto these yellow sands 57 + Dainty little maiden, whither would you wander 49 + Do you ask what the birds say? the sparrow, the dove 59 + Entreat me not to leave thee 55 + Faintly as tolls the evening chime 105 + Fair Daffodils, we weep to see 89 + From gold to gray 119 + From Oberon, in fairy land 91 + Full fathom five thy father lies 67 + God of our fathers, known of old 141 + Good-bye, good-bye to Summer 60 + Hark, hark, the dogs do bark 33 + Hark, hark, the lark at heaven's gate sings 68 + Haste thee, Nymph, and bring with thee 120 + He clasps the crag with crooked hands 131 + He that dwelleth in the secret place of the most high 113 + How sleep the brave who sink to rest 130 + Hush thee, my babby 35 + Hush! the waves are rolling in 49 + I bring fresh showers for the thirsting flowers 116 + I come from haunts of coot and hern 82 + I have a little shadow that goes in and out with me 46 + In winter I get up at night 40 + I saw a ship a-sailing 36 + I saw you toss the kites on high 56 + I sprang to the stirrup, and Joris, and he 108 + It was the schooner Hesperus 100 + I wandered lonely as a cloud 135 + Jog on, jog on, the foot-path way 58 + Lady Moon, Lady Moon, where are you roving 54 + Little Bo-Peep has lost her sheep 35 + Little Boy Blue, come blow your horn 34 + Little Lamb, who made thee 51 + Lord, thou hast been our dwelling place 132 + Minnie and Winnie lived in a shell 50 + Much have I travell'd in the realms of gold 140 + My heart leaps up when I behold 70 + Now fades the last long streak of snow 107 + Of speckled eggs the birdie sings 37 + Oh, hush thee, my babie! thy sire was a knight 63 + Oh, who is so merry, so merry, heigh-ho 44 + O Lord, our Lord 79 + O Mary, go and call the cattle home 104 + Over hill, over dale 69 + O wedding-guest! this soul hath been 106 + Pack, clouds, away, and welcome day 71 + Pease porridge hot 33 + Pibroch of Donuil Dhu 117 + Pussy cat, pussy cat, where have you been 33 + Queen and huntress, chaste and fair 84 + Ring out, wild bells, to the wild sky 65 + Season of mists and mellow fruitfulness 137 + Sleep, baby, sleep, our cottage vale is deep 34 + Sleep, baby, sleep, thy father is tending the sheep 41 + Spring, the sweet spring, is the year's pleasant king 53 + Sweet and low, sweet and low 47 + The Assyrian came down like a wolf on the fold 111 + The cock is crowing 72 + The curfew tolls the knell of parting day 146 + The friendly cow, all red and white 39 + The gorse is yellow on the heath 97 + The heavens declare the glory of God 94 + The king sits in Dunfermline town 142 + The Lord is my shepherd 42 + The melancholy days are come, the saddest of the year 99 + The Northern Star sailed over the bar 96 + The rain is raining all around 37 + The splendour falls on castle walls 81 + The voice of my beloved! behold, he cometh 65 + The warm sun is failing, the bleak wind is wailing 90 + The world is so full of a number of things 37 + The year's at the spring 67 + This is the ship of pearl, which, poets feign 136 + Three mice went into a hole to spin 34 + Under the greenwood tree 88 + Up the airy mountain 52 + Up, up, ye dames, ye lasses gay 73 + Wee Willie Winkie runs through the town 35 + What does little birdie say 41 + When cats run home and light is come 58 + When children are playing alone on the green 61 + When daffodils begin to peer 58 + Whenever the moon and stars are set 39 + When icicles hang by the wall 68 + When I was sick and lay a-bed 45 + When the green woods laugh with the voice of joy 62 + Where lies the land to which the ship would go 87 + Where the bee sucks, there suck I 57 + Whither, 'midst falling dew 139 + Who has seen the wind 38 + Who is Sylvia? what is she 121 + Who would true valour see 115 + You spotted snakes with double tongue 47 + + * * * * * + +Transcriber's Notes: + +Page 219, "millionnaire" changed to "millionaire" (quickly made +millionaire) + +Page 247, "Wyth" changed to "Wyeth" (N. C. Wyeth, and) + +Page 256, "Abrabian" changed to "Arabian" (from the Arabian) + + + + + + +End of the Project Gutenberg EBook of Literature for Children, by Orton Lowe + +*** END OF THIS PROJECT GUTENBERG EBOOK LITERATURE FOR CHILDREN *** + +***** This file should be named 35138-8.txt or 35138-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/5/1/3/35138/ + +Produced by Mark C. Orton, 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) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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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: Literature for Children + +Author: Orton Lowe + +Release Date: February 1, 2011 [EBook #35138] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK LITERATURE FOR CHILDREN *** + + + + +Produced by Mark C. Orton, 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) + + + + + + +</pre> + + + + + + + + + +<h1>LITERATURE FOR CHILDREN</h1> + +<div class='center'>BY<br /> + +<span class='author'>ORTON LOWE</span><br /> + +<span class='small'>ASSISTANT SUPERINTENDENT OF THE ALLEGHENY COUNTY</span><br /> +<span class='small'>PENNSYLVANIA, PUBLIC SCHOOLS</span><br /> + +<br /><br /><br /><br /> +<b>New York</b><br /> +THE MACMILLAN COMPANY<br /> +1922<br /> +<br /> +<span class='small'><i>All rights reserved</i></span><br /> +</div> + +<hr style="width: 65%;" /> + + +<div class='copyright'> +PRINTED IN THE UNITED STATES OF AMERICA<br /> +<br /> +<span class="smcap">Copyright, 1914,<br /> +By</span> THE MACMILLAN COMPANY.<br /> +<br /> +Set up and electrotyped. Published June, 1914.<br /> +<br /> +Norwood Press<br /> +J. S. Cushing Co.—Berwick & Smith Co.<br /> +Norwood, Mass., U.S.A.<br /> +</div> + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_v" id="Page_v">[v]</a></span></p> + + + + +<h2>PREFACE</h2> + + +<p><span class="smcap">This</span> book is about books of literature. Its excuse +for being at all is in the over-reading of books that +are not literature. Confusion and hurry confront both +child and teacher in the land of books. The hope is +held that something can be done to lead the child out +of this confusion.</p> + +<p>There is no greater possibility existing in the child's +educational life than the possibility of self-cultivation +in the reading of great books. Nor has there ever +been a greater need for the quiet reading of such +books than in a time of wonderful mechanical invention. +Shall a boy fly or shall he read? It seems both +fair and possible to say that he may fly but he must +read. Whatever be the line of work he chooses to +follow, he will have spare hours. His contribution to +the life of his community and the rounding out of his +individual life are dependent very largely on the wise +use of these spare hours. Some spare hours may be +given to music or the theatre, some to social entertainment, +some to outdoor sports, some to church aid work; +but some must surely be given to the reading of great +books.</p> + +<p>The following pages attempt to set the boy on the +right trail, so that when he reaches man's estate he<span class='pagenum'><a name="Page_vi" id="Page_vi">[vi]</a></span> +will of his own accord devote a just portion of his +spare hours to books of literature. To do this, attention +needs to be given to these practices: the learning +of a little choice poetry by heart, the learning of a few +fairy stories and myths through the ear, the reading +and rereading of a few great books, the saving of +money to build up a small but well-selected private +bookshelf, the practice of reading aloud by the fireside +or in the schoolroom. The chances are that a +boy so directed will find reading a pleasure and will +turn to what is really worth while. The attempt by +parents and teachers to bring about an abiding love +for books of power is a most commendable attempt; +and, if successful, the best contribution to a refined +private life. To all such attempts these pages aim to +contribute.</p> + +<p>The preparation of these pages has been made easier +and surer by the generous aid of Mr. Fred L. Homer, +of the Central High School of Pittsburgh, and Mr. +Homer L. Clark, a business man of Cleveland, in reading +a greater portion of the manuscript; by Miss Emily +Beal, of the Carnegie Library of Pittsburgh, in information +on illustrated editions of children's books; and +by Mr. Ernest C. Noyes, of the Peabody High School +of Pittsburgh, in reading the proof.</p> + +<p>For kind permission to use copyright material the +author thanks Mr. Rudyard Kipling and Messrs. +Doubleday, Page and Company for "Recessional"; +Professor Richard G. Moulton for the arrangement of +the selections of Hebrew poetry; Houghton, Mifflin<span class='pagenum'><a name="Page_vii" id="Page_vii">[vii]</a></span> +and Company for the selections from Longfellow, +Holmes, Emerson, and Whittier; and The Macmillan +Company for the selections from Tennyson, Browning, +Arnold, Clough, and Rossetti.</p> + +<div class='right'> +ORTON LOWE.<br /> +</div> + +<div class='unindent'> +<span class="smcap">Pittsburgh, Pennsylvania</span>,<br /> +May, 1914.<br /> +</div> + + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_ix" id="Page_ix">[ix]</a></span></p> + +<h2>CONTENTS</h2> + + + +<div class='center'> +<table border="0" cellpadding="0" cellspacing="0" summary="Contents"> +<tr><td align='left'> </td><td align='left'> </td><td align='right'><span class='small'>PAGE</span></td></tr> +<tr><td align='left' colspan='2'><span class="smcap">Preface</span></td><td align='right'><a href="#Page_v">v</a></td></tr> +<tr><td align='center' colspan='3'><br />PART I. INTRODUCTION</td></tr> +<tr><td align='left' colspan='2'><span class='small'>CHAPTER</span></td></tr> +<tr><td align='right'>I. </td><td align='left'><span class="smcap">The Value of Good Books</span></td><td align='right'><a href="#Page_3">3</a></td></tr> +<tr><td align='right'>II. </td><td align='left'><span class="smcap">Books and Literature in Elementary Schools</span></td><td align='right'><a href="#Page_11">11</a></td></tr> +<tr><td align='right'>III. </td><td align='left'><span class="smcap">The Learning of Lyric Poetry by Heart</span></td><td align='right'><a href="#Page_18">18</a></td></tr> +<tr><td align='center' colspan='3'><br />PART II. SELECTIONS FOR MEMORIZING</td></tr> +<tr><td align='left'> </td><td align='left'><span class="smcap">First Year</span></td><td align='right'><a href="#Page_33">33</a></td></tr> +<tr><td align='left'> </td><td align='left'><span class="smcap">Second Year</span></td><td align='right'><a href="#Page_44">44</a></td></tr> +<tr><td align='left'> </td><td align='left'><span class="smcap">Third Year</span></td><td align='right'><a href="#Page_56">56</a></td></tr> +<tr><td align='left'> </td><td align='left'><span class="smcap">Fourth Year</span></td><td align='right'><a href="#Page_67">67</a></td></tr> +<tr><td align='left'> </td><td align='left'><span class="smcap">Fifth Year</span></td><td align='right'><a href="#Page_81">81</a></td></tr> +<tr><td align='left'> </td><td align='left'><span class="smcap">Sixth Year</span></td><td align='right'><a href="#Page_96">96</a></td></tr> +<tr><td align='left'> </td><td align='left'><span class="smcap">Seventh Year</span></td><td align='right'><a href="#Page_115">115</a></td></tr> +<tr><td align='left'> </td><td align='left'><span class="smcap">Eighth Year</span></td><td align='right'><a href="#Page_134">134</a></td></tr> +<tr><td align='center' colspan='3'><br />PART III. SOURCES OF STANDARD PROSE FOR CHILDREN</td></tr> +<tr><td align='right'>I. </td><td align='left'><span class="smcap">Fairy Tales, Household Tales, and Other Fanciful Tales</span></td><td align='right'><a href="#Page_159">159</a></td></tr> +<tr><td align='right'>II. </td><td align='left'><span class="smcap">Classic Myths in Literature</span></td><td align='right'><a href="#Page_176">176</a></td></tr> +<tr><td align='right'>III. </td><td align='left'><span class="smcap">Books to be Owned, To Be Read and Reread</span></td><td align='right'><a href="#Page_188">188</a></td></tr> +<tr><td align='right'>IV. </td><td align='left'><span class="smcap">On the Purchase and Care of Books</span></td><td align='right'><a href="#Page_219">219</a></td></tr> +<tr><td align='right'>V. </td><td align='left'><span class="smcap">Editions of Standard Books</span></td><td align='right'><a href="#Page_232">232</a></td></tr> +<tr><td align='left' colspan='2'>BIBLIOGRAPHY</td><td align='right'><a href="#Page_239">239</a></td></tr> +</table></div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span></p> +<h2>PART I</h2> + + +<div class='chaptertitle'>INTRODUCTION</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span></p> +<h2>LITERATURE FOR CHILDREN</h2> + + + +<hr style="width: 65%;" /> +<h2>CHAPTER I</h2> + +<div class='chaptertitle2'>THE VALUE OF GOOD BOOKS</div> + +<div class="blockquot"><p>"The cloak that I left at Troas with Carpus, when thou comest bring +with thee, and the books, but especially the parchments."</p> + +<div class='right'> +—<span class="smcap">Paul's Letter To Timothy.</span><br /> +</div><br /></div> + + +<p><span class="smcap">The</span> man who believes that education and books +are designed for the imparting only of useful information +had better read no farther than this sentence; for +if he does, he will be irritated many a time by what he +regards as ideal and foolish and unworthy of a practical +age. But if he believes life to be something more +than meat and the body something more than raiment, +and that he needs his books as well as his +cloak brought into Macedonia, he may with patience +and sympathy follow the guesses herein at the ways +and means by which good books may be brought +into the life of a boy. For in the living out of the +great story of securing shelter and food and raiment, +the boy who has never felt the charm of a great +book in chimney-corner days, or the man who has +never pored over a "midnight darling" by candlelight, +has missed one of the most refined and harmless +pleasures of life. The very books themselves<span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span> +are refining because they make up the art of literature, +an art that is in its highest sense an expression +and interpretation of life. This art deals with +the beautiful. Its appeal is primarily to the feelings. +Its basis is truth whether actual or hoped +for. It is this very nature of literature itself that +at the start brings up the question whether the investment +put into it is really worth while. How +far has education a right to develop a sense of the +beautiful? What abiding pleasures and tastes, if +any, should the boy of school age seek and cultivate? +Just what equipment for life does a boy need, +anyhow?</p> + +<p>These are big questions; they are knotty questions. +They have never been settled because +they cannot be answered in a way satisfactory to +all. They are rather questions of temperament +than of logic. To attempt an investigation into the +claims of literature in a scheme of education, and to +draw from such claims a logical conclusion, is beyond +the ability, knowledge, or inclination of the writer; +only personal impressions will be attempted in the +chapters that follow. And besides, such an investigation, +if it could be made, would be so out of +fashion among schoolmasters at the present time +that it might bring nothing but reproach on the one +attempting it. The very convenient plan is to +assume a certain educational specific as true and +from that assumption to go straight to a favourable<span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span> +conclusion. In accordance with this fashion it +seems the easiest way to take the privilege of the +day and without more ado assume that books +of literature are necessary in the education of a +boy, and conclude therefrom that a principal business +of the teacher is to train the boy to read books +intelligently and to form a substantial taste for +them. And why should not a schoolmaster who +dotes on a few old favourites have an unshaken faith +in his assumption and go merrily on to the business +of the literature itself and what may be done toward +developing among school children a taste for it?</p> + +<p>The late Professor Norton pointed out that a +taste for literature is a result of cultivation more +often than a gift of nature. The years of the elementary +school seem to be the time in which cultivation +is easiest and the one in which the taste takes +deepest root. Vigorous and tactful effort will go +far to develop pure taste and abiding taste for +books.</p> + +<p>The present age is more concerned about pure food +than about pure books—maybe an exemplification +of John Bright's wish that the working-men of England +eat bacon rather than read Bacon. The bulky, +coarse food of the last century has been displaced +by the sealed package of condensed food done +according to a formula, and a mystery to the man +who eats it. So is it in our books. We do not have +the frankness and vulgarity of the eighteenth century;<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span> +but instead, we have the most studied forms +of insinuation, the harm of which was not approached +by the coarseness of former times. Many a present-day +story makes the ordinary course of life seem +uninteresting, a dangerous thing for a book to do, +according to Ruskin. The conduct portrayed has in +it too much of personal freedom arising out of +caprice, breaking too much with traditional right +through what a critic once designated as "debauching +innuendo and ill favoured love." The book is +often spectacular or sullen in tone. It may be +melodramatic, leaving the reader rebellious or with +a weakened sense of responsibility. Or again, it +may be given to boisterous laughter over situations +based on personal misfortune or bad manners—the +way of the comic supplement. And worst of all, +it may become the fashion; that is, a best seller. +Its name and some of its motives will probably get +to the children through the talk of the parents. +Then to persuade the reading public that the pure +taste for the healthful story is much more worth +while will try the resources of the teacher. Yet that +is exactly what should be expected of him—a Herculean +task and a most thankless one.</p> + +<p>To secure a stable as well as a pure taste for things +worth while in books should be an aim of the teacher. +He must do this in an age when the vaudeville idea +is deep-rooted. Variety takes the place of sustained +attention. This begets the mood for profligacy.<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span> +Something new and good is expected to turn up in +the shape of a book. In this mood there is nothing +to inspire to steady purpose. And it seems that the +best thing left for the teacher to do is to "come out +strong" on a few good books. Through fortune and +misfortune such books will be permanent possessions +to their reader.</p> + +<p>The responsibility for securing this pure and abiding +taste rests primarily with the teacher. He needs +to know and to appreciate the good books which +he desires the boy to read. He needs to know the +poem or story at first hand, not criticism about it. +If the teacher has real appreciation for a piece of +literature, the boy will discern it in his face. Then +the boy can be put on the right scent and left to +trail it out for himself, as Scott long ago suggested. +Time must be taken to do this: a few good things +must be done without fuss or hurry. It is foolish to +have a taste surfeited as soon as cultivated. Here is +truly a place to be temperate as well as enthusiastic.</p> + +<p>A teacher should be able to read aloud from a +book with good effect. The voice can bring out the +finer touches that are likely to be missed by the +eye. No explanation in reading is so good as is +adequate vocal expression. In fact, as a rule, the +less explaining the better. If there is a single thing +that for the last dozen years has stood in the way +of boys' and girls' appreciating good literature, it is +the so-called laboratory method. Of all the quack<span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span> +educational specifics that have been advanced, the +laboratory method, with a poem or an imaginative +story, has been the most presumptuous and +absurd. Who cares to treat fancies and fairies according +to formulæ? One might as well apply the +laboratory method to his faith and his hopes in his +religion.</p> + +<p>In this struggle to bring good books into the life +of the boy, many opposing forces must be met with +tact and with patience. Censorship of books, like +inspection of foods, may be highly desirable; but by +no means is it efficacious. The worthless book will +continue to obtrude itself at all times and on all occasions. +Then there are the reading habits of the +community, the notions of parents about what the +child should read, and the child's own natural or +acquired tastes,—these must all be reckoned with. +Here are a few of the opposing forces to be encountered +in every community:</p> + +<p>The juvenile series—the hardest problem to +handle from the book side of the question. The +series is always "awful long," all of the volumes are +cut to the same pattern, they are always in evidence, +and they are all equally stupid. The themes range +from boarding school proprieties to criminal adventure; +and they are all equally false to the facts of +real life or the longings for true romance. What +shall be done with them?</p> + +<p>The ease of access of the child to the daily paper<span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span> +with headlines inviting attention to the doings of +police courts and clinics.</p> + +<p>The eagerness with which children read the comic +supplement and even ask at the public library if +books of that class of humour cannot be had.</p> + +<p>The low-grade selection that is many times given +the child by the school reader as subject-matter from +which to learn the great art of reading.</p> + +<p>The prejudice of parents and even of communities +against fairy tales and all forms of highly imaginative +literature—the hardest thing to meet from +the reading side of the question. Librarians are requested +not to give fairy books to children. Such +books are thought to be bad. The demand is for true +books. Parents have not discovered the existence +of the imagination and the part it has played in the +intellectual, artistic, and spiritual progress of man. +But must school teachers not first recognize the +truth of this last statement before parents are expected +to do so?</p> + +<p>The impression that books of information are +real literature and that they ought to be sufficient +subject-matter for any child's reading.</p> + +<p>The belief that books should teach facts and point +morals rather than entertain and refine and inspire.</p> + +<p>The early acquired taste of boys and girls for +stories of everyday life; boys turning to the athletic +story and girls to the school story.<span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span></p> + +<p>Excessive reading and reading done at the suggestion +of a chum.</p> + +<p>Lack of ownership of books and of the rereading +of great books.</p> + +<p>The passing of the practice of reading aloud about +the fireside.</p> + +<p>The teacher will surely need to summon his judgment, +courage, and perseverance if he is to succeed +measurably in the effort for good reading. Let him +not forget that his most enduring work will not be +seeking to cut off from the child the book that +is not good, nor yet convincing the parents that +this or that book is good or bad; but it will be +getting the interest and confidence of the child +himself. When the teacher comes to consider that +a boy naturally loves a hero, and like Tom Sawyer +longs to "die temporarily," or that a girl is naturally +curious to open the forbidden door of the closet as +was Fatima, he cannot but see that this is good +ground where the right seed will spring up many +fold. Here then is the place for the teacher to sow +with care. For him, the pages that follow are +designed as something of a guide in the field of children's +books, if, whilst working as a husbandman +therein, by chance he feels the need of a fellow +labourer.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span></p> +<h2>CHAPTER II</h2> + +<div class='chaptertitle2'>BOOKS AND LITERATURE IN ELEMENTARY SCHOOLS</div> + +<div class="blockquot"><p>"He hath not fed of the dainties that are bred in a book; he hath not +eat paper, as it were; he hath not drunk ink; his intellect is not replenished; +he is only an animal, only sensible in the duller parts."</p> + +<div class='right'> +—<span class="smcap">Sir Nathaniel.</span><br /> +</div></div> + + +<p><span class="smcap">The</span> place of literature in the primary and grammar +grades of schools needs neither a defence nor an +apology. Being a part of that branch called reading, +it is fundamental in the course. The claims set up +by branches other than that of reading and speaking +English do not concern us here. We assume that +the first portion of time in a programme is allotted +to this. The object may be dramatic expression in +the lower grades, getting the exact thought from a +printed page and reproducing it in the upper grades, +drill in the mechanical details of the language, +such as spelling and pronunciation; or it may be +that rare growth of personality that comes, say, +through the skilful reading of poetry aloud. Without +a fair degree of mastery of the elements of +reading and speaking English by the time he completes +the grammar grade work, the boy will enter +a secondary school or turn to earning a living, ill-equipped +either to organize and express his own<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span> +thoughts, or to find profit and pleasure in gathering +the thoughts of another from a printed page—the +greatest accomplishment that a school can give to +any one. It is rather common to hear a high school +student say that he cannot get the story by reading +"The Lady of the Lake." This inability is a positive +discredit to what should be normal mental vigour; +and such a student will be found inefficient for the +serious business of life or the refined pleasure of the +fireside.</p> + +<p>Now it behooves teachers to put on their thinking +caps and devise ways and means that will help +students to get the thought from reading, to tell +this thought, and to appreciate the excellencies of +good English books. And they must do this single-handed +and alone in the day school, for but little +help can be looked for from the Sunday school, from +many public libraries, and from the home as it is +now governed. The child is turned over to the +teacher to train, and in that child lurk two tendencies +of American social life: the hope of getting something +for nothing and the passion for constant +variety. And these tendencies are unchecked by +any exercise of that old-time positive authority in +the home, that had much salutary influence on young +barbarians. But through a foolish tolerance, the +boy drifts into many habits that do not include the +exemplary ones of sustained attention, industry, +thrift, and self-reliance,—habits that make for<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span> +efficient life. A royal road to knowledge is expected, +and travel thereon is to be unrestricted by +respect either for age or for authority. His hay +must always be sugared. He becomes a creature of +whims, and with this creature the teacher finds his +task in hand. What are the reading habits and +tastes that he brings from his home, and how can +the teacher best improve them?</p> + +<p>It is clear to even a casual observer that children +leave the public school without the groundwork for +a course of reading either for pleasure or for profit +through life. It is also clear that they will get little +help in this line from places other than the public +school as things now obtain. And it is equally clear +that the reading habits formed before the age of +fourteen years are the habits and tastes that last. +If then, according to his natural gifts, the student +is to be led to gather the fullest measure from the +field of literature, it is the special duty and privilege +of the teacher to direct that gathering. To this +attempt to develop a taste for good literature, some +one may raise the objection that it will not fit all +children—and the objection is well taken. The +appeal of literature is not universal. There are a +few persons who find its counterpart in a study and +appreciation of the beauties and wonders of nature. +Then again there are many who, instead of taking +themselves to the art of books, find pleasure in perhaps +the greatest of all arts, the art of social intercourse—an<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span> +art that is universal enough to reach from +vagabondia to the very exclusive set. However, +there is a vast class devoted to a subdued and +refined domestic life, and here it is that good books +will bear good fruit many fold. With this class the +teacher must work. What then is to be given to +the children?</p> + +<p>Of course it is understood that we are to deal with +the enduring literature of childhood, the literature +of power. And it is also to be understood that reading +is to be done in moderation and with care. Then +again it is evident that a certain amount of reading +must be prescribed and thoroughly mastered. +Reading must be from what is standard down to the +point of appeal, lest the point always hold the boy +to the earth earthy. After a taste for onions has +once been developed, little hope can be entertained +of making the boy a judge of the delicate flavour of +grapes—they will hang high. The teacher must +assert a bit of that healthful positive authority that +sets many an urchin on the right path. A limited +choice from books that are classics may be given in +good time. All the chords of life have been struck +in great literature, and a fair knowledge and good +judgment can reach almost any disposition, even +the most whimsical.</p> + +<p>The thing of first importance to be prescribed is +learning classical poetry by heart until its music has +taken a hold on the learner. Introduce the boy to<span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span> +the varied field of lyric poetry and you have put +before him one of the rarest and most abiding +pleasures of life. Here his troubled heart may +always find consolation. Nothing will bring him +to a sense of his own personality with such a deft +touch as a perfect lyric coming to him through his +own voice. The next thing to look to is a right +that is a fixed right of childhood and one that it is +positively vicious to suppress, the right to the land +of fairy life. A free range here will be meat and +drink to any boy. Much sordidness and much selfishness +in old age come to the man or woman who +has not a cultivated imagination. Logic and cold +facts are of precious little value in the fireside life +of a family. The best things of that life are not +reasoned out; but they are felt out and wondered +out. Again, the great field of mythology that is so +fundamentally linked to that of literature, and that +is a capital mark of culture, should be open to the +boy that he may roam about and wonder at its +mysteries. Then he may as certainly come to own +an "Age of Fable" as he must own a "Golden +Treasury." And what a pair are these!</p> + +<p>From these three fields the step will be to a knowledge +and classification of books and their authors, +what books to own, and how to take care of them. +And to this working grasp of poetry and stories may +be added a little of what is possible in history, +biography, and personal essay. In this age of cheap<span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span> +and spurious book-making the reader must know +standard editions without abridged and garbled +texts. Even editors of hymn books do not hesitate +to mutilate great hymns to suit their particular +notions. This freedom may be a form of that exaggerated +idea of personal privilege that was the gift +of democracy in the past century. A good knowledge +of fables and proverbial wisdom will certainly temper +that notion. Such are some of the things that might +be prescribed by the teacher and learned by the student. +The field as thus given is limited, but the +friends therein are dear friends. Nor are they to be +exchanged for the new friends that may come +through the advertising appeal, founded on the unsubstantial +instinct for constant variety.</p> + +<p>If enough idea of authority can ever be driven into +the head of the American boy to put him into the +attitude of a willing learner, good things may be +looked for in habits of reading—provided the +teacher be equal to the responsible task that is laid +upon him. The habits of reading that measure the +use of spare time, and in that way the character +of the individual, will work for a more sane and less +showy home life and through that for a community +given to other than obtrusive and frivolous social +life. What bundle of habits will serve its slave +better than will this bundle? Or where is keener +and more subdued pleasure to be found? Though +books are a bloodless substitute for life, as Stevenson<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span> +has well pointed out, we need some substitute in our +hours of ease, and a good book does passing well for +such a substitute; and this is especially true if the +book be our favourite from the wonderful Waverley +series and with it we can square about to the fire, +snuff the candle, and let the rest of the world go spin.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span></p> +<h2>CHAPTER III</h2> + +<div class='chaptertitle2'>THE LEARNING OF LYRIC POETRY</div> + +<div class="blockquot"><p>"These verses be worthy to keep a room in every man's memory: they +be choicely good."</p> + +<div class='right'> +—From "The Complete Angler."<br /> +</div></div> + + +<p><span class="smcap">The</span> teacher who is a workman skilled in his craft +looks upon a few educational practices as being of +intrinsic merit—through and through in an age of +veneer and cheap imitation. Of these practices the +one most fruitful under cultivation, when done with +care and in moderation, is that of learning good +poetry by heart. The sense of having truly learned +a thing by heart, of having completely mastered it, +is a most pleasant sense to have. And when the +thing learned is one of the many perfect lyrics from +the field of English poetry, a far-sighted judge who +has lived and considered what is of most value to the +individual is led to say: That is well and good. In +some mysterious way this possession of a few choice +poems makes for a rarer personality and gives that +touch which can come only through a perfect work +of art. By sheer force of intellect a man may become +a cold, designing man of action and set plans +on foot for the time being; but the power that is +back of all great movements for civilization and<span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span> +culture is one that is grounded in feeling and constructive +imagination. The proverbial songs of a +nation are a greater force than are its laws. In one +of his most entertaining essays, De Quincey points +out that, when the intellect sets itself up in opposition +to the feelings, one should always trust to the +feelings. Normal instincts are worth more than syllogisms. +The man who has attuned himself to the +moods and impulses of lyric poetry is a safe man in +action. Yet he is more than this; he has in him +that which is the groundwork of fireside pleasures +and of the joys of companionship. In other words, +he is a man of cultivated imagination, and he can +play in many moods.</p> + +<p>Here it may not be amiss to mention the claim +of the imagination to consideration as a faculty of +the mind and inquire to what extent it should be +cultivated in our schools; for if its claim be not +good, there is no warrant for using any of the literature +of power as subject-matter for education. +Bearing on this question is the following excellent remark +by the late Charles Eliot Norton, who did so +very much to raise the standard of culture in American +education: "The imagination is the supreme intellectual +faculty, and it is of all the one that receives +least attention in our common system of education. +The reason is not far to seek. The imagination is +of all faculties the most difficult to control, it is the +most elusive of all, the rarest in its full power. But<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span> +upon its healthy development depend not only the +sound exercise of the faculties of observation and +judgment, but also the command of the reason, the +control of the will, and the growth of the moral +sympathies. The means for its culture which good +reading affords is the most generally available and +one of the most efficient." In the same discussion +Professor Norton has this to say of poetry as the +highest expression of the imagination: "Poetry is +one of the most efficient means of education of the +moral sentiment, as well as of the intelligence. It is +the source of the best culture. A man may know +all science and yet remain uneducated. But let +him truly possess himself of the work of any one of +the great poets, and no matter what else he may fail +to know, he is not without education."</p> + +<p>To the evident truth of these quotations the humanist +will readily assent; and so will the true +scientist whose earnest and frank devotion to truth +makes it clear to him that nothing great in his field +has ever been done without a constructive imagination. +The loss of artistic imagination through +years of painstaking investigation will be a source of +regret to any one devoted to science, as was the +loss of the ability to appreciate the charm of great +poetry Darwin's old age regret. The taste for this +great poetry is grounded on healthful and normal +instincts, and it is the part of wisdom to see that this +taste be developed in youth. The boy who has<span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span> +nurtured his youthful imagination on the magic of +great verse will waken up some morning to find himself +among the competent ones of his generation. +His life will be bounded by that restraint which can +come only through an inability to solve the mysteries +and wonders that his imagination is constantly conjuring +up. He wants much that he cannot understand +and reason out; and the deeper things of life, +things which touch him most vitally as a living creature, +he looks on with reverence. If his imagination +is alive to the experiences of great poetry, he +cannot scoff at things felt in the soul but impossible +of explanation. To him there are sacred things in +the fireside life and at the altar that are not to be +laid bare by the curiosity of the reasoner in his search +for truth. And when the twilight of the gods falls +about him he is not curious to know, but he trusts +and fears. A song is worth more to him than a +proof. On this he is satisfied to throw himself.</p> + +<p>The music of the cathedral organ that Milton +could hear daily as a boy stirred his imagination, and +in later years he brought forth verse that for the +grandeur and scope of its imagination has never +been excelled. In a minor but far more human key +the songs and balladry of Scotland awakened in +Burns the imagination which has made him the idol +of his native land and loved wherever English +poetry is known. Artistic imagination for the creation +or appreciation of poetry is contagious. What<span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span> +is true of the poet himself is also true of the reader of +great poetry; its wonderful music causes him to +feel and live poems that he has not the gift to write +down. It is with this feeling of poems, this appreciation +of the great work of poets, that we have to do. +To awaken feelings a teacher must have an imagination +afire with a little verse that is choicely good, must +have at least felt the pure serene a time or two. This +same passion for verse, be it ever so limited, can be +handed over to the boy through a judicious use of +the reading voice. That is the teacher's work in +hand.</p> + +<p>What kind of verse is to be handed over to the boy, +and how much is there to be of it? To the latter +question the only safe answer is this: not too much. +Talents and tastes vary. Every student can be +made to get by rote a certain amount of verse; +but as for learning it by heart, feeling and appreciating +its music, that is a different thing. The greatest +and most painstaking of all anthologists of English +verse, Francis Turner Palgrave, claims that there +ought to be more than a glimpse into the Elysian +fields of song. In the best collection that has yet +appeared for the teacher or student, "The Children's +Treasury of English Song," Professor Palgrave +has this to say in the introduction: "The treasures +here collected are but a few drops from an +ocean, unequalled in wealth and variety by any existing +literature. But the hope is held that it may<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span> +prove a pleasure and gain to the dear English and +English-speaking children, all the world over,—yet +the editor will hold his work but half fulfilled, +unless they are tempted by it to go on and wander, +in whatever direction their fancy may lead them, +through the roads and winding ways of this great +and glorious world of English poetry. He aims only +at showing them the path, and giving them a little +foretaste of our treasures.—'To-morrow to fresh +woods and pastures new.'" That hope is to be the +hope of the teacher; and it needs back of it the +mastering of a few choice lyrics, after which the boy +is to be sent forth to browse alone to his heart's +desire.</p> + +<p>On the question of the kind of verse to give to the +boy, Professor Palgrave has made the following +remark: "The standard of 'suitability to childhood' +must exclude many pieces that have 'merit as +poetry': pictures of life as it seems to middle age—poems +coloured by sentimentalism or morbid melancholy, +however attractive to readers no longer children—love +as personal passion or regret (not love +as the groundwork of action)—artificial or highly +allusive language—have, as a rule, been held unfit. +The aim has been to shun scenes and sentiments +alien from the temper of average healthy childhood, +and hence of greater intrinsic difficulty than poems +containing unusual words." The limitations of +verse for children, as stated in the remark just quoted,<span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span> +are reasonable and something of a guide to teachers. +But they are not always easy to follow. However, +nothing must be given to the child unless it has real +merit as poetry, no matter how it may strike the +fancy at first reading. Nor is any poem that would +be otherwise good, to be excluded because it is feared +the child may not completely grasp it. He may read +plenty of verse that is beyond him somewhat and +be all the better for having done so. The thing to +be avoided is poetry that is not poetry. He may be +allowed to read verse at times that would not be +suitable for learning by heart. But what he learns +thoroughly must be through and through great +poetry. And it matters little what form it may +have: ballad, song, fairy poem—he will learn +to know it and to love it. Nor is it to be always +within the reach of his intellect; his feelings will +carry him safely beyond the narrow range of understanding.</p> + +<p>If he would reach the boy, the teacher must find +a point of contact between the home life and the +altogether new life in the school. This point is +without doubt the nursery rhymes. Wise indeed +are parents who have taught these melodies before +the school age has been reached, for the teacher can +start at once with the poems he intends to have +learned. But where these rhymes have not been +mastered in the home, it is imperative on the part +of the first-grade teacher to have them mastered in<span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span> +the first school year. For the teacher who hesitates +about the advisability of using the Mother Goose +melodies, it may be well to state their claim by a +quotation from Charles Welsh in his modest but +most excellent collection called "A Book of Nursery +Rhymes": "The direct simplicity, dramatic imagination, +and spontaneous humour of the nursery +rhymes of Mother Goose will probably never be excelled +by any modern verse. They will for the most +part doubtless remain for all time 'the light literature +of the infant scholar.' Although some fragments +of what has been written since the collection was +first made may go to swell the volume of this inheritance +from past ages, the selection of any permanent +addition will be made finally by the mother +and the child. The choice will be by no means a +haphazard one, for it will be founded on basal elements +of human character, and it will, for the very +same cause, be an absolutely autocratic choice. +Experience has proved these old rhymes and jingles +to be best fitted for the awakening intelligence +of the child. The appeal to the imagination by +evoking a sense of wonder accounts for the abiding +place which these rhymes and jingles have in the +literature of the nursery." The truth of these words +is so evident that the teacher who would make the +learning of poetry by heart a pleasure must surely recognize +such rhymes as the hitching-on place between +the literature of the home and that of the school.<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span></p> + +<p>Next in simplicity, directness, and in the interest +of its appeal is verse in the ballad form. It is the +easiest of all poetry to learn, for it tells a dramatic +tale in a simple way. But there are few short ballads +in the language suited to the grammar grades, and +there is not sufficient time for learning the longer +ones by heart. Many of the best old English ballads +have difficulties for the child in the number +of obsolete words that they contain. These two +things make it difficult to use this absorbing field of +poetry as subject-matter for learning by heart. It +is probably best to have the boy come to know the +stories of the ballads by hearing a frequent reading +of them aloud by the teacher. Of the ballads +selected for such reading the teacher must go to the +old English field to get the greater number; but the +modern field must not be neglected, for no teacher +could omit that powerful yet simple work of genius, +"The Rime of the Ancient Mariner." Its charm in +holding the hearer is as great as was the charm of the +old mariner's eye itself when telling the tale. If such +a poem has been listened to in the elementary school, +it can be taught with greater ease in the secondary +school. The same thing is true of many poems.</p> + +<p>The greater number of selections that follow these +two simple and direct types, the nursery rhyme and +the ballad, must be classic lyrics, fairly well suited +to the boy, and it matters little whether the form be +song, sonnet, ode, elegy, or that of Hebrew verse.<span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span> +In making these selections poems of a martial +nature are not to be altogether neglected; but they +must have fire, for without it a war ode is one of the +most obsolete works of the human intellect. An +objection may be raised to the effect that this type +of poem is not suited to girls. To this objection the +answer may be made, that what is good literature +for a boy ought to be good literature for a girl. Will +not a girl appreciate that great poem of a sea fight, +"The 'Revenge'"? It seems unwise to put in a list +of poems to be learned by heart an example of nonsense +verse. This verse evidently has a definite place +in the intellectual equipment of the child, and he +may pick it up later of his own accord. No one +would knowingly, however, deprive him of "The Owl +and the Pussy Cat," or "The Jabberwocky"; even +grown-ups dote on "Little Billee," as Thackeray +doubtless did himself. We must all fool more or +less—even in verse.</p> + +<p>Some teachers will ask how poetry is to be taught. +To that question the absolute answer is: through +the ear. All poetry is to be read aloud and well +read. The dry-as-dust fellow who wants to read it +merely as prose should be indicted for a crime against +art. Poetry must be read musically and with a +natural time and swing. At this point it should be +understood that part of the work of a teacher is to +develop a good reading tone of voice. The present-day +tendencies toward shrieking and a mouthing<span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span> +of words are most deplorable tendencies. Let the +teacher first master the poem and then teach it by +word of mouth, and teach it as music. It will finally +impress itself on the child. Now this reading by +which the poem is to be taught is to be merely a good +natural reading—not the affected and exaggerated +one of the elocutionist. Let the child get the idea +that he must say the poem over and over until it +has become his own. There is much pleasure in +saying poetry aloud when one is walking by himself—a +rare luxury in modern city or suburban life. +It does not matter if passers-by look on this practice +as a sort of lunacy, for it is a most commendable +kind of lunacy to have and one that all persons are +not so lucky as to possess.</p> + +<p>So much is inviting us that no claim is made that +the included list is by any means the best one hundred +poems. But it is one that the experience of some +years of schoolroom work has proved passing good. +At least it is good enough for the teacher who has +not made a thorough study of the subject. This, +that, and t'other substitute might be offered; but +when all is said, the selections as they stand, if well +mastered, will be something of a king's treasury to +the boy.</p> + +<p>For the convenience of the teacher the selections +are given complete. With but few exceptions the +poems are unabridged and under the original titles. +When an extract has been made from a longer poem,<span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span> +the first verse of the selection has generally been +given as a title. All poems might be remembered +by first verses rather than by titles, and every +anthology should have an alphabetical index to first +verses. The poems as given below will vary in their +appeal largely according to the mood of the teacher +and his natural temperament; but he can teach +no poem well unless he has mastered it himself and +has come to appreciate it. There are a few selections, +however, as "The Fairy Life," "The Forsaken +Merman," and "I Wandered Lonely as a Cloud," +that are so wholly delightful that the teacher may +hold them as favourite children of the imagination. +Let the teacher master the selections given below, +and if he so choose tear out the pages containing +them and then throw the rest of the book away; +for if he truly knows these poems by heart, he will +no longer be a stranger to literature of power, and the +purpose of this book will have been fulfilled.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span></p> +<h2>PART II</h2> + +<div class='chaptertitle'>SELECTIONS FOR MEMORIZING</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span></p> +<h2>FIRST YEAR</h2> + + +<h3><span class="smcap">Mother Goose Songs</span></h3> + +<div class='center'>I</div> + +<div class='poem'> +<span style="margin-left: 3em;">Hark, hark,</span><br /> +<span style="margin-left: 3em;">The dogs do bark,</span><br /> +The beggars are coming to town;<br /> +<span style="margin-left: 3em;">Some in tags,</span><br /> +<span style="margin-left: 3em;">Some in rags,</span><br /> +And some in velvet gowns.<br /> +</div> + +<div class='center'><br />II</div> + +<div class='poem'> +<span style="margin-left: 3em;">Pease porridge hot,</span><br /> +<span style="margin-left: 3em;">Pease porridge cold,</span><br /> +Pease porridge in the pot, nine days old.<br /> +<span style="margin-left: 3em;">Some like it hot,</span><br /> +<span style="margin-left: 3em;">Some like it cold,</span><br /> +Some like it in the pot, nine days old.<br /> +</div> + +<div class='center'><br />III</div> + +<div class='poem'> +"Pussy cat, pussy cat, where have you been?"<br /> +"I've been to London to look at the Queen."<br /> +"Pussy cat, pussy cat, what did you there?"<br /> +"I frightened a little mouse under a chair."<br /> +<span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span></div> + +<div class='center'><br />IV</div> + +<div class='poem'> +Three mice went into a hole to spin;<br /> +Puss passed by and Puss looked in:<br /> +"What are you doing, my little men?"<br /> +"Weaving coats for gentlemen."<br /> +"Please let me help you to wind off your threads."<br /> +"Ah, no, Mistress Pussy, you'd bite off our heads."<br /> +</div> + +<div class='center'><br />V</div> + +<div class='poem'> +Little Boy Blue, come blow your horn,<br /> +The sheep's in the meadow, the cow's in the corn.<br /> +Where's the boy that looks after the sheep?<br /> +He's under the haycock, fast asleep.<br /> +"Will you wake him?" "No, not I;<br /> +For if I do, he'll be sure to cry."<br /> +</div> + +<div class='center'><br />VI</div> + +<div class='poem'> +<span style="margin-left: 3em;">Sleep, baby, sleep!</span><br /> +<span style="margin-left: 3em;">Our cottage vale is deep:</span><br /> +The little lamb is on the green,<br /> +With snowy fleece so soft and clean.<br /> +<span style="margin-left: 3em;">Sleep, baby, sleep!</span><br /> +<br /> +<span style="margin-left: 3em;">Sleep, baby, sleep!</span><br /> +<span style="margin-left: 3em;">Thy rest shall angels keep:</span><br /> +While on the grass the lamb shall feed,<br /> +And never suffer want or need.<br /> +<span style="margin-left: 3em;">Sleep, baby, sleep!</span><br /> +<span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span> +</div> + +<div class='center'><br />VII</div> + +<div class='poem'> +<span style="margin-left: 3em;">Hush thee, my babby,</span><br /> +<span style="margin-left: 3em;">Lie still with thy daddy,</span><br /> +Thy mammy has gone to the mill,<br /> +<span style="margin-left: 3em;">To grind thee some wheat</span><br /> +<span style="margin-left: 3em;">To get thee some meat,</span><br /> +And so, my dear babby, lie still.<br /> +</div> + +<div class='center'><br />VIII</div> + +<div class='poem'> +Wee Willie Winkie runs through the town,<br /> +Upstairs and downstairs, in his nightgown,<br /> +Rapping at the window, crying through the lock,<br /> +"Are the children in their beds? now it's eight o'clock."<br /> +</div> + + +<h3><span class="smcap">Little Bo-peep</span></h3> + +<div class='poem'> +Little Bo-peep has lost her sheep,<br /> +<span style="margin-left: 1em;">And can't tell where to find them;</span><br /> +Leave them alone and they'll come home,<br /> +<span style="margin-left: 1em;">And bring their tails behind them.</span><br /> +<br /> +Little Bo-peep fell fast asleep,<br /> +<span style="margin-left: 1em;">And dreamt she heard them bleating;</span><br /> +But when she awoke she found it a joke,<br /> +<span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span><span style="margin-left: 1em;">For still they all were fleeting.</span><br /> +<br /> +Then up she took her little crook,<br /> +<span style="margin-left: 1em;">Determined for to find them;</span><br /> +She found them indeed, but it made her heart bleed,<br /> +<span style="margin-left: 1em;">For they'd left all their tails behind 'em.</span><br /> + + +<div class='sig'> +—<span class="smcap">Mother Goose.</span><br /> +</div></div> + + +<h3><span class="smcap">I Saw a Ship A-sailing</span></h3> + +<div class='poem'> +I saw a ship a-sailing,<br /> +<span style="margin-left: 1em;">A-sailing on the sea;</span><br /> +And, oh! it was all laden<br /> +<span style="margin-left: 1em;">With pretty things for thee.</span><br /> +<br /> +There were comfits in the cabin,<br /> +<span style="margin-left: 1em;">And apples in the hold;</span><br /> +The sails were made of silk,<br /> +<span style="margin-left: 1em;">And the masts were made of gold.</span><br /> +<br /> +The four-and-twenty sailors<br /> +<span style="margin-left: 1em;">That stood between the decks</span><br /> +Were four-and-twenty white mice,<br /> +<span style="margin-left: 1em;">With chains about their necks.</span><br /> +<br /> +The captain was a duck,<br /> +<span style="margin-left: 1em;">With a packet on his back;</span><br /> +And when the ship began to move,<br /> +<span style="margin-left: 1em;">The captain said, "Quack! quack!"</span><br /> + + +<div class='sig'> +—<span class="smcap">Mother Goose.</span><br /> +</div></div> +<p><span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span></p> + + +<h3><span class="smcap">Three Happy Thought Songs</span></h3> + + +<div class='center'>I</div> + +<div class='poem'> +The world is so full of a number of things,<br /> +I'm sure we should all be as happy as kings.<br /> +</div> + +<div class='center'><br />II</div> + +<div class='poem'> +The rain is raining all around,<br /> +<span style="margin-left: 1em;">It falls on field and tree,</span><br /> +It rains on the umbrellas here,<br /> +<span style="margin-left: 1em;">And on the ships at sea.</span><br /> +</div> + +<div class='center'><br />III</div> + +<div class='poem'> +Of speckled eggs the birdie sings<br /> +<span style="margin-left: 1em;">And nests among the trees;</span><br /> +The sailor sings of ropes and things<br /> +<span style="margin-left: 1em;">In ships upon the seas.</span><br /> +<br /> +The children sing in far Japan,<br /> +<span style="margin-left: 1em;">The children sing in Spain;</span><br /> +The organ with the organ man<br /> +<span style="margin-left: 1em;">Is singing in the rain.</span><br /> + +<div class='sig'> +—<span class="smcap">Robert Louis Stevenson.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span></p> + + +<h3><span class="smcap">Boats Sail on the Rivers</span></h3> + +<div class='poem'> +Boats sail on the rivers,<br /> +<span style="margin-left: 1em;">And ships sail on the seas;</span><br /> +But clouds that sail across the sky<br /> +<span style="margin-left: 1em;">Are prettier far than these.</span><br /> +<br /> +There are bridges on the rivers,<br /> +<span style="margin-left: 1em;">As pretty as you please;</span><br /> +But the bow that bridges heaven<br /> +<span style="margin-left: 1em;">And overtops the trees,</span><br /> +And builds a road from earth to sky,<br /> +<span style="margin-left: 1em;">Is prettier far than these.</span><br /> + + +<div class='sig'> +—<span class="smcap">Christina G. Rossetti.</span><br /> +</div></div> + + +<h3><span class="smcap">Who Has Seen the Wind?</span></h3> + +<div class='poem'> +Who has seen the wind?<br /> +<span style="margin-left: 1em;">Neither I nor you;</span><br /> +But when the leaves hang trembling<br /> +<span style="margin-left: 1em;">The wind is passing through.</span><br /> +<br /> +Who has seen the wind?<br /> +<span style="margin-left: 1em;">Neither you nor I;</span><br /> +But when the trees bow down their heads<br /> +<span style="margin-left: 1em;">The wind is passing by.</span><br /> + + +<div class='sig'> +—<span class="smcap">Christina G. Rossetti.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span></p> + + +<h3><span class="smcap">The Friendly Cow</span></h3> + +<div class='poem'> +The friendly cow all red and white<br /> +<span style="margin-left: 1em;">I love with all my heart;</span><br /> +She gives me milk with all her might,<br /> +<span style="margin-left: 1em;">To eat with apple tart.</span><br /> +<br /> +She wanders lowing here and there,<br /> +<span style="margin-left: 1em;">And yet she cannot stray,</span><br /> +All in the pleasant open air,<br /> +<span style="margin-left: 1em;">The pleasant light of day.</span><br /> +<br /> +And blown by all the winds that pass,<br /> +<span style="margin-left: 1em;">And wet with all the showers,</span><br /> +She walks among the meadow grass<br /> +<span style="margin-left: 1em;">And eats the meadow flowers.</span><br /> + + +<div class='sig'> +—<span class="smcap">Robert Louis Stevenson.</span><br /> +</div></div> + + +<h3><span class="smcap">Windy Nights</span></h3> + +<div class='poem'> +Whenever the moon and stars are set,<br /> +<span style="margin-left: 1em;">Whenever the wind is high,</span><br /> +All night long in the dark and wet,<br /> +<span style="margin-left: 1em;">A man goes riding by.</span><br /> +Late in the night when the fires are out,<br /> +<span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span>Why does he gallop and gallop about?<br /> +<br /> +Whenever the trees are crying aloud,<br /> +<span style="margin-left: 1em;">And ships are tossed at sea,</span><br /> +By, on the highway, low and loud,<br /> +<span style="margin-left: 1em;">By at the gallop goes he.</span><br /> +By at the gallop he goes, and then<br /> +By he comes back at the gallop again.<br /> + + +<div class='sig'> +—<span class="smcap">Robert Louis Stevenson</span>.<br /> +</div></div> + + +<h3><span class="smcap">Bed in Summer</span></h3> + +<div class='poem'> +In winter I get up at night<br /> +And dress by yellow candle light;<br /> +In summer, quite the other way,<br /> +I have to go to bed by day.<br /> +<br /> +I have to go to bed and see<br /> +The birds still hopping on the tree;<br /> +Or hear the grown-up people's feet<br /> +Still going past me in the street.<br /> +<br /> +And does it not seem hard to you,<br /> +When all the sky is clear and blue,<br /> +And I should like so much to play,<br /> +To have to go to bed by day?<br /> + + +<div class='sig'> +—<span class="smcap">Robert Louis Stevenson.</span><br /> +</div></div><p><span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span></p> + + +<h3><span class="smcap">What Does Little Birdie Say?</span></h3> + +<div class='poem'> +What does little birdie say,<br /> +In her nest at peep of day?<br /> +Let me fly, says little birdie,<br /> +Mother, let me fly away.<br /> +Birdie, rest a little longer,<br /> +Till the little wings are stronger.<br /> +So she rests a little longer,<br /> +Then she flies away.<br /> +<br /> +What does little baby say,<br /> +In her bed at peep of day?<br /> +Baby says, like little birdie,<br /> +Let me rise and fly away.<br /> +Baby, sleep a little longer,<br /> +Till the little limbs are stronger.<br /> +If she sleeps a little longer,<br /> +Baby too shall fly away.<br /> + + +<div class='sig'> +—<span class="smcap">Alfred Lord Tennyson.</span><br /> +</div></div> + + +<h3><span class="smcap">A Slumber Song</span></h3> + +<div class='poem'> +<span style="margin-left: 3em;">Sleep, baby, sleep.</span><br /> +<span style="margin-left: 2em;">Thy father is tending the sheep:</span><br /> +Thy mother is shaking the dreamland tree,<br /> +And down comes a little dream on thee.<br /> +<span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span><span style="margin-left: 3em;">Sleep, baby, sleep.</span><br /> +<br /> +<span style="margin-left: 3em;">Sleep, baby, sleep.</span><br /> +<span style="margin-left: 2em;">The large stars are the sheep:</span><br /> +The little stars are the lambs, I guess,<br /> +And the bright moon is the shepherdess.<br /> +<span style="margin-left: 3em;">Sleep, baby, sleep.</span><br /> +<br /> +<span style="margin-left: 3em;">Sleep, baby, sleep.</span><br /> +<span style="margin-left: 2em;">Our Saviour loves His sheep:</span><br /> +He is the Lamb of God on high,<br /> +Who for our sakes came down to die.<br /> +<span style="margin-left: 3em;">Sleep, baby, sleep.</span><br /> + +<div class='sig'> +—<i>From the German by</i> <span class="smcap">Caroline Southey</span>.<br /></div></div> + + +<h3><span class="smcap">Psalm XXIII</span></h3> + +<div class='poem2'> +<span style="margin-left: 2em;">The Lord is my shepherd;</span><br /> +<span style="margin-left: 2em;">I shall not want.</span><br /> +<br /> +He maketh me to lie down in green pastures:<br /> +He leadeth me beside the still waters.<br /> +He restoreth my soul:<br /> +He leadeth me in the paths of righteousness for his name's sake.<br /> +<br /> +Yea, though I walk through the valley of the shadow of death,<br /> +I will fear no evil:<br /> +For thou art with me;<br /> +<span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span>Thy rod and thy staff they comfort me.<br /> +<br /> +<span style="margin-left: 2em;">Thou preparest a table before me</span><br /> +<span style="margin-left: 2em;">In the presence of mine enemies:</span><br /> +<span style="margin-left: 2em;">Thou anointest my head with oil;</span><br /> +<span style="margin-left: 2em;">My cup runneth over.</span><br /> +<br /> +<span style="margin-left: 1em;">Surely goodness and mercy shall follow me all the days of my life:</span><br /> +And I will dwell in the house of the Lord forever.<br /> + +<div class='sig'> +—<span class="smcap">King David.</span><br /></div></div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span></p> +<h2>SECOND YEAR</h2> + + +<h3><span class="smcap">The Light-hearted Fairy</span></h3> + +<div class='poem'> +Oh, who is so merry, so merry, heigh ho!<br /> +As the light-hearted fairy? heigh ho,<br /> +<span style="margin-left: 7em;">Heigh ho!</span><br /> +<span style="margin-left: 4em;">He dances and sings</span><br /> +<span style="margin-left: 4em;">To the sound of his wings</span><br /> +With a hey and a heigh and a ho.<br /> +<br /> +Oh, who is so merry, so airy, heigh ho!<br /> +As the light-headed fairy? heigh ho,<br /> +<span style="margin-left: 7em;">Heigh ho!</span><br /> +<span style="margin-left: 4em;">His nectar he sips</span><br /> +<span style="margin-left: 4em;">From the primroses' lips</span><br /> +With a hey and a heigh and a ho.<br /> +<br /> +Oh, who is so merry, so merry, heigh ho!<br /> +As the light-footed fairy? heigh ho,<br /> +<span style="margin-left: 7em;">Heigh ho!</span><br /> +<span style="margin-left: 4em;">The night is his noon</span><br /> +<span style="margin-left: 4em;">And his sun is the moon,</span><br /> +With a hey and a heigh and a ho.<br /> + +<div class='sig'> +—<span class="smcap">Unknown.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span></p> + + +<h3><span class="smcap">The Land of Counterpane</span></h3> + +<div class='poem'> +When I was sick and lay a-bed,<br /> +I had two pillows for my head,<br /> +<br /> +And all my toys beside me lay<br /> +To keep me happy all the day.<br /> +<br /> +And sometimes for an hour or so<br /> +I watched my leaden soldiers go,<br /> +<br /> +With different uniforms and drills,<br /> +Among the bed-clothes through the hills;<br /> +<br /> +And sometimes sent my ships in fleets<br /> +All up and down among the sheets;<br /> +<br /> +Or brought my trees and houses out,<br /> +And planted cities all about.<br /> +<br /> +I was the giant great and still<br /> +That sits upon the pillow-hill,<br /> +<br /> +And sees before him, dale and plain,<br /> +The pleasant land of counterpane.<br /> + +<div class='sig'> +—<span class="smcap">Robert Louis Stevenson.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span></p> + + +<h3><span class="smcap">My Shadow</span></h3> + +<div class='poem2'> +I have a little shadow that goes in and out with me,<br /> +And what can be the use of him is more than I can see.<br /> +He is very, very like me from the heels up to the head;<br /> +And I see him jump before me when I jump into my bed.<br /> +<br /> +The funniest thing about him is the way he likes to grow—<br /> +Not at all like proper children, which is always very slow;<br /> +For he sometimes shoots up taller like an india-rubber ball,<br /> +And he sometimes gets so little that there's none of him at all.<br /> +<br /> +He hasn't got a notion of how children ought to play,<br /> +And can only make a fool of me in every sort of way.<br /> +He stays so close beside me, he's a coward you can see;<br /> +I'd think shame to stick to nursie as that shadow sticks to me.<br /> +<br /> +One morning, very early, before the sun was up,<br /> +I rose and found the shining dew on every buttercup;<br /> +But my lazy little shadow, like an arrant sleepy-head,<br /> +Had stayed at home behind me and was fast asleep in bed.<br /> + +<div class='sig'> +—<span class="smcap">Robert Louis Stevenson.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span></p> + + +<h3><span class="smcap">Sweet and Low</span></h3> + +<div class='poem'> +Sweet and low, sweet and low,<br /> +<span style="margin-left: 1em;">Wind of the western sea;</span><br /> +Low, low, breathe and blow,<br /> +<span style="margin-left: 1em;">Wind of the western sea.</span><br /> +Over the rolling waters go,<br /> +Come from the dying moon, and blow,<br /> +<span style="margin-left: 1em;">Blow him again to me;</span><br /> +While my little one, while my pretty one, sleeps.<br /> +<br /> +Sleep and rest, sleep and rest,<br /> +<span style="margin-left: 1em;">Father will come to thee soon;</span><br /> +Rest, rest on mother's breast,<br /> +<span style="margin-left: 1em;">Father will come to thee soon;</span><br /> +Father will come to his babe in the nest,<br /> +Silver sails all out of the west<br /> +<span style="margin-left: 1em;">Under the silver moon;</span><br /> +Sleep, my little one, sleep, my pretty one, sleep.<br /> + + +<div class='sig'> +<span class="smcap">—Alfred Lord Tennyson.</span><br /> +</div></div> + + +<h3>LULLABY FOR TITANIA</h3> + +<div class='center'><i>First Fairy</i></div> + +<div class='poem'> +You spotted snakes with double tongue,<br /> +<span style="margin-left: 1em;">Thorny hedgehogs, be not seen;</span><br /> +Newts and blind-worms, do no wrong;<br /> +<span style="margin-left: 1em;">Come not near our fairy queen.</span><br /> +</div> + +<p><span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span></p> + + +<div class='center'><i>Chorus</i></div> + +<div class='poem'> +<span style="margin-left: 4em;">Philomel, with melody</span><br /> +<span style="margin-left: 4em;">Sing in our sweet lullaby;</span><br /> +Lulla, lulla, lullaby; lulla, lulla, lullaby:<br /> +<span style="margin-left: 7em;">Never harm,</span><br /> +<span style="margin-left: 7em;">Nor spell, nor charm,</span><br /> +<span style="margin-left: 4em;">Come our lovely lady nigh;</span><br /> +<span style="margin-left: 4em;">So, good night, with lullaby.</span><br /> +</div> + +<div class='center'><br /><i>Second Fairy</i></div> + +<div class='poem'> +Weaving spiders, come not here;<br /> +<span style="margin-left: 1em;">Hence, you long-legg'd spinners, hence;</span><br /> +Beetles black, approach not near;<br /> +<span style="margin-left: 1em;">Worm nor snail, do no offence.</span><br /> +</div> + +<div class='center'><br /><i>Chorus</i></div> + +<div class='poem'> +<span style="margin-left: 4em;">Philomel, with melody</span><br /> +<span style="margin-left: 4em;">Sing in our sweet lullaby;</span><br /> +Lulla, lulla, lullaby; lulla, lulla, lullaby:<br /> +<span style="margin-left: 7em;">Never harm,</span><br /> +<span style="margin-left: 7em;">Nor spell, nor charm,</span><br /> +<span style="margin-left: 4em;">Come our lovely lady nigh;</span><br /> +<span style="margin-left: 4em;">So, good night, with lullaby.</span><br /> + +<div class='sig'> +—<span class="smcap">William Shakespeare.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span></p> + + +<h3><span class="smcap">An Old Gaelic Cradle Song</span></h3> + +<div class='poem'> +Hush! the waves are rolling in,<br /> +<span style="margin-left: 1em;">White with foam, white with foam!</span><br /> +Father toils amid the din;<br /> +<span style="margin-left: 1em;">But baby sleeps at home.</span><br /> +<br /> +Hush! the winds roar hoarse and deep.<br /> +<span style="margin-left: 1em;">On they come, on they come!</span><br /> +Brother seeks the lazy sheep;<br /> +<span style="margin-left: 1em;">But baby sleeps at home.</span><br /> +<br /> +Hush! the rain sweeps o'er the knowes,<br /> +<span style="margin-left: 1em;">Where they roam, where they roam;</span><br /> +Sister goes to seek the cows;<br /> +<span style="margin-left: 1em;">But baby sleeps at home.</span><br /> + +<div class='sig'> +—<span class="smcap">Unknown.</span><br /> +</div></div> + + +<h3>CHILD-SONGS</h3> + +<div class='center'>I<br /> +<br /> +<span class="smcap">The City Child</span><br /><br /></div> + +<div class='poem2'> +Dainty little maiden, whither would you wander?<br /> +<span style="margin-left: 1em;">Whither from this pretty home, the home where mother dwells?</span><br /> +"Far, and far away," said the dainty little maiden,<br /> +"All among the gardens, auriculas, anemones,<br /> +<span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span><span style="margin-left: 1em;">Roses and lilies and Canterbury-bells."</span><br /> +<br /> +Dainty little maiden, whither would you wander?<br /> +<span style="margin-left: 1em;">Whither from this pretty house, this city-house of ours?</span><br /> +"Far and far away," said the dainty little maiden,<br /> +"All among the meadows, the clover and the clematis,<br /> +<span style="margin-left: 1em;">Daisies and kingcups, and honeysuckle-flowers."</span><br /> +</div> + +<div class='center'><br />II<br /> +<br /> +<span class="smcap">Minnie and Winnie</span><br /><br /></div> + +<div class='poem'> +Minnie and Winnie<br /> +<span style="margin-left: 2em;">Slept in a shell.</span><br /> +Sleep, little ladies!<br /> +<span style="margin-left: 2em;">And they slept well.</span><br /> +<br /> +Pink was the shell within,<br /> +<span style="margin-left: 2em;">Silver without;</span><br /> +Sounds of the great sea<br /> +<span style="margin-left: 2em;">Wander'd about.</span><br /> +<br /> +Sleep, little ladies!<br /> +<span style="margin-left: 2em;">Wake not soon!</span><br /> +Echo on echo<br /> +<span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span><span style="margin-left: 2em;">Dies to the moon.</span><br /> +<br /> +Two bright stars<br /> +<span style="margin-left: 2em;">Peep'd into the shell.</span><br /> +"What are they dreaming of?<br /> +<span style="margin-left: 2em;">Who can tell?"</span><br /> +<br /> +Started a green linnet<br /> +<span style="margin-left: 2em;">Out of the croft;</span><br /> +Wake, little ladies,<br /> +<span style="margin-left: 2em;">The sun is aloft!</span><br /> + +<div class='sig'> +—<span class="smcap">Alfred Lord Tennyson.</span><br /> +</div></div> + + +<h3><span class="smcap">The Lamb</span></h3> + +<div class='poem'> +Little Lamb, who made thee?<br /> +Dost thou know who made thee?<br /> +Gave thee life, and bade thee feed<br /> +By the stream and o'er the mead;<br /> +Softest clothing, woolly, bright;<br /> +Gave thee such a tender voice,<br /> +Making all the vales rejoice;<br /> +<span style="margin-left: 2em;">Little Lamb, who made thee?</span><br /> +<span style="margin-left: 2em;">Dost thou know who made thee?</span><br /> +<br /> +Little Lamb, I'll tell thee.<br /> +Little Lamb, I'll tell thee.<br /> +He is calléd by thy name,<br /> +<span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span>For He calls Himself a Lamb:—<br /> +<br /> +He is meek, and He is mild;<br /> +He became a little child:<br /> +I, a child, and thou, a lamb,<br /> +We are calléd by His name.<br /> +<span style="margin-left: 2em;">Little Lamb, God bless thee;</span><br /> +<span style="margin-left: 2em;">Little Lamb, God bless thee.</span><br /> + +<div class='sig'> +—<span class="smcap">William Blake.</span><br /> +</div></div> + + +<h3><span class="smcap">The Fairies</span></h3> + +<div class='poem'> +Up the airy mountain,<br /> +<span style="margin-left: 2em;">Down the rushy glen,</span><br /> +We daren't go a-hunting<br /> +<span style="margin-left: 2em;">For fear of little men;</span><br /> +Wee folk, good folk,<br /> +<span style="margin-left: 2em;">Trooping all together;</span><br /> +Green jacket, red cap,<br /> +<span style="margin-left: 2em;">And white owl's feather!</span><br /> +<br /> +Down along the rocky shore<br /> +<span style="margin-left: 2em;">Some make their home:</span><br /> +They live on crispy pancakes<br /> +<span style="margin-left: 2em;">Of yellow tide-foam;</span><br /> +Some in the reeds<br /> +<span style="margin-left: 2em;">Of the black mountain lake,</span><br /> +With frogs for their watch-dogs,<br /> +<span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span><span style="margin-left: 2em;">All night awake.</span><br /> +<br /> +By the craggy hill-side,<br /> +<span style="margin-left: 2em;">Through the mosses bare,</span><br /> +They have planted thorn-trees<br /> +<span style="margin-left: 2em;">For pleasure here and there.</span><br /> +Is any man so daring<br /> +<span style="margin-left: 2em;">As dig them up in spite,</span><br /> +He shall find their sharpest thorns<br /> +<span style="margin-left: 2em;">In his bed at night.</span><br /> +<br /> +Up the airy mountain,<br /> +<span style="margin-left: 2em;">Down the rushy glen,</span><br /> +We daren't go a-hunting<br /> +<span style="margin-left: 2em;">For fear of little men;</span><br /> +Wee folk, good folk,<br /> +<span style="margin-left: 2em;">Trooping all together;</span><br /> +Green jacket, red cap,<br /> +<span style="margin-left: 2em;">And white owl's feather!</span><br /> + +<div class='sig'> +—<span class="smcap">William Allingham.</span><br /> +</div></div> + + +<h3><span class='smcap'>Spring</span></h3> + +<div class='poem'> +Spring, the sweet spring, is the year's pleasant king;<br /> +Then blooms each thing, then maids dance in a ring,<br /> +Cold doth not sting, the pretty birds do sing,<br /> +<span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span><span style="margin-left: 1em;">Cuckoo, jug-jug, pu-we, to-witta-woo!</span><br /> +<br /> +The palm and may make country houses gay,<br /> +Lambs frisk and play, the shepherds pipe all day,<br /> +And we hear aye birds tune this merry lay,<br /> +<span style="margin-left: 1em;">Cuckoo, jug-jug, pu-we, to-witta-woo!</span><br /> +<br /> +The fields breathe sweet, the daisies kiss our feet,<br /> +Young lovers meet, old wives a-sunning sit,<br /> +In every street these tunes our ears do greet,<br /> +<span style="margin-left: 1em;">Cuckoo, jug-jug, pu-we, to-witta-woo!</span><br /> +<span style="margin-left: 3em;">Spring, the sweet Spring!</span><br /> + +<div class='sig'> +—<span class="smcap">Thomas Nash.</span><br /> +</div></div> + + +<h3><span class="smcap">Lady Moon</span></h3> + +<div class='poem'> +"I love the moon and the moon loves me;<br /> +God bless the moon and God bless me."—Old Song.<br /> +<br /> + +<br /> +"Lady Moon, Lady Moon, where are you roving?"<br /> +<span style="margin-left: 5em;">"Over the sea."</span><br /> +"Lady Moon, Lady Moon, whom are you loving?"<br /> +<span style="margin-left: 5em;">"All that love me."</span><br /> +<br /> +"Are you not tired with rolling, and never<br /> +<span style="margin-left: 5em;">Resting to sleep?</span><br /> +Why look so pale and so sad as forever<br /> +<span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span><span style="margin-left: 5em;">Wishing to weep?"</span><br /> +<br /> +"Ask me not this, little child, if you love me;<br /> +<span style="margin-left: 5em;">You are too bold.</span><br /> +I must obey the great Father above me,<br /> +<span style="margin-left: 5em;">And do as I'm told."</span><br /> + +<div class='sig'> +—<span class="smcap">Lord Houghton.</span><br /> +</div></div> + + +<h3><span class="smcap">Song To Naomi</span></h3> + +<div class='poem'> +Entreat me not to leave thee,<br /> +<span style="margin-left: 2em;">Or to return from following after thee;</span><br /> +For whither thou goest, I will go;<br /> +<span style="margin-left: 2em;">And where thou lodgest, I will lodge;</span><br /> +Thy people shall be my people,<br /> +<span style="margin-left: 2em;">And thy God my God;</span><br /> +Where thou diest, will I die,<br /> +<span style="margin-left: 2em;">And there will I be buried;</span><br /> +The Lord do so to me,<br /> +And more also,<br /> +<span style="margin-left: 2em;">If aught but death part thee and me.</span><br /> + +<div class='sig'> +—<span class="smcap">Ruth the Moabitess.</span><br /> +</div></div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span></p> +<h2>THIRD YEAR</h2> + + +<h3><span class="smcap">The Wind</span></h3> + +<div class='poem'> +I saw you toss the kites on high<br /> +And blow the birds about the sky;<br /> +And all around I heard you pass,<br /> +Like ladies' skirts across the grass;<br /> +<span style="margin-left: 2em;">O wind, a-blowing all day long,</span><br /> +<span style="margin-left: 2em;">O wind, that sings so loud a song!</span><br /> +<br /> +I saw the different things you did,<br /> +But always you yourself you hid.<br /> +I felt you push, I heard you call,<br /> +I could not see yourself at all:<br /> +<span style="margin-left: 2em;">O wind, a-blowing all day long,</span><br /> +<span style="margin-left: 2em;">O wind, that sings so loud a song!</span><br /> +<br /> +O you that are so strong and cold,<br /> +O blower, are you young or old?<br /> +Are you a beast of field and tree,<br /> +Or just a stronger child than me?<br /> +<span style="margin-left: 2em;">O wind, a-blowing all day long,</span><br /> +<span style="margin-left: 2em;">O wind, that sings so loud a song!</span><br /> + +<div class='sig'> +—<span class="smcap">Robert Louis Stevenson.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span></p> + + +<h3><span class="smcap">Ariel's Songs</span></h3> + +<div class='center'>I</div> + +<div class='poem'> +Where the bee sucks, there suck I:<br /> +In a cowslip's bell I lie;<br /> +There I couch when owls do cry.<br /> +On the bat's back I do fly<br /> +After summer merrily.<br /> +<span style="margin-left: 2em;">Merrily, merrily, shall I live now,</span><br /> +<span style="margin-left: 2em;">Under the blossom that hangs on the bough.</span><br /> +</div> + +<div class='center'><br />II</div> + +<div class='poem'> +Come unto these yellow sands,<br /> +<span style="margin-left: 2em;">And then take hands:</span><br /> +Court'sied when you have, and kiss'd<br /> +<span style="margin-left: 2em;">The wild waves whist,—</span><br /> +Foot it featly here and there;<br /> +And, sweet sprites, the burden bear.<br /> +<span style="margin-left: 2em;">Hark, hark!</span><br /> +<span style="margin-left: 4em;">Bow-wow.</span><br /> +<span style="margin-left: 2em;">The watch-dogs bark:</span><br /> +<span style="margin-left: 4em;">Bow-wow.</span><br /> +<span style="margin-left: 2em;">Hark, hark! I hear</span><br /> +The strain of strutting chanticleer<br /> +Cry, Cock-a-diddle-dow!<br /> + +<div class='sig'> +—<span class="smcap">William Shakespeare.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span></p> + + +<h3><span class="smcap">Songs of Good Cheer</span></h3> + +<div class='center'>I</div> + +<div class='poem'> +When daffodils begin to peer,<br /> +<span style="margin-left: 2em;">With heigh the doxy over the dale,</span><br /> +Why then comes in the sweet o' the year:<br /> +<span style="margin-left: 2em;">For the red blood reigns in the winter's pale.</span><br /> +</div> + +<div class='center'><br />II</div> + +<div class='poem'> +Jog on, jog on, the foot-path way,<br /> +<span style="margin-left: 2em;">And merrily hent the stile-a:</span><br /> +A merry heart goes all the day,<br /> +<span style="margin-left: 2em;">Your sad tires in a mile-a.</span><br /> +</div> + +<div class='center'><br />III</div> + +<div class='poem'> +A great while ago the world began,<br /> +<span style="margin-left: 2em;">With heigh-ho the wind and the rain:</span><br /> +But that's all one, our play is done,<br /> +<span style="margin-left: 2em;">And we'll strive to please you every day.</span><br /> + +<div class='sig'> +—<span class="smcap">William Shakespeare.</span><br /> +</div></div> + + +<h3><span class="smcap">The Owl</span></h3> + +<div class='poem'> +When cats run home and light is come,<br /> +<span style="margin-left: 2em;">And dew is cold upon the ground,</span><br /> +And the far-off stream is dumb,<br /> +<span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span><span style="margin-left: 2em;">And the whirring sail goes round,</span><br /> +<span style="margin-left: 2em;">And the whirring sail goes round;</span><br /> +<span style="margin-left: 4em;">Alone and warming his five wits,</span><br /> +<span style="margin-left: 4em;">The white owl in the belfry sits.</span><br /> +<br /> +When merry milkmaids click the latch,<br /> +<span style="margin-left: 2em;">And rarely smells the new-mown hay,</span><br /> +And the cock hath sung beneath the thatch<br /> +<span style="margin-left: 2em;">Twice or thrice his roundelay,</span><br /> +<span style="margin-left: 2em;">Twice or thrice his roundelay;</span><br /> +<span style="margin-left: 4em;">Alone and warming his five wits,</span><br /> +<span style="margin-left: 4em;">The white owl in the belfry sits.</span><br /> + +<div class='sig'> +—<span class="smcap">Alfred Lord Tennyson.</span><br /> +</div></div> + + +<h3><span class="smcap">Answer to a Child's Question</span></h3> + +<div class='poem'> +Do you ask what the birds say? The sparrow, the dove,<br /> +The linnet, and thrush, say, "I love and I love!"<br /> +In the winter they're silent—the wind is so strong.<br /> +What it says I don't know, but it sings a loud song.<br /> +But green leaves, and blossoms, and sunny warm weather,<br /> +And singing, and loving,—all come back together.<br /> +But the lark is so brimful of gladness and love,<br /> +The green fields below him, the blue sky above,<br /> +That he sings, and he sings; and forever sings he—<br /> +"I love my Love, and my Love loves me!"<br /> + +<div class='sig'> +—<span class="smcap">Samuel Taylor Coleridge.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span></p> + + +<h3><span class="smcap">Robin Redbreast</span></h3> + +<div class='poem'> +Good-bye, good-bye to Summer!<br /> +<span style="margin-left: 1em;">For Summer's nearly done;</span><br /> +The garden smiling faintly,<br /> +<span style="margin-left: 1em;">Cool breezes in the sun;</span><br /> +Our thrushes now are silent,<br /> +<span style="margin-left: 1em;">Our swallows flown away,—</span><br /> +But Robin's here with coat of brown,<br /> +<span style="margin-left: 1em;">And ruddy breast-knot gay.</span><br /> +<span style="margin-left: 2em;">Robin, Robin Redbreast,</span><br /> +<span style="margin-left: 3em;">O Robin dear!</span><br /> +<span style="margin-left: 2em;">Robin sings so sweetly</span><br /> +<span style="margin-left: 3em;">In the falling of the year.</span><br /> +<br /> +Bright yellow, red, and orange,<br /> +<span style="margin-left: 1em;">The leaves come down in hosts;</span><br /> +The trees are Indian princes,<br /> +<span style="margin-left: 1em;">But soon they'll turn to ghosts;</span><br /> +The scanty pears and apples<br /> +<span style="margin-left: 1em;">Hang russet on the bough;</span><br /> +It's Autumn, Autumn, Autumn late,<br /> +<span style="margin-left: 1em;">'Twill soon be Winter now.</span><br /> +<span style="margin-left: 2em;">Robin, Robin Redbreast,</span><br /> +<span style="margin-left: 3em;">O Robin dear!</span><br /> +<span style="margin-left: 2em;">And what will this poor Robin do?</span><br /> +<span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span><span style="margin-left: 3em;">For pinching days are near.</span><br /> +<br /> +The fire-side for the cricket,<br /> +<span style="margin-left: 1em;">The wheat-stack for the mouse,</span><br /> +When trembling night-winds whistle<br /> +<span style="margin-left: 1em;">And moan all round the house.</span><br /> +The frosty ways like iron,<br /> +<span style="margin-left: 1em;">The branches plumed with snow,—</span><br /> +Alas! in winter dead and dark,<br /> +<span style="margin-left: 1em;">Where can poor Robin go?</span><br /> +<span style="margin-left: 2em;">Robin, Robin Redbreast,</span><br /> +<span style="margin-left: 3em;">O Robin dear!</span><br /> +<span style="margin-left: 2em;">And a crumb of bread for Robin,</span><br /> +<span style="margin-left: 3em;">His little heart to cheer!</span><br /> + +<div class='sig'> +—<span class="smcap">William Allingham.</span><br /> +</div></div> + + +<h3><span class="smcap">The Unseen Playmate</span></h3> + +<div class='poem'> +When children are playing alone on the green,<br /> +In comes the playmate that never was seen.<br /> +When children are happy and lonely and good,<br /> +The Friend of the Children comes out of the wood.<br /> +<br /> +Nobody heard him and nobody saw,<br /> +His is a picture you never could draw,<br /> +But he's sure to be present, abroad or at home,<br /> +When children are happy and playing alone.<br /> +<br /> +He lies in the laurel, he runs on the grass,<br /> +<span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span>He sings when you tinkle the musical glass;<br /> +Whene'er you are happy and cannot tell why,<br /> +The Friend of the Children is sure to be by!<br /> +<br /> +He loves to be little, he hates to be big,<br /> +'Tis he that inhabits the caves that you dig;<br /> +'Tis he when you play with your soldiers of tin<br /> +That sides with the Frenchmen and never can win.<br /> +<br /> +'Tis he, when at night you go off to your bed,<br /> +Bids you go to your sleep and not trouble your head;<br /> +For wherever they're lying, in cupboard or shelf,<br /> +'Tis he will take care of your playthings himself!<br /> + +<div class='sig'> +—<span class="smcap">Robert Louis Stevenson.</span><br /> +</div></div> + + +<h3><span class="smcap">A Laughing Song</span></h3> + +<div class='poem'> +When the green woods laugh with the voice of joy,<br /> +And the dimpling stream runs laughing by;<br /> +When the air does laugh with our merry wit,<br /> +And the green hill laughs with the noise of it;<br /> +<br /> +When the meadows laugh with lively green,<br /> +And the grasshopper laughs in the merry scene;<br /> +When Mary, and Susan, and Emily,<br /> +<span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span>With their sweet round mouths sing, "Ha, ha, he!"<br /> +<br /> +When the painted birds laugh in the shade,<br /> +Where our table with cherries and nuts is spread:<br /> +Come live, and be merry, and join with me<br /> +To sing the sweet chorus of "Ha, ha, he!"<br /> + +<div class='sig'> +—<span class="smcap">William Blake.</span><br /> +</div></div> + + +<h3><span class="smcap">Lullaby of an Infant Chief</span></h3> + +<div class='poem'> +Oh, hush thee, my babie! thy sire was a knight,<br /> +Thy mother a lady, both lovely and bright;<br /> +The woods and the glens, from the towers which we see,<br /> +They all are belonging, dear babie, to thee.<br /> +<br /> +Oh, fear not the bugle, though loudly it blows,<br /> +It calls but the warders that guard thy repose;<br /> +Their bows would be bended, their blades would be red,<br /> +Ere the step of a foeman draw near to thy bed.<br /> +<br /> +Oh, hush thee, my babie! the time soon will come,<br /> +When thy sleep shall be broken by trumpet and drum;<br /> +Then hush thee, my darling! take rest while you may;<br /> +For strife comes with manhood, and waking with day.<br /> + +<div class='sig'> +—<span class="smcap">Sir Walter Scott.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span></p> + + +<h3><span class="smcap">The Fairy Queen</span></h3> + +<div class='center'>(An Old Song)</div> + +<div class='poem'> +<span style="margin-left: 2em;">Come follow, follow me,</span><br /> +<span style="margin-left: 2em;">You fairy elves that be,</span><br /> +<span style="margin-left: 2em;">Which circle on the green;</span><br /> +<span style="margin-left: 2em;">Come, follow Mab your queen.</span><br /> +Hand in hand let's dance around,<br /> +For this place is fairy ground.<br /> +<br /> +<span style="margin-left: 2em;">The grasshopper, gnat, and fly,</span><br /> +<span style="margin-left: 2em;">Serve for our minstrelsy;</span><br /> +<span style="margin-left: 2em;">Grace said, we dance a while</span><br /> +<span style="margin-left: 2em;">And so the time beguile:</span><br /> +And if the moon doth hide her head,<br /> +The glowworm lights us home to bed.<br /> +<br /> +<span style="margin-left: 2em;">On tops of dewy grass</span><br /> +<span style="margin-left: 2em;">So nimbly do we pass,</span><br /> +<span style="margin-left: 2em;">The young and tender stalk</span><br /> +<span style="margin-left: 2em;">Ne'er bends when we do walk;</span><br /> +Yet in the morning may be seen<br /> +Where we the night before have been.<br /> + +<div class='sig'> +—<span class="smcap">Unknown.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span></p> + + +<h3><span class="smcap">Ring Out, Wild Bells</span></h3> + +<div class='poem'> +Ring out, wild bells, to the wild sky,<br /> +<span style="margin-left: 1em;">The flying cloud, the frosty light:</span><br /> +<span style="margin-left: 1em;">The year is dying in the night;</span><br /> +Ring out, wild bells, and let him die.<br /> +<br /> +Ring out the old, ring in the new,<br /> +<span style="margin-left: 1em;">Ring, happy bells, across the snow:</span><br /> +<span style="margin-left: 1em;">The year is going, let him go;</span><br /> +Ring out the false, ring in the true.<br /> +<br /> +Ring in the valiant man and free,<br /> +<span style="margin-left: 1em;">The larger heart, the kindlier hand;</span><br /> +<span style="margin-left: 1em;">Ring out the darkness of the land,</span><br /> +Ring in the Christ that is to be.<br /> + +<div class='sig'> +—<span class="smcap">Alfred Lord Tennyson.</span><br /> +</div></div> + + +<h3><span class="smcap">Song of Spring</span></h3> + +<div class='poem'> +The voice of my beloved! behold, he cometh,<br /> +<span style="margin-left: 2em;">Leaping upon the mountains,</span><br /> +<span style="margin-left: 2em;">Skipping upon the hills.</span><br /> +My beloved is like a roe or a young hart:<br /> +<span style="margin-left: 2em;">Behold, he standeth behind our wall,</span><br /> +<span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span>He looketh forth at the windows,<br /> +Showing himself through the lattice.<br /> +<span style="margin-left: 2em;">My beloved spake and said unto me:</span><br /> +Rise up, my love, my fair one,<br /> +<span style="margin-left: 2em;">And come away.</span><br /> +<br /> +For, lo, the winter is past,<br /> +<span style="margin-left: 2em;">The rain is over and gone;</span><br /> +The flowers appear on the earth;<br /> +<span style="margin-left: 2em;">The time of the singing of birds is come,</span><br /> +<span style="margin-left: 2em;">And the voice of the turtle is heard in our land;</span><br /> +The fig tree putteth forth her green figs,<br /> +<span style="margin-left: 2em;">And the vines with the tender grape</span><br /> +<span style="margin-left: 2em;">Give a good smell.</span><br /> +Arise, my love, my fair one,<br /> +<span style="margin-left: 2em;">And come away.</span><br /> + +<div class='sig'> +—<span class="smcap">King Solomon.</span><br /> +</div></div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span></p> +<h2>FOURTH YEAR</h2> + + +<h3><span class="smcap">Pippa's Song</span></h3> + +<div class='poem'> +The year's at the spring<br /> +And day's at the morn;<br /> +Morning's at seven;<br /> +The hill-side's dew-pearled;<br /> +The lark's on the wing;<br /> +The snail's on the thorn:<br /> +God's in his heaven—<br /> +All's right with the world!<br /> + +<div class='sig'> +—<span class="smcap">Robert Browning.</span><br /> +</div></div> + + +<h3><span class="smcap">A Sea Dirge</span></h3> + +<div class='poem'> +Full fathom five thy father lies:<br /> +<span style="margin-left: 2em;">Of his bones are coral made;</span><br /> +Those are pearls that were his eyes:<br /> +<span style="margin-left: 2em;">Nothing of him that doth fade,</span><br /> +But doth suffer a sea-change<br /> +Into something rich and strange.<br /> +Sea-nymphs hourly ring his knell:<br /> +<span style="margin-left: 2em;">Hark! now I hear them,—</span><br /> +<span style="margin-left: 4em;">Ding, dong, bell.</span><br /> + +<div class='sig'> +—<span class="smcap">William Shakespeare.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span></p> + + +<h3><span class="smcap">Hark! Hark! the Lark</span></h3> + +<div class='poem'> +Hark! hark! the lark at heaven's gate sings,<br /> +<span style="margin-left: 2em;">And Phœbus 'gins arise,</span><br /> +His steeds to water at those springs<br /> +<span style="margin-left: 2em;">On chalic'd flowers that lies;</span><br /> +And winking Mary-buds begin<br /> +<span style="margin-left: 2em;">To ope their golden eyes:</span><br /> +With everything that pretty bin,<br /> +<span style="margin-left: 2em;">My lady sweet, arise;</span><br /> +<span style="margin-left: 4em;">Arise, arise!</span><br /> + +<div class='sig'> +—<span class="smcap">William Shakespeare.</span><br /> +</div></div> + + +<h3><span class="smcap">Winter</span></h3> + +<div class='poem'> +When icicles hang by the wall,<br /> +<span style="margin-left: 2em;">And Dick the shepherd blows his nail</span><br /> +And Tom bears logs into the hall,<br /> +<span style="margin-left: 2em;">And milk comes frozen home in pail;</span><br /> +When blood is nipp'd, and ways be foul,<br /> +Then nightly sings the staring owl,<br /> +<span style="margin-left: 12em;">To-who;</span><br /> +Tu-whit, to-who, a merry note,<br /> +While greasy Joan doth keel the pot.<br /> +<br /> +When all aloud the wind doth blow,<br /> +<span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span><span style="margin-left: 2em;">And coughing drowns the parson's saw,</span><br /> +And birds sit brooding in the snow,<br /> +<span style="margin-left: 2em;">And Marion's nose looks red and raw;</span><br /> +When roasted crabs hiss in the bowl,<br /> +Then nightly sings the staring owl,<br /> +<span style="margin-left: 12em;">To-who;</span><br /> +Tu-whit, to-who, a merry note,<br /> +While greasy Joan doth keel the pot.<br /> + +<div class='sig'> +—<span class="smcap">William Shakespeare.</span><br /> +</div></div> + + +<h3><span class="smcap">A Fairy's Song</span></h3> + +<div class='poem'> +Over hill, over dale,<br /> +<span style="margin-left: 2em;">Thorough bush, thorough brier,</span><br /> +Over park, over pale,<br /> +<span style="margin-left: 2em;">Thorough flood, thorough fire,</span><br /> +<span style="margin-left: 2em;">I do wander everywhere,</span><br /> +<span style="margin-left: 2em;">Swifter than the moon's sphere;</span><br /> +<span style="margin-left: 2em;">And I serve the fairy queen,</span><br /> +<span style="margin-left: 2em;">To dew her orbs upon the green:</span><br /> +<span style="margin-left: 2em;">The cowslips tall her pensioners be;</span><br /> +<span style="margin-left: 2em;">In their gold coats spots you see;</span><br /> +Those be rubies, fairy favours,<br /> +In those freckles live their savours:<br /> +I must go seek some dewdrops here,<br /> +And hang a pearl in every cowslip's ear.<br /> + +<div class='sig'> +—<span class="smcap">William Shakespeare.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span></p> + + +<h3><span class="smcap">A Land Dirge</span></h3> + +<div class='poem'> +Call for the robin-redbreast and the wren,<br /> +<span style="margin-left: 2em;">Since o'er shady groves they hover,</span><br /> +<span style="margin-left: 2em;">And with leaves and flowers do cover</span><br /> +The friendless bodies of unburied men.<br /> +<span style="margin-left: 2em;">Call unto his funeral dole</span><br /> +<span style="margin-left: 2em;">The ant, the field mouse, and the mole</span><br /> +To rear him hillocks that shall keep him warm,<br /> +And (when gay tombs are robb'd) sustain no harm:<br /> +But keep the wolf far thence, that's foe to men:<br /> +For with his nails he'll dig them up again.<br /> + +<div class='sig'> +—<span class="smcap">John Webster.</span><br /> +</div></div> + + +<h3><span class="smcap">My Heart Leaps Up</span></h3> + +<div class='poem'> +My heart leaps up when I behold<br /> +<span style="margin-left: 2em;">A rainbow in the sky:</span><br /> +So was it when my life began,<br /> +So is it now I am a man,<br /> +So be it when I shall grow old<br /> +<span style="margin-left: 2em;">Or let me die!</span><br /> +The Child is father of the Man:<br /> +And I could wish my days to be<br /> +Bound each to each by natural piety.<br /> + +<div class='sig'> +—<span class="smcap">William Wordsworth.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span></p> + + +<h3><span class="smcap">A Morning Song</span></h3> + +<div class='poem'> +Pack, clouds, away, and welcome day:<br /> +<span style="margin-left: 2em;">With night we banish sorrow;</span><br /> +Sweet air blow soft, mount larks aloft,<br /> +<span style="margin-left: 2em;">To give my Love good-morrow!</span><br /> +Wings from the wind to please her mind,<br /> +<span style="margin-left: 2em;">Notes from the lark I'll borrow;</span><br /> +Bird, prune thy wing, nightingale, sing,<br /> +<span style="margin-left: 2em;">To give my Love good-morrow;</span><br /> +<span style="margin-left: 3em;">To give my Love good-morrow</span><br /> +<span style="margin-left: 3em;">Notes from them both I'll borrow.</span><br /> +<br /> +Wake from thy nest, Robin-red-breast,<br /> +<span style="margin-left: 2em;">Sing, birds, in every furrow;</span><br /> +And from each hill, let music shrill<br /> +<span style="margin-left: 2em;">Give my fair Love good-morrow!</span><br /> +Blackbird and thrush in every bush,<br /> +<span style="margin-left: 2em;">Stare, linnet, and cock-sparrow!</span><br /> +You pretty elves, amongst yourselves,<br /> +<span style="margin-left: 2em;">Sing my fair Love good-morrow</span><br /> +<span style="margin-left: 3em;">To give my Love good-morrow;</span><br /> +<span style="margin-left: 3em;">Sing, birds, in every furrow!</span><br /> + +<div class='sig'> +—<span class="smcap">Thomas Heywood.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span></p> + + +<h3><span class="smcap">In March</span></h3> + +<div class='poem'> +<span style="margin-left: 2em;">The cock is crowing,</span><br /> +<span style="margin-left: 2em;">The stream is flowing,</span><br /> +<span style="margin-left: 2em;">The small birds twitter,</span><br /> +<span style="margin-left: 2em;">The lake doth glitter,</span><br /> +The green field sleeps in the sun:<br /> +<span style="margin-left: 2em;">The oldest and youngest</span><br /> +<span style="margin-left: 2em;">Are at work with the strongest:</span><br /> +<span style="margin-left: 2em;">The cattle are grazing,</span><br /> +<span style="margin-left: 2em;">Their heads never raising,</span><br /> +There are forty feeding like one!<br /> +<br /> +<span style="margin-left: 2em;">Like an army defeated,</span><br /> +<span style="margin-left: 2em;">The snow has retreated,</span><br /> +<span style="margin-left: 2em;">And now doth fare ill</span><br /> +<span style="margin-left: 2em;">On the top of the bare hill;</span><br /> +The ploughboy is whooping—anon—anon:<br /> +<span style="margin-left: 2em;">There's joy in the mountains;</span><br /> +<span style="margin-left: 2em;">There's life in the fountains,</span><br /> +<span style="margin-left: 2em;">Small clouds are sailing,</span><br /> +<span style="margin-left: 2em;">Blue sky prevailing,</span><br /> +The rain is over and gone!<br /> + +<div class='sig'> +—<span class="smcap">William Wordsworth.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span></p> + + +<h3><span class="smcap">Choral Song to the Illyrian Peasants</span></h3> + +<div class='poem'> +Up, up! ye dames, ye lasses gay!<br /> +To the meadows trip away.<br /> +'Tis you must tend the flocks this morn,<br /> +And scare the small birds from the corn.<br /> +Not a soul at home may stay:<br /> +<span style="margin-left: 2em;">For the shepherds must go</span><br /> +<span style="margin-left: 2em;">With lance and bow</span><br /> +To hunt the wolf in the woods to-day.<br /> +<br /> +Leave the hearth and leave the house<br /> +To the cricket and the mouse:<br /> +Find grannam out a sunny seat,<br /> +With babe and lambkin at her feet.<br /> +Not a soul at home may stay:<br /> +<span style="margin-left: 2em;">For the shepherds must go</span><br /> +<span style="margin-left: 2em;">With lance and bow</span><br /> +To hunt the wolf in the woods to-day.<br /> + +<div class='sig'> +—<span class="smcap">Samuel Taylor Coleridge.</span><br /> +</div></div> + + +<h3><span class="smcap">The Forsaken Merman</span></h3> + +<div class='poem'> +Come, dear children, let us away;<br /> +<span style="margin-left: 2em;">Down and away below.</span><br /> +Now my brothers call from the bay;<br /> +<span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span>Now the great winds shoreward blow;<br /> +<span style="margin-left: 2em;">Now the salt tides seaward flow;</span><br /> +<span style="margin-left: 2em;">Now the wild white horses play,</span><br /> +<span style="margin-left: 2em;">Champ and chafe and toss in the spray.</span><br /> +<span style="margin-left: 4em;">Children dear, let us away.</span><br /> +<span style="margin-left: 6em;">This way, this way!</span><br /> +<br /> +<span style="margin-left: 2em;">Call her once before you go.</span><br /> +<span style="margin-left: 6em;">Call once yet.</span><br /> +<span style="margin-left: 2em;">In a voice that she will know:</span><br /> +<span style="margin-left: 4em;">"Margaret! Margaret!"</span><br /> +<span style="margin-left: 2em;">Children's voices should be dear</span><br /> +<span style="margin-left: 2em;">(Call once more) to a mother's ear:</span><br /> +<span style="margin-left: 2em;">Children's voices, wild with pain.</span><br /> +<span style="margin-left: 2em;">Surely she will come again.</span><br /> +<span style="margin-left: 2em;">Call her once and come away.</span><br /> +<span style="margin-left: 6em;">This way, this way!</span><br /> +<span style="margin-left: 2em;">"Mother dear, we cannot stay.</span><br /> +<span style="margin-left: 2em;">The wild white horses foam and fret."</span><br /> +<span style="margin-left: 4em;">Margaret! Margaret!</span><br /> +<br /> +<span style="margin-left: 2em;">Come, dear children, come away down.</span><br /> +<span style="margin-left: 6em;">Call no more.</span><br /> +<span style="margin-left: 2em;">One last look at the white-wall'd town,</span><br /> +And the little gray church on the windy shore.<br /> +<span style="margin-left: 6em;">Then come down.</span><br /> +<span style="margin-left: 2em;">She will not come though you call all day.</span><br /> +<span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span><span style="margin-left: 4em;">Come away, come away.</span><br /> +<br /> +<span style="margin-left: 2em;">Children dear, was it yesterday</span><br /> +<span style="margin-left: 2em;">We heard the sweet bells over the bay?</span><br /> +<span style="margin-left: 2em;">In the caverns where we lay,</span><br /> +<span style="margin-left: 2em;">Through the surf and through the swell,</span><br /> +<span style="margin-left: 2em;">The far-off sound of a silver bell?</span><br /> +<span style="margin-left: 2em;">Sand-strewn caverns, cool and deep,</span><br /> +<span style="margin-left: 2em;">Where the winds are all asleep;</span><br /> +<span style="margin-left: 2em;">Where the spent lights quiver and gleam;</span><br /> +<span style="margin-left: 2em;">Where the salt weed sways in the stream;</span><br /> +<span style="margin-left: 2em;">Where the sea-beasts, ranged all round,</span><br /> +<span style="margin-left: 2em;">Feed in the ooze of their pasture-ground;</span><br /> +<span style="margin-left: 2em;">Where the sea-snakes coil and twine,</span><br /> +<span style="margin-left: 2em;">Dry their mail, and bask in the brine;</span><br /> +<span style="margin-left: 2em;">Where great whales come sailing by,</span><br /> +<span style="margin-left: 2em;">Sail and sail, with unshut eye,</span><br /> +<span style="margin-left: 2em;">Round the world for ever and aye?</span><br /> +<span style="margin-left: 2em;">When did music come this way?</span><br /> +<span style="margin-left: 2em;">Children dear, was it yesterday?</span><br /> +<br /> +<span style="margin-left: 2em;">Children dear, was it yesterday</span><br /> +<span style="margin-left: 2em;">(Call yet once) that she went away?</span><br /> +<span style="margin-left: 2em;">Once she sate with you and me.</span><br /> +On a red gold throne in the heart of the sea,<br /> +<span style="margin-left: 2em;">And the youngest sate on her knee.</span><br /> +She comb'd its bright hair, and she tended it well,<br /> +When down swung the sound of the far-off bell.<br /> +<span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span>She sigh'd, she look'd up through the clear green sea.<br /> +She said, "I must go, for my kinsfolk pray<br /> +In the little gray church on the shore to-day.<br /> +'Twill be Easter-time in the world—ah me!<br /> +And I lose my poor soul, Merman, here with thee."<br /> +I said, "Go up, dear heart, through the waves.<br /> +Say thy prayer, and come back to the kind sea-caves."<br /> +She smiled, she went up through the surf in the bay.<br /> +<span style="margin-left: 2em;">Children dear, was it yesterday?</span><br /> +<br /> +<span style="margin-left: 2em;">Children dear, were we long alone?</span><br /> +"The sea grows stormy, the little ones moan.<br /> +Long prayers," I said, "in the world they say.<br /> +Come," I said, and we rose through the surf in the bay.<br /> +We went up the beach, by the sandy down<br /> +Where the sea-stocks bloom, to the white-wall'd town,<br /> +Through the narrow paved streets, where all was still,<br /> +To the little gray church on the windy hill.<br /> +From the church came a murmur of folk at their prayers,<br /> +But we stood without in the cold-blowing airs.<br /> +We climb'd on the graves, on the stones worn with rains,<br /> +And we gazed up the aisle through the small leaded panes.<br /> +<span style="margin-left: 2em;">She sate by the pillar; we saw her clear:</span><br /> +<span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span><span style="margin-left: 2em;">"Margaret, hist! come quick, we are here.</span><br /> +<span style="margin-left: 2em;">Dear heart," I said, "we are long alone.</span><br /> +<span style="margin-left: 2em;">The sea grows stormy, the little ones moan."</span><br /> +But, ah! she gave me never a look,<br /> +For her eyes were seal'd to the holy book.<br /> +Loud prays the priest; shut stands the door.<br /> +<span style="margin-left: 2em;">Come away, children, call no more.</span><br /> +<span style="margin-left: 2em;">Come away, come down, call no more.</span><br /> +<br /> +<span style="margin-left: 4em;">Down, down, down;</span><br /> +<span style="margin-left: 2em;">Down to the depths of the sea.</span><br /> +She sits at her wheel in the humming town,<br /> +<span style="margin-left: 2em;">Singing most joyfully.</span><br /> +Hark what she sings: "O joy, O joy,<br /> +For the humming street, and the child with its toy;<br /> +For the priest, and the bell, and the holy well;<br /> +<span style="margin-left: 2em;">For the wheel where I spun,</span><br /> +<span style="margin-left: 2em;">And the blessèd light of the sun."</span><br /> +<span style="margin-left: 2em;">And so she sings her fill,</span><br /> +<span style="margin-left: 2em;">Singing most joyfully,</span><br /> +<span style="margin-left: 2em;">Till the shuttle falls from her hand,</span><br /> +<span style="margin-left: 2em;">And the whizzing wheel stands still.</span><br /> +She steals to the window, and looks at the sand;<br /> +<span style="margin-left: 2em;">And over the sand at the sea;</span><br /> +<span style="margin-left: 2em;">And her eyes are set in a stare;</span><br /> +<span style="margin-left: 2em;">And anon there breaks a sigh,</span><br /> +<span style="margin-left: 2em;">And anon there drops a tear,</span><br /> +<span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span><span style="margin-left: 2em;">From a sorrow-clouded eye,</span><br /> +<span style="margin-left: 2em;">And a heart sorrow-laden,</span><br /> +<span style="margin-left: 4em;">A long, long sigh</span><br /> +For the cold strange eyes of a little Mermaiden,<br /> +<span style="margin-left: 2em;">And the gleam of her golden hair.</span><br /> +<br /> +<span style="margin-left: 2em;">Come away, away, children.</span><br /> +<span style="margin-left: 2em;">Come, children, come down.</span><br /> +<span style="margin-left: 2em;">The hoarse wind blows colder;</span><br /> +<span style="margin-left: 2em;">Lights shine in the town.</span><br /> +<span style="margin-left: 2em;">She will start from her slumber</span><br /> +<span style="margin-left: 2em;">When gusts shake the door;</span><br /> +<span style="margin-left: 2em;">She will hear the winds howling,</span><br /> +<span style="margin-left: 2em;">Will hear the waves roar.</span><br /> +<span style="margin-left: 2em;">We shall see, while above us</span><br /> +<span style="margin-left: 2em;">The waves roar and whirl,</span><br /> +<span style="margin-left: 2em;">A ceiling of amber,</span><br /> +<span style="margin-left: 2em;">A pavement of pearl.</span><br /> +<span style="margin-left: 2em;">Singing, "Here came a mortal,</span><br /> +<span style="margin-left: 2em;">But faithless was she:</span><br /> +<span style="margin-left: 2em;">And alone dwell for ever</span><br /> +<span style="margin-left: 2em;">The kings of the sea."</span><br /> +<br /> +<span style="margin-left: 2em;">But, children, at midnight,</span><br /> +<span style="margin-left: 2em;">When soft the winds blow;</span><br /> +<span style="margin-left: 2em;">When clear falls the moonlight;</span><br /> +<span style="margin-left: 2em;">When spring-tides are low:</span><br /> +<span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span><span style="margin-left: 2em;">When sweet airs come seaward</span><br /> +<span style="margin-left: 2em;">From heaths starr'd with broom;</span><br /> +<span style="margin-left: 2em;">And high rocks throw mildly</span><br /> +<span style="margin-left: 2em;">On the blanch'd sands a gloom:</span><br /> +<span style="margin-left: 2em;">Up the still, glistening beaches,</span><br /> +<span style="margin-left: 2em;">Up the creeks we will hie;</span><br /> +<span style="margin-left: 2em;">Over banks of bright seaweed</span><br /> +<span style="margin-left: 2em;">The ebb-tide leaves dry.</span><br /> +<span style="margin-left: 2em;">We will gaze, from the sand-hills,</span><br /> +<span style="margin-left: 2em;">At the white, sleeping town;</span><br /> +<span style="margin-left: 2em;">At the church on the hill-side—</span><br /> +<span style="margin-left: 4em;">And then come back down,</span><br /> +<span style="margin-left: 2em;">Singing, "There dwells a loved one,</span><br /> +<span style="margin-left: 4em;">But cruel is she.</span><br /> +<span style="margin-left: 2em;">She left lonely forever</span><br /> +<span style="margin-left: 4em;">The kings of the sea."</span><br /> + +<div class='sig'> +—<span class="smcap">Matthew Arnold.</span><br /> +</div></div> + + +<h3><span class="smcap">Psalm VIII</span></h3> + +<div class='poem2'> +O Lord, our Lord,<br /> +How excellent is thy name in all the earth!<br /> +<br /> +<span style="margin-left: 2em;">Who hast set thy glory above the heavens,</span><br /> +<span style="margin-left: 2em;">Out of the mouth of babes and sucklings hast thou ordained strength,</span><br /> +<span style="margin-left: 2em;">Because of thine enemies,</span><br /> +<span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span><span style="margin-left: 2em;">That thou mightest still the enemy and the avenger.</span><br /> +<br /> +<span style="margin-left: 2em;">When I consider thy heavens, the work of thy fingers,</span><br /> +<span style="margin-left: 2em;">The moon and the stars, which thou hast ordained;</span><br /> +<span style="margin-left: 2em;">What is man that thou art mindful of him?</span><br /> +<span style="margin-left: 2em;">And the son of man, that thou visitest him?</span><br /> +<br /> +<span style="margin-left: 2em;">For thou hast made him a little lower than the angels,</span><br /> +<span style="margin-left: 2em;">And hast crowned him with glory and honour.</span><br /> +<span style="margin-left: 2em;">Thou madest him to have dominion over the works of thy hands;</span><br /> +<span style="margin-left: 2em;">Thou hast put all things under his feet:</span><br /> +<br /> +<span style="margin-left: 2em;">All sheep and oxen,</span><br /> +<span style="margin-left: 2em;">Yea, and the beasts of the field;</span><br /> +<span style="margin-left: 2em;">The fowl of the air, and the fish of the sea,</span><br /> +<span style="margin-left: 2em;">And whatsoever passeth through the paths of the seas.</span><br /> +<br /> +O Lord, our Lord,<br /> +How excellent is thy name in all the earth!<br /> + +<div class='sig'> +—<span class="smcap">King David.</span><br /> +</div></div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span></p> +<h2>FIFTH YEAR</h2> + + +<h3><span class="smcap">The Bugle Song</span></h3> + +<div class='poem'> +<span style="margin-left: 2em;">The splendour falls on castle walls</span><br /> +<span style="margin-left: 4em;">And snowy summits old in story:</span><br /> +<span style="margin-left: 2em;">The long light shakes across the lakes,</span><br /> +<span style="margin-left: 4em;">And the wild cataract leaps in glory.</span><br /> +Blow, bugle, blow, set the wild echoes flying,<br /> +Blow, bugle; answer, echoes, dying, dying, dying.<br /> +<br /> +<span style="margin-left: 2em;">O hark, O hear! how thin and clear,</span><br /> +<span style="margin-left: 4em;">And thinner, clearer, farther going!</span><br /> +<span style="margin-left: 2em;">O sweet and far from cliff and scar</span><br /> +<span style="margin-left: 4em;">The horns of Elfland faintly blowing!</span><br /> +Blow, let us hear the purple glens replying:<br /> +Blow, bugle; answer, echoes, dying, dying, dying.<br /> +<br /> +<span style="margin-left: 2em;">O love, they die in yon rich sky,</span><br /> +<span style="margin-left: 4em;">They faint on hill or field or river:</span><br /> +<span style="margin-left: 2em;">Our echoes roll from soul to soul,</span><br /> +<span style="margin-left: 4em;">And grow forever and forever.</span><br /> +Blow, bugle, blow, set the wild echoes flying,<br /> +And answer, echoes, answer, dying, dying, dying.<br /> + +<div class='sig'> +—<span class="smcap">Alfred Lord Tennyson.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span></p> + + +<h3><span class="smcap">The Brook</span></h3> + +<div class='poem'> +I come from haunts of coot and hern,<br /> +<span style="margin-left: 2em;">I make a sudden sally,</span><br /> +And sparkle out among the fern,<br /> +<span style="margin-left: 2em;">To bicker down a valley.</span><br /> +<br /> +By thirty hills I hurry down,<br /> +<span style="margin-left: 2em;">Or slip between the ridges,</span><br /> +By twenty thorps, a little town,<br /> +<span style="margin-left: 2em;">And half a hundred bridges.</span><br /> +<br /> +Till last by Philip's farm I flow<br /> +<span style="margin-left: 2em;">To join the brimming river,</span><br /> +For men may come and men may go,<br /> +<span style="margin-left: 2em;">But I go on forever.</span><br /> +<br /> +I chatter over stony ways,<br /> +<span style="margin-left: 2em;">In little sharps and trebles,</span><br /> +I bubble into eddying bays,<br /> +<span style="margin-left: 2em;">I babble on the pebbles.</span><br /> +<br /> +With many a curve my banks I fret<br /> +<span style="margin-left: 2em;">By many a field and fallow,</span><br /> +And many a fairy foreland set<br /> +<span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span><span style="margin-left: 2em;">With willow-weed and mallow.</span><br /> +<br /> +I chatter, chatter, as I flow<br /> +<span style="margin-left: 2em;">To join the brimming river,</span><br /> +For men may come and men may go,<br /> +<span style="margin-left: 2em;">But I go on forever.</span><br /> +<br /> +I wind about, and in and out,<br /> +<span style="margin-left: 2em;">With here a blossom sailing,</span><br /> +And here and there a lusty trout,<br /> +<span style="margin-left: 2em;">And here and there a grayling,</span><br /> +<br /> +And here and there a foamy flake<br /> +<span style="margin-left: 2em;">Upon me, as I travel</span><br /> +With many a silvery waterbreak<br /> +<span style="margin-left: 2em;">Above the golden gravel,</span><br /> +<br /> +And draw them all along, and flow<br /> +<span style="margin-left: 2em;">To join the brimming river,</span><br /> +For men may come and men may go,<br /> +<span style="margin-left: 2em;">But I go on forever.</span><br /> +<br /> +I steal by lawns and grassy plots,<br /> +<span style="margin-left: 2em;">I slide by hazel covers;</span><br /> +I move the sweet forget-me-nots<br /> +<span style="margin-left: 2em;">That grow for happy lovers.</span><br /> +<br /> +I slip, I slide, I gloom, I glance,<br /> +<span style="margin-left: 2em;">Among my skimming swallows;</span><br /> +I make the netted sunbeam dance<br /> +<span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span><span style="margin-left: 2em;">Against my sandy shallows.</span><br /> +<br /> +I murmur under moon and stars<br /> +<span style="margin-left: 2em;">In brambly wildernesses;</span><br /> +I linger by my shingly bars;<br /> +<span style="margin-left: 2em;">I loiter round my cresses;</span><br /> +<br /> +And out again I curve and flow<br /> +<span style="margin-left: 2em;">To join the brimming river,</span><br /> +For men may come and men may go.<br /> +<span style="margin-left: 2em;">But I go on forever.</span><br /> + +<div class='sig'> +—<span class="smcap">Alfred Lord Tennyson.</span><br /> +</div></div> + + +<h3><span class="smcap">Hymn to Diana</span></h3> + +<div class='poem'> +Queen and Huntress, chaste and fair,<br /> +<span style="margin-left: 2em;">Now the sun is laid to sleep,</span><br /> +Seated in thy silver chair<br /> +<span style="margin-left: 2em;">State in wonted manner keep:</span><br /> +<span style="margin-left: 4em;">Hesperus entreats thy light,</span><br /> +<span style="margin-left: 4em;">Goddess excellently bright.</span><br /> +<br /> +Earth, let not thy envious shade<br /> +<span style="margin-left: 2em;">Dare itself to interpose;</span><br /> +Cynthia's shining orb was made<br /> +<span style="margin-left: 2em;">Heaven to clear when day did close:</span><br /> +<span style="margin-left: 4em;">Bless us then with wishèd sight,</span><br /> +<span style="margin-left: 4em;">Goddess excellently bright.</span><br /> +<br /> +Lay thy bow of pearl apart<br /> +<span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span><span style="margin-left: 2em;">And thy crystal-shining quiver;</span><br /> +Give unto the flying hart<br /> +<span style="margin-left: 2em;">Space to breathe, how short soever:</span><br /> +<span style="margin-left: 4em;">Thou that mak'st a day of night,</span><br /> +<span style="margin-left: 4em;">Goddess excellently bright!</span><br /> + +<div class='sig'> +—<span class="smcap">Ben Jonson.</span><br /> +</div></div> + + +<h3><span class="smcap">The Burning Babe</span></h3> + +<div class='poem2'> +As I in hoary winter's night stood shivering in the snow,<br /> +Surprised I was with sudden heat, which made my heart to glow;<br /> +And lifting up a fearful eye to view what fire was near,<br /> +A pretty babe, all burning bright, did in the air appear;<br /> +Who, scorchèd with excessive heat, such floods of tears did shed,<br /> +As though his floods should quench his flames which with his tears were fed:—<br /> +"Alas!" quoth He, "but newly born, in fiery heats I fry,<br /> +Yet none approach to warm their hearts or feel my fire but I!<br /> +<br /> +"My faultless breast the furnace is, the fuel wounding thorns;<br /> +<span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span>Love is the fire, and sighs the smoke, the ashes shame and scorns;<br /> +The fuel Justice layeth on, and Mercy blows the coals,<br /> +The metal in this furnace wrought are men's defilèd souls,<br /> +For which, as now on fire I am, to work them to their good,<br /> +So will I melt into a bath to wash them in my blood."—<br /> +With this He vanished out of sight, and swiftly shrunk away;<br /> +And straight I callèd unto mind that it was Christmas-day.<br /> + +<div class='sig'> +—<span class="smcap">Robert Southwell.</span><br /> +</div></div> + + +<h3><span class="smcap">At Sea</span></h3> + +<div class='poem'> +A wet sheet and a flowing sea,<br /> +<span style="margin-left: 2em;">A wind that follows fast</span><br /> +And fills the white and rustling sail<br /> +<span style="margin-left: 2em;">And bends the gallant mast;</span><br /> +And bends the gallant mast, my boys,<br /> +<span style="margin-left: 2em;">While like the eagle free</span><br /> +Away the good ship flies, and leaves<br /> +<span style="margin-left: 2em;">Old England on the lee.</span><br /> +<br /> +O for a soft and gentle wind!<br /> +<span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span><span style="margin-left: 2em;">I heard a fair one cry;</span><br /> +But give to me the snoring breeze<br /> +<span style="margin-left: 2em;">And white waves heaving high;</span><br /> +And white waves heaving high, my lads,<br /> +<span style="margin-left: 2em;">The good ship tight and free:—</span><br /> +The world of waters is our home,<br /> +<span style="margin-left: 2em;">And merry men are we.</span><br /> +<br /> +There's tempest in yon hornèd moon,<br /> +<span style="margin-left: 2em;">And lightning in yon cloud;</span><br /> +But hark the music, mariners!<br /> +<span style="margin-left: 2em;">The wind is piping loud;</span><br /> +The wind is piping loud, my boys,<br /> +<span style="margin-left: 2em;">The lightning flashes free—</span><br /> +While the hollow oak our palace is,<br /> +<span style="margin-left: 2em;">Our heritage the sea.</span><br /> + +<div class='sig'> +—<span class="smcap">Allan Cunningham.</span><br /> +</div></div> + + +<h3><span class="smcap">Where Lies the Land?</span></h3> + +<div class='poem'> +Where lies the land to which the ship would go?<br /> +Far, far ahead, is all her seamen know.<br /> +And where the land she travels from? Away,<br /> +Far, far behind, is all that they can say.<br /> +<br /> +On sunny noons upon the deck's smooth face,<br /> +Linked arm in arm, how pleasant here to pace;<br /> +Or, o'er the stern reclining, watch below<br /> +<span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span>The foaming wake far widening as we go.<br /> +<br /> +On stormy nights when wild north-westers rave,<br /> +How proud a thing to fight with wind and wave!<br /> +The dripping sailor on the reeling mast<br /> +Exults to bear, and scorns to wish it past.<br /> +<br /> +Where lies the land to which the ship would go?<br /> +Far, far ahead, is all her seamen know.<br /> +And where the land she travels from? Away,<br /> +Far, far behind, is all that they can say.<br /> + +<div class='sig'> +—<span class="smcap">Arthur Hugh Clough.</span><br /> +</div></div> + + +<h3><span class="smcap">Under the Greenwood Tree</span></h3> + +<div class='poem'> +<span style="margin-left: 2em;">Under the greenwood tree</span><br /> +<span style="margin-left: 2em;">Who loves to lie with me,</span><br /> +<span style="margin-left: 2em;">And turn his merry note</span><br /> +<span style="margin-left: 2em;">Unto the sweet bird's throat—</span><br /> +Come hither, come hither, come hither!<br /> +<span style="margin-left: 4em;">Here shall he see</span><br /> +<span style="margin-left: 4em;">No enemy</span><br /> +But winter and rough weather.<br /> +<br /> +<span style="margin-left: 2em;">Who doth ambition shun</span><br /> +<span style="margin-left: 2em;">And loves to live i' the sun,</span><br /> +<span style="margin-left: 2em;">Seeking the food he eats</span><br /> +<span style="margin-left: 2em;">And pleased with what he gets—</span><br /> +<span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span>Come hither, come hither, come hither!<br /> +<span style="margin-left: 4em;">Here shall he see</span><br /> +<span style="margin-left: 4em;">No enemy</span><br /> +But winter and rough weather.<br /> + +<div class='sig'> +—<span class="smcap">William Shakespeare.</span><br /> +</div></div> + + +<h3><span class="smcap">To Daffodils</span></h3> + +<div class='poem'> +Fair Daffodils, we weep to see<br /> +<span style="margin-left: 2em;">You haste away so soon:</span><br /> +As yet the early-rising Sun<br /> +<span style="margin-left: 2em;">Has not attain'd his noon.</span><br /> +<span style="margin-left: 4em;">Stay, stay,</span><br /> +<span style="margin-left: 2em;">Until the hasting day</span><br /> +<span style="margin-left: 4em;">Has run</span><br /> +<span style="margin-left: 2em;">But to the even-song;</span><br /> +And, having pray'd together, we<br /> +<span style="margin-left: 2em;">Will go with you along.</span><br /> +<br /> +We have short time to stay, as you,<br /> +<span style="margin-left: 2em;">We have as short a Spring;</span><br /> +As quick a growth to meet decay<br /> +<span style="margin-left: 2em;">As you, or anything.</span><br /> +<span style="margin-left: 4em;">We die,</span><br /> +<span style="margin-left: 2em;">As your hours do, and dry</span><br /> +<span style="margin-left: 4em;">Away</span><br /> +<span style="margin-left: 2em;">Like to the Summer's rain;</span><br /> +Or as the pearls of Morning's dew<br /> +<span style="margin-left: 2em;">Ne'er to be found again.</span><br /> + +<div class='sig'> +—<span class="smcap">Robert Herrick.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span></p> + + +<h3><span class="smcap">Autumn</span></h3> + +<div class='poem'> +The warm sun is failing, the bleak wind is wailing,<br /> +The bare boughs are sighing, the pale flowers are dying;<br /> +<span style="margin-left: 6em;">And the year</span><br /> +On the earth her death-bed, in a shroud of leaves dead,<br /> +<span style="margin-left: 6em;">Is lying.</span><br /> +<span style="margin-left: 3em;">Come, Months, come away,</span><br /> +<span style="margin-left: 3em;">From November to May,</span><br /> +<span style="margin-left: 3em;">In your saddest array,—</span><br /> +<span style="margin-left: 3em;">Follow the bier</span><br /> +<span style="margin-left: 3em;">Of the dead cold year,</span><br /> +And like dim shadows watch by her sepulchre.<br /> +<br /> +The chill rain is falling, the nipt worm is crawling,<br /> +The rivers are swelling, the thunder is knelling,<br /> +<span style="margin-left: 6em;">For the year;</span><br /> +The blithe swallows are flown, and the lizards each gone<br /> +<span style="margin-left: 6em;">To his dwelling.</span><br /> +<span style="margin-left: 3em;">Come, Months, come away;</span><br /> +<span style="margin-left: 3em;">Put on white, black, and gray;</span><br /> +<span style="margin-left: 3em;">Let your light sisters play;</span><br /> +<span style="margin-left: 3em;">Ye, follow the bier</span><br /> +<span style="margin-left: 3em;">Of the dead cold year,</span><br /> +And make her grave green with tear on tear.<br /> + +<div class='sig'> +—<span class="smcap">Percy Bysshe Shelley.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span></p> + + +<h3><span class="smcap">Robin Goodfellow</span></h3> + +<div class='poem'> +From Oberon, in fairy land,<br /> +The king of ghosts and shadows there,<br /> +Mad Robin I, at his command,<br /> +Am sent to view the night-sports here.<br /> +<span style="margin-left: 4em;">What revel rout</span><br /> +<span style="margin-left: 4em;">Is kept about,</span><br /> +<span style="margin-left: 1em;">In every corner where I go,</span><br /> +<span style="margin-left: 4em;">I will o'ersee,</span><br /> +<span style="margin-left: 4em;">And merry be,</span><br /> +<span style="margin-left: 1em;">And make good sport, with ho, ho, ho!</span><br /> +<br /> +More swift than lightning can I fly<br /> +About this airy welkin soon,<br /> +And, in a minute's space, descry<br /> +Each thing that's done below the moon.<br /> +<span style="margin-left: 4em;">There's not a hag</span><br /> +<span style="margin-left: 4em;">Or ghost shall wag,</span><br /> +<span style="margin-left: 1em;">Or cry 'ware goblins, where I go;</span><br /> +<span style="margin-left: 4em;">But, Robin, I</span><br /> +<span style="margin-left: 4em;">Their feast will spy,</span><br /> +<span style="margin-left: 1em;">And send them home with ho, ho, ho!</span><br /> +<br /> +Whene'er such wanderers I meet,<br /> +As from their night-sports they trudge home,<br /> +With counterfeiting voice I greet,<br /> +<span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span>And call them on with me to roam;<br /> +<span style="margin-left: 4em;">Through woods, through lakes,</span><br /> +<span style="margin-left: 4em;">Through bogs, through brakes,</span><br /> +<span style="margin-left: 1em;">Or else, unseen, with them I go,</span><br /> +<span style="margin-left: 4em;">All in the nick</span><br /> +<span style="margin-left: 4em;">To play some trick,</span><br /> +<span style="margin-left: 1em;">And frolic it, with ho, ho, ho!</span><br /> +<br /> +Sometimes I meet them like a man,<br /> +Sometimes an ox, sometimes a hound;<br /> +And to a horse I turn me can,<br /> +To trip and trot about them round.<br /> +<span style="margin-left: 4em;">But if to ride,</span><br /> +<span style="margin-left: 4em;">My back they stride,</span><br /> +<span style="margin-left: 1em;">More swift than wind away I go,</span><br /> +<span style="margin-left: 4em;">O'er hedge and lands.</span><br /> +<span style="margin-left: 4em;">Through pools and ponds,</span><br /> +<span style="margin-left: 1em;">I hurry, laughing, ho, ho, ho!</span><br /> +<br /> +By wells and rills, in meadows green,<br /> +We nightly dance our heyday guise;<br /> +And to our fairy King and Queen,<br /> +We chant our moonlight minstrelsies.<br /> +<span style="margin-left: 4em;">When larks 'gin sing,</span><br /> +<span style="margin-left: 4em;">Away we fling;</span><br /> +<span style="margin-left: 1em;">And babes new born steal as we go;</span><br /> +<span style="margin-left: 4em;">And elf in bed,</span><br /> +<span style="margin-left: 4em;">We leave instead,</span><br /> +<span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span><span style="margin-left: 1em;">And wend us laughing, ho, ho, ho!</span><br /> +<br /> +From hag-bred Merlin's time have I<br /> +Thus nightly revell'd to and fro;<br /> +And for my pranks men call me by<br /> +The name of Robin Good-fellow.<br /> +<span style="margin-left: 4em;">Fiends, ghosts, and sprites,</span><br /> +<span style="margin-left: 4em;">Who haunt the nights,</span><br /> +<span style="margin-left: 1em;">The hags and goblins do me know;</span><br /> +<span style="margin-left: 4em;">And beldames old</span><br /> +<span style="margin-left: 1em;">So <i>valé</i>, <i>valé</i>! ho, ho, ho!</span><br /> + +<div class='sig'> +—<span class="smcap">Unknown.</span><br /> +</div></div> + + +<h3><span class="smcap">Boot and Saddle</span></h3> + +<div class='poem'> +Boot, saddle, to horse, and away!<br /> +Rescue my castle before the hot day<br /> +Brightens to blue from its silvery gray,<br /> +Boot, saddle, to horse, and away!<br /> +<br /> +Ride past the suburbs, asleep as you'd say;<br /> +Many's the friend there, will listen and pray<br /> +"God's luck to gallants that strike up the lay—<br /> +Boot, saddle, to horse, and away!"<br /> +<br /> +Forty miles off, like a roebuck at bay,<br /> +Flouts Castle Brancepeth the Roundheads' array,<br /> +Who laughs, "Good fellows ere this, by my fay,<br /> +<span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span>Boot, saddle, to horse, and away!"<br /> +<br /> +Who? My wife Gertrude; that, honest, and gay,<br /> +Laughs when you talk of surrendering, "Nay!<br /> +I've better counsellors; what counsel they?<br /> +Boot, saddle, to horse, and away!"<br /> + +<div class='sig'> +—<span class="smcap">Robert Browning.</span><br /> +</div></div> + + +<h3><span class="smcap">Psalm XIX</span></h3> + +<div class='poem2'> +The heavens declare the glory of God;<br /> +And the firmament showeth his handiwork.<br /> +Day unto day uttereth speech,<br /> +And night unto night sheweth knowledge.<br /> +There is no speech nor language,<br /> +Where their voice is not heard.<br /> +Their line is gone out through all the earth,<br /> +And their words to the end of the world.<br /> +<br /> +In them hath he set a tabernacle for the sun,<br /> +Which is as a bridegroom coming out of his chamber,<br /> +And rejoiceth as a strong man to run a race.<br /> +His going forth is from the end of the heaven,<br /> +And his circuit unto the ends of it:<br /> +And there is nothing hid from the heat thereof.<br /> +<br /> +The law of the Lord is perfect, converting the soul:<br /> +<span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span>The testimony of the Lord is sure, making wise the simple.<br /> +The statutes of the Lord are right, rejoicing the heart:<br /> +The commandment of the Lord is pure, enlightening the eyes.<br /> +The fear of the Lord is clean, enduring forever:<br /> +The judgments of the Lord are true and righteous altogether.<br /> +More to be desired are they than gold, yea, than much fine gold:<br /> +Sweeter also than honey and the honeycomb.<br /> +<br /> +Moreover by them is thy servant warned:<br /> +And in keeping of them there is great reward.<br /> +Who can understand his errors? cleanse thou me from secret faults.<br /> +Keep back thy servant also from presumptuous sins; let them not have<br /><span style="margin-left: 6em;">dominion over me:</span><br /> +Then shall I be upright,<br /> +And I shall be innocent from the great transgression.<br /> +<br /> +Let the words of my mouth, and the meditation of my heart, be acceptable in thy sight,<br /> +O Lord, my strength, and my redeemer.<br /> + +<div class='sig'> +—<span class="smcap">King David.</span><br /> +</div></div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span></p> +<h2>SIXTH YEAR</h2> + + +<h3><span class="smcap">The Northern Star</span></h3> + +<div class='center'><br />(A Tynemouth Ship)</div> + +<div class='poem'> +<span style="margin-left: 2em;">The "Northern Star"</span><br /> +<span style="margin-left: 2em;">Sail'd over the bar</span><br /> +Bound to the Baltic Sea;<br /> +<span style="margin-left: 2em;">In the morning gray</span><br /> +<span style="margin-left: 2em;">She stretch'd away:—</span><br /> +'Twas a weary day to me!<br /> +<br /> +<span style="margin-left: 2em;">For many an hour</span><br /> +<span style="margin-left: 2em;">In sleet and shower</span><br /> +By the lighthouse rock I stray;<br /> +<span style="margin-left: 2em;">And watch till dark</span><br /> +<span style="margin-left: 2em;">For the wingèd bark</span><br /> +Of him that is far away.<br /> +<br /> +<span style="margin-left: 2em;">The castle's bound</span><br /> +<span style="margin-left: 2em;">I wander round,</span><br /> +Amidst the grassy graves:<br /> +<span style="margin-left: 2em;">But all I hear</span><br /> +<span style="margin-left: 2em;">Is the north-wind drear,</span><br /> +<span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span>And all I see are the waves.<br /> +<br /> +<span style="margin-left: 2em;">The "Northern Star"</span><br /> +<span style="margin-left: 2em;">Is set afar!</span><br /> +Set in the Baltic Sea:<br /> +<span style="margin-left: 2em;">And the waves have spread</span><br /> +<span style="margin-left: 2em;">The sandy bed</span><br /> +That holds my Love from me.<br /> + +<div class='sig'> +—<span class="smcap">Unknown.</span><br /> +</div></div> + + +<h3><span class="smcap">The First Swallow</span></h3> + +<div class='poem'> +The gorse is yellow on the heath;<br /> +<span style="margin-left: 2em;">The banks of speedwell flowers are gay;</span><br /> +The oaks are budding, and beneath,<br /> +The hawthorn soon will bear the wreath,<br /> +<span style="margin-left: 2em;">The silver wreath of May.</span><br /> +<br /> +The welcome guest of settled spring,<br /> +<span style="margin-left: 2em;">The swallow, too, is come at last</span><br /> +Just at sunset, when thrushes sing,<br /> +I saw her dash with rapid wing,<br /> +<span style="margin-left: 2em;">And hail'd her as she past.</span><br /> +<br /> +Come, summer visitant, attach<br /> +<span style="margin-left: 2em;">To my reed roof your nest of clay,</span><br /> +And let my ear your music catch,<br /> +Low twittering underneath the thatch,<br /> +<span style="margin-left: 2em;">At the gray dawn of day.</span><br /> + +<div class='sig'> +—<span class="smcap">Charlotte Smith.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span></p> + + +<h3><span class="smcap">Blow, Blow, Thou Winter Wind</span></h3> + +<div class='poem'> +<span style="margin-left: 2em;">Blow, blow, thou winter wind,</span><br /> +<span style="margin-left: 2em;">Thou art not so unkind</span><br /> +<span style="margin-left: 4em;">As man's ingratitude;</span><br /> +<span style="margin-left: 2em;">Thy tooth is not so keen,</span><br /> +<span style="margin-left: 2em;">Because thou art not seen,</span><br /> +<span style="margin-left: 4em;">Although thy breath be rude.</span><br /> +Heigh ho! sing, heigh ho! unto the green holly:<br /> +Most friendship is feigning, most loving mere folly:<br /> +<span style="margin-left: 4em;">Then heigh ho, the holly!</span><br /> +<span style="margin-left: 4em;">This life is most jolly.</span><br /> +<br /> +<span style="margin-left: 2em;">Freeze, freeze, thou bitter sky,</span><br /> +<span style="margin-left: 2em;">That dost not bite so nigh</span><br /> +<span style="margin-left: 4em;">As benefits forgot:</span><br /> +<span style="margin-left: 2em;">Though thou the waters warp,</span><br /> +<span style="margin-left: 2em;">Thy sting is not so sharp</span><br /> +<span style="margin-left: 4em;">As friend remember'd not.</span><br /> +Heigh ho! sing, heigh ho! unto the green holly:<br /> +Most friendship is feigning, most loving mere folly:<br /> +<span style="margin-left: 4em;">Then heigh ho, the holly!</span><br /> +<span style="margin-left: 4em;">This life is most jolly.</span><br /> + +<div class='sig'> +—<span class="smcap">William Shakespeare.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span></p> + + +<h3><span class="smcap">The Death of the Flowers</span></h3> + +<div class='poem2'> +The melancholy days are come, the saddest of the year,<br /> +Of wailing winds, and naked woods, and meadows brown and sear.<br /> +Heap'd in the hollows of the grove, the autumn leaves lie dead;<br /> +They rustle to the eddying gust, and to the rabbit's tread.<br /> +The robin and the wren are flown, and from the shrubs the jay,<br /> +And from the wood-top calls the crow through all the gloomy day.<br /> +<br /> +The wind-flower and the violet, they perish'd long ago,<br /> +And the brier-rose and the orchid died amid the summer glow;<br /> +But on the hill the golden-rod, and the aster in the wood,<br /> +And the yellow sun-flower by the brook in autumn beauty stood,<br /> +Till fell the frost from the clear cold heaven, as falls the plague on men,<br /> +<span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span>And the brightness of their smile was gone, from upland, glade, and glen.<br /> +<br /> +And now, when comes the calm mild day, as still such days will come,<br /> +To call the squirrel and the bee from out their winter home;<br /> +When the sound of dropping nuts is heard, though all the trees are still,<br /> +And twinkle in the smoky light the waters of the rill,<br /> +The south wind searches for the flowers whose fragrance late he bore,<br /> +And sighs to find them in the wood and by the stream no more.<br /> + +<div class='sig'> +—<span class="smcap">William Cullen Bryant.</span><br /> +</div></div> + + +<h3><span class="smcap">The Wreck of the Hesperus</span></h3> + +<div class='poem'> +It was the schooner Hesperus,<br /> +<span style="margin-left: 2em;">That sail'd the wintry sea;</span><br /> +And the skipper had taken his little daughter,<br /> +<span style="margin-left: 2em;">To bear him company.</span><br /> +<br /> +Blue were her eyes as the fairy flax,<br /> +<span style="margin-left: 2em;">Her cheeks like the dawn of day,</span><br /> +And her bosom white as the hawthorn buds,<br /> +<span style="margin-left: 2em;">That ope in the month of May.</span><br /> +<br /> +The skipper he stood beside the helm,<br /> +<span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span><span style="margin-left: 2em;">His pipe was in his mouth;</span><br /> +And he watched how the veering flaw did blow<br /> +<span style="margin-left: 2em;">The smoke now West, now South.</span><br /> +<br /> +Then up and spake an old Sailòr,<br /> +<span style="margin-left: 2em;">Had sailed the Spanish Main:</span><br /> +"I pray thee, put into yonder port,<br /> +<span style="margin-left: 2em;">For I fear a hurricane.</span><br /> +<br /> +"Last night, the moon had a golden ring,<br /> +<span style="margin-left: 2em;">And to-night no moon we see!"</span><br /> +The skipper, he blew a whiff from his pipe,<br /> +<span style="margin-left: 2em;">And a scornful laugh laughed he.</span><br /> +<br /> +Colder and louder blew the wind,<br /> +<span style="margin-left: 2em;">A gale from the North-east;</span><br /> +The snow fell hissing in the brine,<br /> +<span style="margin-left: 2em;">And the billows frothed like yeast.</span><br /> +<br /> +Down came the storm, and smote amain<br /> +<span style="margin-left: 2em;">The vessel in its strength;</span><br /> +She shuddered and paused, like a frightened steed,<br /> +<span style="margin-left: 2em;">Then leaped her cable's length.</span><br /> +<br /> +"Come hither! come hither! my little daughter,<br /> +<span style="margin-left: 2em;">And do not tremble so;</span><br /> +For I can weather the roughest gale,<br /> +<span class='pagenum'><a name="Page_102" id="Page_102">[102]</a></span><span style="margin-left: 2em;">That ever wind did blow."</span><br /> +<br /> +He wrapped her warm in his seaman's coat,<br /> +<span style="margin-left: 2em;">Against the stinging blast;</span><br /> +He cut a rope from a broken spar,<br /> +<span style="margin-left: 2em;">And bound her to a mast.</span><br /> +<br /> +"O father! I hear the church bells ring.<br /> +<span style="margin-left: 2em;">O say, what may it be?"</span><br /> +"'Tis a fog-bell on a rock-bound coast!"—<br /> +<span style="margin-left: 2em;">And he steered for the open sea.</span><br /> +<br /> +"O father! I hear the sound of guns,<br /> +<span style="margin-left: 2em;">O say, what may it be?"</span><br /> +"Some ship in distress, that cannot live<br /> +<span style="margin-left: 2em;">In such an angry sea!"</span><br /> +<br /> +"O father! I see a gleaming light,<br /> +<span style="margin-left: 2em;">O say, what may it be?"</span><br /> +But the father answered never a word,<br /> +<span style="margin-left: 2em;">A frozen corpse was he.</span><br /> +<br /> +Lashed to the helm, all stiff and stark,<br /> +<span style="margin-left: 2em;">With his face turned to the skies;</span><br /> +The lantern gleamed through the gleaming snow<br /> +<span style="margin-left: 2em;">On his fixed and glassy eyes.</span><br /> +<br /> +Then the maiden clasped her hands and prayed<br /> +<span style="margin-left: 2em;">That savèd she might be;</span><br /> +And she thought of Christ, who stilled the waves,<br /> +<span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span><span style="margin-left: 2em;">On the Lake of Galilee.</span><br /> +<br /> +And fast through the midnight dark and drear,<br /> +<span style="margin-left: 2em;">Through the whistling sleet and snow,</span><br /> +Like a sheeted ghost, the vessel swept<br /> +<span style="margin-left: 2em;">Towards the reef of Norman's Woe.</span><br /> +<br /> +And ever the fitful gusts between<br /> +<span style="margin-left: 2em;">A sound came from the land;</span><br /> +It was the sound of the trampling surf,<br /> +<span style="margin-left: 2em;">On the rocks and the hard sea-sand.</span><br /> +<br /> +The breakers were right beneath her bows,<br /> +<span style="margin-left: 2em;">She drifted a weary wreck,</span><br /> +And a whooping billow swept the crew<br /> +<span style="margin-left: 2em;">Like icicles from her deck.</span><br /> +<br /> +She struck where the white and fleecy waves<br /> +<span style="margin-left: 2em;">Looked soft as carded wool,</span><br /> +But the cruel rocks, they gored her side,<br /> +<span style="margin-left: 2em;">Like the horns of an angry bull.</span><br /> +<br /> +Her rattling shrouds, all sheathed in ice,<br /> +<span style="margin-left: 2em;">With the masts, went by the board;</span><br /> +Like a vessel of glass, she stove and sank,<br /> +<span style="margin-left: 2em;">Ho! ho! the breakers roared!</span><br /> +<br /> +At daybreak, on the bleak sea-beach,<br /> +<span style="margin-left: 2em;">A fisherman stood aghast,</span><br /> +To see the form of a maiden fair,<br /> +<span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span><span style="margin-left: 2em;">Lashed close to a drifting mast.</span><br /> +<br /> +The salt sea was frozen on her breast,<br /> +<span style="margin-left: 2em;">The salt tears in her eyes;</span><br /> +And he saw her hair, like the brown sea-weed,<br /> +<span style="margin-left: 2em;">On the billows fall and rise.</span><br /> +<br /> +Such was the wreck of the Hesperus,<br /> +<span style="margin-left: 2em;">In the midnight and the snow!</span><br /> +Christ save us all from a death like this,<br /> +<span style="margin-left: 2em;">On the reef of Norman's Woe!</span><br /> + +<div class='sig'> +—<span class="smcap">Henry Wadsworth Longfellow.</span><br /> +</div></div> + + +<h3><span class="smcap">The Sands of Dee</span></h3> + +<div class='poem'> +"O Mary, go and call the cattle home,<br /> +<span style="margin-left: 2em;">And call the cattle home,</span><br /> +<span style="margin-left: 2em;">And call the cattle home,</span><br /> +<span style="margin-left: 2em;">Across the sands of Dee."</span><br /> +The western wind was wild and dark with foam,<br /> +<span style="margin-left: 2em;">And all alone went she.</span><br /> +<br /> +The western tide crept up along the sand,<br /> +<span style="margin-left: 2em;">And o'er and o'er the sand,</span><br /> +<span style="margin-left: 2em;">And round and round the sand,</span><br /> +<span style="margin-left: 2em;">As far as eye could see.</span><br /> +The rolling mist came down and hid the land:<br /> +<span class='pagenum'><a name="Page_105" id="Page_105">[105]</a></span><span style="margin-left: 2em;">And never home came she.</span><br /> +<br /> +"O is it weed, or fish, or floating hair—<br /> +<span style="margin-left: 2em;">A tress of golden hair,</span><br /> +<span style="margin-left: 2em;">A drownèd maiden's hair,</span><br /> +<span style="margin-left: 2em;">Above the nets at sea?"</span><br /> +Was never salmon yet that shone so fair<br /> +<span style="margin-left: 2em;">Among the stakes of Dee.</span><br /> +<br /> +They row'd her in across the rolling foam<br /> +<span style="margin-left: 2em;">The cruel crawling foam,</span><br /> +<span style="margin-left: 2em;">The cruel hungry foam,</span><br /> +<span style="margin-left: 2em;">To her grave beside the sea.</span><br /> +But still the boatmen hear her call the cattle home,<br /> +<span style="margin-left: 2em;">Across the sands of Dee.</span><br /> + +<div class='sig'> +—<span class="smcap">Charles Kingsley.</span><br /> +</div></div> + + +<h3><span class="smcap">Canadian Boat Song</span></h3> + +<div class='poem'> +Faintly as tolls the evening chime,<br /> +Our voices keep tune, and our oars keep time;<br /> +Soon as the woods on shore look dim,<br /> +We'll sing at St. Anne's our parting hymn.<br /> +<span style="margin-left: 1em;">Row, brothers, row, the stream runs fast;</span><br /> +<span style="margin-left: 1em;">The Rapids are near, and the daylight's past.</span><br /> +<br /> +Why should we yet our sail unfurl?<br /> +<span class='pagenum'><a name="Page_106" id="Page_106">[106]</a></span>There is not a breath the blue wave to curl;<br /> +But when the wind blows off the shore,<br /> +Oh! sweetly we'll rest our weary oar.<br /> +<span style="margin-left: 1em;">Blow, breezes, blow, the stream runs fast,</span><br /> +<span style="margin-left: 1em;">The Rapids are near, and the daylight's past.</span><br /> +<br /> +Ottawa's tide! this trembling moon<br /> +Shall see us float over thy surges soon:<br /> +Saint of this green isle! hear our prayers,<br /> +Oh! grant us cool heavens, and favouring airs.<br /> +<span style="margin-left: 1em;">Row, brothers, row, the stream runs fast,</span><br /> +<span style="margin-left: 1em;">The Rapids are near, and the daylight's past.</span><br /> + +<div class='sig'> +—<span class="smcap">Thomas Moore.</span><br /> +</div></div> + + +<h3><span class="smcap">Return of the Ancient Mariner</span></h3> + +<div class='poem'> +O wedding-guest! this soul hath been<br /> +<span style="margin-left: 2em;">Alone on a wide, wide sea:</span><br /> +So lonely 'twas, that God himself<br /> +<span style="margin-left: 2em;">Scarce seemed there to be.</span><br /> +<br /> +O sweeter than the marriage-feast,<br /> +<span style="margin-left: 2em;">'Tis sweeter far to me,</span><br /> +To walk together to the kirk<br /> +<span style="margin-left: 2em;">With a goodly company!</span><br /> +<br /> +To walk together to the kirk,<br /> +<span class='pagenum'><a name="Page_107" id="Page_107">[107]</a></span><span style="margin-left: 2em;">And all together pray,</span><br /> +While each to his great Father bends,<br /> +Old men, and babes, and loving friends,<br /> +<span style="margin-left: 2em;">And youths and maidens gay!</span><br /> +<br /> +Farewell, farewell! but this I tell<br /> +<span style="margin-left: 2em;">To thee, thou Wedding-Guest!</span><br /> +He prayeth well, who loveth well<br /> +<span style="margin-left: 2em;">Both man and bird and beast.</span><br /> +<br /> +He prayeth best, who loveth best<br /> +<span style="margin-left: 2em;">All things both great and small;</span><br /> +For the dear God who loveth us,<br /> +<span style="margin-left: 2em;">He made and loveth all.</span><br /> + +<div class='sig'> +—<span class="smcap">Samuel Taylor Coleridge.</span><br /> +</div></div> + + +<h3><span class="smcap">Now Fades the Last Long Streak of Snow</span></h3> + +<div class='poem'> +Now fades the last long streak of snow,<br /> +<span style="margin-left: 1em;">Now burgeons every maze of quick</span><br /> +<span style="margin-left: 1em;">About the flowering squares, and thick</span><br /> +By ashen roots the violets blow.<br /> +<br /> +Now rings the woodland loud and long,<br /> +<span style="margin-left: 1em;">The distance takes a lovelier hue,</span><br /> +<span style="margin-left: 1em;">And drown'd in yonder living blue</span><br /> +<span class='pagenum'><a name="Page_108" id="Page_108">[108]</a></span>The lark becomes a sightless song.<br /> +<br /> +Now dance the lights on lawn and lea,<br /> +<span style="margin-left: 1em;">The flocks are whiter down the vale,</span><br /> +<span style="margin-left: 1em;">And milkier every milky sail</span><br /> +On winding stream or distant sea;<br /> +<br /> +Where now the seamew pipes, or dives<br /> +<span style="margin-left: 1em;">In yonder greening gleam, and fly</span><br /> +<span style="margin-left: 1em;">The happy birds, that change their sky</span><br /> +To build and brood; that live their lives,<br /> +<br /> +From land to land; and in my breast<br /> +<span style="margin-left: 1em;">Spring wakens too; and my regret</span><br /> +<span style="margin-left: 1em;">Becomes an April violet,</span><br /> +And buds and blossoms like the rest.<br /> + +<div class='sig'> +—<span class="smcap">Alfred Lord Tennyson.</span><br /> +</div></div> + + +<h3><span class="smcap">How They Brought the Good News from Ghent to Aix</span></h3> + +<div class='poem2'> +I sprang to the stirrup, and Joris, and he;<br /> +I galloped, Dirck galloped, we galloped all three;<br /> +"Good speed!" cried the watch, as the gate-bolts undrew;<br /> +"Speed!" echoed the wall to us galloping through;<br /> +Behind shut the postern, the lights sank to rest,<br /> +<span class='pagenum'><a name="Page_109" id="Page_109">[109]</a></span>And into the midnight we galloped abreast.<br /> +<br /> +Not a word to each other; we kept the great pace<br /> +Neck by neck, stride by stride, never changing our place;<br /> +I turned in my saddle and made its girths tight,<br /> +Then shortened each stirrup, and set the pique right,<br /> +Rebuckled the cheek-strap, chained slacker the bit,<br /> +Nor galloped less steadily Roland a whit.<br /> +<br /> +'Twas moonset at starting; but while we drew near<br /> +Lokeren, the cocks crew and twilight dawned clear;<br /> +At Boom, a great yellow star came out to see;<br /> +At Düffield, 'twas morning as plain as could be;<br /> +And from Mecheln church-steeple we heard the half-chime,<br /> +So, Joris broke silence with, "Yet there is time!"<br /> +<br /> +At Aerschot, up leaped of a sudden the sun,<br /> +And against him the cattle stood black every one,<br /> +To stare thro' the mist at us galloping past,<br /> +And I saw my stout galloper Roland at last,<br /> +With resolute shoulders, each butting away<br /> +The haze, as some bluff river headland its spray;<br /> +<br /> +And his low head and crest, just one sharp ear bent back<br /> +<span class='pagenum'><a name="Page_110" id="Page_110">[110]</a></span>For my voice, and the other pricked out on his track;<br /> +And one eye's black intelligence,—ever that glance<br /> +O'er its white edge at me, his own master, askance!<br /> +And the thick heavy spume-flakes which aye and anon<br /> +His fierce lips shook upwards in galloping on.<br /> +<br /> +By Hasselt, Dirck groaned; and cried Joris, "Stay spur!<br /> +Your Roos galloped bravely, the fault's not in her,<br /> +We'll remember at Aix"—for one heard the quick wheeze<br /> +Of her chest, saw the stretched neck and staggering knees,<br /> +And sunk tail, and horrible heave of the flank,<br /> +As down on her haunches she shuddered and sank.<br /> +<br /> +So, we were left galloping, Joris and I,<br /> +Past Looz and past Tongres, no cloud in the sky;<br /> +The broad sun above laughed a pitiless laugh,<br /> +'Neath our feet broke the brittle bright stubble like chaff;<br /> +Till over by Dalhem a dome-spire sprang white,<br /> +And "Gallop," gasped Joris, "for Aix is in sight!"<br /> +<br /> +"How they'll greet us!"—and all in a moment his roan<br /> +<span class='pagenum'><a name="Page_111" id="Page_111">[111]</a></span>Rolled neck and croup over, lay dead as a stone;<br /> +And there was my Roland to bear the whole weight<br /> +Of the news which alone could save Aix from her fate,<br /> +With his nostrils like pits full of blood to the brim,<br /> +And with circles of red for his eye-sockets' rim.<br /> +<br /> +Then I cast loose my buffcoat, each holster let fall,<br /> +Shook off both my jack-boots, let go belt and all,<br /> +Stood up in the stirrup, leaned, patted his ear,<br /> +Called my Roland his pet-name, my horse without peer;<br /> +Clapped my hands, laughed and sang, any noise, bad or good,<br /> +Till at length into Aix Roland galloped and stood.<br /> +<br /> +And all I remember is—friends flocking round<br /> +As I sat with his head 'twixt my knees on the ground;<br /> +And no voice but was praising this Roland of mine,<br /> +As I poured down his throat our last measure of wine,<br /> +Which (the burgesses voted by common consent)<br /> +Was no more than his due who brought good news from Ghent.<br /> + +<div class='sig'> +—<span class="smcap">Robert Browning.</span><br /> +</div></div> + + +<h3><span class="smcap">The Destruction of Sennacherib</span></h3> + +<div class='poem'> +The Assyrian came down like the wolf on the fold,<br /> +And his cohorts were gleaming in purple and gold,<br /> +And the sheen of their spears was like stars on the sea,<br /> +<span class='pagenum'><a name="Page_112" id="Page_112">[112]</a></span>When the blue wave rolls nightly on deep Galilee.<br /> +<br /> +Like the leaves of the forest when summer is green,<br /> +That host with their banners at sunset were seen;<br /> +Like the leaves of the forest when autumn hath blown,<br /> +That host on the morrow lay wither'd and strown.<br /> +<br /> +For the Angel of Death spread his wings on the blast,<br /> +And breathed in the face of the foe as he pass'd;<br /> +And the eyes of the sleepers wax'd deadly and chill,<br /> +And their hearts but once heaved, and forever grew still.<br /> +<br /> +And there lay the steed with his nostril all wide,<br /> +But through it there roll'd not the breath of his pride:<br /> +And the foam of his gasping lay white on the turf,<br /> +And cold as the spray of the rock-beating surf.<br /> +<br /> +And there lay the rider, distorted and pale,<br /> +With the dew on his brow, and the rust on his mail;<br /> +And the tents were all silent, the banners alone,<br /> +The lances unlifted, the trumpet unblown.<br /> +<br /> +And the widows of Ashur are loud in their wail,<br /> +And the idols are broke in the temple of Baal,<br /> +And the might of the Gentile, unsmote by the sword,<br /> +Hath melted like snow in the glance of the Lord.<br /> + +<div class='sig'> +—<span class="smcap">Lord Byron.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_113" id="Page_113">[113]</a></span></p> + + +<h3><span class="smcap">Psalm XCI</span></h3> + +<div class='poem'> +He that dwelleth in the secret place of the most High<br /> +<span style="margin-left: 2em;">Shall abide under the shadow of the Almighty.</span><br /> +I will say of the Lord, He is my refuge and my fortress:<br /> +<span style="margin-left: 2em;">My God; in him will I trust.</span><br /> +Surely he shall deliver thee from the snare of the fowler,<br /> +<span style="margin-left: 2em;">And from the noisome pestilence.</span><br /> +He shall cover thee with his feathers,<br /> +And under his wings shalt thou trust:<br /> +<span style="margin-left: 2em;">His truth shall be thy shield and buckler.</span><br /> +Thou shalt not be afraid for the terror by night;<br /> +<span style="margin-left: 2em;">Nor for the arrow that flieth by day;</span><br /> +Nor for the pestilence that walketh in darkness;<br /> +<span style="margin-left: 2em;">Nor for the destruction that wasteth by noon-day.</span><br /> +A thousand shall fall at thy side,<br /> +And ten thousand at thy right hand;<br /> +<span style="margin-left: 2em;">But it shall not come nigh thee.</span><br /> +Only with thine eyes shalt thou behold<br /> +<span style="margin-left: 2em;">And see the reward of the wicked.</span><br /> +<br /> +Because thou hast made the Lord, which is my refuge,<br /> +<span style="margin-left: 2em;">Even the most High, thy habitation;</span><br /> +There shall no evil befall thee,<br /> +<span class='pagenum'><a name="Page_114" id="Page_114">[114]</a></span><span style="margin-left: 2em;">Neither shall any plague come nigh thy dwelling.</span><br /> +For he shall give his angels charge over thee,<br /> +<span style="margin-left: 2em;">To keep thee in all thy ways.</span><br /> +They shall bear thee up in their hands,<br /> +<span style="margin-left: 2em;">Lest thou dash thy foot against a stone.</span><br /> +Thou shalt tread upon the lion and adder:<br /> +<span style="margin-left: 2em;">The young lion and the dragon shalt thou trample under feet.</span><br /> +Because he hath set his love upon me, therefore will I deliver him:<br /> +<span style="margin-left: 2em;">I will set him on high, because he hath known my name.</span><br /> +He shall call upon me, and I will answer him:<br /> +<span style="margin-left: 2em;">I will be with him in trouble;</span><br /> +<span style="margin-left: 2em;">I will deliver him, and honour him.</span><br /> +With long life will I satisfy him,<br /> +<span style="margin-left: 2em;">And show him my salvation.</span><br /> + +<div class='sig'> +—<span class="smcap">King David.</span><br /> +</div></div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_115" id="Page_115">[115]</a></span></p> +<h2>SEVENTH YEAR</h2> + + +<h3><span class="smcap">The Pilgrim</span></h3> + +<div class='poem'> +Who would true valour see<br /> +<span style="margin-left: 2em;">Let him come hither.</span><br /> +One here will constant be,<br /> +<span style="margin-left: 2em;">Come wind, come weather:</span><br /> +There's no discouragement<br /> +Shall make him once relent<br /> +His first-avow'd intent<br /> +<span style="margin-left: 2em;">To be a Pilgrim.</span><br /> +<br /> +Whoso beset him round<br /> +<span style="margin-left: 2em;">With dismal stories,</span><br /> +Do but themselves confound;<br /> +<span style="margin-left: 2em;">His strength the more is.</span><br /> +No lion can him fright;<br /> +He'll with a giant fight;<br /> +But he will have a right<br /> +<span style="margin-left: 2em;">To be a Pilgrim.</span><br /> +<br /> +Nor enemy, nor fiend,<br /> +<span style="margin-left: 2em;">Can daunt his spirit;</span><br /> +He knows he at the end<br /> +<span class='pagenum'><a name="Page_116" id="Page_116">[116]</a></span><span style="margin-left: 2em;">Shall Life inherit:—</span><br /> +Then, fancies, fly away;<br /> +He'll not fear what men say;<br /> +He'll labour night and day,<br /> +<span style="margin-left: 2em;">To be a Pilgrim.</span><br /> + +<div class='sig'> +—<span class="smcap">John Bunyan.</span><br /> +</div></div> + + +<h3><span class="smcap">The Cloud</span></h3> + +<div class='poem'> +I bring fresh showers for the thirsting flowers,<br /> +<span style="margin-left: 2em;">From the seas and the streams;</span><br /> +I bear light shade for the leaves when laid<br /> +<span style="margin-left: 2em;">In their noon-day dreams.</span><br /> +From my wings are shaken the dews that waken<br /> +<span style="margin-left: 2em;">The sweet birds every one,</span><br /> +When rocked to rest on their Mother's breast,<br /> +<span style="margin-left: 2em;">As she dances in the sun.</span><br /> +I wield the flail of the lashing hail,<br /> +<span style="margin-left: 2em;">And whiten the green plains under;</span><br /> +And then again I dissolve it in rain,<br /> +<span style="margin-left: 2em;">And laugh as I pass in thunder.</span><br /> +<br /> +I sift the snow on the mountains below,<br /> +<span style="margin-left: 2em;">And their great pines groan aghast;</span><br /> +And all the night 'tis my pillow white,<br /> +<span style="margin-left: 2em;">While I sleep in the arms of the Blast.</span><br /> +Sublime on the towers of my skyey bowers,<br /> +<span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span><span style="margin-left: 2em;">Lightning, my pilot, sits;</span><br /> +In a cavern under is fettered the Thunder—<br /> +<span style="margin-left: 2em;">It struggles and howls by fits.</span><br /> +Over earth and ocean, with gentle motion,<br /> +<span style="margin-left: 2em;">This pilot is guiding me,</span><br /> +Lured by the love of the Genii that move<br /> +<span style="margin-left: 2em;">In the depths of the purple sea;</span><br /> +Over the rills, and the crags, and the hills,<br /> +<span style="margin-left: 2em;">Over the lakes and the plains,</span><br /> +Wherever he dream, under mountain or stream,<br /> +<span style="margin-left: 2em;">The Spirit he loves remains;</span><br /> +And I, all the while, bask in heaven's blue smile,<br /> +<span style="margin-left: 2em;">Whilst he is dissolving in rains.</span><br /> + +<div class='sig'> +—<span class="smcap">Percy Bysshe Shelley.</span><br /> +</div></div> + + +<h3><span class="smcap">The Gathering Song of Donald the Black</span></h3> + +<div class='poem'> +Pibroch of Donuil Dhu<br /> +<span style="margin-left: 2em;">Pibroch of Donuil,</span><br /> +Wake thy wild voice anew,<br /> +<span style="margin-left: 2em;">Summon Clan Conuil.</span><br /> +Come away, come away,<br /> +<span style="margin-left: 2em;">Hark to the summons!</span><br /> +Come in your war-array,<br /> +<span style="margin-left: 2em;">Gentles and commons.</span><br /> +<br /> +Come from deep glen, and<br /> +<span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span><span style="margin-left: 2em;">From mountain so rocky;</span><br /> +The war-pipe and pennon<br /> +<span style="margin-left: 2em;">Are at Inverlocky.</span><br /> +Come every hill-plaid, and<br /> +<span style="margin-left: 2em;">True heart that wears one,</span><br /> +Come every steel blade, and<br /> +<span style="margin-left: 2em;">Strong hand that bears one.</span><br /> +<br /> +Leave untended the herd,<br /> +<span style="margin-left: 2em;">The flock without shelter;</span><br /> +Leave the corpse uninterr'd,<br /> +<span style="margin-left: 2em;">The bride at the altar;</span><br /> +Leave the deer, leave the steer,<br /> +<span style="margin-left: 2em;">Leave nets and barges:</span><br /> +Come with your fighting gear,<br /> +<span style="margin-left: 2em;">Broadswords and targes.</span><br /> +<br /> +Come as the winds come, when<br /> +<span style="margin-left: 2em;">Forests are rended,</span><br /> +Come as the waves come, when<br /> +<span style="margin-left: 2em;">Navies are stranded:</span><br /> +Faster come, faster come,<br /> +<span style="margin-left: 2em;">Faster and faster,</span><br /> +Chief, vassal, page and groom,<br /> +<span style="margin-left: 2em;">Tenant and master.</span><br /> +<br /> +Fast they come, fast they come;<br /> +<span class='pagenum'><a name="Page_119" id="Page_119">[119]</a></span><span style="margin-left: 2em;">See how they gather!</span><br /> +Wide waves the eagle plume<br /> +<span style="margin-left: 2em;">Blended with heather.</span><br /> +Cast your plaids, draw your blades,<br /> +<span style="margin-left: 2em;">Forward each man set!</span><br /> +Pibroch of Donuil Dhu,<br /> +<span style="margin-left: 2em;">Knell for the onset!</span><br /> + +<div class='sig'> +—<span class="smcap">Sir Walter Scott.</span><br /> +</div></div> + + +<h3><span class="smcap">Indian Summer</span></h3> + +<div class='poem'> +<span style="margin-left: 5em;">From gold to gray</span><br /> +<span style="margin-left: 5em;">Our mild, sweet day</span><br /> +Of Indian summer fades too soon:<br /> +<span style="margin-left: 5em;">But tenderly</span><br /> +<span style="margin-left: 5em;">Above the sea</span><br /> +Hangs, white and calm, the hunter's moon.<br /> +<br /> +<span style="margin-left: 5em;">In its pale fire</span><br /> +<span style="margin-left: 5em;">The village spire</span><br /> +Shows like the zodiac's spectral lance:<br /> +<span style="margin-left: 5em;">The painted walls</span><br /> +<span style="margin-left: 5em;">Whereon it falls</span><br /> +Transfigured stand in marble trance.<br /> + +<div class='sig'> +—<span class="smcap">John Greenleaf Whittier.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_120" id="Page_120">[120]</a></span></p> + + +<h3><span class="smcap">Morning</span></h3> + +<div class='poem'> +Haste thee, Nymph, and bring with thee<br /> +Jest and youthful Jollity,<br /> +Quips and Cranks, and wanton Wiles,<br /> +Nods, and Becks, and wreathèd Smiles,<br /> +Such as hang on Hebe's cheek,<br /> +And love to live in dimple sleek;<br /> +Sport that wrinkled Care derides,<br /> +And Laughter holding both his sides.<br /> +Come, and trip it as you go<br /> +On the light fantastic toe;<br /> +And in thy right hand lead with thee<br /> +The mountain nymph, sweet Liberty;<br /> +And if I give thee honour due,<br /> +Mirth, admit me of thy crew,<br /> +To live with her, and live with thee,<br /> +In unreprovèd pleasures free;<br /> +To hear the Lark begin his flight,<br /> +And singing startle the dull night,<br /> +From his watch-tower in the skies,<br /> +Till the dappled dawn doth rise;<br /> +Then to come, in spite of sorrow,<br /> +And at my window bid good morrow,<br /> +Through the sweetbrier, or the vine,<br /> +Or the twisted eglantine:<br /> +<span class='pagenum'><a name="Page_121" id="Page_121">[121]</a></span>While the Cock with lively din,<br /> +Scatters the rear of darkness thin,<br /> +And to the stack, or the barn door,<br /> +Stoutly struts his dames before,<br /> +Oft list'ning how the hounds and horn<br /> +Cheerly rouse the slumbering morn,<br /> +From the side of some hoar hill,<br /> +Through the high wood echoing shrill.<br /> +Sometime walking not unseen<br /> +By hedge-row elms, on hillocks green,<br /> +Right against the eastern gate,<br /> +Where the great Sun begins his state,<br /> +Robed in flames and amber light,<br /> +The clouds in thousand liveries dight:<br /> +While the ploughman, near at hand,<br /> +Whistles o'er the furrow'd land,<br /> +And the milkmaid singeth blithe,<br /> +And the mower whets his scythe,<br /> +And every shepherd tells his tale<br /> +Under the hawthorn in the dale.<br /> + +<div class='sig'> +—<span class="smcap">John Milton.</span><br /> +</div></div> + + +<h3><span class="smcap">Who is Sylvia?</span></h3> + +<div class='poem'> +Who is Sylvia? what is she,<br /> +<span style="margin-left: 2em;">That all our swains commend her?</span><br /> +Holy, fair, and wise is she;<br /> +<span style="margin-left: 2em;">The heaven such grace did lend her,</span><br /> +<span class='pagenum'><a name="Page_122" id="Page_122">[122]</a></span>That she might admirèd be.<br /> +<br /> +Is she kind as she is fair?<br /> +<span style="margin-left: 2em;">For beauty lives with kindness:</span><br /> +Love doth to her eyes repair,<br /> +<span style="margin-left: 2em;">To help him of his blindness,</span><br /> +And, being help'd, inhabits there.<br /> +<br /> +Then to Sylvia let us sing,<br /> +<span style="margin-left: 2em;">That Sylvia is excelling;</span><br /> +She excels each mortal thing<br /> +<span style="margin-left: 2em;">Upon the dull earth dwelling:</span><br /> +To her let us garlands bring.<br /> + +<div class='sig'> +—<span class="smcap">William Shakespeare.</span><br /> +</div></div> + + +<h3><span class="smcap">The Revenge</span></h3> + +<div class='center'>(A Ballad of the Fleet)</div> + +<div class='poem2'> +At Flores in the Azores Sir Richard Grenville lay,<br /> +And a pinnace, like a flutter'd bird, came flying from far away:<br /> +"Spanish ships of war at sea! we have sighted fifty-three!"<br /> +Then sware Lord Thomas Howard: "'Fore God I am no coward;<br /> +But I cannot meet them here, for my ships are out of gear,<br /> +<span class='pagenum'><a name="Page_123" id="Page_123">[123]</a></span>And the half my men are sick. I must fly, but follow quick.<br /> +We are six ships of the line; can we fight with fifty-three?"<br /> +<br /> +Then spake Sir Richard Grenville: "I know you are no coward;<br /> +You fly them for a moment to fight with them again.<br /> +But I've ninety men and more that are lying sick ashore.<br /> +I should count myself the coward if I left them, my Lord Howard,<br /> +To these Inquisition dogs and the devildoms of Spain."<br /> +<br /> +So Lord Howard past away with five ships of war that day,<br /> +Till he melted like a cloud in the silent summer heaven;<br /> +But Sir Richard bore in hand all his sick men from the land<br /> +Very carefully and slow,<br /> +Men of Bideford in Devon,<br /> +And we laid them on the ballast down below;<br /> +For we brought them all aboard,<br /> +And they blest him in their pain, that they were not left to Spain,<br /> +<span class='pagenum'><a name="Page_124" id="Page_124">[124]</a></span>To the thumbscrew and the stake, for the glory of the Lord.<br /> +He had only a hundred seamen to work the ship and to fight,<br /> +And he sailed away from Flores till the Spaniard came in sight,<br /> +With his huge sea-castles heaving upon the weather bow.<br /> +"Shall we fight or shall we fly?<br /> +Good Sir Richard, tell us now,<br /> +For to fight is but to die!<br /> +There'll be little of us left by the time this sun be set."<br /> +And Sir Richard said again: "We be all good English men.<br /> +Let us bang these dogs of Seville, the children of the devil,<br /> +For I never turn'd my back upon Don or devil yet."<br /> +<br /> +Sir Richard spoke and he laugh'd, and we roar'd a hurrah, and so<br /> +The little Revenge ran on sheer into the heart of the foe,<br /> +With her hundred fighters on deck, and her ninety sick below;<br /> +For half of their fleet to the right and half to the left were seen,<br /> +<span class='pagenum'><a name="Page_125" id="Page_125">[125]</a></span>And the little Revenge ran on thro' the long sea-lane between.<br /> +Thousands of their soldiers look'd down from their decks and laugh'd,<br /> +Thousands of their seamen made mock at the mad little craft<br /> +Running on and on, till delay'd<br /> +By their mountain-like San Philip that, of fifteen hundred tons,<br /> +And up-shadowing high above us with her yawning tiers of guns,<br /> +Took the breath from our sails, and we stay'd.<br /> +<br /> +And while now the great San Philip hung above us like a cloud<br /> +Whence the thunderbolt will fall<br /> +Long and loud,<br /> +Four galleons drew away<br /> +From the Spanish fleet that day,<br /> +And two upon the larboard and two upon the starboard lay,<br /> +And the battle-thunder broke from them all.<br /> +<br /> +But anon the great San Philip, she bethought herself and went<br /> +Having that within her womb that had left her ill content;<br /> +<span class='pagenum'><a name="Page_126" id="Page_126">[126]</a></span>And the rest they came aboard us, and they fought us hand to hand,<br /> +For a dozen times they came with their pikes and musqueteers,<br /> +And a dozen times we shook 'em off as a dog that shakes his ears<br /> +When he leaps from the water to the land.<br /> +<br /> +And the sun went down, and the stars came out far over the summer sea,<br /> +But never a moment ceased the fight of the one and the fifty-three.<br /> +Ship after ship, the whole night long, their high-built galleons came,<br /> +Ship after ship, the whole night long, with her battle-thunder and flame;<br /> +Ship after ship, the whole night long, drew back with her dead and her shame.<br /> +And some were sunk and many were shatter'd, and so could fight us no more—<br /> +God of battles, was ever a battle like this in the world before?<br /> +<br /> +For he said "Fight on! fight on!"<br /> +Tho' his vessel was all but a wreck;<br /> +And it chanced that, when half of the short summer night was gone,<br /> +With a grisly wound to be drest he had left the deck,<br /> +<span class='pagenum'><a name="Page_127" id="Page_127">[127]</a></span>But a bullet struck him that was dressing it suddenly dead,<br /> +And himself he was wounded again in the side and the head,<br /> +And he said "Fight on! fight on!"<br /> +<br /> +And the night went down, and the sun smiled out far over the summer sea,<br /> +And the Spanish fleet with broken sides lay round us all in a ring;<br /> +But they dared not touch us again, for they fear'd that we still could sting,<br /> +So they watch'd what the end would be.<br /> +And we had not fought them in vain,<br /> +But in perilous plight were we,<br /> +Seeing forty of our poor hundred were slain,<br /> +And half of the rest of us maim'd for life<br /> +In the crash of the cannonades and the desperate strife;<br /> +And the sick men down in the hold were most of them stark and cold,<br /> +And the pikes were all broken or bent, and the powder was all of it spent;<br /> +And the masts and the rigging were lying over the side;<br /> +But Sir Richard cried in his English pride,<br /> +"We have fought such a fight for a day and a night<br /> +As may never be fought again!<br /> +<span class='pagenum'><a name="Page_128" id="Page_128">[128]</a></span>We have won great glory, my men!<br /> +And a day less or more<br /> +At sea or ashore,<br /> +We die—does it matter when?<br /> +Sink me the ship, Master Gunner—sink her, split her in twain!<br /> +Fall into the hands of God, not into the hands of Spain!"<br /> +<br /> +And the gunner said, "Ay, ay," but the seamen made reply:<br /> +"We have children, we have wives,<br /> +And the Lord hath spared our lives.<br /> +We will make the Spaniard promise, if we yield, to let us go;<br /> +We shall live to fight again and to strike another blow."<br /> +And the lion there lay dying, and they yielded to the foe.<br /> +<br /> +And the stately Spanish men to their flagship bore him then,<br /> +Where they laid him by the mast, old Sir Richard caught at last,<br /> +And they praised him to his face with their courtly foreign grace;<br /> +But he rose upon their decks, and he cried:<br /> +<span class='pagenum'><a name="Page_129" id="Page_129">[129]</a></span>"I have fought for Queen and Faith like a valiant man and true;<br /> +I have only done my duty as a man is bound to do;<br /> +With a joyful spirit I Sir Richard Grenville die!"<br /> +And he fell upon their decks, and he died.<br /> +<br /> +And they stared at the dead that had been so valiant and true,<br /> +And had holden the power and glory of Spain so cheap<br /> +That he dared her with one little ship and his English few;<br /> +Was he devil or man? He was devil for aught they knew,<br /> +But they sank his body with honour down into the deep,<br /> +And they mann'd the Revenge with a swarthier alien crew,<br /> +And away she sail'd with her loss and long'd for her own;<br /> +When a wind from the lands they had ruin'd awoke from sleep,<br /> +And the water began to heave and the weather to moan,<br /> +And or ever that evening ended a great gale blew,<br /> +And a wave like the wave that is raised by an earthquake grew,<br /> +<span class='pagenum'><a name="Page_130" id="Page_130">[130]</a></span>Till it smote on their hulls and their sails and their masts and their flags,<br /> +And the whole sea plunged and fell on the shot-shatter'd navy of Spain,<br /> +And the little Revenge herself went down by the island crags<br /> +To be lost evermore in the main.<br /> + +<div class='sig'> +—<span class="smcap">Alfred Lord Tennyson.</span><br /> +</div></div> + + +<h3><span class="smcap">How Sleep the Brave</span></h3> + +<div class='poem'> +How sleep the brave, who sink to rest<br /> +By all their country's wishes blest!<br /> +When Spring, with dewy fingers cold,<br /> +Returns to deck their hallow'd mould,<br /> +She there shall dress a sweeter sod<br /> +Than Fancy's feet have ever trod.<br /> +<br /> +By fairy hands their knell is rung,<br /> +By forms unseen their dirge is sung:<br /> +There Honour comes, a pilgrim gray,<br /> +To bless the turf that wraps their clay;<br /> +And Freedom shall awhile repair<br /> +To dwell a weeping hermit there!<br /> + +<div class='sig'> +—<span class="smcap">William Collins.</span><br /> +</div></div> + + +<h3><span class="smcap">A Life on the Ocean Wave</span></h3> + +<div class='poem'> +A life on the ocean wave,<br /> +<span style="margin-left: 1em;">A home on the rolling deep,</span><br /> +Where the scattered waters rave,<br /> +<span class='pagenum'><a name="Page_131" id="Page_131">[131]</a></span><span style="margin-left: 1em;">And the winds their revels keep!</span><br /> +<br /> +Like an eagle caged, I pine<br /> +<span style="margin-left: 1em;">On this dull, unchanging shore:</span><br /> +Oh! give me the flashing brine,<br /> +<span style="margin-left: 1em;">The spray and the tempest's roar!</span><br /> +<br /> +Once more on the deck I stand<br /> +<span style="margin-left: 1em;">Of my own swift-gliding craft:</span><br /> +Set sail! farewell to the land!<br /> +<span style="margin-left: 1em;">The gale follows fair abaft.</span><br /> +We shoot through the sparkling foam<br /> +<span style="margin-left: 1em;">Like an ocean-bird set free:</span><br /> +Like the ocean-bird, our home<br /> +<span style="margin-left: 1em;">We'll find far out on the sea.</span><br /> +<br /> +The land is no longer in view,<br /> +<span style="margin-left: 1em;">The clouds have begun to frown:</span><br /> +But with a stout vessel and crew,<br /> +<span style="margin-left: 1em;">We'll say, Let the storm come down!</span><br /> +And the song of our heart shall be,<br /> +<span style="margin-left: 1em;">While the winds and waters rave,</span><br /> +A home on the rolling sea!<br /> +<span style="margin-left: 1em;">A life on the ocean wave!</span><br /> + +<div class='sig'> +—<span class="smcap">Epes Sargent.</span><br /> +</div></div> + + +<h3><span class="smcap">The Eagle</span></h3> + +<div class='poem'> +He clasps the crag with crooked hands;<br /> +Close to the sun in lonely lands,<br /> +<span class='pagenum'><a name="Page_132" id="Page_132">[132]</a></span>Ring'd with the azure world, he stands.<br /> +The wrinkled sea beneath him crawls;<br /> +He watches from his mountain walls,<br /> +And like a thunderbolt he falls.<br /> + +<div class='sig'> +—<span class="smcap">Alfred Lord Tennyson.</span><br /> +</div></div> + + +<h3><span class="smcap">Psalm XC</span></h3> + +<div class='poem2'> +Lord, thou hast been our dwelling place<br /> +In all generations.<br /> +<br /> +Before the mountains were brought forth,<br /> +Or ever thou hadst formed the earth and the world,<br /> +<span style="margin-left: 2em;">Even from everlasting to everlasting, thou art God.</span><br /> +Thou turnest man to destruction;<br /> +<span style="margin-left: 2em;">And sayest, Return, ye children of men.</span><br /> +For a thousand years in thy sight<br /> +<span style="margin-left: 2em;">Are but as yesterday when it is past,</span><br /> +<span style="margin-left: 2em;">And as a watch in the night.</span><br /> +Thou carriest them away as with a flood;<br /> +<span style="margin-left: 1em;">They are as a sleep:</span><br /> +In the morning they are like grass which groweth up.<br /> +<span style="margin-left: 1em;">In the morning it flourisheth, and groweth up;</span><br /> +<span style="margin-left: 1em;">In the evening it is cut down, and withereth.</span><br /> +<br /> +For we are consumed by thine anger,<br /> +And by thy wrath are we troubled.<br /> +<br /> +Thou hast set our iniquities before thee,<br /> +<span class='pagenum'><a name="Page_133" id="Page_133">[133]</a></span><span style="margin-left: 2em;">Our secret sins in the light of thy countenance.</span><br /> +For all our days are passed away in thy wrath:<br /> +<span style="margin-left: 2em;">We spend our years as a tale that is told.</span><br /> +The days of our years are threescore years and ten;<br /> +<span style="margin-left: 2em;">And if by reason of strength they be fourscore years,</span><br /> +Yet is their strength labour and sorrow;<br /> +<span style="margin-left: 2em;">For it is soon cut off, and we fly away.</span><br /> +Who knoweth the power of thine anger?<br /> +<span style="margin-left: 2em;">Even according to thy fear, so is thy wrath.</span><br /> +<br /> +So teach us to number our days,<br /> +That we may apply our hearts unto wisdom.<br /> +<br /> +Return, O Lord, how long?<br /> +<span style="margin-left: 2em;">And let it repent thee concerning thy servants.</span><br /> +O satisfy us early with thy mercy;<br /> +<span style="margin-left: 2em;">That we may rejoice and be glad all our days.</span><br /> +Make us glad according to the days wherein thou hast afflicted us,<br /> +<span style="margin-left: 2em;">And the years wherein we have seen evil.</span><br /> +Let thy work appear unto thy servants,<br /> +<span style="margin-left: 2em;">And thy glory unto their children.</span><br /> +And let the beauty of the Lord our God be upon us:<br /> +<span style="margin-left: 2em;">And establish thou the work of our hands upon us;</span><br /> +<span style="margin-left: 2em;">Yea, the work of our hands establish thou it.</span><br /> + +<div class='sig'> +—<span class="smcap">King David.</span><br /> +</div></div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_134" id="Page_134">[134]</a></span></p> +<h2>EIGHTH YEAR</h2> + + +<h3><span class="smcap">The Concord Hymn</span></h3> + +<div class='poem'> +By the rude bridge that arched the flood,<br /> +<span style="margin-left: 1em;">Their flag to April's breeze unfurled,</span><br /> +Here once the embattled farmers stood,<br /> +<span style="margin-left: 1em;">And fired the shot heard round the world.</span><br /> +<br /> +The foe long since in silence slept;<br /> +<span style="margin-left: 1em;">Alike the conqueror silent sleeps;</span><br /> +And Time the ruined bridge has swept<br /> +<span style="margin-left: 1em;">Down the dark stream which seaward creeps.</span><br /> +<br /> +On this green bank, by this soft stream,<br /> +<span style="margin-left: 1em;">We set to-day a votive stone;</span><br /> +That memory may their deed redeem,<br /> +<span style="margin-left: 1em;">When, like our sires, our sons are gone.</span><br /> +<br /> +Spirit, that made those heroes dare<br /> +<span style="margin-left: 1em;">To die, and leave their children free,</span><br /> +Bid Time and Nature gently spare<br /> +<span style="margin-left: 1em;">The shaft we raise to them and thee.</span><br /> + +<div class='sig'> +—<span class="smcap">Ralph Waldo Emerson.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_135" id="Page_135">[135]</a></span></p> + + +<h3><span class="smcap">I Wandered Lonely as a Cloud</span></h3> + +<div class='poem'> +I wandered lonely as a cloud<br /> +That floats on high o'er vales and hills,<br /> +When all at once I saw a crowd,<br /> +A host of golden daffodils;<br /> +Beside the lake, beneath the trees,<br /> +Fluttering and dancing in the breeze.<br /> +<br /> +Continuous as the stars that shine<br /> +And twinkle on the milky way,<br /> +They stretched in never-ending line<br /> +Along the margin of a bay:<br /> +Ten thousand saw I at a glance,<br /> +Tossing their heads in sprightly dance.<br /> +<br /> +The waves beside them danced, but they<br /> +Out-did the sparkling waves in glee:—<br /> +A poet could not but be gay,<br /> +In such a jocund company;<br /> +I gazed—and gazed—but little thought<br /> +What wealth the show to me had brought:<br /> +<br /> +For oft, when on my couch I lie<br /> +In vacant or in pensive mood,<br /> +They flash upon that inward eye<br /> +Which is the bliss of solitude;<br /> +And then my heart with pleasure fills<br /> +And dances with the daffodils.<br /> + +<div class='sig'> +—<span class="smcap">William Wordsworth.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_136" id="Page_136">[136]</a></span></p> + + +<h3><span class="smcap">The Chambered Nautilus</span></h3> + +<div class='poem'> +This is the ship of pearl, which, poets feign,<br /> +<span style="margin-left: 4em;">Sails the unshadowed main,—</span><br /> +<span style="margin-left: 4em;">The venturous bark that flings</span><br /> +On the sweet summer wind its purpled wings<br /> +In Gulfs enchanted, where the Siren sings,<br /> +<span style="margin-left: 4em;">And coral reefs lie bare,</span><br /> +And the cold sea-maids rise to sun their streaming hair.<br /> +<br /> +Its webs of living gauze no more unfurl;<br /> +<span style="margin-left: 4em;">Wrecked is the ship of pearl!</span><br /> +<span style="margin-left: 4em;">And every chambered cell,</span><br /> +Where its dim dreaming life was wont to dwell,<br /> +As the frail tenant shaped his growing shell,<br /> +<span style="margin-left: 4em;">Before thee lies revealed,—</span><br /> +Its irised ceiling rent, its sunless crypt unsealed!<br /> +<br /> +Year after year beheld the silent toil<br /> +<span style="margin-left: 4em;">That spread his lustrous coil;</span><br /> +<span style="margin-left: 4em;">Still, as the spiral grew,</span><br /> +He left the past year's dwelling for the new,<br /> +Stole with soft step its shining archway through,<br /> +<span style="margin-left: 4em;">Built up its idle door,</span><br /> +<span class='pagenum'><a name="Page_137" id="Page_137">[137]</a></span>Stretched in his last-found home, and knew the old no more.<br /> +<br /> +Thanks for the heavenly message brought by thee,<br /> +<span style="margin-left: 4em;">Child of the wandering sea,</span><br /> +<span style="margin-left: 4em;">Cast from her lap, forlorn!</span><br /> +From thy dead lips a clearer note is born<br /> +Than ever Triton blew from Wreathèd Horn!<br /> +<span style="margin-left: 4em;">While on mine ear it rings,</span><br /> +Through the deep caves of thought I hear a voice that sings:—<br /> +<br /> +Build thee more stately mansions, O my soul,<br /> +<span style="margin-left: 4em;">As the swift seasons roll!</span><br /> +<span style="margin-left: 4em;">Leave thy low-vaulted past!</span><br /> +Let each new temple, nobler than the last,<br /> +Shut thee from heaven with a dome more vast,<br /> +<span style="margin-left: 4em;">Till thou at length art free,</span><br /> +Leaving thine outgrown shell by life's unresting sea!<br /> + +<div class='sig'> +—<span class="smcap">Oliver Wendell Holmes.</span><br /> +</div></div> + + +<h3><span class="smcap">To Autumn</span></h3> + +<div class='poem'> +Season of mists and mellow fruitfulness!<br /> +Close bosom-friend of the maturing sun;<br /> +Conspiring with him how to load and bless<br /> +With fruit the vines that round the thatch-eaves run;<br /> +To bend with apples the moss'd cottage-trees,<br /> +And fill all fruit with ripeness to the core;<br /> +<span class='pagenum'><a name="Page_138" id="Page_138">[138]</a></span>To swell the gourd, and plump the hazel shells<br /> +With a sweet kernel; to set budding more<br /> +And still more, later flowers for the bees,<br /> +Until they think warm days will never cease;<br /> +For Summer has o'erbrimm'd their clammy cells.<br /> +<br /> +Who hath not seen thee oft amid thy store?<br /> +Sometimes whoever seeks abroad may find<br /> +Thee sitting careless on a granary floor,<br /> +Thy hair soft-lifted by the winnowing wind;<br /> +Or on a half-reap'd furrow sound asleep,<br /> +Drowsed with the fume of poppies, while thy hook<br /> +Spares the next swath and all its twinèd flowers;<br /> +And sometime like a gleaner thou dost keep<br /> +Steady thy laden head across a brook;<br /> +Or by a cider-press, with patient look,<br /> +Thou watchest the last oozings, hours by hours.<br /> +<br /> +Where are the songs of Spring? Ay, where are they?<br /> +Think not of them,—thou hast thy music too,<br /> +While barrèd clouds bloom the soft-dying day<br /> +And touch the stubble-plains with rosy hue;<br /> +Then in a wailful choir the small gnats mourn<br /> +Among the river-sallows, borne aloft<br /> +Or sinking as the light wind lives or dies;<br /> +And full-grown lambs loud bleat from hilly bourn;<br /> +Hedge-crickets sing, and now with treble soft<br /> +The redbreast whistles from a garden-croft,<br /> +And gathering swallows twitter in the skies.<br /> + +<div class='sig'> +—<span class="smcap">John Keats.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_139" id="Page_139">[139]</a></span></p> + + +<h3><span class="smcap">To a Waterfowl</span></h3> + +<div class='poem'> +<span style="margin-left: 4em;">Whither, 'midst falling dew,</span><br /> +While glow the heavens with the last steps of day,<br /> +Far through their rosy depths, dost thou pursue<br /> +<span style="margin-left: 4em;">Thy solitary way?</span><br /> +<br /> +<span style="margin-left: 4em;">Vainly the fowler's eye</span><br /> +Might mark thy distant flight to do thee wrong,<br /> +As, darkly painted on the crimson sky,<br /> +<span style="margin-left: 4em;">Thy figure floats along.</span><br /> +<br /> +<span style="margin-left: 4em;">Seek'st thou the plashy brink</span><br /> +Of weedy lake, or marge of river wide,<br /> +Or where the rocking billows rise and sink<br /> +<span style="margin-left: 4em;">On the chafed ocean side?</span><br /> +<br /> +<span style="margin-left: 4em;">There is a power whose care</span><br /> +Teaches thy way along that pathless coast,—<br /> +The desert and illimitable air,—<br /> +<span style="margin-left: 4em;">Lone wandering, but not lost.</span><br /> +<br /> +<span style="margin-left: 4em;">All day thy wings have fann'd,</span><br /> +At that far height, the cold, thin atmosphere;<br /> +Yet stoop not, weary, to the welcome land,<br /> +<span class='pagenum'><a name="Page_140" id="Page_140">[140]</a></span><span style="margin-left: 4em;">Though the dark night is near.</span><br /> +<br /> +<span style="margin-left: 4em;">And soon that toil shall end;</span><br /> +Soon shalt thou find a summer home, and rest<br /> +And scream among thy fellows; reeds shall bend<br /> +<span style="margin-left: 4em;">Soon o'er thy sheltered nest.</span><br /> +<br /> +<span style="margin-left: 4em;">Thou'rt gone—the abyss of heaven</span><br /> +Hath swallow'd up thy form—yet on my heart<br /> +Deeply hath sunk the lesson thou hast given,<br /> +<span style="margin-left: 4em;">And shall not soon depart.</span><br /> +<br /> +<span style="margin-left: 4em;">He, who from zone to zone</span><br /> +Guides through the boundless sky thy certain flight,<br /> +In the long way that I must tread alone,<br /> +<span style="margin-left: 4em;">Will lead my steps aright.</span><br /> + +<div class='sig'> +—<span class="smcap">William Cullen Bryant.</span><br /> +</div></div> + + +<h3><span class="smcap">On First Looking into Chapman's Homer</span></h3> + +<div class='poem'> +Much have I travell'd in the realms of gold<br /> +<span style="margin-left: 2em;">And many goodly states and kingdoms seen;</span><br /> +<span style="margin-left: 2em;">Round many western islands have I been</span><br /> +Which bards in fealty to Apollo hold.<br /> +Oft of one wide expanse had I been told<br /> +<span style="margin-left: 2em;">That deep-brow'd Homer rul'd as his demesne;</span><br /> +<span style="margin-left: 2em;">Yet did I never breathe its pure serene</span><br /> +<span class='pagenum'><a name="Page_141" id="Page_141">[141]</a></span>Till I heard Chapman speak out loud and bold:<br /> +Then felt I like some watcher of the skies<br /> +<span style="margin-left: 2em;">When a new planet swims into his ken;</span><br /> +Or like stout Cortez when with eagle eyes<br /> +<span style="margin-left: 2em;">He star'd at the Pacific—and all his men</span><br /> +Look'd at each other with a wild surmise—<br /> +<span style="margin-left: 2em;">Silent, upon a peak in Darien.</span><br /> + +<div class='sig'> +—<span class="smcap">John Keats.</span><br /> +</div></div> + + +<h3><span class="smcap">Recessional</span></h3> + +<div class='poem'> +God of our fathers, known of old—<br /> +<span style="margin-left: 2em;">Lord of our far-flung battle line—</span><br /> +Beneath whose awful hand we hold<br /> +<span style="margin-left: 2em;">Dominion over palm and pine—</span><br /> +Lord God of Hosts, be with us yet,<br /> +Lest we forget, lest we forget!<br /> +<br /> +The tumult and the shouting dies—<br /> +<span style="margin-left: 2em;">The Captains and the Kings depart—</span><br /> +Still stands Thine ancient sacrifice,<br /> +<span style="margin-left: 2em;">An humble and a contrite heart.</span><br /> +Lord God of Hosts, be with us yet,<br /> +Lest we forget, lest we forget!<br /> +<br /> +Far-called, our navies melt away—<br /> +<span style="margin-left: 2em;">On dune and headland sinks the fire—</span><br /> +Lo, all our pomp of yesterday<br /> +<span class='pagenum'><a name="Page_142" id="Page_142">[142]</a></span><span style="margin-left: 2em;">Is one with Nineveh and Tyre!</span><br /> +Judge of the Nations, spare us yet,<br /> +Lest we forget, lest we forget!<br /> +<br /> +If, drunk with sight of power, we loose<br /> +<span style="margin-left: 2em;">Wild tongues that have not Thee in awe—</span><br /> +Such boasting as the Gentiles use,<br /> +<span style="margin-left: 2em;">Or lesser breeds without the Law—</span><br /> +Lord God of Hosts, be with us yet,<br /> +Lest we forget, lest we forget!<br /> +<br /> +For heathen heart that puts her trust<br /> +<span style="margin-left: 2em;">In reeking tube and iron shard—</span><br /> +All valiant dust that builds on dust,<br /> +<span style="margin-left: 2em;">And guarding calls not Thee to guard—</span><br /> +For frantic boast and foolish word,<br /> +Thy Mercy on Thy People, Lord!<br /> + +<div class='sig'> +—<span class="smcap">Rudyard Kipling.</span><br /> +</div></div> + + +<h3><span class="smcap">Sir Patrick Spens</span></h3> + +<div class='center'>I. <i>The Sailing</i></div> + +<div class='poem'> +The king sits in Dunfermline town<br /> +<span style="margin-left: 2em;">Drinking the blude-red wine:</span><br /> +"O whare will I get a skeely skipper<br /> +<span class='pagenum'><a name="Page_143" id="Page_143">[143]</a></span><span style="margin-left: 2em;">To sail this new ship o' mine?"</span><br /> +<br /> +O up and spak an eldern knight,<br /> +<span style="margin-left: 2em;">Sat at the king's right knee:</span><br /> +"Sir Patrick Spens is the best sailor<br /> +<span style="margin-left: 2em;">That ever sail'd the sea."</span><br /> +<br /> +Our king has written a braid letter,<br /> +<span style="margin-left: 2em;">And seal'd it with his hand,</span><br /> +And sent it to Sir Patrick Spens,<br /> +<span style="margin-left: 2em;">Was walking on the strand.</span><br /> +<br /> +"To Noroway, to Noroway,<br /> +<span style="margin-left: 2em;">To Noroway o'er the faem;</span><br /> +The king's daughter o' Noroway,<br /> +<span style="margin-left: 2em;">'Tis thou must bring her hame."</span><br /> +<br /> +The first word that Sir Patrick read<br /> +<span style="margin-left: 2em;">So loud, loud laugh'd he;</span><br /> +The neist word that Sir Patrick read<br /> +<span style="margin-left: 2em;">The tear blinded his e'e.</span><br /> +<br /> +"O wha is this has done this deed<br /> +<span style="margin-left: 2em;">And tauld the king o' me,</span><br /> +To send us out, at this time o' year,<br /> +<span style="margin-left: 2em;">To sail upon the sea?</span><br /> +<br /> +"Be it wind, be it weet, be it hail, be it sleet,<br /> +<span style="margin-left: 2em;">Our ship must sail the faem;</span><br /> +The king's daughter o' Noroway,<br /> +<span class='pagenum'><a name="Page_144" id="Page_144">[144]</a></span><span style="margin-left: 2em;">'Tis we must fetch her hame."</span><br /> +<br /> +They hoysed their sails on Monenday morn<br /> +<span style="margin-left: 2em;">Wi' a' the speed they may;</span><br /> +They hae landed in Noroway<br /> +<span style="margin-left: 2em;">Upon a Wodensday.</span><br /> +</div> + +<div class='center'><br />II. <i>The Return</i></div> + +<div class='poem'> +"Mak ready, mak ready, my merry men a'!<br /> +<span style="margin-left: 2em;">Our gude ship sails the morn."</span><br /> +"Now ever alack, my master dear,<br /> +<span style="margin-left: 2em;">I fear a deadly storm.</span><br /> +<br /> +"I saw the new moon late yestreen<br /> +<span style="margin-left: 2em;">Wi' the auld moon in her arm;</span><br /> +And if we gang to sea, master,<br /> +<span style="margin-left: 2em;">I fear we'll come to harm."</span><br /> +<br /> +They hadna sail'd a league, a league,<br /> +<span style="margin-left: 2em;">A league but barely three,</span><br /> +When the lift grew dark, and the wind blew loud,<br /> +<span style="margin-left: 2em;">And gurly grew the sea.</span><br /> +<br /> +The ankers brak, and the topmast lap,<br /> +<span style="margin-left: 2em;">It was sic a deadly storm:</span><br /> +And the waves cam owre the broken ship<br /> +<span class='pagenum'><a name="Page_145" id="Page_145">[145]</a></span><span style="margin-left: 2em;">Till a' her sides were torn.</span><br /> +<br /> +"Go fetch a web o' the silken claith,<br /> +<span style="margin-left: 2em;">Another o' the twine,</span><br /> +And wap them into our ship's side,<br /> +<span style="margin-left: 2em;">And let nae the sea come in."</span><br /> +<br /> +They fetch'd a web o' the silken claith<br /> +<span style="margin-left: 2em;">Another o' the twine,</span><br /> +And they wapp'd them round that gude ship's side,<br /> +<span style="margin-left: 2em;">But still the sea came in.</span><br /> +<br /> +O laith, laith were our gude Scots lords<br /> +<span style="margin-left: 2em;">To wet their cork-heel'd shoon;</span><br /> +But lang or a' the play was play'd<br /> +<span style="margin-left: 2em;">They wat their hats aboon.</span><br /> +<br /> +And mony was the feather bed<br /> +<span style="margin-left: 2em;">That flatter'd on the faem;</span><br /> +And mony was the gude lord's son<br /> +<span style="margin-left: 2em;">That never mair cam hame.</span><br /> +<br /> +O lang, lang may the ladies sit,<br /> +<span style="margin-left: 2em;">Wi' their fans into their hand,</span><br /> +Before they see Sir Patrick Spens<br /> +<span style="margin-left: 2em;">Come sailing to the strand!</span><br /> +<br /> +And lang, lang may the maidens sit<br /> +<span style="margin-left: 2em;">Wi' their gowd kames in their hair,</span><br /> +A-waiting for their ain dear loves!<br /> +<span class='pagenum'><a name="Page_146" id="Page_146">[146]</a></span><span style="margin-left: 2em;">For them they'll see nae mair.</span><br /> +<br /> +Half-owre, half-owre to Aberdour,<br /> +<span style="margin-left: 2em;">'Tis fifty fathoms deep;</span><br /> +And there lies gude Sir Patrick Spens,<br /> +<span style="margin-left: 2em;">Wi' the Scots lords at his feet!</span><br /> + +<div class='sig'> +—<span class="smcap">Unknown.</span><br /> +</div></div> + + +<h3><span class="smcap">Elegy Written in a Country Churchyard</span></h3> + +<div class='poem'> +The curfew tolls the knell of parting day,<br /> +<span style="margin-left: 1em;">The lowing herd wind slowly o'er the lea,</span><br /> +The ploughman homeward plods his weary way,<br /> +<span style="margin-left: 1em;">And leaves the world to darkness and to me.</span><br /> +<br /> +Now fades the glimmering landscape on the sight,<br /> +<span style="margin-left: 1em;">And all the air a solemn stillness holds,</span><br /> +Save where the beetle wheels his droning flight,<br /> +<span style="margin-left: 1em;">And drowsy tinklings lull the distant folds:</span><br /> +<br /> +Save that from yonder ivy-mantled tow'r<br /> +<span style="margin-left: 1em;">The moping owl does to the moon complain</span><br /> +Of such as, wand'ring near her secret bow'r,<br /> +<span style="margin-left: 1em;">Molest her ancient solitary reign.</span><br /> +<br /> +Beneath those rugged elms, that yew-tree's shade,<br /> +<span style="margin-left: 1em;">Where heaves the turf in many a mould'ring heap,</span><br /> +Each in his narrow cell forever laid,<br /> +<span class='pagenum'><a name="Page_147" id="Page_147">[147]</a></span><span style="margin-left: 1em;">The rude forefathers of the hamlet sleep.</span><br /> +<br /> +The breezy call of incense-breathing morn,<br /> +<span style="margin-left: 1em;">The swallow twitt'ring from the straw-built shed,</span><br /> +The cock's shrill clarion, or the echoing horn,<br /> +<span style="margin-left: 1em;">No more shall rouse them from their lowly bed.</span><br /> +<br /> +For them no more the blazing hearth shall burn,<br /> +<span style="margin-left: 1em;">Or busy housewife ply her evening care:</span><br /> +No children run to lisp their sire's return,<br /> +<span style="margin-left: 1em;">Or climb his knees the envied kiss to share.</span><br /> +<br /> +Oft did the harvest to their sickle yield,<br /> +<span style="margin-left: 1em;">Their furrow oft the stubborn glebe has broke:</span><br /> +How jocund did they drive their team afield!<br /> +<span style="margin-left: 1em;">How bow'd the woods beneath their sturdy stroke!</span><br /> +<br /> +Let not Ambition mock their useful toil,<br /> +<span style="margin-left: 1em;">Their homely joys, and destiny obscure;</span><br /> +Nor Grandeur hear with a disdainful smile<br /> +<span style="margin-left: 1em;">The short and simple annals of the poor.</span><br /> +<br /> +The boast of heraldry, the pomp of pow'r,<br /> +<span style="margin-left: 1em;">And all that beauty, all that wealth e'er gave,</span><br /> +Await alike th' inevitable hour:<br /> +<span style="margin-left: 1em;">The paths of glory lead but to the grave.</span><br /> +<br /> +Nor you, ye proud, impute to these the fault<br /> +<span class='pagenum'><a name="Page_148" id="Page_148">[148]</a></span><span style="margin-left: 1em;">If Memory o'er their tomb no trophies raise,</span><br /> +Where through the long-drawn aisle and fretted vault<br /> +<span style="margin-left: 1em;">The pealing anthem swells the note of praise.</span><br /> +<br /> +Can storied urn or animated bust<br /> +<span style="margin-left: 1em;">Back to its mansion call the fleeting breath?</span><br /> +Can Honour's voice provoke the silent dust,<br /> +<span style="margin-left: 1em;">Or Flatt'ry soothe the dull cold ear of death?</span><br /> +<br /> +Perhaps in this neglected spot is laid<br /> +<span style="margin-left: 1em;">Some heart once pregnant with celestial fire;</span><br /> +Hands, that the rod of empire might have sway'd,<br /> +<span style="margin-left: 1em;">Or waked to ecstasy the living lyre.</span><br /> +<br /> +But Knowledge to their eyes her ample page<br /> +<span style="margin-left: 1em;">Rich with the spoils of time did ne'er unroll;</span><br /> +Chill Penury repress'd their noble rage,<br /> +<span style="margin-left: 1em;">And froze the genial current of the soul.</span><br /> +<br /> +Full many a gem of purest ray serene<br /> +<span style="margin-left: 1em;">The dark unfathom'd caves of ocean bear:</span><br /> +Full many a flower is born to blush unseen,<br /> +<span style="margin-left: 1em;">And waste its sweetness on the desert air.</span><br /> +<br /> +Some village Hampden that with dauntless breast<br /> +<span style="margin-left: 1em;">The little tyrant of his fields withstood,</span><br /> +Some mute inglorious Milton here may rest,<br /> +<span class='pagenum'><a name="Page_149" id="Page_149">[149]</a></span><span style="margin-left: 1em;">Some Cromwell guiltless of his country's blood.</span><br /> +<br /> +Th' applause of list'ning senates to command,<br /> +<span style="margin-left: 1em;">The threats of pain and ruin to despise,</span><br /> +To scatter plenty o'er a smiling land,<br /> +<span style="margin-left: 1em;">And read their history in a nation's eyes—</span><br /> +<br /> +Their lot forbade: nor circumscribed alone<br /> +<span style="margin-left: 1em;">Their growing virtues, but their crimes confined;</span><br /> +Forbade to wade thro' slaughter to a throne,<br /> +<span style="margin-left: 1em;">And shut the gates of mercy on mankind;</span><br /> +<br /> +The struggling pangs of conscious truth to hide,<br /> +<span style="margin-left: 1em;">To quench the blushes of ingenuous shame</span><br /> +Or heap the shrine of Luxury and Pride<br /> +<span style="margin-left: 1em;">With incense kindled at the Muse's flame.</span><br /> +<br /> +Far from the madding crowd's ignoble strife<br /> +<span style="margin-left: 1em;">Their sober wishes never learn'd to stray;</span><br /> +Along the cool, sequester'd vale of life<br /> +<span style="margin-left: 1em;">They kept the noiseless tenor of their way.</span><br /> +<br /> +Yet ev'n these bones from insult to protect<br /> +<span style="margin-left: 1em;">Some frail memorial still erected nigh,</span><br /> +With uncouth rhymes and shapeless sculpture deck'd,<br /> +<span style="margin-left: 1em;">Implores the passing tribute of a sigh.</span><br /> +<br /> +Their name, their years, spelt by th' unlettered Muse,<br /> +<span style="margin-left: 1em;">The place of fame and elegy supply:</span><br /> +And many a holy text around she strews,<br /> +<span class='pagenum'><a name="Page_150" id="Page_150">[150]</a></span><span style="margin-left: 1em;">That teach the rustic moralist to die.</span><br /> +<br /> +For who, to dumb Forgetfulness a prey,<br /> +<span style="margin-left: 1em;">This pleasing anxious being e'er resign'd,</span><br /> +Left the warm precincts of the cheerful day,<br /> +<span style="margin-left: 1em;">Nor cast one longing ling'ring look behind?</span><br /> +<br /> +On some fond breast the parting soul relies,<br /> +<span style="margin-left: 1em;">Some pious drops the closing eye requires;</span><br /> +E'en from the tomb the voice of Nature cries,<br /> +<span style="margin-left: 1em;">E'en in our ashes live their wonted fires.</span><br /> +<br /> +For thee, who, mindful of th' unhonour'd dead,<br /> +<span style="margin-left: 1em;">Dost in these lines their artless tale relate;</span><br /> +If chance, by lonely contemplation led,<br /> +<span style="margin-left: 1em;">Some kindred spirit shall inquire thy fate—</span><br /> +<br /> +Haply some hoary-headed swain may say,<br /> +<span style="margin-left: 1em;">"Oft have we seen him at the peep of dawn</span><br /> +Brushing with hasty steps the dews away<br /> +<span style="margin-left: 1em;">To meet the sun upon the upland lawn.</span><br /> +<br /> +"There at the foot of yonder nodding beech<br /> +<span style="margin-left: 1em;">That wreathes its old fantastic roots so high,</span><br /> +His listless length at noontide would he stretch,<br /> +<span style="margin-left: 1em;">And pore upon the brook that babbles by.</span><br /> +<br /> +"Hard by yon wood, now smiling as in scorn,<br /> +<span style="margin-left: 1em;">Mutt'ring his wayward fancies he would rove,</span><br /> +Now drooping, woeful-wan, like one forlorn,<br /> +<span class='pagenum'><a name="Page_151" id="Page_151">[151]</a></span><span style="margin-left: 1em;">Or crazed with care, or cross'd in hopeless love.</span><br /> +<br /> +"One morn I miss'd him on the custom'd hill,<br /> +<span style="margin-left: 1em;">Along the heath, and near his favourite tree;</span><br /> +Another came; nor yet beside the rill,<br /> +<span style="margin-left: 1em;">Nor up the lawn, nor at the wood was he:</span><br /> +<br /> +"The next with dirges due in sad array<br /> +<span style="margin-left: 1em;">Slow through the church-way path we saw him borne.</span><br /> +Approach and read (for thou canst read) the lay<br /> +<span style="margin-left: 1em;">Graved on the stone beneath yon agèd thorn:"</span><br /> +</div> + +<div class='center'><br /><i>The Epitaph</i></div> + +<div class='poem'> +Here rests his head upon the lap of Earth<br /> +<span style="margin-left: 2em;">A Youth, to Fortune and to Fame unknown.</span><br /> +Fair Science frown'd not on his humble birth,<br /> +<span style="margin-left: 2em;">And Melancholy mark'd him for her own.</span><br /> +<br /> +Large was his bounty, and his soul sincere,<br /> +<span style="margin-left: 2em;">Heav'n did a recompense as largely send:</span><br /> +He gave to Mis'ry all he had, a tear,<br /> +<span style="margin-left: 2em;">He gain'd from Heav'n ('twas all he wished) a friend.</span><br /> +<br /> +No farther seek his merits to disclose,<br /> +<span style="margin-left: 2em;">Or draw his frailties from their dread abode</span><br /> +(There they alike in trembling hope repose),<br /> +<span style="margin-left: 2em;">The bosom of his Father and his God.</span><br /> + + +<div class='sib'> +—<span class="smcap">Thomas Gray.</span><br /> +</div></div> + +<p><span class='pagenum'><a name="Page_152" id="Page_152">[152]</a></span></p> + + +<h3><span class="smcap">Psalm CIII</span></h3> + +<div class='poem2'> +Bless the Lord, O my soul:<br /> +<span style="margin-left: 2em;">And all that is within me, bless his holy name.</span><br /> +Bless the Lord, O my soul,<br /> +<span style="margin-left: 2em;">And forget not all his benefits:</span><br /> +Who forgiveth all thine iniquities;<br /> +<span style="margin-left: 2em;">Who healeth all thy diseases;</span><br /> +Who redeemeth thy life from destruction;<br /> +<span style="margin-left: 2em;">Who crowneth thee with loving kindness and tender mercies;</span><br /> +Who satisfieth thy mouth with good things;<br /> +<span style="margin-left: 2em;">So that thy youth is renewed like the eagle's.</span><br /> +<br /> +The Lord executeth righteousness<br /> +<span style="margin-left: 2em;">And judgment for all that are oppressed.</span><br /> +He made known his ways unto Moses,<br /> +<span style="margin-left: 1em;">His acts unto the children of Israel.</span><br /> +The Lord is merciful and gracious,<br /> +<span style="margin-left: 2em;">Slow to anger, and plenteous in mercy.</span><br /> +He will not always chide:<br /> +<span style="margin-left: 1em;">Neither will he keep his anger forever.</span><br /> +He hath not dealt with us after our sins;<br /> +<span style="margin-left: 1em;">Nor rewarded us according to our iniquities.</span><br /> +<br /> +For as the heaven is high above the earth,<br /> +<span class='pagenum'><a name="Page_153" id="Page_153">[153]</a></span><span style="margin-left: 1em;">So great is his mercy toward them that fear him.</span><br /> +As far as the east is from the west,<br /> +<span style="margin-left: 1em;">So far hath he removed our transgressions from us.</span><br /> +Like as a father pitieth his children,<br /> +<span style="margin-left: 2em;">So the Lord pitieth them that fear him.</span><br /> +For he knoweth our frame;<br /> +<span style="margin-left: 2em;">He remembereth that we are dust.</span><br /> +<br /> +As for man, his days are as grass:<br /> +<span style="margin-left: 2em;">As a flower of the field, so he flourisheth.</span><br /> +For the wind passeth over it, and it is gone;<br /> +<span style="margin-left: 2em;">And the place thereof shall know it no more.</span><br /> +But the mercy of the Lord is from everlasting to everlasting upon them that fear him,<br /> +<span style="margin-left: 2em;">And his righteousness unto children's children;</span><br /> +To such as keep his covenant,<br /> +<span style="margin-left: 2em;">And to those that remember his commandments to do them.</span><br /> +<br /> +The Lord hath prepared his throne in the heavens;<br /> +<span style="margin-left: 2em;">And his kingdom ruleth over all.</span><br /> +Bless the Lord, ye his angels,<br /> +<span style="margin-left: 2em;">That excel in strength,</span><br /> +That do his commandments,<br /> +<span style="margin-left: 2em;">Hearkening unto the voice of his word.</span><br /> +Bless ye the Lord, all ye his hosts;<br /> +<span style="margin-left: 2em;">Ye ministers of his, that do his pleasure.</span><br /> +Bless the Lord, all his works<br /> +<span style="margin-left: 2em;">In all places of his dominion:</span><br /> +Bless the Lord, O my soul.<br /> + +<div class='sig'> +—<span class="smcap">King David.</span><br /> +</div></div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_154" id="Page_154">[154]</a></span></p> +<h2>ANTHOLOGIES OF CHILDREN'S POEMS</h2> + + +<p><span class="smcap">In</span> addition to what the student has mastered by +heart he needs to own and keep within arm's reach +a good anthology. He should first own "A Children's +Treasury of English Song," and about the +time he is ready to leave the elementary school the +greatest of all collections of verse, "The Golden +Treasury of the Best Songs and Lyrical Poems in +the English Language," must fall into his hands. +The next best collection is doubtless "The Oxford +Book of English Verse," by A. T. Quiller-Couch. +For ballad literature "The Oxford Book of English +Ballads" by the last-named editor and "The +Ballad Book" by Allingham are both good. It +is to be hoped that if he has a taste for verse of +the ballad form, the boy may some day wander +back to Percy's "Reliques of Ancient English +Poetry." An occasional boy who cares little for +great poetry may have a bent toward songs of +war and daring. Though this tendency is to be +deplored if it comes late in the boy's school life, +it is best to satisfy it. A fairly good but not altogether +judiciously selected anthology for this purpose +is Henley's "Lyra Heroica." From this reading +of poetry in anthologies the boy might go to +the carefully edited and selected volumes of the great +poets in the Golden Treasury Series. The step to +choice complete editions is then easy.<span class='pagenum'><a name="Page_155" id="Page_155">[155]</a></span></p> + +<p>It may chance that the boy who has once tasted +of the honeydew of great poetry and who has left +the elementary school to take up the actual affairs +of life will go back to the authority of his teacher who +first pointed out to him such a pure pleasure for his +quiet hours. If this gratifying condition should +come about, the teacher might name to him the +following poems that are still more rare in their +appeal—as he will surely come to know when +he has felt the touch of "An Ode on a Grecian +Urn." Here are the titles: "Shall I Compare +Thee to a Summer's Day," Shakespeare; "The Time +of Year Thou May'st in Me Behold," Shakespeare; +"On the Late Massacre in Piedmont," Milton; +"The World is too Much with Us," Wordsworth; +"Milton, Thou Should'st Be Living at This Hour," +Wordsworth; "Tuscan, That Wander'st in the +Realms of Gloom," Longfellow; "Rose Aylmer," +Landor; "Out of the Night That Covers Me," Henley; +"Go Fetch to Me a Pint o' Wine," Burns; "Proud +Maisie is in the Woods," Scott; "She Dwelt among +the Untrodden Ways," Wordsworth; "Helen, Thy +Beauty is to Me," Poe; "She Walks in Beauty," +Byron; "The Lost Leader," Browning; "It Was +a Lover and His Lass," Shakespeare; "Callicles +beneath Etna," Arnold; "La Belle Dame sans +Merci," Keats; "Ode to Evening," Collins; "Ode +to a Skylark," Shelley; "Ode on a Grecian Urn," +Keats; "Kubla Khan," Coleridge; "Ulysses,"<span class='pagenum'><a name="Page_156" id="Page_156">[156]</a></span> +Tennyson; "L'Allegro," Milton. From these the +boy may with the coming of manhood be led to +heights of such tunes of the masters as Wordsworth's +powerful "Ode on the Intimations of Immortality +from Earliest Childhood," and Tennyson's song +that is so near to the heart of great things, "In +Memoriam."</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_157" id="Page_157">[157]</a></span></p> +<h2>PART III</h2> + +<div class='chaptertitle'>SOURCES OF STANDARD PROSE FOR CHILDREN</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_159" id="Page_159">[159]</a></span></p> +<h2>CHAPTER I</h2> + +<div class='chaptertitle'>FAIRY TALES, HOUSEHOLD TALES, AND OTHER FANCIFUL STORIES</div> + +<div class="blockquot"><p>"In the olde times they were the only revivers of drowsy age at midnight: +old and young have with his tales chim'd mattens till the cocks +crow in the morning: Batchelors and Maides with his tales have compassed +the Christmas fire-block till the Curfew-bell rings, Candle out: +the old Shepherd and the young Plow boy after their day's labour have +carol'd out a Tale of Tom Thumb to make merry with: and who but +little Tom hath made long nights seem short and heavy toyles easie?"</p> + +<div class='right'> +—Said in 1611 of the Tales of Tom Thumb.<br /> +</div><br /></div> + + +<p><span class="smcap">In</span> that comforting essay, "An Apology for Idlers," +Robert Louis Stevenson tells us that it is by no means +certain that a man's business is the most important +thing that he has to do. And somewhere else he +has remarked on a club of men in Brussels who +talked about the commercial affairs of Belgium during +the day, but who at night came together to +discuss the more serious affairs of life. These views +are in accord with the Stevenson temperament +that looked on life as made up of two worlds: a +real workaday one to be unflinchingly faced, no +matter what the task that came, and a fanciful one, +a play world, that by its appeal to the ideal nature +created an atmosphere of joy that made the duties +of the real one more tolerable. His own life, so well +balanced between work and play, so sane and healthful<span class='pagenum'><a name="Page_160" id="Page_160">[160]</a></span> +and inspiring in its influence on all who knew him +or read his books, has shown what a romantic cast +of mind can get out of life, though it suffer the handicap +of ill health and worldly misfortune. The +balance-wheel of his life was a playful imagination +that always "hath made long nights seem short +and heavy toyles easie."</p> + +<p>Stern materialism, cold, calculatingly just, impatient +with the dreamer, with no charity for lovable +human frailties, has always mocked at the notion of +a fanciful place where great and glorious things are +going on. She spins no web from the threads of her +imagination. The warp and woof of her fabric are +drawn from facts; and it comes from the loom all +wool, a yard wide, and used to cover the nakedness +of real men and women. She has never felt the free +abandon of fairy land. Her heart has never leap'd +up at beholding a rainbow in the sky, a rainbow with +the fabled pot of gold—though she has toiled and +sweat many a day for nothing more than a mess of +pottage. Whilst pointing the finger of scorn at the +magic lamp, the ogre's hen, or the seven-league +boots, she plays the fool and pays the fiddler in actual +life merely because under it all there lurks a passion +for the marvellous, founded on chance. In the business +world this manifests itself in the perennial hope +of a "bull market" or a "bonanza." Of course, +pleasures are largely a question of taste, not a question +of right, and it is everybody to his liking,—one<span class='pagenum'><a name="Page_161" id="Page_161">[161]</a></span> +may prefer the counting house to the back-log at the +drowsy hour of midnight,—yet may we all be spared +the time when fancy and romance cease to dominate +men. Without them life would become mediocre, +stupid, dull.</p> + +<p>It has been claimed that a nation without fancy +and romance never can hold a great place. Material +prosperity without a corresponding well-being in the +things of the imagination is an unfortunate prosperity. +Its pleasures must necessarily be sensual +pleasures that grow out of luxury. They carry the +man or woman too far away from the land of childhood. +Dickens saw this clearly when he said: +"What enchanted us in childhood and is captivating +a million young fancies now, has at the same blessed +time of life, enchanted vast hosts of men and women +who have done their long day's work, and laid their +gray heads down to rest. It has greatly helped to +keep us in some sense ever young, by preserving +through our worldly ways one slender tract not overgrown +with weeds, where we may walk with children +sharing their delights." A good thing it is to keep +that slender tract free from weeds. And the stronger +the man, the more he needs to do it. Only a man who +sees things out of their right proportions and who is +without a sense of humour would scorn to renew his +youth occasionally in the land of romance. If in +life the strongest and wisest men are good at a fight, +they are still better at a play. And it is no shame if<span class='pagenum'><a name="Page_162" id="Page_162">[162]</a></span> +their "Arabian Nights' Entertainments" is more +thumbed than their Bacon's "Essays." They may +be all the wiser for it. In Howard Pyle's delightful +rendering of the Robin Hood tales he gives this happy +admonition in the introduction: "You who so plod +among serious things that you feel it a shame to give +yourself up even for a few short moments to mirth +and joyousness in the land of Fancy; you who think +that life hath naught to do with innocent laughter +that can harm no one; these pages are not for +you. Clap the leaves and go no further than this, +for I tell you plainly that if you will go further you +will be so scandalized by seeing good, sober folk of +real history so frisk and caper in gay colours and +motley that you would not know them but for the +names tagged to them." And then he sees the +secret of making the heart beat young whilst carrying +the burdens of grown-up life, and he says, "The +land of Fancy is of that pleasant kind that, when +you tire of it,—whisk,—you clap the leaves of this +book together and 'tis gone, and you are ready for +everyday life, with no harm done."</p> + +<p>The present age as it gives colouring to educational +practices is a matter-of-fact age. Whilst boasting +of freedom of thought, it has fallen into a despotism +of fact. Like the Old Man of the Sea, this reign of +fact has been clutching at the neck of culture and +railing at the play of fancy until there is but precious +little of the "merrie" life left to look to. The<span class='pagenum'><a name="Page_163" id="Page_163">[163]</a></span> +men who cleared away the forest can be pardoned if +they lived their lives largely in the light of stern +fact, and so might the sons of these men; but those +as many generations removed as the present should +be able to drop back to the even tenor of a domestic +and school life that recognizes the play of fanciful +imagination as an essential part of the business of +living at all. No sooner had the founders of our +nation succeeded in giving men their long-coveted +political freedom than science, cock-sure of being +able to solve the riddle of existence, strode upon the +scene and smote the favourite creatures of the imagination +hip and thigh. It not only played havoc +with the fairies of our fathers, but it came perilously +near doing the same with their faith. And as a +result, a material and utilitarian tone has taken hold +of education in most places, and boys must be practical, +scientific, and wear old heads on young shoulders. +This same tendency had begun in the days of +Charles Lamb, for he wrote the following protest +to Coleridge: "Knowledge must now come to the +child in the shape of knowledge, and his empty noddle +must be turned with conceit at his own powers when +he has learnt that a horse is an animal and Billy is +better than a horse and such like; instead of that +beautiful interest in wild tales which made the child +a man while all the time he suspected himself to be +no bigger than a child. Science has succeeded to +poetry no less in the little walks of children than with<span class='pagenum'><a name="Page_164" id="Page_164">[164]</a></span> +men. Is there possibility of averting this sore +evil? Think of what you would have been now if, +instead of being fed with tales and old wives' fables +in childhood, you had been crammed with geography +and natural history." And what must be said to +supplanting the subject of fairy life by the anatomy +and physiology of the human body? Is not a boy +who knows the happy likeness of Old King Cole or +Allan-a-Dale as well educated as he who recognizes +the picture of an alcoholic liver? All this educational +pother about having boys practical and +trained to reason instead of being imaginative and +romantic will die of its own accord some day, and +then they may once more listen to merrie tales told +under the greenwood tree.</p> + +<p>The boy who has been nurtured on tales of fancy +and who trusts to things to work out for the best +of their own accord will generally fall into ways of +cheerfulness and contentment. He will play the +game of life out with more of heart and courage, and +less of doubt and fear. He may be something of an +impractical dreamer, but he will be kind and true. +He will not aim to understand all mysteries and all +knowledge, but will aim to make people happy +rather than learned. His early experience of the +feelings of pity and terror will refine his emotions +as much as it did in the age of Thespias those of the +Greek youth. In other words, his early familiarity +with fairy tales, whether learned by word of mouth<span class='pagenum'><a name="Page_165" id="Page_165">[165]</a></span> +from his father, his nurse, or his teacher, will set his +face in the right direction. And to keep it so turned +he will of necessity have to build up a fairy library. +What that library might contain and what he should +know as a perfect lesson must now be considered.</p> + +<p>A sense of fitness rather than a feeling of loyalty +to the language points to the English fairy and household +tales as the ones with which to begin. If the +teacher has a folk-lore curiosity and interest which +aid him in giving these fairy tales to the children, +that is well and good. But this historic view is by +no means so important as it is to know thoroughly +the tales themselves and to enter into an appreciation +of them with a keen and boyish interest. The +present concern is with a limited number of stories +that are so wholly good and so very necessary to the +child that he should come to know them completely. +Then from this beginning the boy can wander at his +own sweet will and keep friends with Jacobs, Perrault, +Grimm, Andersen, and, last of all and no doubt best +of all, "The Arabian Nights' Entertainments." But +from all of these the rude vigour, the dramatic directness, +and above all the playful humour of the English +tales will first captivate him. They have not quite +the grace, simplicity, and elegance of the French +tales, nor the more fanciful and romantic touches +of the German tales; yet, as Mr. Jacobs has told us, +"They have the quality of going home to English +children. The English folk-muse wears homespun<span class='pagenum'><a name="Page_166" id="Page_166">[166]</a></span> +and plods afoot, albeit with a cheerful smile and a +steady gaze."</p> + +<p>"English Fairy Tales" and "More English Fairy +Tales" should be in the hands of every child. The +stories are told in a way that preserves all of their +dramatic interest and humour of phrase and situation. +This characteristic humour of English folk-fancy, Mr. +Jacobs has skilfully caught. He has this to say of +his way of telling them: "I am inclined to follow +the traditions of my old nurse, who was not bred at +Girton and scorned at times the rules of Lindley +Murray and the diction of polite society. And I +have left vulgarisms in the mouths of vulgar people. +Children appreciate the dramatic propriety of this +as much as do their elders. Generally speaking, it +has been my ambition to write as a good old nurse +would speak when she tells Fairy Tales. I am doubtful +of my success in catching the colloquial-romantic +tone appropriate for such narratives, but they had +to be done or else my object, to give a book of English +Fairy Tales which children would listen to, +would have been unachieved. This book is to be +read aloud and not merely to be taken by the eye." +All children should rejoice, that, so long after Puritanism +had suppressed these tales in many parts of +England, and after its decline they had come to be +supplanted by the Mother Goose tales of Perrault, +there has come such an excellent retelling of them in +the Jacobs books. If there be anything in fairy<span class='pagenum'><a name="Page_167" id="Page_167">[167]</a></span> +literature better than "Tom Tit Tot," I have not +found it. It is altogether fitting to have it stand +first in such a great collection. And with other such +very good tales as "Cap o' Rushes," "The Three +Sillies," and "Jack and the Golden Snuff Box," +to say nothing of the dramatic telling of "Hop o' +My Thumb," "Jack the Giant Killer," and "Jack +and the Bean Stalk," the pleasure from reading the +book at the right age will mayhap never be surpassed. +One might regret that the curious and helpful +information of the notes had not been reserved +for a separate treatise for mature readers, did not +the amusing illustration of the court-crier by John +D. Batton give the warning that the tales are closed +and children must not read any further. After having +learned some of the best stories through the ear, +the boy must certainly buy and keep these two books.</p> + +<p>After the English tales are familiar, the boy might +be given the Mother Goose tales as first collected +by Charles Perrault in 1696. They had been current +orally in France for many years before this, and they +undoubtedly had their origin in the oldest folk-lore +of the world. It is said Perrault wrote them +down as he heard them with the intention of writing +them over in verse after the manner of the fables +done by La Fontaine. But his little son, to whom +they had been told, rewrote them from memory as +an exercise, and the lad's version, being so simple and +direct, was given to the world in that form by his<span class='pagenum'><a name="Page_168" id="Page_168">[168]</a></span> +father. They slowly found their way into England +and for a while supplanted the native tales. There +is surely a universal appeal in such stories as "Little +Red Riding Hood," "Cinderella," "Puss in Boots," +and "Sleeping Beauty." The best rendering of +these to-day is a small volume by Charles Welsh, +entitled "The Tales of Mother Goose." It has +none of the poetic justice that refuses to have the +wolf eat up Little Red Riding Hood. It would be +well for some publisher to reprint an edition issued +in New York in 1795 under the title of "Tales of +Passed Times, by Mother Goose." Some good renderings +of particular tales, however, may be found +scattered through collections of fairy stories that +have appeared.</p> + +<p>The temptation to say something about the +famous "Cruikshank Fairy Book" in which some of +these Mother Goose tales appeared cannot be resisted +at this point. It is a very noticeable illustration +of the inability of a man of talent always to +keep to his last. No artist has ever drawn such +superior pictures for children as did Cruikshank. +Where can anything better be found than Jack's +descent on the harp, the Ogre's flight, or the presentation +of the boots to the King? Why then did not +Cruikshank make a picture book with pictures +only? Why did he leave his last to write the stories +anew in order that he might take the opportunity +to give his own views and convictions on what he<span class='pagenum'><a name="Page_169" id="Page_169">[169]</a></span> +considered important social and educational questions; +or "to introduce a few temperance truths +with a fervent hope that some good may result +therefrom"? The notion that moralizing makes +children good has spoiled many an artistic horn +and has never made a good educational spoon.</p> + +<p>In Cruikshank's work in illustrating "Household +and Fairy Tales" by the brothers Grimm, we +have a masterful production from the best period +of his genius, and we have it illustrating a superior +text, the translation made by Edward Taylor in +1823 and reprinted in 1868 with an introduction +by John Ruskin. Thackeray said that they had +been the first real, kindly, agreeable, and infinitely +amusing and charming illustrations for a child's +book in England, and that they united beauty, +fun, and fancy. And who was a better judge of +this than Thackeray? If it was not too bold to +say that "Tom Tit Tot" is the best household +fairy story in the language, it could be said with +equal truth that Cruikshank's etching of the two +elves in "The Elves and the Shoemaker" is the +best fairy illustration yet done. These German +stories are charming. The contention that the +stories are creepy is but the contention of a moralist. +It should carry no weight with the teacher who would +give the boy artistic notions of beauty, love, and +mystery. These notions are always safer than those +of cold realism worked out in artificial conduct. Sir<span class='pagenum'><a name="Page_170" id="Page_170">[170]</a></span> +Walter Scott wrote in this strain to Edward Taylor +in 1832: "There is a sort of wild fairy interest in +them which makes me think them fully better +adapted to awaken the imagination and soften the +heart of childhood than the good boy stories which +have in late years been composed for them. In +the latter case, their minds are, as it were, put into +stocks, like their feet at the dancing-school, and the +moral always consists in good moral conduct being +crowned with temporal success. Truth is, I would +not give one tear shed over Little Red Riding Hood +for all the benefit to be derived from a hundred +histories of Johnny Goodchild. In a word, I think +the selfish tendencies will soon enough be acquired +in this arithmetical age; and that, to make the +higher class of character, our wild fictions—like +our own simple music—will have more effect in +awakening the fancy and elevating the disposition +than the colder and more elaborate compositions of +modern authors and composers." It is hoped the +pictures of Cruikshank and the translation of Taylor +will soon appear in a large and attractive volume.</p> + +<p>When the dramatic colloquialism and humour of +the English tales, the superior grace, elegance, and +beauty of the French tales, and the light, airy fancy +of the German tales have been presented to the boy, +the Scandinavian tales of Hans Christian Andersen +will give him a refinement in fairy life that he has +not found before. They do not have, save in a few<span class='pagenum'><a name="Page_171" id="Page_171">[171]</a></span> +such cases as "Holger the Dane," the quality of +appealing to grown-ups as well as to children—the +test of a child's book that is literature, or rather the +test of a man yet on good terms with the world. +They are somewhat dull, wearisome, and overdone +in places and do not stop when the story is ended, +as we find in "The Fir Tree"; yet in some way +they temper the English and German tales and meet +Ruskin's requirement that a child's tale should +sometimes be both sweet and sad. In fact, these +stories are great favourites with many children, who +actually prefer "The Ugly Duckling" to "The +Golden Bird." The boy might early start with a few +of the individual stories so delightfully illustrated +by Helen Stratton, and then when he can afford it +buy the excellent edition illustrated by the Danish +artist, Hans Tegner, from all of which he will get a +new and pleasant touch of fairy life.</p> + +<p>There yet remains one book, not always called +a fairy book, that must be read before the boy leaves +the land of fancy and wonder. It was the favourite +volume of Stevenson, and small surprise is it to +any one who knows the book and knows of the man. +Nor is it less surprising to think that the Oriental +scholar, Antoine Galland, who first gave these +stories to Europe two hundred years ago, would be +called out of bed at night to tell them to an eager +crowd under his window, the crowd always begging +for just one story more. One might search in<span class='pagenum'><a name="Page_172" id="Page_172">[172]</a></span> +vain for a companion volume to this most capital +of all books, "The Arabian Nights' Entertainments." +The tales are on a bigger scale than are the English +and German tales. There is a vastness of desert +and starry sky in the tent life of the Arab that is +unknown in the cottage life of the English peasant. +And this is reflected in the tale that is told. Immensity +and Oriental mystery have taken the place +of colloquial directness and humour, and we have +almost pure romance. Their richness and splendour +captivate the reader and transport him into a wonderland +of powerful magicians and magnificent palaces. +The book is elemental in its appeal and will always +furnish royal entertainment for man or boy. And +the man who is not too completely grown up will +keep his Lane's translation within arm's reach against +the hours when the dull cares of the world are weighing +him down.</p> + +<p>As fairy tales have a common plot in many languages, +so has there been a common way of preserving +and transmitting them. This has been by oral +tradition. They were originally to be given by word +of mouth, a method that is yet best fitted to curious +children. The teacher must give them through the +ear, if they are to be learned and retained. Whenever +it is possible in doing this, he must not forget +to start with the pleasant beginning, "once upon a +time," nor yet to omit the best of all conclusions, +"and all went well ever afterwards"—neglecting,<span class='pagenum'><a name="Page_173" id="Page_173">[173]</a></span> +of course, to add that truism for grown-ups, "that +didn't go ill." In this practice of giving a few choice +tales through the ear is the preparation for the time +when a boy will eagerly thumb a favourite volume of +his own in some quiet nook. But a few of the +better tales must first have been mastered so that +they can be told with dramatic directness. Here +then the same practice must hold that is followed in +all reading: do not overread. A few stories are to +be well learned and a few books to be owned, but +only a few. If the boy once comes to feel his strength +from a limited number of good stories, the made-to-order +story for the fellow with the curls will never +appeal to him. What he knows he will know and +be glad to know.</p> + +<p>If it be presumption to select a limited list of +stories by grades when the world is so full of stories, +it must be presumption. There are stories that can +have no substitutes until the world has had another +accumulated experience of some hundreds of years +of fireside lore. The list that follows has been found +good for a limited list, yet as complete a one as a +child can master. No apology need be offered for +the insertion of Ruskin's great story or the two stories +of jungle life by Kipling. They are modern, but +form a good bridge to modern books that have +real merit. A boy who will not read "Red Dog" +with an interest on fire had better grow weak on +a Rollo book. His taste is surely to be lamented.<span class='pagenum'><a name="Page_174" id="Page_174">[174]</a></span> +He will early fall in love and later fall into cynicism.</p> + +<p>Here is the list for the first four or five grades to +be given in about the order in which they are written: +"The Old Woman and Her Pig," "The Three Little +Pigs," and "Henny-Penny," all as told by Jacobs in +"English Fairy Tales"; "The Three Bears" as +told by the poet Southey, where the little old woman +continues to play a part; "Little Red Riding +Hood" in which the wolf eats her up, "Cinderella; +or, the Glass Slipper," and "The Master Cat; or, +Puss in Boots" from "The Tales of Mother Goose" +as told by Charles Welsh; "Tom Tit Tot," "The +History of Tom Thumb," "Jack the Giant Killer," +and "Whittington and His Cat" from "English +Fairy Tales"; "Beauty and the Beast" and "Hop +o' My Thumb" from "The Children's Book"; +"Hansel and Grethel," "The Blue Light," and +"The Golden Bird" from Taylor's translation of +the Grimm tales; "The Ugly Duckling" and "The +Fir Tree" from Andersen; "The Story of Aladdin; +or, the Wonderful Lamp," "The History of Ali +Baba and the Forty Robbers Killed by One Slave," +and "The Story of Sinbad the Sailor" from "The +Arabian Nights' Entertainments"; "The King of +the Golden River" by John Ruskin; "Kaa's Hunting" +and "Red Dog" from "The Jungle Books" +of Rudyard Kipling.</p> + +<p>When these stories have been well learned through<span class='pagenum'><a name="Page_175" id="Page_175">[175]</a></span> +the ear, their purpose as literature and as groundwork +for narrative speech will have been accomplished. +Of course, the teacher must read many stories to +his class besides the ones named above; but he is +not to require more than a mere listening to the +reading from a point of interest only. By and by +the boy will fall into the habit of reading aloud +to some one else, and this may now be trusted to +carry him along. Wise suggestion on the part of +the teacher will direct him in getting a few good +volumes that he can call his own. A fairy library, +not large but well selected, will become a comfort +to him in later years when the lamp is getting dim. +For the man who finds himself unable to read with +pleasure a fairy tale that charmed him in youth +proclaims himself a slave either to relentless materialism +or to cold and dignified egotism. And if he +be not obstinately short-sighted, he cannot help seeing +that the man who yet loves a fairy tale is one +who also fears God, is clear of head, and is brave +of heart.</p> + +<p>In the succession of the seasons, the coming of +spring puts young blood into old veins much as +it dresses the gray of winter in a lively green. The +possibilities of the daughter of Ceres while she dwells +beneath the earth are likewise to be found between +the covers of a fairy library. A man might travel +many a long way in search of a better fountain of +youth.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_176" id="Page_176">[176]</a></span></p> +<h2>CHAPTER II</h2> + +<div class='chaptertitle'>CLASSIC MYTHS IN LITERATURE</div> + +<div class='poem2'> +"Oft of one wide expanse had I been told<br /> +<span style="margin-left: 0.5em;">That deep-brow'd Homer ruled as his demesne."—<span class="smcap">Keats.</span></span><br /> +<br /></div> + +<div class='poem'> +"They hear like Ocean on a western beach<br /> +<span style="margin-left: 0.5em;">The surge and thunder of the Odyssey."—<span class="smcap">Lang.</span></span><br /> +<br /><br /></div> + + +<p><span class="smcap">There</span> is not the slightest necessity for schoolmen's +staring at one another when it is proposed +to let boys once more look through magic casements +at the classic myths of Greece and Rome. These +masters of knowledge can depend upon it that their +pedagogic systems are wrong if they set themselves +up against the primitive feelings of mystery and fear. +There is yet too strong a trace in the blood to forsake +the gods and heroes that have satisfied instincts, +very human and commendable, for many generations. +No goblin nor witch needs to be cast out +when the blood flows red; it is merely an indication +of abundant life drawn from the strength and courage +that marked an heroic age. If a boy's talents +be anything but mediocre, they will naturally turn +to this age to satisfy a longing. It is small wonder +that the young Keats should stay up all night +reading Chapman's Homer, or should translate the<span class='pagenum'><a name="Page_177" id="Page_177">[177]</a></span> +Æneid into English "just for fun." These glimpses +were pure serene to a poet who afterwards caught +in such a rare way their classic beauty; and the gods +surely loved him for it, for they decreed that he +should die young.</p> + +<p>The charm of the myths of Greek and Roman +literature is enduring, because they embody both +truth and beauty—sometimes held to be one and +the same. Nothing but a perverted taste, that is +fed on the prosaic processes of material achievements +or the artificial standards of a moral system, could +fail to find pleasure and inspiration in them. Their +appeal is artistic, to the sense of beauty. Their +truth is a deification of the longings of the human +heart as it seeks for comfort and protection in a +world whose mysterious events can hardly be fathomed. +And their gods and heroes embody the great +virtues that marked a classic people as much as they +did the beauty of their intellectual achievements—the +virtues of courage, patience, honour, loyalty, +contentment. A normal disposition will take satisfaction +in this interpretation of truth and beauty. +Not only will its possessor be satisfied, but he will be +ennobled by the very presence of these qualities +before his keen senses. The world will seem to +him more than a place in which he is to toil and spin +day after day; his soul will dwell apart on a mountain +where not all mortals can ever climb, a mountain +crowded with culture. He can temporarily leave<span class='pagenum'><a name="Page_178" id="Page_178">[178]</a></span> +the common crofts, seek his solace and confession, +and be all the better to ply again his allotted task. +He will learn of one spot where the greed and +brutality of industrial progress cannot set its heel +and leave the print of what is practical and ugly.</p> + +<p>This cry for the practical has laid a curse on the +culture of many a boy. He has been educated for +the eight or ten hours that he works for his board +and keep, and the rest of his waking day finds him +ill at ease in a field of study or an appreciation of +the better things of life. Not being able to "speak +Greek" or to talk with men who do speak Greek, +he naturally turns to the spectacular, the ornate, +the frivolous. Nothing of an order above the broadly +burlesque or the melodramatic will hold his interest +and attention. The theatre of Dionysus is too +severely classical in the beauty with which it represents +life in action, and he never learns to sit out a +pure tragedy, hear "sweetest Shakespeare warble +his native wood-notes wild," or dilate on the right +emotions, if "Jonson's learnéd sock be on."</p> + +<p>The boy's talents are in all probability not at +fault. They are merely dressed in the prevailing +fashion. This fashion is set by a standard of what +is useful for material success in life. The subject-matter +of education must be scientific facts, and with +these facts the boy must be taught to reason. The +uselessness of imagination and memory as mental +powers is held up to him. It is not for him to enrich<span class='pagenum'><a name="Page_179" id="Page_179">[179]</a></span> +his mind by what an active and retentive memory +can give him of classic literature. In fact, the +memory is looked upon, by the "scientific gent" +(as Thackeray labelled him) in his laboratory, as a +minor concern and left to work out its own salvation—if +it really needs to be saved. And as for +the memory being used to chronicle the exploits of +mythical heroes in an age of superstition, that would +be unthinkable in the day of scientific research. Let +not the boy then be held up to blame if he is no more +able to name the Olympian council than was Tom +Sawyer to name the first two disciples chosen. The +fault is with the system, the rational scientific +system.</p> + +<p>Greek is well nigh gone from the high school course. +Latin is under indictment. In their stead we are +to have such substitutes as biology and chemistry. +The exploits of Achilles and the wanderings of Æneas +are to be supplanted by the dissection of an oyster +and the making of soap. Now oysters and soap are +all right in their way, and it is a good thing we have +the one to eat and the other to wash with; but when +it comes to using them to satisfy the instinct for a +fight or for the discovery of a hidden treasure, that is +a stupid and brutal forcing of a theory. If progress +must come at the price of selling a boy's birthright +for a mess of pottage, it is a pity some one cannot +smite her with the edge of a sword. The study of +the humanities that has been the bone and sinew of<span class='pagenum'><a name="Page_180" id="Page_180">[180]</a></span> +generations past cannot give place to the scientific +vogue without wrecking the hope and desire of many +a romantic youth. To leave out the classics is to +proclaim a material age to be bigoted, boastful, +and self-sufficient. Yet that is exactly what the +scientific educator, who calls himself modern and +progressive, is proposing, because business demands +it. What claim has a business demand on academic +policy, anyhow? Is not vagabondia as much entitled +to the floor?</p> + +<p>"The descent to Avernus is easy." Reformed +spelling is not so hard as Greek roots. In fact, the +plan is to follow along the line of least resistance. +The memory must not be cumbered with dead matter +if the boy can reason on experiments for practical +business demands. And are not the myths of these +Greek and Latin languages too imaginative and +impractical, covered with too much of academic +dust, to serve a purpose in a practical age? This is +heralded from educational convention to educational +convention, and whilst the breaking of idols goes +merrily on, a few brave teachers who speak Greek +are regularly taking a Spartan stand to preserve +what yet remains of the classic structure. In a +boastful age they are not going to forget. If Homer +and Ovid are forced by business demands from the +academic halls, what hope is there left in Israel?</p> + +<p>The one and only one seems to be the myths in +translation. Their claim to the attention of teachers<span class='pagenum'><a name="Page_181" id="Page_181">[181]</a></span> +can be clearly given from the preface to the best +telling of them that has yet appeared, Bulfinch's +"Age of Fable; or, Beauties of Mythology," a happy +title to such a valuable book: "If no other knowledge +deserves to be called useful but that which helps +to enlarge our possessions or to raise our station in +society, then Mythology has no claims to the appellation. +But if that which tends to make us happier +and better can be called useful, then we claim that +epithet for our subject; for Mythology is the handmaid +of literature, and literature is one of the best +allies of virtue and promoters of happiness.</p> + +<p>"Without a knowledge of mythology much of +the elegant literature of our own language cannot +be understood and appreciated. When Byron calls +Rome 'the Niobe of nations,' or says of Venice, 'she +looks a Sea-Cybele fresh from ocean,' he calls up to +the mind of one familiar with our subject illustrations +more vivid and striking than the pencil could +furnish, but which are lost to the reader ignorant of +mythology. Milton abounds in similar allusions. +The short poem 'Comus' contains more than thirty +such, and the ode 'On the Morning of the Nativity' +half as many. Through 'Paradise Lost' they are +scattered profusely. This is one reason why we often +hear people say that they cannot enjoy Milton. +But were these persons to add to their solid acquirements +the easy learning of this little volume, much +of the poetry of Milton which has appeared to them<span class='pagenum'><a name="Page_182" id="Page_182">[182]</a></span> +'harsh and crabbed' would be found 'musical as +is Apollo's lute.'"</p> + +<p>The truth of this last statement is very evident +to the English teacher in high school work. He +must stop to teach myths that should be the common +possession of all children before he can go on with +his work in the "Minor Poems." If boys would +enter the high school with some of the classic myths +firmly drilled into them, they would read with pleasure +the most imaginative of all the English poets. +Mythology in translation is a fixed possession of +English literature, and it must be grasped more or +less in detail before the boy can ever expect to have +the marks of literary culture and to read figurative +composition with ease. With the beginning of school +life must begin the learning of myths by word of +mouth. No classical dictionary can later take the +place of this practice. These myths are to be +mastered and reproduced in good English; and after +a few years of such drill the children will read the +stories of gods and heroes with the same ease that +they do a colloquial fairy tale. It is the same old +step from the story-teller to the book and a quiet +corner where no one can break the spell.</p> + +<p>Fortunately there is not so extensive a field of +mythology suitable for use as there is of fairy literature, +and the boy can easily hope to make it his +own. The field must exclude both the modern nature +myths that have been compounded to suit the<span class='pagenum'><a name="Page_183" id="Page_183">[183]</a></span> +occasion, and the cruder and more recent discoveries +of savage races. In short, Greek mythology +must make both the beginning and the end of +what is to be learned; for there has been no nation +other than Greece that has developed a mythical +faith so intellectual in its scope and so beautiful +in its expression. This beauty has been expressed +through both art and literature. It would be an +almost unpardonable neglect on the part of a teacher +if a boy were permitted to go through school and +not be familiar with the heroic age. He should +know the stories of the gods and heroes; know the +Olympian council, the labours of Hercules, the +adventures of Jason, of Perseus, of Achilles; he +should know the Trojan War in its picturesque greatness +and the wonderful exploits of Odysseus on his +homeward journey; and he should know such stories +as those of Apollo, of Œdipus, of Orpheus, of Admetus, +of Proserpine, of Niobe, and of Psyche. +This knowledge of Greek mythology will bring one +of the most pleasurable and stimulating of all feelings +to a boy, the consciousness of wandering at +ease in a domain where all mortals have not been +privileged to enter.</p> + +<p>Almost hand in hand with the Greek myths must +be taken their variations in Roman life and the few +that seem to be original there. Although the Greek +and Roman deities had most attributes in common, +they were yet distinct, each having his particular<span class='pagenum'><a name="Page_184" id="Page_184">[184]</a></span> +name. It is unfortunate that the Latin names have +come into such extensive use and that we always +speak of Jupiter instead of Zeus, and Venus instead +of Aphrodite. But the Hellenic spirit is hard to +keep foremost in this commercial age. If the glare +of the arc light could be screened at times and the +starry sky be read as a book wherein the constellations +still hold their Greek names, some of the +heroes that have been made permanent might inspire +the observer with a feeling to read again their story. +Yet let us have the sweetness of the rose, whatever +be its name.</p> + +<p>It is rather perplexing to know what myths to +give the child when he first enters school and through +the first four or five years of his school life. The +taste and culture of the teacher have much to do with +this. But whatever is given, give it as it is written +without deforming it by having it adapted to suit +the years of the boy. He can understand many +things of which the teacher is not aware. Take it +directly from "The Age of Fable," and at the start +remove all difficulties of telling by drilling on the +pronunciation of proper names. Then let the boy +learn the myth through the ear and tell it fluently +and exactly. While doing this, the art that is so +closely woven with Greek myths must become familiar +also. The boy must be able to recognize such +works as "Aphrodite of Melos," "Apollo of the +Belvidere," "Diana of Versailles," "The Faun of<span class='pagenum'><a name="Page_185" id="Page_185">[185]</a></span> +Praxiteles," "The Laocoön Group," and "Niké of +Samothrace." The refining influence that comes +through them is not easy to explain, but it comes. +Take it for what it is worth, as you take the myths +themselves. And at no time should the teacher +seek for philosophical arrangement and interpretation, +that at best is merely a confusion of words, or +moralize on something that is purely dramatic instead +of didactic. The myths are stories and should +be used as stories.</p> + +<p>A reasonably good list to use for this kind of drill +work in, say the first four grades, is the following, +to be learned in the order written: "Latona and the +Frogs," "Arachne," "Niobe," "Midas and the +Golden Touch," "Apollo and Daphne," "Pandora +and her Box." "Narcissus," "Ceres and Proserpine," +"Ulysses and Polyphemus," "Dædalus," +"Æolus," "Philemon," "Vulcan," "Cyparissus and +the Stag," "Arion," "Ulysses and the Sirens," +"Callisto and Areas," "Ariadne's Thread." "Io +and the Gadfly," "Perseus and Medusa," "The +Wooden Horse," "Phaeton," "Pygmalion and +Galatea," "Æsculapius and Apollo," "Jason and +the Golden Fleece," "The Death of Hector," "Cupid +and Psyche," "Ulysses and Penelope," "Pegasus," +"Orpheus and Eurydice," "The Labors of Hercules," +"Admetus and Alcestis." After mastering these +stories, the boy will be ready to read for himself.</p> + +<p>Let him first read Hawthorne's "The Wonder-Book<span class='pagenum'><a name="Page_186" id="Page_186">[186]</a></span> +for Girls and Boys," and then the companion +volume, "Tanglewood Tales for Girls and Boys; +a Second Wonder-Book." These are indispensable. +Then he must read a good edition of Kingsley's +"Heroes; or, Greek Fairy Tales for My Children." +That is a delightful book, despite its deplorable tendency +to preach. Now he is ready for that charming +continuous tale, Lamb's "Adventures of Ulysses," +which of course he must own and keep near at +hand. He can now take up and learn the second +most valuable work he can own as a student of +literature, Bulfinch's "Age of Fable." Of course it +is understood that Palgrave's "Golden Treasury" +is to be the first most valuable one.</p> + +<p>Some dozen years ago there appeared in a magazine +a story called "The Little Brother of the Books." +It was the story of a small crippled boy who each +afternoon went his way to a certain book stall and +was always found absorbed in the same book. The +book was the "Age of Fable." That he did this +is not strange to any one who owns the book and +knows it well. There are few compilations in which +the richness of a literature is gathered together and +retold in a way that will make it endure as a book. +Yet this is true of the "Age of Fable." Every student +should own an illustrated copy of it, and preferably +one that has never been edited. It is told +as a story, and a captivating story it is. A quotation +from the preface cannot be resisted here:<span class='pagenum'><a name="Page_187" id="Page_187">[187]</a></span> +"Our book is not for the learned, nor for the theologian, +nor for the philosopher, but for the reader of +English literature, of either sex, who wishes to comprehend +the allusions so frequently made by public +speakers, lecturers, essayists, and poets, and those +which occur in polite conversation.</p> + +<p>"We trust our young readers will find it a source +of entertainment; those more advanced, a useful +companion in their reading; those who travel, and +visit museums and galleries of art, an interpreter of +paintings and sculptures; those who mingle in cultivated +society, a key to allusions which are occasionally +made; and, last of all, those in advanced life, +pleasure in retracing a path of literature which leads +them back to the days of their childhood, and revives +at every step the associations of the morning of life.</p> + +<p>"The permanency of these associations is beautifully +expressed in the well-known lines of Coleridge:</p> + +<div class='poem'> +"'The intelligible forms of ancient poets,<br /> +<span style="margin-left: 0.5em;">The fair humanities of old religion,</span><br /> +<span style="margin-left: 0.5em;">The Power, the Beauty, and the Majesty</span><br /> +<span style="margin-left: 0.5em;">That had their haunts in dale or piny mountain,</span><br /> +<span style="margin-left: 0.5em;">Or forest, by slow stream, or pebbly spring,</span><br /> +<span style="margin-left: 0.5em;">Or chasms and watery depths; all these have vanished.</span><br /> +<span style="margin-left: 0.5em;">They live no longer in the faith of reason;</span><br /> +<span style="margin-left: 0.5em;">But still the heart doth need a language; still</span><br /> +<span style="margin-left: 0.5em;">Doth the old instinct bring back the old names,</span><br /> +<span style="margin-left: 0.5em;">Spirits or gods that used to share this earth</span><br /> +<span style="margin-left: 0.5em;">With man as with their friend; and at this day</span><br /> +<span style="margin-left: 0.5em;">'Tis Jupiter who brings whate'er is great</span><br /> +<span style="margin-left: 0.5em;">And Venus who brings every thing that's fair.'"</span><br /> +</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_188" id="Page_188">[188]</a></span></p> +<h2>CHAPTER III</h2> + +<div class='chaptertitle'>BOOKS TO BE OWNED, TO BE READ, AND TO BE REREAD</div> + +<div class="blockquot"><p>"The first time I read an excellent book, it is to me just as if I had +gained a new friend. When I read a book I have perused before, it +resembles the meeting with an old one."—<span class="smcap">Goldsmith.</span></p><br /></div> + + +<p><span class="smcap">Just</span> how far books and reading are questions of +taste, or should be looked on as questions of taste +merely, is passing hard to say. That there are prevailing +fashions, local-colour variations, and a few +more or less permanent models is noticeable to such +a degree that an observer might conclude motley +to be the only wear. The readers seem to be no +more able to agree in what they like than did the +urchins over the pease-porridge in the nursery +rhyme:</p> + +<div class='poem'> +Some like it hot,<br /> +Some like it cold,<br /> +Some like it in the pot<br /> +Nine days old.<br /> +</div> + +<p>So it goes in books with every one to his own +liking, though the particular likings are a very unsubstantial +guide to the literary merits of the books +liked. A book may become a fashion based on conventional +acquiescence and appearances rather than<span class='pagenum'><a name="Page_189" id="Page_189">[189]</a></span> +on real worth. Let the judgment of individualism, +with courage and restraint, lay bare the fashion, +and where then is its habitation or what is its name? +Such judgment sets up more or less arbitrary lines +of taste that run wide, and it makes a guess at what +is enduring literature, a hazardous kind of guess. +Yet the peculiar thing of it all is that in this guess +pedantry is as likely to play false as is the capricious +fancy of the reading public that takes the +book of the hour, whatever it be. This makes a +kind of self-constituted division of readers, each +satisfied with his lot and each serving a purpose.</p> + +<p>Some readers' tastes, however, are neither prudish +nor slovenly. They are very catholic and succeed +in picking out what is good from both the bookish +and the popular kinds of books. They can read +any book that is a book. But you recall that +Charles Lamb could not reckon directories, scientific +treatises, the works of Hume and Gibbon, and +generally those "volumes which no gentleman's +library should be without" as being books. If to +these were added those books which no gentleman's +library should contain, we come to a field fairly easy +of investigation. In other words, we must get back +to that field that includes the literature of power +rather than the literature of knowledge. Of course, +if somebody chooses to read blockheaded encyclopædias, +withering economic essays, proper Sunday +school books, sophomoric novels, or privately printed<span class='pagenum'><a name="Page_190" id="Page_190">[190]</a></span> +verse, that is purely his own concern; but such +reading is beyond the pale of real books as they +relate to well-regulated courses in the home or in +school life.</p> + +<p>How far is a teacher to be influenced in his selection +of books for students by their lines of taste? +That depends on how far the tastes of readers in +general indicate that books of their liking are to be +classed as books of power, as real literature. It is +rash to say that a book has real merit because it +becomes the best seller of a season; nor is it to be +condemned for the very reason that it is a best +seller. However, the general praise of a hundred +thousand readers is not so much an index to the +book's merit as the book is an index to the character +of the readers who praise it. Unqualified laudation +of a new book, especially a novel, is an annoying +kind of hysteria that has failed to find any other +outlet. But the very fact that the book is opportune +or spectacular carries it along. It grows up +and flourishes in a day, and in a day dies out.</p> + +<p>It is curious to note how times change in the reading +world and with them lines of taste. To-day +the line most evident in the American reading public, +and the one most difficult to meet in the development +of a taste for good books, is the passion to be +up-to-date, as its commercial phraseology would +have it. It is awakened by that wonderful agent, +the advertising appeal, that deals not with quality<span class='pagenum'><a name="Page_191" id="Page_191">[191]</a></span> +but with quantity. In books it calls for a story, +and that story must be the latest or it is certain to +be absolutely neglected. On being asked what dish +he preferred at a dinner, Thoreau said, "The +nearest." That was in keeping with his theory of +cutting down the denominator; the theory of the +reader of the latest is one of multiplying the numerator. +As the proper thing, each new book is taken, +horns, hide, and tallow. The reader's reverence for +the present grows apace, and he no longer has use +for old wine, old friends, and old books. This is a +reflection of a widespread impression in American +life that up to the present time but little truth of +substantial value as to methods of living and thinking +has been found out. A wonderful industrial +progress, working through inventive skill, has given +the notion that anything over a generation old is +scarcely worth a passing notice, a notion fatal to all +art. Every one must seize in a hurry the newest +thing in the market, lest he be branded as out of +date. And it all looks as if everybody was trying +to do what Alice found them trying to do in Wonderland, +running as fast as they could to keep where +they were.</p> + +<p>This mad rush for the latest is largely aided and +abetted by that invention of the devil, the literary +section of many Sunday newspapers. Finding research +a bit dull, the ambitious or needy doctor of +philosophy launches into literary criticism for the<span class='pagenum'><a name="Page_192" id="Page_192">[192]</a></span> +reading public. He at once discovers that the college +sophomore who wrote a particular story is +another Thackeray in style. Then in turn a Dickens +or a Balzac is found out. Finally the news is passed +on the Rialto that there is being issued a story combining +the delightful characteristics of the three old +masters. And thus and thus it goes, with the whirligig +of Sunday newspaper criticism spinning out the +tastes of the reading public.</p> + +<p>Now if these titled critics ever cease discovering +great new books as regularly as the day of rest comes +around, or if the paper reading public cease to take +these critics as truthful, then the teacher may hope +to find a more sympathetic field in which to work. +Of course the teacher must shake off his pedantry +and quit his foolishness in taking a classic beyond +the years of the boy whose veins are full of red +blood, and putting it on a dissecting table for the +study of etymology and syntax. He must know +fairly well the boy's likes and dislikes and remember +that they are very strong. And he must also remember +that the boy is joined to his idols, and these are +not to be broken until better ones are substituted. +Iconoclasm for its own sake is sheer waste. The +teacher himself must be wedded to good literature, +or his efforts will avail little. If he knows, from +his own quiet reading, a few good books well, that +is enough. Sympathetic appreciation, like good +nature, is contagious. If the teacher does not<span class='pagenum'><a name="Page_193" id="Page_193">[193]</a></span> +appreciate the book, the boy will not—unless he +does it out of pardonable perversity.</p> + +<p>The teacher has more to do with shaping the boy's +reading than he at first sees. He is apt to hesitate +because the public library, ambitious for a circulation +record, gives the boy what he will be likely to +read; the Sunday school library, anxious to inculcate +moral principles through stories false to life, +gives him what he does not want; the home, eager +to please him in every way, gives him anything he +asks for. Yet in the face of this threefold condition, +the wise and sympathetic teacher can direct +an average course of reading that has in it more +good than poor books. To do this, he must work +along two lines: discourage overreading and encourage +ownership in books. The practice of overreading +is the worst reading practice in modern life. +Like all extremism, it is hard to meet. It is as unpopular +to oppose unlimited reading as it is to oppose +unlimited charity or unlimited education; yet +they all need to be carried out in moderation. The +aim should be the mastery of a few good books and +the discouragement of the passion for constant variety +that indicates a lack of singleness of purpose +through a lack of self-control and the power of sustained +attention. The greatest aid to this will be +the encouragement of small savings and the buying +of good editions. When this is done, encourage the +boy to read out loud to his family at home in the<span class='pagenum'><a name="Page_194" id="Page_194">[194]</a></span> +evenings the portions of his book he likes best. If +he does this, he and his book are friends as long as +he continues reading. Soon he will have a small, +well-chosen, and much-used library. The boy who +will buy a book with his own money, will read aloud +from it to his family, will reread it, is safely started +on the way to becoming a well-read man.</p> + +<p>After feeling the need of good books in the home +where they can be turned to as the fancy directs, +and after feeling a desire to buy such books, the +boy will next need to know what titles to select. +And that is no easy question. Temperament, home +circumstances, occupation, and many other factors +enter into it. But the thing that helps out is the +fact that the range of books of power is universal, +embracing so many moods, that enough good titles +may be found for any one, however whimsical +his tastes may be. In fact the boy will find many +more good books to his liking than he will ever find +time to read, or than he needs to read. The problem +will become one of exclusion. Two lists for two +boys of different dispositions may vary widely and +yet both be good literature. But in the range of +English books there are a few that the common +judgment of readers and the praise of critics have +so generally classed as necessary to the shelves of a +cultivated man, that they should be given first place +and in some way or other a reading and a rereading +of them be secured. It is not meant that reading is<span class='pagenum'><a name="Page_195" id="Page_195">[195]</a></span> +never to depart from this seemingly arbitrary standard. +That would be at least prudish, to say nothing +of its being impracticable. What is meant is +that such things as comic supplements, at once +stupid, silly, and debauching to both the intellectual +and the artistic tastes, should be kept from all boys. +The daily newspaper with its sensational head-lines +telling of crimes is as bad, and the schoolboy has +no business with it at all. But maybe the practice +most widespread and fatal to an appreciation +of books of real worth and power is the addiction to +"juveniles" in the ever issuing series. If he has +drunk to excess of these, the boy will have hopelessly +weakened his ability ever to appreciate anything +great. He will never be able to warm to the powerful +deeds of Odysseus, Hector, or Joshua—he will +be only a tolerable but proper grown-up. In the +face of these and many more hindrances, reading +will have to be rigidly directed, and in that directing, +lines of appeal in the field of good literature can be +drawn out. Generally the reason for a boy's revolting +against a good book is the fact that whoever is +in control of his reading presupposes that very thing. +The book is often timidly handed out and with +something of an apologetic air. By some peculiar +piece of judgment it is believed that the boy prefers +the book that is both insipid and stupid. This +ineffectual effort arises from a lack of courage on the +part of preceptor and parent: the old, old story of<span class='pagenum'><a name="Page_196" id="Page_196">[196]</a></span> +overindulgence. What may be sauce for the +father should not always be sauce for the son. The +theory that what is good for the one ought to be good +for the other, even to food and drink, is only another +sophism of a falsely sentimental age that is over-tolerant +of what is called personal rights. The fact +that Senator Hoar delighted in an occasional yellow +back, is no reason why a boy should have such a +story when he should be learning his catechism.</p> + +<p>Before venturing on a list of books that will serve +the boy fairly well as he passes through the primary +and the grammar grades of school, a few of the +superior books that have stood the test of time must +be noticed. They are fundamental in school and in +general reading. The arguments of literary critics +as to what constitutes this good literature have no +place in a work of this nature that aims to aid teachers +and parents in selecting books for their children. +It is enough to know that the verdict of time +has been rendered in favour of such books as "The +Arabian Nights' Entertainments," "Robinson +Crusoe," and "Gulliver's Travels." A knowledge +of such books is fundamental to any one who is +ambitious to master the elements of English literature. +And the mere fact that he knows them well +will give him a conscious strength and pardonable +feeling of superiority that the unlettered youth cannot +have. After this he can be trusted to browse +pretty much as he chooses. He may occasionally<span class='pagenum'><a name="Page_197" id="Page_197">[197]</a></span> +find the bars down, or maybe later go over the +fences; but he has learned to judge of what is +worth while, and will surely return to the books that +gave him happy hours, whatever other tasks were +laid on him.</p> + +<p>In selecting this list for schoolboys there is a +temptation to take works too mature for school age. +This may come from that lingering instinct that +supposes every one, no matter what the age, to be +interested in the same things in which you are interested. +The very best things for manhood are to +be reserved for that time of life. Grammar school +boys cannot appreciate the playful humour of Lamb, +the prophetic scolding of Carlyle, or Thackeray's +keen analysis of human weaknesses and foibles; +neither can a high school boy do it, and it is foolish +to insist that it be done. Schoolboys are not men, +and they might be told to reserve the greater +part of Carlyle and Thackeray until two or three +years after they have cast their first vote. Neither +author is adapted to a beardless youth. But then +we have that wonderful pair of story-tellers, Scott +and Stevenson! What boy can resist them or would +ever think of trying to do so? If Margaret Ogilvy +would not lay down a book of "that Stevenson man" +until she had found out how the laddie got out of +the barrel, do you suppose that a boy with adventurous +blood in his veins could do so? Though the +best test for a child's book is the fact that it has<span class='pagenum'><a name="Page_198" id="Page_198">[198]</a></span> +charms for the grown-up, he would certainly be +foolish who would insist that the great books for +mature men and women be read in youth. It is +after all school days are ended and the boy has become +a man well started in the actual affairs of life +that he can read and appreciate "Vanity Fair," +"Adam Bede," "Tess of the D'Urbervilles," or +"Anna Karénina." The tendency to take great +books for mature readers, abridge and overedit +them, and then present them to adventurous boys +by a laboratory method of minute dissection, is +annoying and foolish. Boys who still enjoy harnessing +a dog to a wagon are neither university +students nor good literary critics. But they do like +to find out how Robinson Crusoe made a canoe, +Tom Canty ate his first royal dinner, or David Balfour +helped Alan Breck defend the roundhouse.</p> + +<p>Naturally, the first book to put into the hands of +the primary school child to be called his own is a +good illustrated edition of the Mother Goose rhymes. +There is nothing to take the place of that accumulated +wisdom of the nursery that is so charming to +the ear. He has learned many of the jingles by word +of mouth before his school age; but he now needs +to own the book himself, read the words, and look +at the pictures. The whole thing must be in one +volume for him. But what volume? It is hardly +safe to presuppose the possession of these nursery +rhyme books before the school age, though that is<span class='pagenum'><a name="Page_199" id="Page_199">[199]</a></span> +exactly where they belong. Maybe for this reason +it is better to start with the edition of Kate Greenaway +that makes up in refinement and delicacy for +what it lacks in power and intensity. It is unfortunate +that there is no available reprint of the original +edition of "Mother Goose's Melody" compiled +by Oliver Goldsmith for John Newbery about 1765, +which contained the "most celebrated songs and +lullabies of the old British nurses, calculated to +amuse children and incite them to sleep." To own +such a quaint edition would surely be a delight. +Nearly as quaint and delightful, especially the +illustrations, is the "Only True Mother Goose +Melodies" now reprinted from the Boston edition +of 1839. Of the editions of recent years there are +many good ones, the one appearing under the title +of "National Rhymes of the Nursery" having superior +illustrations by Leslie Brooke, but being marred +by an artificial arrangement. If some artist with +the genius of Cruikshank would give a few of the +best years of his life to illustrating a complete collection +of these rhymes, he would become a benefactor +of childhood. And if such an edition were +well made mechanically, printed on good unglazed +linen paper from large type and good woodcuts, +well sewed, and bound in linen or leather, the boy +might consider himself favoured of the gods if he could +call such a book his own. These "things that are +old and pretty" deserve to be well arrayed. Yet<span class='pagenum'><a name="Page_200" id="Page_200">[200]</a></span> +they deserve to be read for their own sake, an enduring +charm of sound. Professor Saintsbury has +clearly pointed out that they should never be twisted +into an authentic meaning according to the spirit +of severest "scientism"; but they should be made +"to serve as anthems and doxologies to the goddess +whom in this context it is not satirical to call 'Divine +Nonsensia,' who still in all lands and times condescends +now and then to unbind the burden of meaning +from the backs and brains of men, and lets +them rejoice once more in pure, natural, senseless +sound."</p> + +<p>After the nursery rhymes, the next volumes for +the boy's book shelf will be collections of fables +and fairy tales. The animal fable is easiest to start +with, and children like it best as a rule. Talking +beasts kindle their imagination and stimulate their +awakening powers. Fables are direct, simple, wise, +and have a universal appeal. In the delightful first +chapter of "The Newcomes," Thackeray tells us +that long ages before Æsop, asses under lions' manes +roared in Hebrew, sly foxes flattered in Etruscan, +and wolves in sheep's clothing gnashed their teeth +in Sanscrit. They are a common inheritance for +childhood. The English-speaking child has a number +of very good collections at his command, among +them being the one recently issued with illustrations +by Arthur Rackham and another in the New Cranford +series illustrated by Richard Heighway, and he<span class='pagenum'><a name="Page_201" id="Page_201">[201]</a></span> +should surely own the one or the other. But in +neither is the drawing quite so charming as is that +of Boutet de Monvel for the French fables of La +Fontaine.</p> + +<p>What a pity that there is no single volume of fairy +tales to meet the child's demands! It should contain +the best of the English folk tales, the best of +Perrault, the brothers Grimm, Andersen, and others; +should have illustrations of the merit of Cruikshank's; +should be artistically printed and bound—and it +should be a big book. Children love big books. +A child's book on thin paper and bound in limp +leather would not be a child's book. Coloured illustrations +are not necessary; children like a few lines +in black and white; but it is necessary to have the +book a kind of "ponderous tome." Then it can be +read on the floor while it rests on the boy's knees as +he sits cross-legged before the fire; or, better still, +while he lies on his belly, his chin in his hands and +his feet swaying in the air. While he is small, no +real boy was ever designed to sit upright on a chair +and hold a small book ten inches from his eyes, +with the light coming over his left shoulder. Maybe +some philanthropic publisher will some day issue a +big book of tales to be owned by the boy and read +at his ease. But the lack of it to-day necessitates +the building up of a fairy library.</p> + +<p>The first book to be put into the fairy library +might be the charming "Golden Goose Book" of<span class='pagenum'><a name="Page_202" id="Page_202">[202]</a></span> +Leslie Brooke, followed by Cruikshank's "Fairy +Book." The Mother Goose tales as first collected +by Perrault should now be owned in a well-illustrated +English translation. On account of their +humour and their common everyday tone, the English +household and folk tales will make a strong +appeal. Scudder's "Folk Stories," S. Baring-Gould's +"Old English Fairy Tales," and "Fairy-Gold" by +Ernest Rhys are all good in their way; but "English +Fairy Tales" by Joseph Jacobs, with its amusing +illustrations by John Batton, is told in the +simplest and most dramatic way, and it should be +owned by every boy.</p> + +<p>There is one collection of fairy tales that should +come into the boy's possession about the end of the +third school year, and that book is the excellent work +of the brothers Grimm, whatever be the title. The +one superior translation is the one made by Edward +Taylor about 1826, and a reprint of it issued in 1878, +with Cruikshank's etchings and Ruskin's introduction. +But there are many good and simple translations +that are well illustrated. After these highly +imaginative tales of the German fireside, there should +be owned a good translation of the romantic and +refined tales of the North, the fairy tales of Hans +Christian Andersen. To these stories are many +excellent illustrations, including those of Stratton, +Tegner, and Dulac. It may not be possible and +maybe not desirable to own editions of the tales of<span class='pagenum'><a name="Page_203" id="Page_203">[203]</a></span> +D'Aulnoy, Laboulaye, Hauff, and others, for the +best of their stories may be found in some compilations. +Among these are "Mother Goose Nursery +Tales" issued by Nister, Andrew Lang's "Blue Fairy +Book," "Big Book of Fairy Tales" collected by +Walter Jerrold, "A Child's Book of Stories" illustrated +by Jessie Wilcox Smith and the recently issued +attractive edition of "The Fairy Book" by +Dinah Maria Mulock. A distinct service could have +been rendered to children if Andrew Lang had selected +the best of the stories from his voluminous and +unequally good colour fairy books and had issued +them in one large, well-made volume with artistic +illustrations.</p> + +<p>And yet there remains the greatest and most +wonderful of all fairy tales, the "Tales of a Thousand +and One Nights," to be begun with the easier tales +now, but only to be enjoyed thoroughly in the upper +grammar grades. No other book is so romantic or +so entrancing, nor does anybody ever get too old +to read it. It worked its spell on Coleridge, for +he wrote: "Give me the 'Arabian Nights' Entertainments' +which I used to watch, till the sun shining +on the bookcase appeared, and, glowing full +upon it, gave me the courage to take it from the +shelf." And was it not this book that made wonderful +little Marjorie Fleming willing to sleep at the +foot of the bed where she could continually read it? +The translation made by Edward William Lane in<span class='pagenum'><a name="Page_204" id="Page_204">[204]</a></span> +1839 and illustrated by William Harvey under his +direction will never be surpassed; but Jonathan +Scott's translation is easier for the boy to read. +Many well-illustrated but not always well-edited +editions may be found.</p> + +<p>Will a boy read "Alice's Adventures in Wonderland"? +Should a boy read "Alice's Adventures +in Wonderland"? Yes and yes! Any boy who +cannot enjoy the most delightful fooling that was +ever put into a book deserves the greatest of sympathy. +He is certainly full of unmannerly sadness +in his youth. Where else was there ever such clever +and curious nonsense? What mathematician other +than Dodgson ever put before boys and girls such +enduring work? It is a case where two and two does +not always make four, but it does always make the +pleasing thing. Much that goes as serious literature +is not half so wise as is the playfulness of this book, +nor is it so worthy of being thoroughly known and +appreciated. Of course there are a few perpendicular +people who see not that it has abiding charms. +They cannot double or shake to the mood of its +nonsense—nor do they find it grow "curiouser +and curiouser" with each reading. Yet it is a classic +for children, and it is going to endure.</p> + +<p>As a general rule, books for children are cast in a +rather serious mood. This is true of the myth and +the romantic fairy tale. But the element of humour +creeps into the English and the German household<span class='pagenum'><a name="Page_205" id="Page_205">[205]</a></span> +tales, for humour is necessary to all earnest living. +How far this sense of humour is to be developed is a +question hard to answer. This much is true, however: +in mature years and under the full responsibility +of life, a keen sense of humour is about the only +thing that will save a man from himself at times, +preserve his balance when he is nearing the borderland +of tragedy. Now what is to be the nature of +this humour? Is it to be the insipid burlesque that +finds its pleasure in the medical almanac and the +comic supplement? Or is it to be the kind that +wears the sock with brains and taste, the kind that +Touchstone has? The latter is the one that sparkles +and is worth while. It is the kind that the child +starts with in "Alice's Adventures in Wonderland" +and "The Rose and the Ring." It is the product of +men who possess qualities of mind and heart such +as Thackeray did. How Shakespeare must have +doted on his jesters! And what musical nonsense +refrains he wrote.</p> + +<p>All this bears out De Quincey's saying that only +a man of extraordinary talent can write nonsense. +And nonsense literature is a test of the ability of +a reader. Pitt once exclaimed: "Don't tell me of +a man's being able to talk sense; every one can talk +sense. Can he talk nonsense?" Now a child will +talk nonsense and delight in it, even if it is nothing +but a counting-out rhyme. Then he will come to prefer +nonsense of a refined type, innocent and fantastic<span class='pagenum'><a name="Page_206" id="Page_206">[206]</a></span> +verse. A book of this kind that he will take a fancy +to is Edward Lear's "Nonsense Songs"; and if it +is the edition illustrated by Leslie Brooke, he will be +grateful when a nonsense mood is on him. Ruskin +called it the most beneficent and innocent of all +nonsense books. The boy might start with this +book, go to "Alice's Adventures in Wonderland," +and then try "The Rose and the Ring." When he +reaches the upper grammar grades, he will then +enjoy the splendid retelling of "The Adventures +of Don Quixote," by Judge Parry, with Walter +Crane's illustrations. If he does this, on reaching +man's estate he will keep some favourite translation +of this wonderful book of Cervantes in a convenient +pocket edition along with his "Pickwick +Papers."</p> + +<p>Before going to the class of books based on myths, +one brief work must be mentioned, not only because +it marks an epoch in the making of children's books, +but also because it is a child's classic with real +merit, and about the only one on such a theme. +Nearly all others of this kind are prudish, priggish, +and inartistic. This one happens to have a loftiness +of tone. Its style is as charming as this whimsical +title: "The History of Little Goody Two Shoes, +otherwise called Mrs. Marjory Two Shoes, the means +by which she acquired her learning and wisdom, +and in consequence thereof her estate; set forth at +large for the benefit of those<span class='pagenum'><a name="Page_207" id="Page_207">[207]</a></span></p> + +<div class='poem'> +"Who from a state of Rags and Care,<br /> +<span style="margin-left: 0.5em;">And having Shoes but half a Pair;</span><br /> +<span style="margin-left: 0.5em;">Their Fortune and their Fame would fix,</span><br /> +<span style="margin-left: 0.5em;">And gallop in a Coach and Six."</span><br /> +</div> + +<div class='unindent'>If any one is in doubt as to who wrote this book, +the inscription "to all young gentlemen and ladies +who are good, or intend to be good" ought to convince +him. Intend to be good, was not that Goldsmith—and +the rest of us? An edition of this +historic story with pictures after the original woodcuts +of 1765 should be in the hands of every child.</div> + +<p>Though America's contribution to children's literature +of an enduring type has been limited, it is +gratifying to know that America's most finished +artist, Nathaniel Hawthorne, has given to that +literature two books that every boy must know, +"Wonder-Book for Girls and Boys" and "Tanglewood +Tales for Girls and Boys; a Second Wonder-Book." +That every boy who is going to become a +mature reader of good books needs to know the +myths of Greece and Rome, goes without saying. +Now he had better learn these from a book having +a literary touch than from the ordinary telling of +text-books. For this reason he should completely +master these two books by Hawthorne. The illustrated +edition of the former by Walter Crane and +George Wharton Edwards' illustrations of the latter +are both fine. Not so good as these two, yet necessary, +is Charles Kingsley's "Heroes; or, Greek<span class='pagenum'><a name="Page_208" id="Page_208">[208]</a></span> +Fairy Tales for My Children." And the telling of +the story of the Odyssey by Charles Lamb in his +"Adventures of Ulysses" is good to read, but rather +difficult before the last year of the grammar grades. +The wonderful exploits of the heroes in the Iliad +should be familiar to every boy, and he can get them +about all in Bulfinch's "Age of Fable" as well as +anywhere else. This book he must surely own, +and whether it is called merely a text-book or not, it +is the best work that has yet appeared on the mythology +of the world as it is found in classical allusions +of English books. If he learns the story of +the siege of Troy and the return to Ithaca from this +book, he may want to hear Chapman speak out loud +and bold a few years later.</p> + +<p>Does any schoolboy from a home other than one +in which Puritan notions yet prevail read "Pilgrim's +Progress"? If he does not, the fault is not in the +book. It is as interesting as it is vitally true, and has +been positively helpful. According to Macaulay, it +has been loved by those too simple to admire it. +There is really no such thing as an uninteresting +great book. There are uninterested people, though +there should not be an uninterested normal boy. +If there is, he is a victim of the emasculating process +of sugar-coated teaching, parental indulgence, and +vaudeville amusement. Or maybe he has the habit +of the boy's series, that cuts all characters to the +same fashion, the fashion of prudery. In either case he<span class='pagenum'><a name="Page_209" id="Page_209">[209]</a></span> +will never be a pilgrim. Of course it would be foolish +to insist on a boy's reading many such books, even +if there were more like it written. You might as +well insist on seven sermons a week for a man. One +in seven days seems often enough to be effective; +and one great book like this one, if well mastered, is +all that the boy needs. In mature years he can again +read it and marvel at its intrinsic greatness and find +it something of a reflection of his own experiences in +life. And by having done this he may chance to +read such great poetical allegories as the "Faerie +Queene" and the "Divine Comedy."</p> + +<p>As this allegory of Bunyan's represented the +spiritual experiences of life as the Puritan saw it, +so does "Robinson Crusoe" represent the Puritan +view of the practical virtues in experience, such as +the virtues of prudence, ingenuity, and patience. +But for all this it is one of the most fascinating and +typical of English stories, and one of the really great +ones. Every lad must know this book. Stevenson +tells of a Welsh blacksmith who learned to read that +he might add this hero to his possibilities of experience.</p> + +<p>The third book of that great half-century following +the Restoration is one of the few books written +to be read by men that has become a child's classic. +No wonder Swift afterwards exclaimed, "What a +genius I had when I wrote that book!" Yet children +read it with pleasure without seeing anything<span class='pagenum'><a name="Page_210" id="Page_210">[210]</a></span> +in it but the interesting adventures of Gulliver. +Of course, the voyages to Lilliput and to Brobdingnag +are the only ones to be given to the boy, and it is +unfortunate that publishers have not generally recognized +this in issuing "Gulliver's Travels" for +children. It is less necessary to read the other +two voyages than it is to read the second part of +"Pilgrim's Progress" and the "Further Adventures +of Robinson Crusoe."</p> + +<p>There is a field of reading very much akin to the +field of mythology in which there is no single book +that the boy can read that is so permanent in its +form as is the "Wonder-Book," yet it is a field in +which the boy should feel at home. That is the field +that includes the Arthurian legends and the Robin +Hood stories. Among the many books that have +appeared, the excellent work done by the poet Lanier +in his "Boy's King Arthur" and by the late artist +Howard Pyle should surely find a place on every boy's +book shelf. Much of Malory is retained in the former, +and the conventional drawings in the latter +make a strong appeal despite the widespread mania +for colour. The boy who has become attached to +his "Age of Fable" might satisfy his curiosity in +this romantic field by the almost equally good "Age +of Chivalry" and "The Legends of Charlemagne."</p> + +<p>At what age should a boy turn to Shakespeare? +That depends on the boy. If he is an average child, +he should have something of the plays read to him<span class='pagenum'><a name="Page_211" id="Page_211">[211]</a></span> +at a fairly young age; but it is doubtful if he can do +much on his own account before the high school age +is reached. He might, however, be urged to attempt +"A Midsummer-Night's Dream," "The Tempest," +and "King Henry V." At about the age of twelve +or fourteen years he should own a good illustrated +edition in one volume such as the one done by Sir +John Gilbert. But be this as it may, he has a right +to get something of a glimpse of the wonderful things +in these plays through that admirable telling of some +of them in Lamb's "Tales from Shakespeare." +Though it may be Lamb instead of Shakespeare, +there is no better book of retold stones in English +than this work of Thackeray's "Dear Saint Charles" +and his sister Mary.</p> + +<p>This brings up the question of the boy's reading +of poetry and the books that he should own. As +suggested in a former chapter, the one good collection +is Palgrave's "Children's Treasury of English +Song." There is no second one in this class; for +all others seem to have some fatal defects of judgment, +though they are usually printed in more +attractive form. The publishers of this anthology +need to issue a well printed, well illustrated, and +well bound edition, and the book stores need to +put it on their shelves, where it is now almost a total +stranger. But the approach to such a collection +should be gradual. It might start in the second +grade with Kate Greenaway's edition of "Dame<span class='pagenum'><a name="Page_212" id="Page_212">[212]</a></span> +Wiggins of Lee and Her Seven Wonderful Cats; +a Humorous Tale Written Principally by a Lady of +Ninety," and Caldecott's "John Gilpin's Ride." +This could be followed with Kate Greenaway's or +Hope Dunlap's "Pied Piper of Hamelin." And +all children must have Stevenson's "A Child's +Garden of Verses" with illustrations by either +Florence Edith Storer or Jessie Wilcox Smith. +Eugene Field's "Poems of Childhood," illustrated +by Maxfield Parrish, deserves a place, as does the +dainty volume of Blake's "Songs of Innocence," +illustrated by Geraldine Morris. If on reaching +the upper grammar grades the boy has found pleasure +in his "Children's Treasury of English Song," +he might be urged to own complete editions of a few +of the poets. The first volume should be the poems +of Longfellow, not because of his greatness but because +he is the best loved of our noted poets and the +easiest one for the boy to read. The next volume +should be one of Tennyson, where he will find things +actually great. If he comes to prefer "The Passing +of Arthur" to "Enoch Arden," he is developing +taste and judgment and will later enjoy Milton and +Wordsworth.</p> + +<p>There are two books of recent years, "The Jungle +Book" and "The Second Jungle Book," that have +intrinsic worth and charm and should be owned by +every boy about his fifth school year. The superior +tales are the Mowgli stories, and it is a pity they are<span class='pagenum'><a name="Page_213" id="Page_213">[213]</a></span> +not issued in a single volume. Where was there +ever a more intense or dramatic story written than +"Red Dog"? How does it happen that teachers +seldom give these stories to children, but manage to +waste plenty of good time on insipid, made-to-order +stories designed to teach mercy to animals? These +animal stories for a purpose are like most verse for +an occasion—an offence against literary art. Let +the boy learn of the charms and the tragedies of animal +life in the jungle.</p> + +<p>When the boy's reading shifts toward the romance +and the novel, he needs to guard against overreading, +indiscriminate reading, and being bewildered +by the multitude of books from which to +choose. For a while he had better keep to such books +as "The Prince and the Pauper" and "Treasure +Island." If he is not at once interested in that plot +based on the universal desire to change lots with +some one else, or the universal longing to find a +hidden treasure, he either has perverted tastes or is +without any tastes at all. From these it is an easy +step to the forest life of "The Last of the Mohicans" +and the life of chivalry presented in "Ivanhoe." +He will then surely like that charming story of +romantic home life, "Lorna Doone."</p> + +<p>Some teacher may wonder if books other than +stories and verse are not to be read. Of course they +are, and they will be anyhow. Yet they are not +books of power, fundamental to the growth of personality;<span class='pagenum'><a name="Page_214" id="Page_214">[214]</a></span> +they are books of knowledge of one kind +or another. Just where the division line is to be +drawn and which is the right class for this book and +that, is hard to say, and matters little when it is +determined; but the place of a few has been definitely +fixed by experience, and they happen to be +stories. That great literary field of comfort to +men, the personal essay, is beyond the schoolboy. +And so is much of biography and history. But there +can be found for him to read many books, such as +"Tales of a Grandfather," "A Child's History of +England," Southey's "Life of Nelson," "Two +Years Before the Mast," "The Oregon Trail," +Franklin's "Autobiography," and some good abridgment +of "Plutarch's Lives," that make an order of +books different from "Robinson Crusoe," "Pilgrim's +Progress," and "Arabian Nights' Entertainments"; +yet they ought to be read after a few of the greater +ones have been mastered. Many a boy may be +greatly helped and inspired to honest effort by +Samuel Smiles' "Self-Help," yet no one would think +of classing it as great literature. This, together +with books on travel and the wonders of science +and invention will take care of themselves, and the +average boy will pick up enough of them of his +own accord. What he needs is a book that by its +imaginative power lifts him above the commonplace +facts of everyday life. If the foundation be +laid in the enduring work of a few great books, what<span class='pagenum'><a name="Page_215" id="Page_215">[215]</a></span> +is built thereon will abundantly reward the early +effort of mastering them.</p> + +<p>There is yet one book of powerful and pure English +that must be mentioned. The boy should have +early heard it read aloud, learned passages from it +by heart, and have read parts of it on his own account. +In proportion as he has gathered the richness +of this book will he have a grasp on clear language +and clear understanding. That book is the +version of the Bible authorized by King James. It +gave to our fathers not only their faith but also that +grip on racy, clear, and vigorous English that made +many an artisan a better talker and writer than the +man trained in the halls of higher learning. It has +had a power above all other books in English to stir +the imagination and move the soul, and this without +regard to any particular religious belief. No +book has ever told stories with the ease, directness, +and intensity of this one. Its style expresses the +strongest and deepest feelings of English-speaking +men. And this style has been caught by such masters +of prose in their own centuries as Bunyan and +Lincoln. Yet it is evident to teachers that the +great stories of the Scriptures are not known by +children. The Bible needs to be dusted and read, +even if it is brought about by the strong hand of +authority in the home and in the school.</p> + +<p>Taste in books can be directed, or at least modified, +and the authority to direct must be about its<span class='pagenum'><a name="Page_216" id="Page_216">[216]</a></span> +business with the urchins at school. The aphorism +that you can lead a horse to the water but you cannot +make him drink, is only half true. If the water +is kept under his nose and there is a good grip on the +halter, he will be drinking before he is aware of it. +In fact, he may need to be led away at times to keep +him from drinking too much. The business of the +school teacher is to get the boy to the trough and +then see that he does not drink too much. This will +be a thing of effort, for at every turn there are the +springs of juvenile series, Sunday School Pharisees, +comic supplements, and penny-dreadfuls that flow +as if they would never cease. The boy needs to +develop a sort of anchorite spirit and seek out a +secluded place with an armful of books that are +really worth while.</p> + +<p>The armful which he needs to own and be friends +with might be something like the following, if such a +list can be ventured without offence to that strong +spirit of individualism that will call it wooden and +lock-step; yet that in its iconoclasm and mental +anarchy gets nowhere and does nothing. This is +the list by grades: First grade—"Mother Goose +Rhymes," Brooke's "The Golden Goose Book," +"Dame Wiggins of Lee and Her Seven Wonderful +Cats"; second grade—"Æsop's Fables," "The +Cruikshank Fairy Book," Goldsmith's "The History +of Little Goody Two Shoes"; third grade—Carroll's +"Alice's Adventures in Wonderland," Jacobs'<span class='pagenum'><a name="Page_217" id="Page_217">[217]</a></span> +"English Fairy Tales," Stevenson's "A Child's +Garden of Verses," Scudder's "The Children's +Book"; fourth grade—Grimm's "Fairy and Household +Tales," Andersen's "Fairy Tales," Browne's +"Granny's Wonderful Chair," Thackeray's "The +Rose and the Ring"; fifth grade—Hawthorne's +"The Wonder-Book for Girls and Boys" and +"Tanglewood Tales for Girls and Boys; a Second +Wonder-Book," Kingsley's "Heroes; or, Greek +Fairy Tales for My Children," Swift's "Gulliver's +Travels into Several Remote Nations of the World," +Kipling's "The Jungle Book" and "The Second +Jungle Book"; sixth grade—"Arabian Nights' +Entertainments," Lamb's "Adventures of Ulysses," +Defoe's "The Life and Strange Adventures of +Robinson Crusoe," Pyle's "The Merry Adventures +of Robin Hood," Palgrave's "The Children's Treasury +of English Song"; seventh grade—Bunyan's +"The Pilgrim's Progress," Lanier's "The Boy's +King Arthur," Twain's "The Prince and the +Pauper," Cervantes' "The Adventures of Don +Quixote of the Mancha," Stevenson's "Treasure +Island"; eighth grade—Lamb's "Tales from +Shakespeare," Cooper's "The Last of the Mohicans," +Scott's "Ivanhoe," Blackmore's "Lorna Doone," +Bulfinch's "The Age of Fable; or, the Beauties of +Mythology."</p> + +<p>The savings necessary to buy these books, the +time spent in reading and rereading them, the power<span class='pagenum'><a name="Page_218" id="Page_218">[218]</a></span> +and taste that will come from both of these efforts,—these +will serve the boy when he comes to man's +estate. For no work in a finishing school or in college +English can ever give him what he will get of +his own accord by having good books as his companions +during his public school life. Let him try the +list with the hope that it will meet Ruskin's comment: +"Of course you must or will read other books +for amusement, once or twice; but you will find that +these have an element of perpetuity in them."</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_219" id="Page_219">[219]</a></span></p> +<h2>CHAPTER IV</h2> + +<div class='chaptertitle'>ON THE PURCHASE AND CARE OF BOOKS</div> + +<div class='poem'> +"Knowing I lov'd my books, he furnish'd me,<br /> +<span style="margin-left: 0.5em;">From my own library, with volumes that</span><br /> +<span style="margin-left: 0.5em;">I prize above my dukedom."—<span class="smcap">Prospero.</span></span><br /> +<br /></div> + + +<p><span class="smcap">The</span> publishing of books is like the brook in the +poem, it goes on forever. The number and variety +found on sale at the end of each year is truly bewildering. +The flesh is becoming wearied with the +number and the spirit perturbed with the variety. +The prospective buyer does not know where or how +to begin, and about the only way out of the confusion +is to do as the brothers did in the story, buy them +by the yard. For the man of long purse it is a convenient +way to untie the library knot; but after +this has been done the question of where to begin +reading is a harder one than where to begin buying +had been. There was much philosophy in the remark +of the quickly made <ins title="Transcriber's Note: original reads 'millionnaire'">millionaire</ins>, who after +having bought many editions de luxe of standard +authors, said: "Now give me something that I +can read, a few stories of Old Sleuth and Nick +Carter." Though his taste might be questioned, +his remark hit the nail on the head—a few books +that can be read.<span class='pagenum'><a name="Page_220" id="Page_220">[220]</a></span></p> + +<p>That is what the average buyer is after. And +these few must be books that are worth while, must +be taken from the multitude, and must be taken one +or two at a time if they are to be properly enjoyed. +Each season brings a few of these in new and attractive +editions. By them must the library be slowly +built up. The purchase of many volumes at a time, +even if they are good volumes, is something few +readers can stand. It is like the sudden acquisition +of wealth or the sudden coming into fame: a stumbling +block to the greatest of pleasures, the slow +but certain enrichment of life. Many a good student +has been spoiled by being turned loose in a school +library that cost him no effort or inconvenience to +acquire. Ease of access and intemperance of use +are things on which he will fall down. And therein +is the foolishness of parents in supplying their children +all at once with that great and varied load +that has several times appeared under different +names, but with the general title of libraries for +young folk. There is much good and conveniently +arranged material in all of them; but it is this very +thing of coming into the child's possession all at +once that makes them objectionable. Books, like +many other luxuries, should not be indulged in to +excess.</p> + +<p>Books for the boy should largely be purchased +out of his own savings. No book bought in this +way will be left unread. Some persuasion on the<span class='pagenum'><a name="Page_221" id="Page_221">[221]</a></span> +part of teachers and parents will be necessary to +bring about this practice of saving. A month or +so before Christmas or the summer vacation the +town boy ought to be told to save the money he is +used to spending on candy and picture shows that +he may buy for himself a book. The country boy +can do the same thing by hoeing corn a few more +days for a neighbour or raising a few more chickens on +his own account. As they should, books will also +come as gifts, and poor judgment on the part of the +giver is very unfortunate. The giving of a poor +book that can hardly be afforded is kind-hearted as +an act; but the boy who feels by courtesy bound +to read it is surely a helpless victim. Yet in his +own family he should be given a book twice each +year, on his birthday and at Christmas time. In +fact he needs to be taught always to celebrate the +one and hang up his stocking on the other; for no +two practices will be so likely to keep him from +falling into cynicism in mature years—especially +if each anniversary brings with it a helpful book. +Highly prized as will be these good books the boy +receives as gifts, they will never mean quite the +same to him as the books bought at a sacrifice to +himself. When all is said and done, about the best +indication of practical wisdom in this age of prodigality +is economy of savings. It will surely be +followed by economy of time and energy. The boy +who is taught to save money for the purchase of<span class='pagenum'><a name="Page_222" id="Page_222">[222]</a></span> +something of permanent value has a good start in the +right direction. The most reasonable thing to buy +with these savings is a few good books.</p> + +<p>What shall the reader buy, and where shall it be +bought? To the former question a partial answer +has already been attempted, but to the latter one +the answer is more uncertain. In a general way a +book might be bought as any other article is bought, +where the same quality can be bought cheapest. +But that principle is based on the advertising appeal, +an appeal that is strong where extravagance and +wastefulness abound. The making, selling, and +buying of books is no exception to this rule of trade. +Books, like other articles, are now bought and sold +according to fashion, and the official pot of fashion +must be kept boiling if it takes the last penny. And +like other fashions book fashions change, even to +morals and heroines; so that a body might as well +be out of the reading world as to be out of fashion +in it. Just now the fashion seems to turn out books +with morbid morals and mediocre heroines, and yet +the people continue to read them and talk about them. +The story is drawn, printed, bought, read, dramatized, +heard, and praised—even from the pulpit. +And before there is time for you to compose yourself +in peace, a new emotion is sprung on which all must +dilate alike. This is the hubbub about the multitude +of new books that makes the buying of a few +standard ones something of a problem. The classics,<span class='pagenum'><a name="Page_223" id="Page_223">[223]</a></span> +especially for children, either in old or in new +editions, are hidden in the confusion. And because +of the talk the youngsters hear they want to read +the book their parents are reading, as they are curious +to read the daily paper, a thing never designed for +any schoolboy to do. For this reason they need +to be urged strongly to buy the book that is old and +tried by years of helpful reading.</p> + +<p>The advertising appeal that persuades a buyer of +books to invest in what he does not want and cannot +use is active in two ways, through travelling agents +and at the book counters of department stores. Of +all the hindrances to the building up of a small +library out of savings for that purpose, the proverbial +book agent is the greatest. This master of the +art of persuasive perseverance, with his oilcloth +bag hidden under the frock of his coat, has filched +many a hard-earned dollar from the farmer. If he +had had either the artifice or the charity to get the +money and not deliver the book, the effect of his +pernicious activity would not be so marked. Yet +what he sells as a book takes its place on the centre-table +with others of its kind to waste the time of +winter evenings and wet days for a generation. +That interesting and rather convenient character, +the pedler with his pack, has passed away; but +the agent and his book continue to flourish. Can +no one propose a short way with book agents?</p> + +<p>In the city the confusion is wrought by the woman<span class='pagenum'><a name="Page_224" id="Page_224">[224]</a></span> +agent and the girl clerk. Next to resisting civilly +the entreaties of the agent in black is for a man, +after having threaded that modern labyrinth, the +department store, and having halted at the book +counter to take his bearings, to be pounced upon +by the clerk in black before he has had time to thumb +a single volume, and asked if he has been waited +on. He watches the cosmopolitan stream of buyers +tossing about the cosmopolitan collection of book +bargains on the main aisle counter, and then retreats +in confusion to seek some old-fashioned book store +where he can loaf in ease and think of what he wants +to buy. Though scarcely willing to admit the claim +of many buyers and readers of books that it is not +good book-buying etiquette to purchase a book at +a department store, he feels at least that it is not a +quiet, convenient, and wise way. And the pity of +it all is, that out of this shuffle and clatter the child +is made the victim of the poor book that is bought +because it can be bought cheap.</p> + +<p>The fairly well arranged book store is the one +place where a book for a boy may be bought in proper +form. Though the second-hand book store is an +interesting place for the man who has not the germ +fear, it is no place to get a boy's book. And the +old-fashioned book shop that must have been a joy +to the man of reading tastes has passed, as has the +old apothecary shop. From their modern offspring, +the book store and the drug store, we must get our<span class='pagenum'><a name="Page_225" id="Page_225">[225]</a></span> +books and our physic. It is on the shelves of these +book stores that buyers like to explore and make +discoveries of editions. If the particular edition +be known, a good way to buy is to order books directly +by mail from the publisher. In fact, this is what +often has to be done in small towns and in country +districts where well-stocked shelves are not within +reach. Yet few buyers can adjust themselves to +the practice of buying anything that they have not +seen. They like to feel the response of the book to +the touch, see the type and the illustrations and the +binding. This is all good where the store carries a +complete stock; but if every good book wanted has +to be ordered for the buyer, he might as well do it +himself directly from the publisher. From these +publishers good descriptive catalogues may be had +for the asking, and by means of them the book not +found at the store may be ordered.</p> + +<p>At the usual book store, whether purely secular +or connected with the publishing house of a denominational +church, books for men are bought with +greater ease than books for children. A well-selected +list of titles for boys is seldom found. The ubiquitous +juveniles are lined up as usual, but good +reprints of children's classics are absent. The uninformed +buyer is at the mercy of the more uninformed +clerk. Out of the indecision of the one and the advice +of the other something wholly unfit for the boy is +bought. The poor book received as a gift is beyond<span class='pagenum'><a name="Page_226" id="Page_226">[226]</a></span> +the boy's control and a delicate matter to handle; +but the buying of a poor book with good money is +a serious blunder. About the only safe way is to +know what you want before you go into the store, +dig it out from the shelves yourself, and have the clerk +do nothing but wrap it up and give you your change. +If you are not settled on what you want, get into the +habit of reading the book numbers of some journal +like <i>The Nation</i>, or consult with the well-informed +heads of the children's departments of public libraries.</p> + +<p>The particular edition of a book to be bought is +largely a question of taste and of the money at the +command of the buyer. Many a boy sees little in +fine, well-illustrated editions. What he wants is +the story without regard to its dress. He may become +wedded to the poorly made, unattractive book +that has opened up new lands to him, just as many +a child has formed a greater attachment for a small +rag doll than for an expensive one of wax. Again, +circumstances may necessitate the buying of a +twenty-five or fifty-cent edition of a book instead +of a two or three dollar one. Yet this is true: if +the book is bought at a sacrifice and is to serve for +a lifetime (and no old book that has served its owner +well ought ever to be replaced by a new one), the +best edition available should be bought, even if it +is expensive. Of course, this largely depends on the +book. Mother Goose, some treasury of poetry, +Æsop, stories from Shakespeare, a favourite collection<span class='pagenum'><a name="Page_227" id="Page_227">[227]</a></span> +of fairy tales, and all such books often used need +to be in the best of editions; but the ones less often +read may be in cheaper form.</p> + +<p>In selecting an edition the first thing to look to +is the type and paper. Even a standard edition +may be printed from worn plates giving an indistinct +impression. A clear-cut, large type on unglazed +paper is certainly the best. The detailed +colour illustration on a special sized plate-paper does +not appeal to the average child any more than do +the simpler black and white drawings done in a few +lines and put on the ordinary reading page. But the +best illustrations that are being done to-day are +very often done in colour, and at first glance they catch +the fancy of the child—then, too, they are the +fashion. Whatever kind they may be, illustrations +are almost necessary to a child's book. The next +consideration is the binding. What may have been +gained in attractiveness of page has surely been lost +in mechanical execution on binding. Books, even +high-priced books, are now cased instead of bound. +The machine-made back is hung to the book in an +insecure way. There is no hand shaping or building +of the back to the book. A child's book costing +three dollars will in a short time become loose, +hollow-backed, and the plate illustrations will fall +out. Hand-craft at a reasonable price has gone +by the way here as it has in many other fields of +workmanship. What the publisher has failed to<span class='pagenum'><a name="Page_228" id="Page_228">[228]</a></span> +do in the binding of the book, the boy must be urged +to make up in the handling of it.</p> + +<p>This brings up the question of the care of books. +Vandalism may do its work among books as well as +anywhere else. A good book deserves the best of +care and needs to be secure from the hand that +would soil or deface it. It is a friend to be kept in +comfortable quarters, and its rights are to be respected. +It is never to be used as a flower press +nor as a window stick; neither is it to have its back +carelessly broken nor its leaves turned down. It +was made to be read and to be enjoyed, and this +without regard to the fact that it came as a gift or +was bought with hard-earned money. The boy +should early be taught how to take care of it as he +would any other product of art.</p> + +<p>The best-made book may be broken by opening +it carelessly the first time. Glue is flexible under +slow pressure, but will break under sudden strain. +If the book is taken in the middle and the halves +suddenly jerked open, it will be broken beyond +repair; but if the back of the book is placed on a +table and the leaves turned down slowly from both +covers to the centre, the glue will give and the book +will not be damaged. By going over the whole book +carefully in this way once or twice, it will be ready +for use. At no time, however, while reading, should +the covers or leaves be turned farther back than +they would be in lying flat open on a table. The<span class='pagenum'><a name="Page_229" id="Page_229">[229]</a></span> +next thing for the boy to learn is how to take care +of the leaves of the book. The leaves should be +carefully turned with the dry tips of the fingers +from the top of the page and pressed down gently +but firmly. And under no circumstances should +the corner of a leaf be turned down to mark the +place where the reader left off—an interested memory +and a book mark are designed for that purpose. +To keep his books, every boy should have a book +shelf or two of his own that he can easily reach. +Any kind of home-made shelf will do; and in it +the books are to be set on end, never on the front of +the book, each in its particular place so that it might +be found in the dark. He ought to learn all of his +books by touch. After each reading the book is +to be carefully put in its stall and left there until +the owner chooses to take it out again.</p> + +<p>When a book has been bought or received as a +gift, the boy should, according to the old style, write +therein his name, the date it came into his possession, +and the warning that it is his book. Book +plates are really unnecessary to a small library, unless +the owner can well afford them. But it is necessary +that the owner's name be written in each one. Now, +should the boy lend his book? It is a question +whether the refusal to lend it is a selfish act or not. +Like umbrellas, books are often looked on as stray +blessings to be taken in by any one who chances to +come across them or who needs them. The well-conceived<span class='pagenum'><a name="Page_230" id="Page_230">[230]</a></span> +chaining idea has long since disappeared, +but the purloining habit still lingers. It and its +handmaiden, borrowing, have wrought much confusion +and inconvenience in private libraries. Few +people ever think to return a book, or at least to +return it in good condition. If the truth were +always told, the couplet of the satirist would fit +the possessor of many a repleted library:</p> + +<div class='poem'> +"Next, o'er his books his eyes began to roll,<br /> +<span style="margin-left: 0.5em;">In pleasant memory of all he stole."</span><br /> +</div> + +<div class='unindent'>Selfish or not selfish, the wise thing for the boy to +do is to refuse to lend his books. It is too much +like lending a meal or a friend; but they can all be +shared in the presence of the owner. If the boy's +chum has a hungry mind and clean hands, he may +be asked to drop in and read the book where it belongs, +but not to carry it off elsewhere. Or better +still: the owner of the book who knows its riches +may fall into the habit of reading his favourite +portions aloud to his boy friends who have gathered +in for that purpose. No single thing will awaken +such a love for good literature as the gathering +of choice bits of it through the ear. That is the good +lesson that has come from the tent of the Arab. And +it is a lesson that readers must learn to-day. By +no means let the book of the boy fail to entertain +his chums, but let it entertain them at his own home.</div> + +<p>Does any one who has laboured hard to build a<span class='pagenum'><a name="Page_231" id="Page_231">[231]</a></span> +house move out of it as soon as it is completed? +Does any one who has cultivated a friendship give it +up as soon as it is secure? Should any one who has +learned to thoroughly enjoy a good book throw it +aside as soon as this is done? Like the house or +the friend, that book should continue to be a comfort +to him who has learned to appreciate it. In short, +the boy must make friends with a few books and then +keep them without capitulation. If he does, he +may some day feel the truth of these verses:</p> + +<div class='poem'> +<span style="margin-left: 6em;">"Books, we know,</span><br /> +Are a substantial world, both pure and good;<br /> +Round these with tendrils strong as flesh and blood,<br /> +Our pastimes and our happiness will grow."<br /> +</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_232" id="Page_232">[232]</a></span></p> +<h2>CHAPTER V</h2> + +<div class='chaptertitle'>EDITIONS OF STANDARD BOOKS</div> + +<div class='poem'> +"A precious treasure had I long possessed,<br /> +<span style="margin-left: 0.5em;">A little yellow canvas-covered book,</span><br /> +<span style="margin-left: 0.5em;">A slender abstract of the Arabian Tales;</span><br /> +<span style="margin-left: 0.5em;">And for companions in a new abode,</span><br /> +<span style="margin-left: 0.5em;">When first I learnt, that this dear prize of mine</span><br /> +<span style="margin-left: 0.5em;">Was but a block hewn from a mighty quarry—</span><br /> +<span style="margin-left: 0.5em;">That there were four more volumes, laden all</span><br /> +<span style="margin-left: 0.5em;">With kindred matter, 'twas to me, in truth,</span><br /> +<span style="margin-left: 0.5em;">A promise scarcely earthly." —<span class="smcap">Wordsworth.</span></span><br /> +<br /></div> + + +<p><span class="smcap">What</span> edition of a book to buy is determined in +about the same way as is the pattern of our clothes—by +a compromise between our means and our +likings. But in the case of our children it is a pretty +well-known fact that their likings must be directed +and the means at their disposal regulated—even +in the purchase and reading of books. A boy left +to himself will about as often fall into extravagant +habits of taste as he will into extravagant habits in +the use of his pocket money. He is no more able +to judge of the good investment of knowledge than +of the good investment of money. In the desire +to appear as a good fellow among his companions +he disregards either economy of time or economy of +means. He needs to be shown the wisdom of saving +along both lines. This can be done in no better +way than by indicating to him an edition of a book<span class='pagenum'><a name="Page_233" id="Page_233">[233]</a></span> +that will require some sacrifice on his part to buy, +and maybe to find time to read. This may all have +to be done without regard to his tastes.</p> + +<p>To let the mere notions of a boy determine the +edition of a book to be bought and to estimate the +merits of different editions by these same notions +is foolish. This is neither directing nor cultivating +tastes. The old plan of fencing in the pasture +and of not letting the boy wander too far afield was +many times a very good plan. Tastes need to be +directed and boundaries fixed. Instead of permitting +the boy to determine the merits of the illustrations +and the binding, he should have pointed out to him +repeatedly what good illustrations and good binding +are, and whether they can both be afforded.</p> + +<p>Both tastes and circumstances may lead to the +buying of a cheap, modest-looking book. This may +serve its owner well, and he may never miss what +might be called the charm of a well-illustrated, well-printed, +and well-bound edition—one pleasant to +look into and to touch. He may be as little able +to judge of the artistic make-up of a book as of the +cut of his clothes or the quality of his food; what +he wants is something to satisfy hunger and to +cover nakedness, in whatever form it may be given. +Because of this the boy can bury himself in the +pages of an ill-made book if the words tell an enchanting +story. But it is safe to say that most boys +do like well-made books with good illustrations.<span class='pagenum'><a name="Page_234" id="Page_234">[234]</a></span></p> + +<p>The pencil of the artist seems almost necessary +to give the right touch to a child's book that is great +literature. Not in that they enable the boy to get +the story more easily are illustrations valuable, but +in the fact that they lend an artistic touch to a thing +that is of itself a work of art. A guess, however, at +the kind of illustrations needed for children's books +would be very arbitrary. No one could hold that +the present-day coloured illustrations, with what is +termed life in action instead of decoration and convention, +are the only right ones for children. Nor +are the old line-drawings in black and white to be +discarded. We need woodcuts as well as the engraved +colour-plate; we need Cruikshank, Tenniel, +Greenaway, and Crane, as well as Brooke, Rackham, +Parrish, and Smith, for each has added a charm to +some of the great literature of childhood. May +children's books continue to fare well at the hands +of talented artists. No more enduring work can be +wrought than that in which a keen and sympathetic +imagination gives expression to a picture that was +first put into words.</p> + +<p>The work in hand for the teacher is to secure the +buying of as good an edition of a book as the boy +can afford. The fact should be kept before him at +all times that he can usually get the good edition if +he is willing to do so. If it should happen that in +any particular year the boy cannot afford all of the +books that might be bought in that year, the teacher<span class='pagenum'><a name="Page_235" id="Page_235">[235]</a></span> +should see that the one or two most valuable ones +are secured. For example, if he is a sixth-grade boy, +he must by some means manage to get "Robinson +Crusoe" and "The Arabian Nights' Entertainments." +The teacher's own interest, enthusiasm, +and good taste will successfully solve what is to be +done. As an aid in this direction it is to be hoped +that book stores will display a number of good +editions of each title of the standard books for children +in order that a more satisfactory choice may be +made of any one title. And the stores could do a +good turn by having well-informed and painstaking +clerks to aid in the selection of the right edition.</p> + +<p>In the list that follows, a few low-priced editions +without illustrations are given as well as the more +artistic and expensive ones. The teacher may not +care to own the large illustrated edition that appeals +to the boy. Nor does he want an abridged +edition. He may have to depart from the list in +order to get a complete copy of such great books as +"Don Quixote." For this particular title the teacher +may range from the single volume of Motteaux's +translation in "Everyman's Library" (one of the +best issues of standard books for the teacher to +select from at a low price) to that of the excellent +translation by Shelton issued in the expensive "Tudor +Translations." So does he need some complete +edition of Lane's translation of "A Thousand and +One Nights" with Harvey's illustrations if possible,<span class='pagenum'><a name="Page_236" id="Page_236">[236]</a></span> +such as the three-volume edition imported by Scribner, +the four-volume edition in "Bohn's Standard +Library," or the six-volume edition in the "Ariel +Classics." Then again, it may happen that an edition +such as the two-shilling edition of Grimm +translated by Taylor and illustrated by Cruikshank, +issued by the Oxford Press, is as good for the teacher +as for the boy. But the appended list will not include +and designate editions suitable for teachers +only. The working out of such a list by the teacher +for himself will indicate his interest in the task that +is before him.</p> + +<p>The list is not intended as a guide in building up +an extensive library for the use of children. Its +chief merit, no doubt, is in the fact that it is a limited +list. And its first good result must be in the practice +of the boy's buying a few books that are good +and that will be read and reread. But little comment +will be offered here and there on the preference +of one edition over another. All editions designated +by a star are well worth owning. A guess at the age +for reading a book has been made, but with considerable +latitude because of the unequal reading ability +among children. The age from six to ten years, the +primary grades of public school, will be indicated +by the letter "P" placed before the title; the age +from ten to fifteen years, the grammar grades of +school, will be indicated by the letter "G" placed +before the title. Any suggestions on included editions<span class='pagenum'><a name="Page_237" id="Page_237">[237]</a></span> +found unsatisfactory by experience, or on good +editions omitted, will be gladly received. The sole +aim herein is to present a list that will be of help to +the teacher and the boys under him in finding the +best that publishers have to give of the enduring +literature for children.</p> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_239" id="Page_239">[239]</a></span></p> +<h2>BIBLIOGRAPHY</h2> + + +<h3>MOTHER GOOSE NURSERY RHYMES</h3> + +<div class='center'>P—but must be learned even if done in the college class in English.</div> + +<div class='hang1'>*"Randolph Caldecott's Picture Books." Any or all of the +following are merrily done: "The House That Jack Built"; +"Sing a Song of Sixpence"; "The Queen of Hearts"; +"Hey Diddle Diddle, and Baby Bunting"; "Ride a Cock +Horse"; "The Frog That Would a-Wooing Go." 4to. +Picture wrappers, 25 cents each. Warne.</div> + +<div class='hang1'>"The Baby's Opera: Old Rhymes with New Dresses, Set +to Music." Walter Crane. Small 4to. Varnished +boards, $1.50. Warne. A second volume is "The Baby's +Bouquet."</div> + +<div class='hang1'>*"Our Old Nursery Rhymes." The original tunes harmonized +by Alfred Moffat. Illustrated in colour by H. Willebeek +LeMair. 11 × 9. Cloth, $1.50. McKay. Thirty well-known +rhymes with dainty and aristocratic illustrations +of unusual beauty. A second volume is called "Little Songs +of Long Ago."</div> + +<div class='hang1'>"Thirty Old-time Nursery Songs." Arranged by Joseph +Moorat and pictured by Paul Woodroffe. Large 4to. +Boards, $2.00. Schirmer.</div> + +<div class='hang1'>"Old Songs and Rounds." Decorated in full colour by Boutet +de Monvel. Arranged to music by Wider. Cloth, $2.25. +Duffield. Both English and French texts are given. There +is nothing more charming in all the realm of picture books, +according to The Nation.<span class='pagenum'><a name="Page_240" id="Page_240">[240]</a></span></div> + +<div class='hang1'>*"Mother Goose; or, The Old Nursery Rhymes." Illustrated +in colour by Kate Greenaway. 16mo. Decorated boards, +60 cents. Warne. Forty-four rhymes done with this +artist's usual charm and nursery propriety.</div> + +<div class='hang1'>"The Only True Mother Goose Melodies." An exact reproduction +of the text and illustrations of the original edition +printed in Boston in 1834 by Munroe and Francis. An +introduction by Edward Everett Hale. 16mo. Cloth, +60 cents. Houghton.</div> + +<div class='hang1'>*"The Nursery Rhyme Book." Collected by Andrew Lang and +illustrated by Leslie Brooke. Crown 8vo. Cloth, $1.50. +Warne. Well illustrated.</div> + +<div class='hang1'>"National Rhymes of the Nursery." Collected by George +Saintsbury and illustrated by Gordon Browne. 8vo. +Cloth, $1.50. Stokes. A splendid introduction for a +teacher to read.</div> + +<div class='hang1'>"Big Book of Nursery Rhymes." Edited by Walter Jerrold +and illustrated by Charles Robinson. 8vo. Cloth, +$3.00. Dutton.</div> + +<div class='hang1'>"A Book of Nursery Songs and Rhymes." Edited by S. +Baring-Gould. Illustrated and decorated. 12mo. Cloth, +$1.50. McClurg.</div> + +<div class='hang1'>"Mother Goose's Melodies for Children; or, Songs for the +Nursery." Edited by William A. Wheeler. Illustrated +by numerous woodcuts. 4to. Cloth, $1.50. Houghton.</div> + +<div class='hang1'>*"Mother Goose." Illustrated in colour and black-and-white +by Arthur Rackham. 4to. Cloth, $2.50. Century. +Fine for a child.</div> + +<div class='hang1'>"Mother Goose." Illustrated in colour by Fanny Y. Cory. +4to. Cloth, $1.50. Bobbs-Merrill.</div> + +<div class='hang1'>"Mother Goose Nursery Rhymes." Illustrated in colour and +black-and-white by Tenniel, Hardy, and others. 4to. +Cloth, $2.50. Dutton. A Nister book.<span class='pagenum'><a name="Page_241" id="Page_241">[241]</a></span></div> + +<div class='hang1'>"Mother Goose." Edited by Clifton Johnson. Illustrated +in duo-tone with line cuts by Will Bradley and others. +Square 8vo. Cloth, $1.50. Baker.</div> + +<div class='hang1'>"Nursery Rhymes." Chosen by Louey Chisholm. Illustrated +in colour and black-and-white by F. M. B. Blaikie. 4to. +Cloth, $2.00. Stokes.</div> + +<div class='hang1'>"Nursery Rhymes from Mother Goose." Illustrated in colour +and black-and-white by Grace E. Wiederseim. Large +square 8vo. Cloth, $1.50. Scribner.</div> + +<div class='hang1'>"The Complete Mother Goose." Illustrated in colour and +black-and-white by Ethel Franklin Betts. 8vo. Cloth, +$1.50. Stokes.</div> + +<div class='hang1'>"Mother Goose's Nursery Rhymes." Collected by Walter +Jerrold. Illustrated by John Hassall. 6-1/2×9. Cloth, +$1.50. Dodge.</div> + +<div class='hang1'>"Our Nursery Rhyme Book." Edited by Letty and Frank +Littlewood. Illustrated by Honor C. Appleton. Small +4to. Cloth, $1.50. Dana.</div> + +<div class='hang1'>"Favourite Rhymes of Mother Goose." Illustrated in +colour by Maria L. Kirk. Large 4to. Cloth, $1.25. +Cupples.</div> + +<div class='hang1'>*"Old Mother Goose Nursery Rhymes." Illustrated by +E. Stewart Hardy. Decorated cloth, 12mo, $1.25. +Dutton.</div> + +<div class='hang1'>"Mother Goose in Silhouettes." Cut by Katharine G. Buffum. +6×6. Cloth, 75 cents. Lathrop. Forty-one clever pictures +to twenty-three old rhymes.</div> + +<div class='hang1'>"Mother Goose Book of Nursery Rhymes and Songs." From +Everyman's Library. 12mo. Cloth, 35 cents; leather, +70 cents. Dutton.</div> + +<div class='hang1'>*"Mother Goose: A Book of Nursery Rhymes." Collected by +Charles Welsh. Illustrated by Clara E. Atwood. 12mo. +Cloth, 30 cents. Heath. A good cheap edition.</div> + +<div class='hang1'>"Heart of Oak Books: Book I." Edited by Charles Eliot<span class='pagenum'><a name="Page_242" id="Page_242">[242]</a></span> +Norton. Illustrated by Frank T. Merrill. 12mo. Cloth, +25 cents. Heath.</div> + +<div class='hang1'>*"This Little Pig's Picture Book." Illustrated by Walter +Crane. 4to. Cloth, $1.25. Lane. Contains also "The +Fairy Ship and King Luckieboy's Party."</div> + +<div class='hang1'>"Mother Hubbard's Picture Book." Illustrated by Walter +Crane. 4to. Paper, $.25. Lane.</div> + +<div class='hang1'>"April Baby's Book of Tunes, The." By the author of +"Elizabeth and her German Garden." Col. Ill. by Kate +Greenaway. 12mo. Cloth, $1.50. Macmillan.</div> + +<div class='hang1'>"Jingle Book." By Carolyn Wells. (Standard School Library.) +Ill. 12mo. Cloth, $.50. Macmillan.</div> + + +<h3>G—COLLECTIONS OF VERSE</h3> + +<div class='hang1'>*"The Children's Treasury of English Song." Selected by +Francis Turner Palgrave. 16mo. Cloth, $1.00. Macmillan. +This is the best collection that has yet been made +for children. The publishers of this collection could do a +great service by issuing a large, attractive, well-illustrated +edition, adding to it a judicious selection from the great +volume of verse covering the last quarter of the nineteenth +century.</div> + +<div class='hang1'>"The Children's Garland from the Best Poets." Selected by +Coventry Patmore. 16mo. Cloth, $1.00. Macmillan.</div> + +<div class='hang1'>"The Blue Book of Poetry." Selected by Andrew Lang. +Illustrated by H. J. Ford and Lancelot Speed. Large +crown 8vo. Cloth, $2.00. Longmans.</div> + +<div class='hang1'>"A Book of Famous Verse." Selected by Agnes Repplier. +16mo. Cloth, 75 cents. Houghton. A good selection, +especially for boys.</div> + +<div class='hang1'>"One Thousand Poems for Children: A Choice of the Best +Verse Old and New." Selected by Roger Ingpen. 8vo. +Cloth, $1.25. Jacobs.<span class='pagenum'><a name="Page_243" id="Page_243">[243]</a></span></div> + +<div class='hang1'>"Lyra Heroica: A Book of Verse for Boys." Selected and +arranged by William Ernest Henley. 12mo. Cloth, $1.25. +Scribner.</div> + +<div class='hang1'>"Our Children's Songs." Illustrated. 8vo. Cloth, $1.25. +Harper.</div> + +<div class='hang1'>*"The Listening Child: A Selection from the Songs of English +Verse, Made for the Youngest Readers and Hearers." +Selected by Lucy W. Thatcher. 12mo. Cloth, $1.00. +Macmillan. An edition at $.50.</div> + +<div class='hang1'>"A Book of Verse for Children." Compiled by E. V. Lucas. +8vo. Cloth, $2.00. Holt.</div> + +<div class='hang1'>"The Posy Ring: A Book of Verse for Children." Selected +by Kate Douglas Wiggin and Nora Archibald Smith. +12mo. Cloth, $1.25. Doubleday.</div> + +<div class='hang1'>"Poems Children Love." Edited by Peurhyn W. Coussens. +12mo. Cloth, $1.25. Dodge.</div> + +<div class='hang1'>"Little Folks' Book of Verse." Edited by Clifton Johnson. +Illustrated. 12mo. Cloth, $1.00. Baker.</div> + +<div class='hang1'>"A Treasury of Verse for Little Children." Selected by M. G. +Edgar. Illustrated in colour and black-and-white by W. +Pogány. 8vo. Cloth, $2.50. Crowell.</div> + +<div class='hang1'>"The Golden Staircase." Selected by Louey Chisholm +Illustrated in colour by M. Dibdin Spooner. Large 8vo. +Cloth, $2.50. Putnam.</div> + +<div class='hang1'>"A Child's Book of Old Verse." Selected and illustrated by +Jessie Wilcox Smith. Large 8vo. Cloth, $2.50. Duffield.</div> + +<div class='hang1'>"The Treasure Book of Children's Verse." Edited by Mabel and +Lillian Quiller-Couch. Illustrated in colour by M. Ethelred +Gray. 4to. Cloth, $5.00. Hodder. Popular edition, $2.00.</div> + +<div class='hang1'>*"The Golden Treasury of the Best Songs and Lyric Poems +in the English Language." By Francis Turner Palgrave. +16mo. Cloth, $1.00. Macmillan. Before entering high +school, the boy should own some edition of this great collection +of verse.<span class='pagenum'><a name="Page_244" id="Page_244">[244]</a></span></div> + +<div class='hang1'>"The Golden Treasury of Songs and Lyrics." Illustrated by +Hugh Thompson, W. Heath Robinson, and A. C. Michael. +Small 4to. Cloth, $1.50. Hodder. A good edition.</div> + +<div class='hang1'>"The Golden Treasury of Songs and Lyrics." Illustrated in +colour by Maxfield Parrish. 4to. Cloth, $2.50. Duffield.</div> + +<div class='hang1'>"Golden Treasury of Songs and Lyrics." Illustrated in colour +by Anning Bell. Square 8vo. Cloth, $3.00. Dutton.</div> + +<div class='hang1'>"The Oxford Book of English Verse." By Sir Arthur Quiller-Couch. +Crown 8vo. Cloth, $1.90; leather and India +paper, $3.50. Oxford Press. A good substitute for "The +Golden Treasury."</div> + +<div class='hang1'>"The Boy's Percy." Being old ballads of war, adventure, and +love, from Bishop Thomas Percy's "Reliques of Ancient +Poetry." Edited for boys by Sidney Lanier. Illustrated +from original designs by E. B. Bonsell. 8vo. Cloth, $2.00. +Scribner. A capital book for any boy who is a real reader.</div> + +<div class='hang1'>*"A Book of English Ballads." Collected by Hamilton Wright +Mabie. Decorative illustrations by George Wharton +Edwards. 12mo. Cloth, $1.25. Macmillan.</div> + +<div class='hang1'>"The Ballad Book." Katharine Lee Bates. 12mo. Cloth, +$.50. Sibley. A very good selection deserving a more attractive +make-up.</div> + +<div class='hang1'>"The Ballad Book." William Allingham. 16mo. Cloth, +$1.00. Macmillan.</div> + +<div class='hang1'>*"Robin Hood: His Deeds and Adventures." The original +ballads illustrated in colour by Lucy Fitch Perkins. 4to. +Cloth, $1.00. Stokes.</div> + +<div class='hang1'>"Ballads of Famous Fights." Illustrated in colour by W. H. C. +Groome, Archibald Webb, and Dudley Fennant. Large +4to. Decorated boards, $1.25. Doran.</div> + +<div class='hang1'>"The Oxford Book of Ballads." Chosen and edited by Sir +Arthur Quiller-Couch. Crown 8vo. Cloth, $2.00; leather +and India paper, $3.50. Oxford Press. Very complete +and good for the high school age.<span class='pagenum'><a name="Page_245" id="Page_245">[245]</a></span></div> + +<div class='hang1'>"English Narrative Poems." Selected and edited by Claude +M. Fuers and Henry N. Sanborn. 24mo. (Pocket +Classics.) Cloth, $.25. Macmillan.</div> + +<div class='hang1'>"Story Telling Poems." Edited by Frances J. Olcott. Narrow +12mo. Cloth, $1.25. Houghton.</div> + +<div class='hang1'>"Old English Ballads and Folk Songs." (Pocket Classics.) +Edited by W. D. Armes. 24mo. Cloth, $.25. Macmillan.</div> + +<div class='hang1'>"Collection of Poetry for School Reading." By M. White. +12mo. Cloth, $.40. Macmillan.</div> + +<div class='hang1'>"Another Book of Verses for Children." By E. V. Lucas. +Col. Ill. 8vo. $1.50. Macmillan.</div> + +<div class='hang1'>"Nature Pictures by American Poets." By Annie R. Marble. +12mo. Cloth, $1.25. Macmillan.</div> + +<div class='hang1'>"The Sunday Book of Poetry for the Young." Selected by +C. F. Alexander. (Golden Treasury Series.) 16mo. Cloth, +$1.00. Macmillan.</div> + +<div class='hang1'>"English Poets, The. Selections." 4 vols. By T. Humphry +Ward. Each, 12mo. Cloth, $1.00. Macmillan. For reference +and for the use of the teacher.</div> + +<div class='hang1'>"Treasury of Irish Poetry, A." (Globe.) By S. A. Brooke +and T. W. Rolleston. 12mo. Cloth, $1.75. Macmillan.</div> + + +<h3>INDIVIDUAL WRITERS OF VERSE</h3> + +<div class='hang1'>*P—"Dame Wiggins of Lee and Her Seven Wonderful Cats." +Written principally by a lady of ninety (Mrs. Sharp) and +edited by John Ruskin. Illustrated by Kate Greenaway. +16mo. Cloth, 1<i>s.</i> Allen.</div> + +<div class='hang1'>*P—"John Gilpin's Ride." By William Cowper. Illustrated +by Randolph Caldecott. 4to. Paper, 25 cents. Warne.</div> + +<div class='hang1'>*P—"Nonsense Songs." By Edward Lear. Illustrated in +colour by Leslie Brooke. Small 4to. Cloth, $2.00. Warne.</div> + +<div class='hang1'>*P—"The Pied Piper of Hamelin." By Robert Browning. +Illustrated in colour by Kate Greenaway. Post 4to. Varnished +boards, $1.50. Warne.<span class='pagenum'><a name="Page_246" id="Page_246">[246]</a></span></div> + +<div class='hang1'>"The Pied Piper of Hamelin." Illustrated in colour by Hope +Dunlap. 4to. Cloth, $1.25. Rand.</div> + +<div class='hang1'>"The Pied Piper of Hamelin." Illustrated in colour and black-and-white +by Margaret Terrant. 8vo. Decorated cloth, +$1.25. Dutton.</div> + +<div class='hang1'>*P—"A Child's Garden of Verses." By Robert Louis Stevenson. +Illustrated in colour and black-and-white by Florence +Storer. Square 8vo. Cloth, $1.50. Scribner.</div> + +<div class='hang1'>"A Child's Garden of Verses." Illustrated by Charles Robinson. +12mo. Cloth, $1.50. Scribner.</div> + +<div class='hang1'>"A Child's Garden of Verses." Illustrated in colour by Jessie +Wilcox Smith. Royal 8vo. Cloth, $2.50. Scribner.</div> + +<div class='hang1'>"A Child's Garden of Verses." Illustrated by Bessie Collins +Pease. 12mo. Cloth, $1.50; leather, $2.00. Dodge.</div> + +<div class='hang1'>"A Child's Garden of Verses." Illustrated in colour. 4to. +Cloth, $2.00. Harper.</div> + +<div class='hang1'>"A Child's Garden of Verses." Illustrated by Millicent +Sowerby. 12mo. Cloth, 75 cents. McKay.</div> + +<div class='hang1'>"A Child's Garden of Verses." Illustrated. In the Ariel +Classics. 16mo. Limp leather, 75 cents. Putnam. +Good for a teacher.</div> + +<div class='hang1'>*P—"Songs of Innocence." By William Blake. Illustrated +by Geraldine Morris. 16mo. Cloth, 50 cents; leather, +75 cents. Lane.</div> + +<div class='hang1'>"Songs of Innocence." Illustrated in colour by Honor C. Appleton. +4to. Cloth, $1.50. Dana.</div> + +<div class='hang1'>"Songs of Innocence." In Ariel Classics. 16mo. Leather, +$.75. Putnam.</div> + +<div class='hang1'>*P—"Sing Song: A Nursery Rhyme Book." By Christina +Rossetti. Illustrated by Arthur Hughes. 16mo. Cloth, +$.80. Macmillan.</div> + +<div class='hang1'>*P—"Lullaby Land." By Eugene Field. Selected by Kenneth +Graham and illustrated by Charles Robinson. 12mo. +Cloth, $1.50. Scribner.<span class='pagenum'><a name="Page_247" id="Page_247">[247]</a></span></div> + +<div class='hang1'>*P—"Poems of Childhood." By Eugene Field. Illustrated +in colour by Maxfield Parrish. Royal 8vo. Cloth, $2.50. +Scribner.</div> + +<div class='hang1'>*G—"The Rime of the Ancient Mariner." By Samuel Taylor +Coleridge. Illustrated in colour by W. Pogány. 4to. +Cloth, $5.00. Crowell.</div> + +<div class='hang1'>G—"Tales of a Wayside Inn." By Henry W. Longfellow. +Edited by J. H. Castleman. 24mo. Cloth, $.25. Macmillan.</div> + +<div class='hang1'>*G—"The Song of Hiawatha." By Henry W. Longfellow. +Cover in colour by Maxfield Parrish, frontispiece in colour +by N. C. <ins title="Transcriber's Note: original reads 'Wyth'">Wyeth</ins>, and 400 text illustrations by Frederic Remington. +Square 8vo. Cloth, $2.50. Houghton. A good +edition.</div> + +<div class='hang1'>G—"Hiawatha." By Henry W. Longfellow. Illustrated by +Harrison Fisher. Large 8vo. Cloth, $1.50. Bobbs-Merrill.</div> + +<div class='hang1'>G—"The Children's Longfellow." Illustrated in colour. +8vo. Cloth, $3.00. Houghton.</div> + +<div class='hang1'>G—"Poetical Works." Sir Walter Scott. With a memoir +by Palgrave. 12mo. Cloth, $1.75. (New Globe Poets.) +Macmillan.</div> + +<div class='hang1'>G—"Lyrical Poems." Alfred Lord Tennyson. Edited by +Palgrave. 16mo. Cloth, $1.00. (Golden Treasury Series.) +Macmillan.</div> + + +<h3>FAIRY STORIES</h3> + +<div class='center'>P—<span class="smcap">General Collections of Fairy and Household +Stories</span></div> + +<div class='hang1'>*"Puss in Boots" and "Jack and the Beanstalk." Illustrated +by H. M. Brock. 10-1/2×9. Art boards, $1.00. Warne. +Delightful!</div> + +<div class='hang1'>*"Beauty and the Beast Picture Book." Done by Walter +Crane. Large 4to. Cloth, $1.25. Lane. Contains also +"The Frog Prince" and "The Hind in the Wood."<span class='pagenum'><a name="Page_248" id="Page_248">[248]</a></span></div> + +<div class='hang1'>*"The Golden Goose Book." Illustrated by Leslie Brooke. +Square 8vo. Cloth, $2.00. Warne. Contains also "The +Three Bears," "The Three Pigs," and "The History of +Tom Thumb." A delightful volume.</div> + +<div class='hang1'>*"The Cruikshank Fairy Book." Illustrated by George +Cruikshank. Crown 8vo. Cloth, $2.00; a cheaper edition +at $1.00. Putnam. Contains the famous stories of "Puss +in Boots," "Jack and the Beanstalk," "Hop o' My +Thumb," and "Cinderella." Every child should own this +book.</div> + +<div class='hang1'>*"English Fairy Tales." Edited by Joseph Jacobs. Illustrated +by John D. Batton. Crown 8vo. Cloth, $1.25. +Putnam. Too entertaining to miss. The editor and illustrator +have done almost as good work in "More English +Fairy Tales," "Celtic Fairy Tales," and "More Celtic +Fairy Tales."</div> + +<div class='hang1'>"English Fairy Tales." Edited by Ernest and Grace Rhys. +Illustrated by Anning Bell and Herbert Cole. 12mo. +Cloth, $.50. Dutton. A few of the more common +tales.</div> + +<div class='hang1'>"Mother Goose Nursery Tales." Illustrated in colour and +black-and-white by E. Stewart Hardy and others. 4to. +Cloth, $2.50. Dutton. A Nister book.</div> + +<div class='hang1'>"Tales of Past Times." As written down by Perrault. Illustrated +by Charles Robinson. 16mo. Cloth, $.40; leather, +$.60. Dutton.</div> + +<div class='hang1'>"Perrault's Fairy Tales." Illustrated with colour plates by +Honor C. Appleton. 4to. Cloth, $1.50. Dana.</div> + +<div class='hang1'>"Perrault's Tales of Mother Goose." Edited by Charles +Welsh and illustrated after Doré. 12mo. Cloth, $.20. +Heath.</div> + +<div class='hang1'>"Mother Goose Nursery Tales." Edited by Walter Jerrold +and illustrated by A. E. Jackson. 12mo. Cloth, $1.25. +Dutton.<span class='pagenum'><a name="Page_249" id="Page_249">[249]</a></span></div> + +<div class='hang1'>"The English Fairy Book." Edited by Ernest Rhys. Illustrated +in colours. 12mo. Cloth, $1.35. Stokes. Uniform +with this may be had well-selected, well-illustrated, and well-made +volumes of Scottish and Italian fairy tales.</div> + +<div class='hang1'>"Fairy Gold: A Book of Old English Fairy Tales." Chosen +by Ernest Rhys and illustrated by Herbert Cole. 8vo. +Cloth, $2.50. Dutton. A cheap edition in Everyman's +Library.</div> + +<div class='hang1'>"A Child's Book of Stories." Edited by Peurhyn Wingfield +Coussens. Illustrated in colour by Jessie Wilcox Smith. +Quarto. Cloth, $2.25. Duffield. Eighty-seven well-known +tales.</div> + +<div class='hang1'>"The Big Book of Fairy Tales." Selected and edited by +Walter Jerrold. Illustrated by Charles Robinson. Large +4to. Cloth, $2.50. Caldwell. Thirty well-known tales.</div> + +<div class='hang1'>*"The Fairy Book." Edited by Dinah Maria Mulock. Illustrated +with 36 plates in colour by Walter Goble. Large +8vo. Cloth, $5.00. Macmillan. An excellent edition of +one of the best collections of fairy tales ever made. Dainty +and artistic coloured plates.</div> + +<div class='hang1'>"The Blue Fairy Book." Edited by Andrew Lang. Illustrated +by H. J. Ford and G. P. Jacont Hood. Crown 8vo. +Cloth, $2.00. Longmans. The dozen colour fairy books +are not all equally good, this being the best one.</div> + +<div class='hang1'>"The Fairy Book." Collected by Dinah Maria Mulock. +Illustrated. 12mo. Cloth, $1.25. Harper. Thirty-six +familiar tales.</div> + +<div class='hang1'>"The Oak Tree Fairy Book." Edited by Clifton Johnson. +Illustrated from pictures by Willard Bonte. Crown 8vo. +Cloth, $1.50. Little. A half-hundred stories with all of +the terrible taken out. There are more tree books.</div> + +<div class='hang1'>"The Fairy Ring." Edited by Kate Douglas Wiggin and +Nora Archibald Smith. Illustrated by E. M. Mackinstry. +8vo. Cloth, $1.35. Doubleday. Other titles by the same<span class='pagenum'><a name="Page_250" id="Page_250">[250]</a></span> +editors are "Magic Casements," "Tales of Wonder," and +"Tales of Laughter."</div> + +<div class='hang1'>"Fairy Tales Old and New." With colour plates and text +illustrations by Arthur Rackham and other artists. 8vo. +Cloth, $1.25. Cassell.</div> + +<div class='hang1'>"In Fairy Land: Tales Told Again." Edited by Louey +Chisholm. Illustrated in colour by Katharine Cameron. +8vo. Cloth, $3.00. Putnam. Twenty-six familiar tales. +A second volume is "The Enchanted Land."</div> + +<div class='hang1'>"The Reign of King Oberon." Edited by Walter Jerrold and +illustrated by Charles Robinson. 12mo. Cloth, $1.50. +Dutton. A cheap edition in Everyman's Library. In +uniform editions are "The Reign of King Cole" and "The +Reign of King Herla."</div> + +<div class='hang1'>"Household Tales and Fairy Stories." Illustrated by Sir +John Gilbert and others. 8vo. Cloth, $2.00. Dutton.</div> + +<div class='hang1'>"Forty Famous Fairy Tales." From Jacobs, Grimm, Perrault, +and Andersen. Fully illustrated. Crown 8vo. +Cloth, $1.00. Putnam.</div> + +<div class='hang1'>"Fairy Tales Children Love." Edited by Charles Welsh. +12mo. Cloth, $1.35. Dodge.</div> + +<div class='hang1'>"The Sleeping Beauty and Other Fairy Tales from the Old +French." Retold by Sir Arthur T. Quiller-Couch. Illustrated +in colour by Edmund Dulac. 4to. Cloth, $5.00. +Hodder. Contains "Beauty and the Beast," "Cinderella," +and "Bluebeard," as well as a good introduction and +artistic plates. Popular edition at $2.00.</div> + +<div class='hang1'>"Old, Old Fairy Tales." Selected by Mrs. Valentine. Fully +illustrated. Square crown 8vo. Cloth, $1.75. Warne. +Also in the Chandos Classics at $.75. Thirteen good +tales.</div> + +<div class='hang1'>"The Fairy Book." (Everychild's Series.) By Kate Forrest +Oswell. 16mo. Ill. Cloth, $.40. Macmillan.</div> + +<div class='hang1'>"The Twenty Best Fairy Tales." Illustrated in colour and<span class='pagenum'><a name="Page_251" id="Page_251">[251]</a></span> +black-and-white by Lucy Fitch Perkins. 4to. Cloth, $1.00. +Stokes.</div> + +<div class='hang1'>"Favourite Fairy Tales." Illustrated by Peter Newell. 8vo. +Cloth, $1.50. Harper. Seventeen familiar stories.</div> + +<div class='hang1'>"The Rose Fairy Book." Edited by Mrs. Herbert Strang. +Illustrated by Lillian A. Govey. Large 8vo. Cloth, $2.00. +Doran.</div> + +<div class='hang1'>"Where the Wind Blows: Being Ten Fairy Tales from Ten +Nations." Collected by Katharine Pyle and illustrated +by Bertha Corson Day, in colour. 12mo. Cloth, $2.00. +Dutton.</div> + +<div class='hang1'>"The Wild Flower Fairy Book." Compiled by Esther Singleton. +Illustrated by Charles Buckles Falls. 8vo. Cloth, +$2.00. Dodd. Twenty-five tales from all countries.</div> + +<div class='hang1'>"Fairy Tales." Comtesse d'Aulnoy. Translated by J. R, +Planché. Illustrated by Gordon Browne and Lydia F. +Emmet. 12mo. Cloth, $1.25. McKay.</div> + +<div class='hang1'>"Fairy Tales." By Edward Laboulaye. Fully illustrated +by Arthur A. Dixon. 8vo. Cloth, $2.50. Dutton. A +Nister book.</div> + +<div class='hang1'>"Fairy Tales." By William Hauff. Translated by L. L. +Weedon. Fully illustrated by Arthur A. Dixon. 8vo. +Cloth, $2.50. Dutton. A Nister book.</div> + +<div class='hang1'>"The Hungarian Fairy Book." Collected by Nander Pogány +and illustrated in black and red by Willy Pogány. 12mo. +Cloth, $1.35. Stokes. With all of the terrible left in.</div> + +<div class='hang1'>"Folk Tales From Many Lands." Collected by Lillian Gask +and illustrated by Willy Pogány. Large 8vo. Cloth, +$1.50. Crowell.</div> + +<div class='hang1'>"Outlook Fairy Book for Little People." By Laura Winnington. +Ill. 8vo. Cloth, $1.00. Macmillan.</div> + +<div class='hang1'>"Folk Tales of East and West." Collected by John Harrington +Cox. 12mo. Cloth, $1.00. Little.</div> + +<div class='hang1'>"The Book of Folk Stories." Rewritten by Horace E. Scudder. +16mo. Cloth, $.50. Houghton. Good for a teacher.<span class='pagenum'><a name="Page_252" id="Page_252">[252]</a></span></div> + +<div class='hang1'>"Fairy Tales." Selected and adapted by W. J. Rolf. 12mo. +Cloth, $.50. American.</div> + +<div class='hang1'>"Fairy Tales." Illustrated by Charles Copeland. 16mo. +Cloth, 2 vols., $.35 each. Ginn.</div> + +<div class='hang1'>"Six Nursery Classics." Edited by M. V. O'Shea. Illustrated +by Ernest Fosbery. 12mo. Cloth, $.20. Heath. Contains +"Dame Wiggins of Lee" with the Greenaway pictures.</div> + +<div class='hang1'>"Old World Wonder Stories." Edited by M. V. O'Shea. Illustrated +by J. V. Hollis. 12mo. Cloth, $.20. Heath.</div> + +<div class='hang1'>*"The Children's Book." A collection of the best and most +famous poems and stories in the English language, chosen by +Horace E. Scudder. Illustrated in fifteen full-page plates +and many text illustrations by Doré, Chruikshank, and +others. Cover design by Maxfield Parrish. Small 4to. Cloth, +$2.50. Houghton. In this book are ballads, fables, fairy +stories from Grimm, Perrault, Andersen, "Arabian Nights' +Entertainments," and other sources, as well as "Goody +Two Shoes," selections from "Gulliver's Travels," classic +myths, and other well-known stories. The best single +book for a child to own. Big and good.</div> + + +<h3>"TALES OF A THOUSAND AND ONE NIGHTS"</h3> + +<div class="blockquot"><p>P and G—or any age. Lovers of a good tale, both young and old, +should be thankful for this work of Queen Scheherazade, done as it was to +prevent her husband from cutting off her head. While kings are yet in +fashion could not some other one succeed as well?</p></div> + + +<div class='hang1'>*"Fairy Tales from the <ins title="Transcriber's Note: original reads 'Abrabian'">Arabian</ins> Nights." Retold by Gladys +Davidson and illustrated by Helen Stratton. Large 4to. +Cloth, 5<i>s.</i> Blackie. Eight tales for young children.</div> + +<div class='hang1'>"The <ins title="Transcriber's Note: original reads 'Abrabian'">Arabian</ins> Nights." Selected and retold by Gladys +Davidson. Illustrated by Helen Stratton. Large crown +8vo. Cloth, $1.50. Caldwell.</div> + +<div class='hang1'>*"Fairy Tales from the Arabian Nights." Edited by E. Dixon.<span class='pagenum'><a name="Page_253" id="Page_253">[253]</a></span> +Illustrated by John D. Batton. Large 8vo. Cloth, $2.50. +Dent. Sixteen of the better-known tales told for boys and +girls. An attractive edition.</div> + +<div class='hang1'>"The Arabian Nights." Edited by Andrew Lang and illustrated +by H. J. Ford. Crown 8vo. Cloth, $2.00. Longmans.</div> + +<div class='hang1'>"The Arabian Nights." Edited by W. H. D. Rouse. Illustrated +in colour and black-and-white by Walter Paget. 8vo. +Cloth, $2.50. Dutton. A Nister book. Eight tales that +are well known.</div> + +<div class='hang1'>"The Arabian Nights: Their Best Known Tales." Edited by +Kate Douglas Wiggin and Nora Archibald Smith. Illustrated +in colour by Maxfield Parrish. Square 8vo. Cloth, +$2.50. Scribner. Eleven tales.</div> + +<div class='hang1'>"The Arabian Nights." Illustrated in colour and black-and-white +by Rene Bull. Large 8vo. Cloth, $3.50. Dodd.</div> + +<div class='hang1'>"Stories from the Arabian Nights." Retold by Laurence +Houseman. Illustrated by Edmund Dulac, with 50 colour +plates. Large square 8vo. Cloth, $5.00. Hodder. Six +tales. Issued in an edition at $1.50.</div> + +<div class='hang1'>"Arabian Nights." A six-volume edition from the Lane text +with additions by Stanley Lane-Poole. 16mo. Leather, +$.75 a volume. Putnam. In the Ariel Classics. Good for +the teacher.</div> + +<div class='hang1'>"The Arabian Nights' Entertainments." Translated by E. W. +Lane. Edited by S. Lane-Poole. 4 vols. 12mo. Cloth, +$1.00 each. Macmillan.</div> + +<div class='hang1'>"Arabian Nights' Entertainments." Translated by Edward +William Lane. Illustrated from the original Lane designs +by eminent artists. Royal 8vo. Cloth, $1.50. McKay. +Good for the teacher.</div> + +<div class='hang1'>*"Fairy Tales from the Arabian Nights." 12mo. Cloth, $.35; +leather, $.75. Dutton. Everyman's Library.</div> + +<div class='hang1'>"The Arabian Nights' Entertainments." Edited by George<span class='pagenum'><a name="Page_254" id="Page_254">[254]</a></span> +Tyler Townsend. Fully illustrated. Square crown 8vo. +Cloth, $1.75. Warne. Issued also in the Chandos Classics +at $.75.</div> + +<div class='hang1'>"The Arabian Nights." Illustrated by W. Heath Robinson, +Helen Stratton, and others. 8vo. Cloth, $1.50. +Dodge.</div> + +<div class='hang1'>*"The Arabian Nights." Edited by Frances J. Olcott, from the +Lane translation. Illustrated by Munro Orr. 12mo. +Cloth, $2.50. Heath. A judicious selection of stories.</div> + +<div class='hang1'>"The Arabian Nights." Edited by Clifton Johnson. Illustrated +by Casper Emerson and Leon D'Elmo. 12mo. +Cloth, $1.00. Baker.</div> + +<div class='hang1'>"Stories from the Arabian Nights." Illustrated. 16mo. +Half leather, $.60. Houghton. In the Riverside School +Library.</div> + +<div class='hang1'>"Arabian Nights." Illustrated. 16mo. Cloth, $.50. Crowell.</div> + +<div class='hang1'>"The Arabian Nights." Selected and edited by Edward +Everett Hale. 12mo. Cloth, $.45. Ginn.</div> + +<div class='hang1'>"Stories from the Arabian Nights." 12mo. Cloth, $.60. +American.</div> + + +<h3>P—"FAIRY AND HOUSEHOLD TALES"</h3> + +<div class='center'><span class="smcap">As Collected and Arranged by Jacob and Wilhelm Grimm</span></div> + +<div class='hang1'>*"Grimm's Fairy Tales: Selected and Edited for Little Folks." +Illustrated by Helen Stratton. Large 4to. Cloth, 6<i>s.</i> +Blackie. Fifteen tales well done.</div> + +<div class='hang1'>"Grimm's Fairy Tales." Translated by L. L. Weeden. +Illustrated in colour by Ada Dennis and black-and-white by +E. Stewart Hardy. 4to. Cloth, $2.50. Dutton. A +Nister book. Thirty-two tales illustrated for young +children.</div> + +<div class='hang1'>*"Household Stories." Translated from the German of the<span class='pagenum'><a name="Page_255" id="Page_255">[255]</a></span> +Brothers Grimm by Lucy Crane and done into pictures by +Walter Crane. 12mo. Cloth, $1.50. Macmillan. In the +New Cranford Series. "A lasting joy."</div> + +<div class='hang1'>"Grimm's Household Tales." Translated by Marion Edwards. +Illustrated by R. Anning Bell. 12mo. Cloth, $2.50. +Dutton. Forty-nine tales.</div> + +<div class='hang1'>"Grimm's Household Stories." Edited and illustrated by J. R. +Monsell, in colour and black-and-white. 12mo. Cloth, +$1.25. Cassell.</div> + +<div class='hang1'>*"Grimm's Fairy Tales." From the Taylor translation with an +introduction by John Ruskin. Illustrated in colour by +Charles Folkard. 8vo. Cloth, 6<i>s.</i> Black. Fifty-six +tales.</div> + +<div class='hang1'>"Fairy Tales from Grimm." With an introduction by S. +Barring-Gould and illustrations by Gordon Browne. 8vo. +Cloth, $1.50. Stokes. Forty-four tales.</div> + +<div class='hang1'>"Grimm's Fairy Tales." All of the best-known stories edited +by Walter Jerrold. Illustrated in colour and black-and-white +by Charles Robinson. 12mo. Cloth, $1.25. Dutton.</div> + +<div class='hang1'>"Grimm's Fairy Tales." Illustrated in colour by Hope Dunlap. +Large 8vo. Cloth, $1.20. Rand.</div> + +<div class='hang1'>"Grimm's Fairy Tales." Translated by Mrs. Edgar Lucas +and illustrated by Arthur Rackham. Large 12mo. Cloth, +$1.50. Lippincott. Sixty-three tales.</div> + +<div class='hang1'>"Grimm's Fairy Tales and Stories." A complete translation +by Mrs. H. B. Paull. Fully illustrated in colour and black-and-white. +Square 8vo. Cloth, $1.75. Warne. Also in +the Chandos Classics at $.75.</div> + +<div class='hang1'>"Grimm's Fairy Tales." Illustrated with colour plates by +Noel Pocock. Large 8vo. Cloth, $2.00. Doran. Fifty-five +tales.</div> + +<div class='hang1'>"The House in the Woods and Other Fairy Stories." Illustrated +in colour and pen-and-ink drawings by Leslie Brooke. +Large 8vo. Boards, $1.35. Warne.<span class='pagenum'><a name="Page_256" id="Page_256">[256]</a></span></div> + +<div class='hang1'>"Grimm's Animal Stories." Decorations and pictures in +colour by John Rae. Small 4to. Cloth, $1.50. Duffield.</div> + +<div class='hang1'>*"Gammer Grethel; or, Fairy Tales and Stories." The +original stories as taken down from a peasant woman by +Jacob Grimm. Illustrated with woodcuts after George +Cruikshank. 12mo. Cloth, $1.00. In Bohn's Illustrated +Library. Macmillan.</div> + +<div class='hang1'>"The Popular Stories Collected by the Brothers Grimm." A +reprint of the first English edition, with notes and illustrations +by George Cruikshank. 12mo. Cloth, $.50. Oxford +Press.</div> + +<div class='hang1'>"Grimm's Fairy Tales." 12mo. Cloth, $.35; leather, $.70. +In Everyman's Library. Dutton. Any one of the last +three would be good for the teacher.</div> + +<div class='hang1'>"Grimm's Household Tales." Illustrated. 16mo. Half +leather, $.60. Houghton. In the Riverside School Library.</div> + +<div class='hang1'>"Grimm's Tales." Translated by Lucy Crane. Illustrated. +16mo. Cloth, $.50. Crowell.</div> + +<div class='hang1'>"Grimm's Fairy Tales." Edited by J. H. Fassett. (Pocket +Classics Series.) 24mo. Cloth, $.25. Macmillan.</div> + +<div class='hang1'>*"Grimm's Fairy Tales." Illustrated with 50 colour plates and +black-and-white drawings by Arthur Rackham. 7-1/2×10. +Cloth, $6.00. Doubleday. An elegant edition. In cheaper +form at $1.50.</div> + + +<h3>P—"DANISH LEGENDS AND FAIRY TALES"</h3> + +<div class='author2'><span class="smcap">By Hans Christian Andersen</span></div> + +<div class='hang1'>*"Andersen's Fairy Stories for Youngest Children." Translated +by Mrs. E. Lucas and illustrated by Helen Stratton. +Large 4to. Cloth, 5<i>s.</i> Blackie.</div> + +<div class='hang1'>*"Wonder Stories Told for Children." Illustrated. Crown +8vo. Cloth, $1.00. Houghton.</div> + +<div class='hang1'>"Andersen's Fairy Tales." Illustrated in colour by A. Duncan +Carse. 8vo. Cloth, 6<i>s.</i> Black.<span class='pagenum'><a name="Page_257" id="Page_257">[257]</a></span></div> + +<div class='hang1'>"Andersen's Fairy Tales." Translated by Mrs. E. Lucas. +Illustrated by Thomas, Charles, and William Robinson. +12mo. Cloth, $2.50. Dutton. Thirty-eight of the best-known +tales.</div> + +<div class='hang1'>*"Fairy Tales from Hans Andersen." Translated by Mrs. E. +Lucas. Illustrated with colour plates and line drawings +by Maxwell Armfield. Large 8vo. Cloth, $3.00. Dutton. +Forty-one tales.</div> + +<div class='hang1'>"Fairy Tales from Hans Andersen." Edited by Walter Jerrold. +Illustrated in colour and black-and-white by F. <ins title="Transcriber's Note: original reads 'Pape'">Papé</ins>. +12mo. Cloth, $1.25. Dutton.</div> + +<div class='hang1'>"Fairy Tales from Hans Andersen." Translated by W. +Angledorff. Illustrated by E. Stewart Hardy, in colour and +black-and-white. 4to. Cloth, $2.50. Dutton. A Nister +book. Twenty-nine tales.</div> + +<div class='hang1'>"Andersen's Fairy Tales." Introduction by Edward Everett +Hale. Illustrated by Helen Stratton. Large square +8vo. Cloth, $1.50. Lippincott.</div> + +<div class='hang1'>"Fairy Tales from Hans Andersen." With an introduction by +Edward Clodd and illustrations by Gordon Browne. Large +8vo. Cloth, $1.50. Stokes. Twenty-five tales.</div> + +<div class='hang1'>"Hans Andersen's Fairy Tales." Illustrated by J. J. Mora. +4to. Cloth, $1.00. Dana.</div> + +<div class='hang1'>"Danish Legends and Fairy Tales." Fully illustrated by wood +engravings. 12mo. Cloth, $1.50. In Bohn's Illustrated +Library. Macmillan.</div> + +<div class='hang1'>"Andersen's Fairy Tales." 12mo. Cloth, $.35; leather, +$.70. In Everyman's Library. Dutton. Either of the +last two is convenient for the teacher.</div> + +<div class='hang1'>"Hans Andersen's Fairy Tales." Fully illustrated. Square +crown 8vo. Cloth, $1.75. Warne. Also in the Chandos +Classics at $.75.</div> + +<div class='hang1'>"Andersen's Fairy Tales." Illustrated. 16mo. Cloth, $.50. +Crowell.<span class='pagenum'><a name="Page_258" id="Page_258">[258]</a></span></div> + +<div class='hang1'>"Hans Andersen's Fairy Tales." Translated by H. Oscar +Sommer. Illustrated in colour by Cecile Walton. Large +8vo. Cloth, $2.50. Stokes.</div> + +<div class='hang1'>*"Hans Andersen's Fairy Tales and Stories." Translated by +H. L. Breakstead, with an introduction by Edmund Gosse +and illustrations by Hans Tegner. Imperial 4to. Cloth, +$5.00. Century. Forty-two stories.</div> + +<div class='hang1'>"Stories from Hans Andersen." Illustrated with 28 colour-plates +by Edmund Dulac. 4to. Cloth, $5.00. Doran. +Six tales, including "The Snow Queen."</div> + +<div class='hang1'>"Hans Andersen's Fairy Tales." Illustrated in colour by W. +Heath Robinson. 4to. Cloth, $3.50. Heath.</div> + +<div class='hang1'>"The Snow Queen and Other Stories from Hans Andersen." +Illustrated in colour-plates by Edmund Dulac. Small +4to. Cloth, $2.00. Doran.</div> + +<div class='hang1'>"Danish Fairy Legends and Tales." By Hans Andersen. +Trans, by Caroline Peachey and H. W. Dulcken. Introd. +by Sarah C. Brooks. (Pocket Classics Series.) 24mo. +Cloth, $.25. Macmillan.</div> + + +<h3>P—"<span class="smcap">The History of Little Goody Two Shoes, Otherwise +Called Mrs. Margery Two Shoes</span>"</h3> + +<div class='author2'>BY OLIVER GOLDSMITH</div> + +<div class='hang1'>*"Little Goody Two Shoes." Illustrated by Marion L. Peabody +after the woodcuts of the original edition of 1765. +12mo. Cloth, $.20. Heath.</div> + +<div class='hang1'>"Little Goody Two Shoes." Illustrated by Jessie M. King. +16mo. Leather, $.75. Dutton.</div> + +<div class='hang1'>"Little Goody Two Shoes." Found in the second book of the +"Heart of Oak Books." Illustrated by Frank T. Merrill. +12mo. Cloth, $.35. Heath.<span class='pagenum'><a name="Page_259" id="Page_259">[259]</a></span></div> + + +<h3>P—"<span class="smcap">Granny's Wonderful Chair and its Tales of Fairy +Times</span>"</h3> + +<div class='author2'>BY FRANCES BROWNE</div> + +<div class='hang1'>*"Granny's Wonderful Chair and the Tales That It Told." +Edited by M. V. O'Shea. Illustrated by Clara E. Atwood +after Mrs. Seymour Lucas. 12mo. Cloth, $.30. Heath. +Fairy tales of great merit.</div> + +<div class='hang1'>"Granny's Wonderful Chair and Its Tales of Fairy Times." +Illustrated in colour by W. H. Margetson. Square 12mo. +Cloth, $.50. Doran.</div> + +<div class='hang1'>"Granny's Wonderful Chair." 12mo. Cloth, $.35; leather, +$.70. In Everyman's Library. Dutton.</div> + + +<h3>P—"<span class="smcap">The Rose and the Ring; or, the History of Prince +Giglio and Prince Bulbo</span><br /> + +<span class="smcap">A Fireside Pantomime for Great and Small Children</span>"</h3> + +<div class='author2'>BY MR. M. A. TITMARSH (THACKERAY)</div> + +<div class='hang1'>*"The Rose and the Ring." With an introduction by Edward +Everett Hale and woodcuts after the originals by Thackeray. +12mo. Cloth, $.20. Heath.</div> + +<div class='hang1'>"The Rose and the Ring." Illustrated. 16mo. Cloth, $.50. +Macmillan.</div> + +<div class='hang1'>"The Rose and the Ring." 16mo. Leather, $.75. In Ariel +Classics. Putnam.</div> + +<div class='hang1'>"The Rose and the Ring." Illustrated. 16mo. Cloth, $1.25. +Dutton.</div> + +<div class='hang1'>*"The Rose and the Ring." The original illustrations with +others in colour by J. R. Monsell. 8vo. Cloth, $1.50. +Crowell.<span class='pagenum'><a name="Page_260" id="Page_260">[260]</a></span></div> + + +<h3>P—"<span class="smcap">Alice's Adventures in Wonderland</span>"</h3> + +<div class='author2'>BY LEWIS CARROLL</div> + +<div class='hang1'>*"Alice's Adventures in Wonderland." Illustrated by Sir +John Tenniel. 12mo. Cloth, $1.00. Macmillan. It is +hard to prefer any other edition to this one.</div> + +<div class='hang1'>"Alice's Adventures in Wonderland." Illustrated by Sir John +Tenniel. Crown 8vo. Cloth, $.75. Putnam.</div> + +<div class='hang1'>"Alice's Adventures in Wonderland." Illustrated by John +Tenniel with colour plates by Maria L. Kirk. 12mo. Cloth, +$1.25. Stokes.</div> + +<div class='hang1'>"Alice's Adventures in Wonderland." Illustrated by John +Tenniel. 16mo. Leather, $.75. Putnam. In the Ariel +Classics. Good for the teacher.</div> + +<div class='hang1'>"Alice's Adventures in Wonderland." Illustrated. 16mo. +Cloth, $.50. Crowell.</div> + +<div class='hang1'>*"Alice in Wonderland." Illustrated in colour by Arthur +Rackham. 8vo. Cloth, $1.40. Doubleday. A fine edition.</div> + +<div class='hang1'>"Alice's Adventures in Wonderland." Illustrated in colour and +black-and-white by Bessie Collins Pease. 8vo. Cloth, +$1.50. Dodge.</div> + +<div class='hang1'>"Alice in Wonderland." Illustrated in colour and line by +George Soper. Square 8vo. Cloth, $1.50. Baker.</div> + +<div class='hang1'>"Alice in Wonderland." Illustrated in colour and black-and-white +by Charles Robinson. 8vo. Cloth, $1.10. Cassell.</div> + +<div class='hang1'>"Alice in Wonderland." Pictures in colour by Millicent Sowerby. +8vo. Cloth, $1.25. Duffield.</div> + +<div class='hang1'>"Alice's Adventures in Wonderland." (Standard School +Library.) Ill. 12mo. Cloth, $.50. Macmillan.</div> + +<div class='hang1'>"Alice's Adventures in Wonderland." Illustrated in colour +and line by W. H. Walker. 12mo. Cloth, $1.00. Lane.</div> + +<div class='hang1'>"Alice in Wonderland." With an introduction by E. S. Martin +and illustrations by Peter Newell. 8vo. Cloth, $3.00. +Harper.<span class='pagenum'><a name="Page_261" id="Page_261">[261]</a></span></div> + +<div class='hang1'>"Alice's Adventures in Wonderland." Illustrated with 90 +coloured plates by Henry Rosentree. Large 8vo. Cloth, +$2.50. Nelson.</div> + + +<h3>P—"<span class="smcap">Through the Looking Glass and What Alice Found +There</span>"</h3> + +<div class='author2'>BY LEWIS CARROLL</div> + +<div class='hang1'>*"Through the Looking Glass." Illustrated by Sir John Tenniel. +12mo. Cloth, $1.00. Macmillan.</div> + +<div class='hang1'>"Through the Looking Glass." Illustrated by Sir John Tenniel. +Crown 8vo. Cloth, $.75. Putnam.</div> + +<div class='hang1'>"Through the Looking Glass." Illustrated by Sir John +Tenniel. 16mo. Leather, $.75. In the Ariel Classics. +Putnam.</div> + +<div class='hang1'>"Through the Looking Glass." Illustrated in colour and pen-and-ink +sketches by Bessie Collins Pease. 8vo. Cloth, +$1.50. Dodge.</div> + +<div class='hang1'>"Through the Looking Glass and What Alice Found There." +(Standard School Library.) 12mo. Cloth, $.50. Macmillan.</div> + +<div class='hang1'>"Through the Looking Glass." Illustrated by Peter Newell. +8vo. Cloth, $.60. Harper.</div> + +<div class='hang1'>"Through the Looking Glass." Illustrated. 16mo. Cloth, +$.50. Crowell.</div> + +<div class='hang1'>"Through the Looking Glass." Bound with "Alice in Wonderland." +Illustrated in colour by Eleanore Plaisted Abbot. +Original illustrations by Tenniel. 12mo. Cloth, $1.50. +Jacobs.</div> + + +<h3>P—"<span class="smcap">The Water-Babies: A Fairy Tale for a Land-Baby</span>"</h3> + +<div class='author2'>BY CHARLES KINGSLEY</div> + +<div class='hang1'>"Water Babies." Illustrated in colour by Katherine Cameron. +8vo. Cloth, $2.50. Stokes.<span class='pagenum'><a name="Page_262" id="Page_262">[262]</a></span></div> + +<div class='hang1'>*"Water-Babies." With an introduction by Rose G. Kingsley +and illustrations in colour by Margaret W. Tarrant. 8vo. +Cloth, $2.50. Dutton.</div> + +<div class='hang1'>"The Water-Babies." Illustrated in colour and black-and-white +by Arthur Dixon. 8vo. Cloth, $2.50. Dutton. +A Nister book.</div> + +<div class='hang1'>"The Water-Babies." Illustrated in colour and black-and-white +by George Soper. Square 8vo. Cloth, $1.50. Baker.</div> + +<div class='hang1'>"The Water-Babies." Illustrated in colour by Ethel Everett. +12mo. Decorated cloth, $1.25. Little.</div> + +<div class='hang1'>*"The Water-Babies." Illustrated by Linley Sanbourne. +12 mo. Cloth, $1.25. Macmillan.</div> + +<div class='hang1'>*"The Water-Babies." Illustrated by C. E. Brock. 12mo. +Cloth, $.80. Macmillan.</div> + +<div class='hang1'>"Water-Babies." Illustrated in colour by Agnes Foringe. +Square 12mo. Cloth, $.50. Doran.</div> + +<div class='hang1'>"The Water-Babies." Illustrated. 16mo. Cloth, $.50. +Crowell.</div> + +<div class='hang1'>"Water-Babies, The." (Standard School Library.) Ill. +12mo. Cloth, $.50. Macmillan.</div> + + +<h3>G—"<span class="smcap">At the Back of the North Wind</span>"</h3> + +<div class='author2'>BY GEORGE MACDONALD</div> + +<div class='hang1'>"At the Back of the North Wind." Illustrated in colour by +Frank C. Papé and in black-and-white by Arthur Hughes. +Large crown 8vo. Cloth, $1.50. Caldwell.</div> + +<div class='hang1'>"At the Back of the North Wind." Illustrated. 12mo. +Cloth, $1.50. Dutton.</div> + +<div class='hang1'>*"At the Back of the North Wind." With the original illustrations +by Arthur Hughes and plates in colour by Maria +L. Kirk. Large 8vo. Cloth, $1.50. Lippincott.</div> + +<div class='hang1'>"At the Back of the North Wind." Illustrated in colour. +8vo. Cloth, 3<i>s.</i> 6<i>d.</i> Blackie.<span class='pagenum'><a name="Page_263" id="Page_263">[263]</a></span></div> + + +<h3>FOUR WORTHIES</h3> + +<div class='author2'>"<span class="smcap">Æsop's Fables</span>"</div> + +<div class="blockquot"><p>P—This enduring form of literature may be read in almost any grade. +The edition is to be determined largely by the grade for which it is designed. +In point of effectiveness in showing human experiences and weaknesses by +means of animal action, the classic fable has never been equalled by any +other form of literature. He would be a rash man who would claim that +Lincoln owed to Euclid more of his power to think out a question and +carry his point than he did to Æsop. Fables are imaginative literature, +and in that lies their power rather than in their didactic assertion that +later became attached as a moral to be pointed. They need but one +moral, as G. K. Chesterton so aptly observes; for nothing in this world +has more than one moral.</p></div> + +<div class='hang1'>*"The Fables of Æsop." Selected and told anew by Joseph +Jacobs. Illustrated by Richard Heighway. 12mo. +Cloth, $1.50. In the New Cranford Series. Macmillan. +Good for younger children, but should be printed without +notes and advertisements.</div> + +<div class='hang1'>*"Æsop's Fables." Illustrated by Arthur Rackham, in colour-plates. +12mo. Cloth, $1.50. Doubleday. An attractive +edition, except the poor binding, for older children. +The introduction by G. K. Chesterton is very readable +for grown-ups.</div> + +<div class='hang1'>*"A Hundred Fables of Æsop." From the English version of +Sir Roger L'Estrange with an introduction by Kenneth +Grahame and illustrations by Percy J. Billinghurst. Square +8vo. Cloth, $1.50. Lane. Good in its quaint English.</div> + +<div class='hang1'>"Æsop's Fables." Illustrated by Boyd Smith. 8vo. Cloth, +$2.00. Century.</div> + +<div class='hang1'>"The Fables of Æsop." Illustrated with colour-plates by +Edward Detmond. Large 8vo. Cloth, $2.00. Doran.</div> + +<div class='hang1'>"Æsop's Fables." Illustrated in colour and black-and-white +by Harrison Weir. Crown 8vo. Cloth, $1.50. Harper.</div> + +<div class='hang1'>"Æsop's Fables." Edited by Gordon Holmes and illustrated +by Charles Folkard. 8vo. Cloth, 6<i>s.</i> Black.</div> + +<div class='hang1'>"Big Book of Fables." Edited by Walter Jerrold and illustrated<span class='pagenum'><a name="Page_264" id="Page_264">[264]</a></span> +in colour and black-and-white by Charles Robinson. +Royal 8vo. Cloth, $3.00. Caldwell.</div> + +<div class='hang1'>"Æsop's Fables." Illustrated in colour and black-and-white +by J. M. Condé. 8vo. Cloth, $1.25. Moffat.</div> + +<div class='hang1'>"Æsop's Fables." Illustrated in colour and line by Lucy Fitch +Perkins. 4to. Cloth, $1.00. Stokes.</div> + +<div class='hang1'>"The Book of Fables." Chosen and phrased by Horace E. +Scudder. 16mo. Cloth, $.50. Houghton. Good.</div> + +<div class='hang1'>"Æsop's Fables." Translated from the original sources by the +Reverend Thomas James. Illustrated by Sir John Tenniel. +In the Ariel Classics. 16mo. Leather, $.75. Putnam. +A useful old edition for the teacher and for the older +boy who will read a dainty book done in red binding.</div> + +<div class='hang1'>"Æsop's Fables." Illustrated. In the Chandos Classics. +12mo. Cloth, $.75. Warne. Good for the teacher.</div> + +<div class='hang1'>"Æsop's Fables." Edited by J. H. Stickney. Illustrated. +12mo. Cloth, $.35. Ginn.</div> + +<div class='hang1'>"The Talking Beasts: A Book of Fable Wisdom." Edited +by Kate Douglas Wiggin and Nora Archibald Smith. +Illustrated by Harold Nelson. 12mo. Cloth, $1.25. +Doubleday. From Æsop, La Fontaine, Bidpai, and other +sources.</div> + +<div class='hang1'>*"Select Fables from La Fontaine adapted from the Translation +of Elizier Wright for the Use of the Young." Illustrated +in colour by Boutet de Monvel. 11 x 9. Cloth, $2.25. +Society for Promoting Christian Knowledge. No better +illustrations have yet appeared to any child's book.<span class='pagenum'><a name="Page_265" id="Page_265">[265]</a></span></div> + + +<h3>G—"<span class="smcap">Gulliver's Travels into Several Remote Nations +of the World</span>"</h3> + +<div class='author2'>BY JONATHAN SWIFT</div> + +<div class="blockquot"><p>Though abridged texts are generally a presumption and a blunder, +there is little warrant for school children's having more than the first two +voyages, to Lilliput and to Brobdingnag, of this remarkable book. An +expurgated edition is probably necessary in an age accustomed to a cloak +of conventional insinuation in a story rather than to the blunt frankness +that obtained in the times of Swift.</p></div> + +<div class='hang1'>*"Gulliver's Voyages to Lilliput and Brobdingnag." Illustrated +in colour by P. A. Stozios. 8vo. Cloth, $2.25. +Holt.</div> + +<div class='hang1'>"Gulliver's Travels into Several Remote Nations of the World." +Illustrated in colour and black-and-white by Arthur Rackham. +8vo. Cloth, $2.50. Dutton.</div> + +<div class='hang1'>"Gulliver's Travels." Adapted for the young by W. B. Scott. +Illustrated in colour and black-and-white by A. E. Jackson. +4to. Cloth, $2.50. Dutton. A Nister book.</div> + +<div class='hang1'>"Gulliver's Travels." (Pocket Classics Series.) Edited by C. +Johnson. 24mo. Cloth, $.25. Macmillan.</div> + +<div class='hang1'>"Gulliver's Travels." Illustrated by Stephen de la Bere. +12mo. Cloth, $2.00. Macmillan.</div> + +<div class='hang1'>*"Gulliver's Travels." With an introduction by Sir Henry +Craik and illustrations by C. E. Brock. 12mo. Cloth, +$1.50. In the New Cranford Series. Macmillan. All of +the voyages with old-fashioned spelling and capitalization +that make it an attractive edition to the student.</div> + +<div class='hang1'>*"Gulliver's Travels." The voyages to Lilliput and Brobdingnag, +illustrated by Arthur Rackham. 12mo. Cloth, +$.50. Dutton. Good edition.</div> + +<div class='hang1'>"Gulliver's Travels." Illustrated in imitation of woodcuts +by Louis Rhead. Introduction by William Dean Howells. +8vo. Cloth, $1.50. Harper.</div> + +<div class='hang1'>"Gulliver's Travels." Reprinted from the first edition,<span class='pagenum'><a name="Page_266" id="Page_266">[266]</a></span> +expurgated and revised. Illustrated by Herbert Cole. +Square 12mo. Cloth, $1.50. Lane.</div> + +<div class='hang1'>"Gulliver's Travels." Illustrated by Gordon Browne. 12mo. +Cloth, $1.00. Scribner.</div> + +<div class='hang1'>*"Gulliver's Travels." The separate voyages each in a single +volume. In the Ariel Classics. 16mo. Leather, $.75. +Putnam.</div> + +<div class='hang1'>"Gulliver's Travels." Illustrated. 16mo. Half-leather, $.60. +In the Riverside School Library. Houghton.</div> + +<div class='hang1'>"Gulliver's Travels." In Everyman's Library. 12mo. +Cloth, $.35; leather, $.75. Dutton.</div> + +<div class='hang1'>"Gulliver's Travels." Illustrated. 16mo. Cloth, $.50. +Crowell.</div> + +<div class='hang1'>*"Gulliver's Travels." The voyages to Lilliput and Brobdingnag +only. Edited by T. M. Balliet. Illustrated. 12mo. +Cloth, $.30. Heath.</div> + +<div class='hang1'>"Gulliver's Travels." Illustrated in colour by Leo Winter. +Large 8vo. Cloth, $1.20. Rand.</div> + + +<h3>G—"<span class="smcap">The Pilgrim's Progress from This World to That +Which is to Come; Delivered under the Similitude +of a Dream</span>"</h3> + +<div class='author2'>BY JOHN BUNYAN</div> + +<div class='hang1'>*"The Pilgrim's Progress." Illustrated in colour and black-and-white +by Frank C. Papé. 8vo. Cloth, $3.00. Dutton. +A stately edition of both parts.</div> + +<div class='hang1'>"The Pilgrim's Progress." Fourteen etchings by William +Strang. A new and cheaper reissue of the original plates. +Large 8vo. Cloth, $3.00. Dutton. A good edition.</div> + +<div class='hang1'>"The Pilgrim's Progress." With an introduction by the +Bishop of Durham. Illustrated in colour and black-and-white +by Walter Paget. 8vo. Cloth, $2.50. A Nister +book. Dutton.<span class='pagenum'><a name="Page_267" id="Page_267">[267]</a></span></div> + +<div class='hang1'>"The Pilgrim's Progress." Illustrated in colour by Byam +Shaw. Square 8vo. Cloth, $2.50. Scribner importation. +A fine edition.</div> + +<div class='hang1'>"The Pilgrim's Progress." With a life of the author by the +Reverend John Brown. Illustrated in colour by James +Clark. Super royal 8vo. Cloth, $3.40. Cassell.</div> + +<div class='hang1'>"The Pilgrim's Progress." Illustrated in colour by Gertrude +Hammond. 8vo. Cloth, $2.00. Macmillan.</div> + +<div class='hang1'>*"The Pilgrim's Progress." Introduction by the Reverend +H. R. Haweis. Illuminated pages and 120 designs by the +Brothers Rhead. Large 4to. Cloth, $1.50. Century. +This attractive edition contains the first part only.</div> + +<div class='hang1'>"The Pilgrim's Progress." Illustrated by Harold Copping. +Large 12mo. Cloth, $1.00. Revel. Has the authentic +text with illustrations in Puritan dress.</div> + +<div class='hang1'>*"The Pilgrim's Progress." Illustrated. 16mo. Half-leather, +$.60. Houghton. In the Riverside School Library.</div> + +<div class='hang1'>"The Pilgrim's Progress." Illustrated. 16mo. Cloth, $.50. +Crowell.</div> + +<div class='hang1'>*"The Pilgrim's Progress." Edited by Canon Venable and +Mabel Peacock. With illustrations by George Cruikshank. +12mo. Cloth, $.50. Oxford Press.</div> + +<div class='hang1'>"The Pilgrim's Progress." 12mo. Linen boards, $.75. In +the Chandos Classics. Warne.</div> + +<div class='hang1'>*"The Pilgrim's Progress." Edited by Ernest C. Noyes. +16mo. Cloth, $.40. The first part only. Merrill.</div> + +<div class='hang1'>"The Pilgrim's Progress." In Everyman's Library. 12mo. +Cloth, $.35; leather, $.70. Dutton.</div> + +<div class='hang1'>"The Pilgrim's Progress." Edited by D. H. Montgomery. +12mo. Cloth, $.30. Ginn.<span class='pagenum'><a name="Page_268" id="Page_268">[268]</a></span></div> + + +<h3>G—"<span class="smcap">The Life and Strange Surprising Adventures of +Robinson Crusoe of York, Mariner, as Related by +Himself</span>"</h3> + +<div class='author2'>BY DANIEL DEFOE</div> + +<div class='hang1'>*"Robinson Crusoe." Illustrated with 24 separately mounted +colour plates by Noel Pocock. Large 8vo. Cloth, $2.00. +Hodder. A fine edition, including the first part only. +The cover page, illustrated with nothing but a human footprint +in the sand, could not have been more happily done.</div> + +<div class='hang1'>*"Robinson Crusoe." Illustrated with over a hundred pen-and-ink +drawings, head-and-tail pieces, and decorations +done in old woodcut style by the Brothers Rhead. 8vo. +Cloth, $1.50. Harper. The first part only. A good +edition.</div> + +<div class='hang1'>*"Robinson Crusoe." Illustrated in colour and with chapter +headings by E. Boyd Smith. Crown 8vo. Cloth, $1.50. +Houghton. The first part only. Good.</div> + +<div class='hang1'>"Robinson Crusoe." Illustrated in colour by W. B. Robinson. +Large 12mo. Cloth, $1.50. Stokes.</div> + +<div class='hang1'>"Robinson Crusoe." Edited by Walter Jerrold and illustrated +in colour and black-and-white by Archibald Webb. +12mo. Cloth, $1.25. Dutton.</div> + +<div class='hang1'>"Robinson Crusoe." Edited by H. Kingsley. Illustrated in +colour. 12mo. Cloth, $1.25. Macmillan.</div> + +<div class='hang1'>"Robinson Crusoe." Illustrated by Gordon Browne. Crown +8vo. Cloth, $1.25. Scribner importation.</div> + +<div class='hang1'>"Robinson Crusoe." Illustrated in colour by Eleanore P. +Abbott. 12mo. Cloth, $1.00. Jacobs.</div> + +<div class='hang1'>"Robinson Crusoe." Edited with introduction and notes +by Charles R. Gaston. (Pocket Classics Series.) 24mo. +Cloth, $.25. Macmillan.</div> + +<div class='hang1'>*"Robinson Crusoe." Edited by Ernest C. Noyes. 16mo. +Cloth, $.50. The first part only. Merrill.<span class='pagenum'><a name="Page_269" id="Page_269">[269]</a></span></div> + +<div class='hang1'>"Robinson Crusoe." Illustrated in colour and black-and-white +by Walter Paget. 8vo. Cloth, $1.40. Cassell. Both parts.</div> + +<div class='hang1'>"Robinson Crusoe." Illustrated in colour and line by J. A. +Symington. 12mo. Cloth, $2.50. A Nister book. Dutton. +Both parts.</div> + +<div class='hang1'>"Robinson Crusoe." Reprinted from the original edition of +1718 with an introduction by William Lee, Esq. Illustrated +by Ernest Griset. Square crown 8vo. Cloth, +$1.75. Warne. Also in the Chandos Classics at $.75.</div> + +<div class='hang1'>"Robinson Crusoe." Illustrated. 16mo. Half-leather, $.60. +In the Riverside School Library. Houghton.</div> + +<div class='hang1'>*"Robinson Crusoe." Reprinted from the edition of 1719. +With an introduction by Edward Everett Hale and illustrations +by C. E. Brock and D. L. Munro. 12mo. Cloth, +$.60. Heath. The first part only.</div> + +<div class='hang1'>"Robinson Crusoe." In Everyman's Library. 12mo. Cloth, +$.35; leather, $.70. Dutton.</div> + +<div class='hang1'>"Robinson Crusoe." 16mo. Cloth, $.50. Crowell.</div> + +<div class='hang1'>"Robinson Crusoe." 12mo. Cloth, $.25. Cassell.</div> + + +<h3>BOOKS OF DISTINCTION MADE FROM OTHER BOOKS +ON PURPOSE FOR BOYS AND GIRLS</h3> + +<div class='center'>"<span class="smcap">Tales from Shakespeare</span>"</div> + +<div class='author2'>BY CHARLES AND MARY LAMB</div> + +<div class='hang1'>*"Tales from Shakespeare." Illustrated in colour and black-and-white +by Arthur Rackham. 8vo. Cloth, $2.50. Dutton.</div> + +<div class='hang1'>"Tales from Shakespeare." Illustrated in colour and black-and-white +by George Soper. Square 8vo. Cloth, $1.50. +Baker. An attractive edition.</div> + +<div class='hang1'>*"Tales from Shakespeare." Illustrated by Byam Shaw. 8vo. +Cloth, $1.00. Macmillan. An 8vo. edition at $2.50.</div> + +<div class='hang1'>"Tales from Shakespeare." Illustrated in colour by N. M. +Price. 8vo. Cloth, $2.50. Scribner importation.<span class='pagenum'><a name="Page_270" id="Page_270">[270]</a></span></div> + +<div class='hang1'>"Tales from Shakespeare." Illustrated by twelve plates from +the Boydell Gallery. 8vo. Cloth, $3.00. Scribner importation.</div> + +<div class='hang1'>"Tales from Shakespeare." Illustrated in colour and black-and-white +by Walter Paget. 8vo. Cloth, $2.50. A +Nister book. Dutton. With the original preface and +with "Pericles" omitted.</div> + +<div class='hang1'>"Tales from Shakespeare." Introduction by Andrew Lang. +Illustrated. Crown 8vo. Cloth, $1.50. Lippincott.</div> + +<div class='hang1'>*"Tales from Shakespeare." Illustrated by Romney, Hamilton, +Kauffman, and others, selected from the Boydell +engravings. 12mo. Cloth, $.50. Oxford Press.</div> + +<div class='hang1'>"Tales from Shakespeare." Illustrated. 16mo. Half-leather, +$.60. In the Riverside School Library. Houghton.</div> + +<div class='hang1'>"Tales from Shakespeare." Illustrated by Homer W. Colby +after Pillé. 12mo. Cloth, $.40. Heath.</div> + +<div class='hang1'>"Tales from Shakespeare." Illustrated. 12mo. Linen +boards, $.75. In the Chandos Classics. Warne.</div> + +<div class='hang1'>"Tales from Shakespeare." 12mo. Cloth, $.35; leather, +$.70. In Everyman's Library. Dutton.</div> + +<div class='hang1'>"Tales from Shakespeare." 16mo. Cloth, $.50. Crowell.</div> + +<div class='hang1'>"Tales from Shakespeare." 12mo. Cloth, $.25. Cassell.</div> + +<div class='hang1'>"Lamb's Tragedies and Comedies." Edited by W. J. Rolfe. +12mo. Cloth, $.60. American.</div> + +<div class='hang1'>"Lamb: Tales from Shakespeare." Edited by A. Ainger. +(Pocket Classics Series.) 24mo. Cloth, $.25. Macmillan.</div> + +<div class="blockquot"><p>It might not be amiss to insert several other volumes of tales from +Shakespeare's plays at this point. Among these the following have +proved themselves good:</p></div> + +<div class='hang1'>"Shakespeare in Tale and Verse." By G. Louis Hufford. +12mo. Cloth, $1.00. Macmillan.</div> + +<div class='hang1'>"The Shakespeare Story-Book." Told by Mary Macleod. +With an introduction by Sidney Lee and illustrations by<span class='pagenum'><a name="Page_271" id="Page_271">[271]</a></span> +Gordon Browne. 8vo. Cloth, 6<i>s.</i> Gardner. Sixteen +tragedies and comedies.</div> + +<div class='hang1'>"Stories from Shakespeare." Told by Thomas Carter. Illustrated +in colour by Gertrude Hammond. 8vo. Cloth, +$1.50. Crowell.</div> + +<div class='hang1'>*"Shakespeare's Stories of the English Kings." Illustrated +in colour by Gertrude Hammond. 8vo. Cloth, $1.50. +Crowell. This and the preceding volume are rich in +excerpts from the plays. After Lamb has been appreciated, +the reading of these stories will help the boy along +toward the plays in the original text.</div> + +<div class='hang1'>"Historic Tales from Shakespeare." Told by Sir Arthur T. +Quiller-Couch. 12mo. Cloth, $1.50. Scribner.</div> + +<div class='hang1'>"A Midsummer Night's Dream." Edited by Ernest C. +Noyes. 24mo. Cloth, $.25. (Pocket Classics.) Macmillan.</div> + +<div class='hang1'>"The Tempest." Edited by S. C. Newson. 24mo. Cloth, +$.25. (Pocket Classics.) Macmillan.</div> + +<div class='hang1'>"The Merchant of Venice." Edited by Charlotte Underwood. +24mo. Cloth, $.25. (Pocket Classics.) Macmillan.</div> + + +<h3>G—"<span class="smcap">The Wonder-Book for Girls and Boys.</span>" "<span class="smcap">Tanglewood +Tales for Girls and Boys: A Second Wonder-Book</span>."</h3> + +<div class='author2'>BY NATHANIEL HAWTHORNE</div> + +<div class='hang1'>"Hawthorne's Wonder-Book." (Pocket Classics Series.) +Edited by L. E. Wolfe. 24mo. Cloth, $.25. Macmillan.</div> + +<div class='hang1'>"Hawthorne's Tanglewood Tales." (Pocket Classics +Series.) Edited by R. H. Beggs. 24mo. Cloth, $.25. +Macmillan.</div> + +<div class='hang1'>*"A Wonder-Book for Girls and Boys." Illustrated in colour<span class='pagenum'><a name="Page_272" id="Page_272">[272]</a></span> +and decorated by Walter Crane. Square 8vo. Cloth, +$3.00. Houghton. A fine edition.</div> + +<div class='hang1'>*"Tanglewood Tales." Illustrated and decorated by George +Wharton Edwards. 4to. Cloth, $2.50. Houghton.</div> + +<div class='hang1'>*"The Wonder-Book and Tanglewood Tales." Illustrated in +colour by Maxfield Parrish. Large 8vo. Cloth, $2.50. +Duffield. A very good edition.</div> + +<div class='hang1'>*"A Wonder-Book and Tanglewood Tales." Illustrated in +colour by H. Granville Fell. 8vo. Cloth, $2.50. Dutton. +The pictures have a classic touch.</div> + +<div class='hang1'>"A Wonder-Book for Girls and Boys." Illustrated by F. S. +Church. 4to. Cloth, $2.50. Houghton.</div> + +<div class='hang1'>"A Wonder-Book." Illustrated in colour by Lucy Fitch Perkins. +4to. Cloth, $1.00. Stokes.</div> + +<div class='hang1'>"The Wonder-Book and Tanglewood Tales." Illustrated. +12mo. Cloth, $1.00. Jacobs.</div> + +<div class='hang1'>"A Wonder-Book." Illustrated in colour by Leo Winter. +Large 8vo. Cloth, $1.20. Rand.</div> + +<div class='hang1'>"Tanglewood Tales." Illustrated in colour by Leo Winter. +Large 8vo. Cloth, $1.20. Rand.</div> + +<div class='hang1'>"Tanglewood Tales." Illustrated in colour by George Soper. +12mo. Cloth, $1.50. Crowell.</div> + +<div class='hang1'>*"A Wonder-Book and Tanglewood Tales." Illustrated +8vo. Half-leather, $.75. In the Riverside School Library. +Houghton.</div> + +<div class='hang1'>"Wonder-Book and Tanglewood Tales." In Everyman's +Library. 12mo. Cloth, $.35; leather, $.75. Dutton.</div> + +<div class='hang1'>"Wonder-Book." Illustrated. 16mo. Cloth, $.50. Crowell.</div> + +<div class='hang1'>"Tanglewood Tales." Illustrated. 16mo. Cloth, $.50. +Crowell.<span class='pagenum'><a name="Page_273" id="Page_273">[273]</a></span></div> + + +<h3>G—"<span class="smcap">The Adventures of Ulysses</span>"</h3> + +<div class='author2'>BY CHARLES LAMB</div> + +<div class="blockquot"><p>It is strange that educators and publishers have not recognized the +merits of this work and that it has not been issued in a well-illustrated +form. Lamb's own estimate of it in a letter to a friend is right: "Chapman +is divine and my abridgement has not quite emptied him of his +divinity."</p></div> + +<div class='hang1'>*"The Adventures of Ulysses." Edited by W. P. Trent and +illustrated after Flaxman. 12mo. Cloth, $.25. Heath.</div> + +<div class='hang1'>"The Adventures of Ulysses." 12mo. Cloth, $.30. Ginn.</div> + +<div class='hang1'>*"The Adventures of Ulysses." With an introduction by +Andrew Lang. Square 8vo. Cloth, $.50. Longmans.</div> + +<div class='hang1'>"The Heart of Oak Books." Book IV. Illustrations after +Flaxman, Turner, and Burne-Jones. 12mo. Cloth, $.45. +Heath.</div> + + +<h3>P—"<span class="smcap">The Heroes; or, Greek Fairy Tales for My +Children</span>"</h3> + +<div class='author2'>BY CHARLES KINGSLEY</div> + +<div class='hang1'>"Heroes; or, Greek Fairy Tales for My Children." Illustrated +in colour by T. H. Robinson. 8vo. Cloth, $2.50. Dutton. +A Nister book.</div> + +<div class='hang1'>*"The Heroes; or, Greek Fairy Tales for My Children." Illustrated +in colour and line by George Soper. Square 8vo. +Cloth, $1.50. Baker.</div> + +<div class='hang1'>*"The Heroes; or, Greek Fairy Tales for My Children." +Illustrated. 12mo. Cloth, $1.25. Macmillan.</div> + +<div class='hang1'>"Greek Heroes." Illustrated. 16mo. Limp leather, $.75. +In the Ariel Classics. Putnam.</div> + +<div class='hang1'>"Greek Heroes." In Everyman's Library. 12mo. Cloth, +$.35; leather, $.70. Dutton.</div> + +<div class='hang1'>*"Greek Heroes." Illustrated. 16mo. Cloth, $.50. Crowell.<span class='pagenum'><a name="Page_274" id="Page_274">[274]</a></span></div> + +<div class='hang1'>"Greek Heroes." Edited by John Tetlow. 16mo. Cloth, +$.30. Ginn.</div> + +<div class='hang1'>"Kingsley's Heroes: Greek Fairy Tales." Edited by C. +A. McMurry. (Pocket Classics Series.) 24mo. Cloth, +$.25. Macmillan.</div> + +<div class='hang1'>"Kingsley's Heroes." American edition. 12mo. Cloth, +$1.00. Macmillan.</div> + + +<h3>G—"<span class="smcap">The Adventures of Don Quixote de la Mancha</span>"</h3> + +<div class='author2'>BY MIGUEL DE CERVANTES SAAVEDRA</div> + +<div class='hang1'>*"Don Quixote of the Mancha." Retold for children by Judge +Parry from Shelton's translation. Illustrated in colour +and black-and-white by Walter Crane. Square 8vo. +Cloth, $1.50. Lane. A delightful volume that will entertain +royally any boy who has a sense of humour. The right +one to own.</div> + +<div class='hang1'>"Don Quixote." Adapted for the young from Motteaux's +translation. Illustrated in colour and black-and-white by +Paul Hardy. 8vo. Cloth, $2.00. Dutton.</div> + +<div class='hang1'>"The Adventures of Don Quixote." Translated and abridged +by Dominick Daly. Illustrated in colour by Stephen de la +Bere. Square 8vo. Cloth, 6<i>s.</i> Black.</div> + +<div class='hang1'>*"Don Quixote." Edited by Clifton Johnson. 12mo. Cloth, +$.75. Macmillan.</div> + +<div class='hang1'>"Don Quixote de la Mancha." Abridged from the translation +of Duffield and Shelton by Mary E. Burt and Lucy +Leffingwell Cable. 12mo. Cloth, $.50. Scribner.</div> + +<div class='hang1'>"Don Quixote of La Mancha." Abridged and edited by +Mabel E. Wharton. 12mo. Cloth, $.50. Ginn.</div> + +<div class='hang1'>"Don Quixote for Young People." Rewritten by James +Baldwin. 12mo. Cloth, $.50. American.</div> + +<div class='hang1'>"Adventures of Don Quixote." Translated by D. Daly and +illustrated in colour by S. B. de la Bere. 8vo. Cloth, +$2.00. Macmillan. For the teacher.<span class='pagenum'><a name="Page_275" id="Page_275">[275]</a></span></div> + + +<h3>MYTHS, LEGENDS, AND STORIES OF ROMANCE +FROM VARIOUS SOURCES<br /> +<br /> +G—<span class="smcap">Robin Hood</span></h3> + +<div class='hang1'>*"The Merry Adventures of Robin Hood of Great Renown in +Nottinghamshire." Written and illustrated by Howard +Pyle. Royal 8vo. Cloth, $3.00. Scribner. A capital +book for any boy.</div> + +<div class='hang1'>"Robin Hood and His Adventures." Written by Paul Cheswick +and illustrated by T. H. Robinson. 8vo. Cloth, +$2.50. A Nister book. Dutton.</div> + +<div class='hang1'>*"Robin Hood." Written by Henry Gilbert. Illustrated in +colour by Walter Crane. Large 8vo. Cloth, $2.50. Stokes.</div> + +<div class='hang1'>*"The Story of Robin Hood and His Merry Men." Told by +John Finnemore and illustrated in colour by Allen Stewart. +12mo. Cloth, $1.50. Macmillan.</div> + +<div class='hang1'>"Bold Robin Hood and His Outlaw Band." Penned and +pictured by Louis Rhead. 8vo. Cloth, $1.50. Harper.</div> + +<div class='hang1'>"Robin Hood." Told by Clifton Johnson. Illustrated by +Bonté. 12mo. Cloth, $1.00. Baker.</div> + +<div class='hang1'>*"Life in the Greenwood." Edited by Marion Florence Lancing +and illustrated by Charles Copeland. 16mo. Cloth, +$.35. Ginn. For very young children.</div> + +<div class='hang1'>"Robin Hood: His Book." Told by Eva March Tappan. +Illustrated. 12mo. Cloth, $1.50. Little.</div> + + +<h3>G—<span class="smcap">King Arthur</span></h3> + +<div class='hang1'>*"The Boy's King Arthur." Edited by Sidney Lanier. Illustrated +by Alfred Kepper, Alfred Fredericks, and E. B. +Bonsell. Crown 8vo. Cloth, $2.00. Scribner. The boy +should also read the author's "Knightly Legends of +Wales."</div> + +<div class='hang1'>"The Story of King Arthur and His Knights." Written and +illustrated by Howard Pyle. Royal 8vo. Cloth, $2.00.<span class='pagenum'><a name="Page_276" id="Page_276">[276]</a></span> +Scribner. The author has these volumes to his credit. +"The Story of the Champions of the Round Table," +"The Story of Sir Lancelot," "The Story of the Grail +and the Passing of Arthur."</div> + +<div class='hang1'>"King Arthur's Knights." Told by Henry Gilbert and illustrated +in colour by Walter Crane. 8vo. Cloth, $2.50. +Stokes.</div> + +<div class='hang1'>*"The Book of King Arthur and His Noble Knights: Stories +from Sir Thomas Malory's Morte D'Arthur." Told by +Mary Macleod and illustrated by A. G. Walker. 8vo. +Cloth, $1.50. Stokes.</div> + +<div class='hang1'>"Tales of King Arthur and His Knights of the Round Table." +Told by Margaret Vere Farrington. Illustrated. Crown +8vo. Cloth, $1.25. Putnam.</div> + +<div class='hang1'>"The King Who Never Died." By Dorothy Senior. Illustrated +in colour plates. 8vo. Cloth, $1.50. Macmillan.</div> + +<div class='hang1'>"The Legends of King Arthur and His Knights." Compiled +from Malory by Sir James Knowles. Illustrated in colour +and black-and-white by Lancelot Speed. Large 8vo. +Cloth, $2.00. Warne.</div> + +<div class='hang1'>"Malory's King Arthur and His Knights." Version by B. H. +Lathrop. Illustrated. 12mo. Cloth, $1.50. Baker.</div> + +<div class='hang1'>*"Page, Esquire, and Knight." Told by Marion Lancing and +illustrated by Charles Copeland. 16mo. Cloth, $.35. +Ginn. For young children.</div> + +<div class='hang1'>*"The Age of Chivalry; or, Legends of King Arthur." By +Thomas Bulfinch. Edited by J. Loughran Scott. Fully +illustrated. Crown 8vo. Cloth, $1.50. McKay. This +is about as good a telling as the studious boy can find. But +if he has a taste for pure literary form, he will surely +come to know Tennyson's "Idylls of the King" and prefer +it to any prose version.</div> + +<div class='hang1'>"Malory's Le Morte d'Arthur. Text of Caxton." (Globe.) +12mo. Cloth, $1.75. Macmillan.<span class='pagenum'><a name="Page_277" id="Page_277">[277]</a></span></div> + +<div class='hang1'>"Malory's Morte d'Arthur Selections." (Pocket Classics +Series.) Edited by D. W. Swiggett. 24mo. Cloth, +$.25. Macmillan.</div> + + +<h3>G—<span class="smcap">Classic Myths of Greece and Rome</span></h3> + +<div class='hang1'>*"The Age of Fable; or, the Beauties of Mythology." Told +by Thomas Bulfinch. Edited by J. Loughran Scott. Fully +illustrated. Crown 8vo. Cloth, $1.25. McKay. Every +boy should own this or some other edition of this great work.</div> + +<div class='hang1'>"The Age of Fable; or, the Beauties of Mythology." Edited +by W. H. Knapp. Fully illustrated. 12mo. Cloth, +$1.25. Altemus.</div> + +<div class='hang1'>"The Age of Fable; or, the Beauties of Mythology." Edited +by Edward Everett Hale. Fully illustrated. 8vo. Cloth, +$1.25. Lathrop.</div> + +<div class='hang1'>"The Æneid for Boys and Girls." By Alfred J. Church. Illustrated +in colour. 12mo. Cloth, $1.50. Macmillan.</div> + +<div class='hang1'>*"A Story of the Golden Age." Told by James Baldwin and +illustrated by Howard Pyle. 12mo. Cloth, $1.50. Scribner. +Ends where the Iliad begins.</div> + +<div class='hang1'>"The Greek Heroes: Stories Translated from Niebuhr." +Illustrated in colour and black-and-white by Arthur Rackham. +12mo. Cloth, $1.00. Cassell.</div> + +<div class='hang1'>"The Boy's Iliad." Told by Walter C. Perry. Illustrated. +12mo. Cloth, $1.50. Macmillan.</div> + +<div class='hang1'>"The Boy's Odyssey." Told by Walter C. Perry. Illustrated. +12mo. Cloth, $1.50. Macmillan.</div> + +<div class='hang1'>*"Story of the Iliad." Told by Alfred John Church. With +illustrations after Flaxman. 12mo. Cloth, $1.00. Macmillan. +An edition in colour plates at $1.50.</div> + +<div class='hang1'>"Story of the Odyssey." Told by Alfred John Church. +With illustrations after Flaxman. 12mo. Cloth, $1.00. +Macmillan. An edition in colour plates at $1.50.<span class='pagenum'><a name="Page_278" id="Page_278">[278]</a></span></div> + +<div class='hang1'>"Heroes of Chivalry and Romance." By A. J. Church. Ill. +in colour plates by G. Morrow. 12mo. Cloth, $1.75. +Macmillan.</div> + +<div class='hang1'>"Heroes of the Olden Time." By Pamela M. Cole. Ill. +12mo. Cloth, $.40. Macmillan.</div> + +<div class='hang1'>"Story of the Golden Apple." By Pamela M. Cole. Ill. +12mo. Cloth, $.40. Macmillan.</div> + +<div class='hang1'>*"Adventures of Odysseus." By F. S. Marvin and others. +Illustrated by Charles Robinson. 12mo. Cloth, $1.50. +Dutton. An easy telling done with attractive pictures.</div> + +<div class='hang1'>"The Odyssey Translated into English Prose." By George +H. Palmer. Crown 8vo. Cloth, $1.00. Houghton. A +complete story that will be a little difficult for the child to +read, but well worth his while.</div> + +<div class='hang1'>"Half-a-Hundred Hero Tales of Ulysses and the Men of Old." +Edited by Francis Storr and illustrated by Frank C. Papé. +8vo. Cloth, $1.50. Holt.</div> + +<div class='hang1'>"Gods and Heroes; or, the Kingdom of Jupiter." By Robert +Edward Francillion. The authorized American edition. +12mo. Cloth, $.40. Ginn.</div> + +<div class='hang1'>*"Stories of Old Greece and Rome." By Emilie Kip Baker. +12mo. Cloth, $1.50. Macmillan. A very good combination +of literature and mythology. An edition with pronouncing +index at $1.00.</div> + + +<h3>G—<span class="smcap">Norse Myths</span></h3> + +<div class='hang1'>*"Norse Stories Told from the Eddas." By Hamilton Wright +Mabie. Illustrated in colour and decorated by George +Wright. 8vo. Cloth, $1.80. Dodd.</div> + +<div class='hang1'>"In the Days of Giants: A Book of Norse Tales." By Abbie +F. Brown. Illustrated by E. Boyd Smith. Square 8vo. +Cloth, $1.10. Houghton. Easier to read than the one +above.<span class='pagenum'><a name="Page_279" id="Page_279">[279]</a></span></div> + +<div class='hang1'>"Stories of the Norse Heroes." Retold from the Eddas and +Sagas by E. M. Wilmot-Buxton. Illustrated by J. C. +Donaldson. 8vo. Cloth, $1.50. Crowell.</div> + +<div class='hang1'>"One for Wod and One for Lok." Told by Thomas Cartwright. +Illustrated in colour. 16mo. Cloth, $.50. Dutton.</div> + +<div class='hang1'>*"Heroes of Asgard." By A. and E. Keary. 12mo. Cloth, +$.50. Macmillan.</div> + +<div class='hang1'>"Brave Beowulf." Told by Thomas Cartwright. Illustrated +in colour by Patten Wilson. 16mo. Cloth, $.50. +Dutton.</div> + +<div class='hang1'>"Beowulf." Told by John Harrington Cox. Illustrated. +12mo. Cloth, $.50. Little.</div> + +<div class='hang1'>"Popular Tales from the Norse." By Sir George Webb +Dasent. Illustrated. 8vo. Cloth, $2.50. Putnam. A +collection of folk-tales.</div> + +<div class='hang1'>"Out of the Northland." By E. K. Baker. (Pocket Classics +Series.) 24mo. Cloth, $.25. Macmillan.</div> + +<div class='hang1'>*"Stories from Northern Myths." By E. K. Baker. 12mo. +Cloth, $1.50. Macmillan.</div> + + +<h3>G—<span class="smcap">From Chaucer</span></h3> + +<div class='hang1'>*"Tales of the Canterbury Pilgrims." Told by F. J. H. Darton. +With an introduction by F. J. Furnival and illustrations +by Hugh Thompson. 8vo. Cloth, $1.50. Stokes.</div> + +<div class='hang1'>"The Chaucer Story Book." By Eva March Tappan. Illustrated. +8vo. Cloth, $1.50. Houghton.</div> + +<div class='hang1'>"Canterbury Chimes; or, Chaucer Tales Retold to Children." +By Francis Storr and Hawes Turner. 12mo. Cloth, +3<i>s.</i> 6<i>d.</i> Kegan Paul.</div> + +<div class='hang1'>"The Canterbury Tales of Geoffrey Chaucer: A Modern +Version in Prose of the Prologue and Ten Tales." By +Percy MacKaye. Illustrated in colour by Walter Appleton +Clark. 8vo. Cloth, $2.50. Duffield.<span class='pagenum'><a name="Page_280" id="Page_280">[280]</a></span></div> + +<div class='hang1'>"Stories from Chaucer." By J. W. McSpaden. Illustrated. +16mo. Cloth, $.50. Crowell.</div> + +<div class='hang1'>"Chaucer's Prologue to the Book of the Tales of Canterbury." +(Pocket Classics Series.) Edited by A. Ingraham. 24mo. +Cloth, $.25. Macmillan.</div> + + +<h3>G—"<i>The Faerie Queene</i>"</h3> + +<div class='hang1'>*"Stories from the Faerie Queene." Told by Mary Macleod. +Illustrated by A. G. Walker. 8vo. Cloth, $1.50. Stokes. +Well done.</div> + +<div class='hang1'>"Fairy Queen and Her Knights, The." By Alfred J. Church. +Col. Ill. 12mo. Cloth, $1.50. Macmillan.</div> + +<div class='hang1'>"Stories from the Faerie Queene." Told by Lawrence Dawson. +Illustrated by Gertrude D. Hammond. 8vo. Cloth, +$1.50. Crowell.</div> + +<div class='hang1'>"Una and the Red Cross Knight and Other Tales from Spenser's +Faerie Queene." By N. G. Royde-Smith. Illustrated +in colour and decorated by T. H. Robinson. 8vo. +Cloth, $2.50. Dutton.</div> + + +<h3>G—<span class="smcap">Other Legend and Romance</span></h3> + +<div class='hang1'>*"Book of Legends." Gathered and rewritten by Horace E. +Scudder. Illustrated. 16mo. Cloth, $.50. Houghton. +Such tales as "St. George and the Dragon," "The Wandering +Jew," and "The Flying Dutchman."</div> + +<div class='hang1'>"Heroic Legends." By Agnes Grazier Herbertson. Illustrated +in colour by Helen Stratton. Crown 8vo. Cloth, +$1.50. Caldwell. Stories of "Valentine and Orsen," +"St. George and the Dragon," "Christopher," and others.</div> + +<div class='hang1'>*"Wonder-Book of Old Romance." Told by F. J. H. Darton +and illustrated by A. G. Walker. 8vo. Cloth, $1.50. +Stokes. Stories such as "Guy of Warwick," "King Horn," +and "Sir Gawain and the Green Knight."</div> + +<div class='hang1'>"Stories from Old French Romance." Told by E. M. Wilmot-Buxton.<span class='pagenum'><a name="Page_281" id="Page_281">[281]</a></span> +12mo. Cloth, $.75. Stokes. Stories such as +"Ogier the Dane" and "Aucassin and Nicolete."</div> + +<div class='hang1'>"Heroes of Chivalry and Romance." By A. J. Church. Illustrated +in colour by Grace Morrow. 12mo. Cloth, $1.75. +Macmillan.</div> + +<div class='hang1'>"The Story of Roland." Told by James Baldwin and illustrated +by Reginald B. Birch. 12mo. Cloth, $1.50. +Scribner.</div> + +<div class='hang1'>*"A Chevalier of Old France." The Song of Roland translated +and adapted from Old French texts by John Harrington +Cox. Illustrated. 12mo. Cloth, $1.25. Little.</div> + +<div class='hang1'>"Book of Romance." By Andrew Lang. Illustrated in +colour and black-and-white by H. J. Ford. Crown 8vo. +Cloth, $1.60. Longmans. The stories of King Arthur, +Robin Hood, Roland, and others.</div> + +<div class='hang1'>"Stories of Persian Heroes." Told by E. M. Wilmot-Buxton. +Illustrated and decorated. 8vo. Cloth, $1.50. Crowell.</div> + +<div class='hang1'>"Children's Tales from Scottish Ballads." Told by E. W. +Grievson and illustrated in colour by A. Stewart. 8vo. +Cloth, $2.00. Macmillan.</div> + +<div class='hang1'>"Book of Ballad Stories." Told by Mary Macleod. With an +introduction by Edward Dowden and illustrations by +A. G. Walker. 8vo. Cloth, $1.50. Stokes. "Robin +Hood," "Patient Griselda," "Sir Cauline," and many +other romantic tales.</div> + +<div class='hang1'>"Almost True Stories." Fully illustrated. Crown 8vo. +Cloth, $1.00. Putnam. Among others are found "The +Legend of Sleepy Hollow," "The Paradise of Children," +"The Lady of Shalot," and "Cupid and Psyche."</div> + +<div class='hang1'>"Great Opera Stories." By M. S. Bender. (Everychild's +Series.) Ill. 16mo. Cloth, $.40. Macmillan.</div> + +<div class='hang1'>"Thirty Indian Legends." By Margaret Bemister. Ill. +12mo. Cloth, $.40. Macmillan.</div> + +<div class='hang1'>"Stories from the Classic Literature of Many Nations."<span class='pagenum'><a name="Page_282" id="Page_282">[282]</a></span> +Edited by Bertha Palmer. (Standard School Library.) +12mo. Cloth, $.50. Macmillan.</div> + +<div class='hang1'>*"Children's Book of Celtic Stories." By E. W. Grievson. +Illustrated in colour by A. Stewart. 8vo. Cloth, $2.00. +Macmillan.</div> + + +<h3>G—A FEW LONG STORIES OF ROMANTIC ADVENTURE</h3> + +<div class='center'>"<span class="smcap">Treasure Island</span>"<br /> + +<span class='author2'>BY ROBERT LOUIS STEVENSON</span></div> + +<div class='hang1'>*"Treasure Island." Illustrated in colour by N. C. Wyeth. +Royal 8vo. Cloth, $2.50. Scribner. An excellent edition.</div> + +<div class='hang1'>*"Treasure Island." Illustrated in colour by John C. Cameron. +8vo. Cloth, $2.00. Cassell.</div> + +<div class='hang1'>"Treasure Island." Illustrated by Walter Paget. 12mo. +Cloth, $1.25. Scribner.</div> + +<div class='hang1'>"Treasure Island." Small 12mo. Cloth, $1.25; limp leather, +$1.50. Small.</div> + +<div class='hang1'>"Treasure Island." Illustrated. 12mo. Cloth, $1.00. Jacobs.</div> + +<div class='hang1'>"Treasure Island." In Everyman's Library. 12mo. Cloth, +$.35; leather, $.70. Dutton.</div> + +<div class='hang1'>*"Treasure Island." Illustrated. 16mo. Cloth, $.50. Crowell.</div> + +<div class='hang1'>"Treasure Island." 12mo. Cloth, $.25. Scribner.</div> + +<div class='hang1'>"Stevenson's Treasure Island." (Pocket Classics Series.) +Edited by H. A. Vance. 24mo. Cloth, $.25. Macmillan.</div> + +<div class="blockquot"><p>The boy who has read this capital story of adventure must of necessity +have more of Stevenson and had better try "Kidnapped" next. He may +sometime become absorbed in the wonderful tales of a favourite of Stevenson +himself, Dumas. Listen to the testimony of Thackeray about the +great French story-teller as it was written in the essay, "On a Lazy, +Idle Boy": "What was the book in the hands of my lad as he stood by +the river shore? Do you suppose that it was Livy, or the Greek grammar? +No: it was D'Artagnan locking up General Monk in a box, or +the prisoner of the Château d'If cutting himself out of the sack fifty feet +under water and swimming to the island of Monte Cristo. Be assured +the lazy boy was reading Dumas; and as for the tender pleadings of his +mother that he should not let his supper grow cold—I don't believe the +scapegrace cared one fig. No! Figs are sweet, but fictions are sweeter."</p></div><p><span class='pagenum'><a name="Page_283" id="Page_283">[283]</a></span></p> + + +<h3>G—"<span class="smcap">The Last of the Mohicans</span>"</h3> + +<div class='author2'>BY JAMES FENIMORE COOPER</div> + +<div class='hang1'>*"Last of the Mohicans." Illustrated by E. Boyd Smith. +12mo. Cloth, $1.35. Holt.</div> + +<div class='hang1'>"Last of the Mohicans." Fully illustrated. Crown 8vo. +Cloth, $1.25. Putnam.</div> + +<div class='hang1'>"The Last of the Mohicans." Illustrated by Frank T. Merrill. +8vo. Cloth, $1.50. Crowell.</div> + +<div class='hang1'>"The Last of the Mohicans." Illustrated. 2 vols. 16mo. +Cloth, $3.00. Macmillan.</div> + +<div class='hang1'>*"The Last of the Mohicans." Illustrated by H. M. Brock. +12mo. Cloth, $.80. Macmillan.</div> + +<div class='hang1'>"The Last of the Mohicans." Illustrated. Crown 8vo. +Half-leather, $.70. In the Riverside School Library. +Houghton.</div> + +<div class='hang1'>"Last of the Mohicans." In Everyman's Library. 12mo. +Cloth, $.35; leather, $.70. Dutton.</div> + +<div class='hang1'>*"Last of the Mohicans." 12mo. Cloth, $.50. Heath.</div> + +<div class='hang1'>"Last of the Mohicans." 24mo. Cloth, $.25. Macmillan.</div> + +<div class="blockquot"><p>If the boy does not own, he should at least read, the other four volumes +of the Leather Stocking Tales as well as one or two of Cooper's sea tales, +such as "The Pilot," and "The Red Rover."</p></div> + + +<h3>G—"<span class="smcap">Ivanhoe: a Romance</span>"</h3> + +<div class='author2'>BY SIR WALTER SCOTT</div> + +<div class='hang1'>"Ivanhoe." Illustrated in colour. 8vo. Cloth, $2.50. Lippincott.</div> + +<div class='hang1'>"Ivanhoe." Illustrated by H. M. Eaton. 8vo. Cloth, +$1.50. Crowell.</div> + +<div class='hang1'>"Ivanhoe." Illustrated. 12mo. Cloth, $1.50. Appleton.</div> + +<div class='hang1'>"Ivanhoe." Fully illustrated. Post 8vo. Cloth, $1.50. In +the Andrew Lang edition. Dana.<span class='pagenum'><a name="Page_284" id="Page_284">[284]</a></span></div> + +<div class='hang1'>*"Ivanhoe." Fully illustrated. Post 8vo. Cloth, $1.00. In +the Heather edition. Harper.</div> + +<div class='hang1'>"Ivanhoe." Illustrated. Crown 8vo. Half-leather, $.70. +Houghton. In the Riverside School Library.</div> + +<div class='hang1'>"Ivanhoe." 12mo. Cloth, $.35; leather, $.70. Dutton. +Everyman's Library.</div> + +<div class='hang1'>*"Ivanhoe." Illustrated by C. E. Brock. 12mo. Cloth, +$.50. Heath.</div> + +<div class='hang1'>*"Ivanhoe." Illustrated in colour by E. Boyd Smith. 8vo. +Cloth, $2.50. Houghton.</div> + +<div class='hang1'>"Ivanhoe." 12mo. Cloth, $.60. Ginn.</div> + +<div class='hang1'>"Ivanhoe." 12mo. Cloth, $.40. American.</div> + +<div class='hang1'>"Ivanhoe." 24mo. Cloth, $.25. Macmillan.</div> + +<div class='hang1'>*"Ivanhoe." (Dryburgh Edition.) 12mo. Cloth, $1.25. +Macmillan.</div> + +<div class="blockquot"><p>This introduction to Scott should certainly be followed by a reading +of "Quentin Durward," "Rob Roy," "The Talisman," and "Guy +Mannering."</p></div> + + +<h3>G—"<span class="smcap">Lorna Doone: A Romance of Exmoor</span>"</h3> + +<div class='author2'>BY RICHARD D. BLACKMORE</div> + +<div class='hang1'>*"Lorna Doone." Illustrated in colour by Christopher Clarke. +8vo. Cloth, $2.50. Crowell. A very good edition.</div> + +<div class='hang1'>*"Lorna Doone." Illustrated in colour and black-and-white by +Gordon Browne. 4to. Cloth, $4.20. Stokes.</div> + +<div class='hang1'>"Lorna Doone." Illustrated with photogravures. 2 vols. +16mo. Cloth, $2.50; limp leather, $3.00. Putnam.</div> + +<div class='hang1'>"Lorna Doone." Illustrated by plates printed in sepia. +2 vols. 12mo. Cloth, $3.00; leather, $5.00. Rand.</div> + +<div class='hang1'>*"Lorna Doone." Illustrated by Mrs. Catharine Weed Ward. +Crown 8vo. Cloth, $2.50. Harper.</div> + +<div class='hang1'>"Lorna Doone." Illustrated by Frank T. Merrill. 8vo. +Cloth, $1.50. Crowell.<span class='pagenum'><a name="Page_285" id="Page_285">[285]</a></span></div> + +<div class='hang1'>*"Lorna Doone." Illustrated. Large 12mo. Cloth, $1.25. +Putnam.</div> + +<div class='hang1'>"Lorna Doone." Illustrated. Large 12mo. Cloth, $1.25. +Rand.</div> + +<div class='hang1'>"Lorna Doone." Illustrated. Post 8vo. Cloth, $1.00. +Scribner.</div> + +<div class='hang1'>*"Lorna Doone." 24mo. Cloth, $.25. Macmillan.</div> + +<div class="blockquot"><p>The great field of realistic fiction will later open up to the boy, but he +must be in no hurry to enter it. When he does enter it, however, see +that he selects well, and urge him to read in moderation. He might well +start with such books as "David Copperfield" and "The Mill on the +Floss," leaving Thackeray untouched for a few years until he can better +appreciate him. With a taste once formed for any one of these great +novelists, he will stand in little danger from the almost countless current +stories that are always getting in his way.</p></div> + + +<h3>G—TRAVEL, BIOGRAPHY, AUTOBIOGRAPHY, AND +HISTORY</h3> + +<div class='hang1'>*"Two Years Before the Mast." By Richard H. Dana, Jr. +Illustrated in colour by E. Boyd Smith. 8vo. Cloth, $1.50. +Houghton.</div> + +<div class='hang1'>"Two Years before the Mast." By Richard H. Dana, Jr. +Illustrated. Crown 8vo. Half-leather, $.70. Houghton.</div> + +<div class='hang1'>"Two Years before the Mast." By Richard H. Dana, Jr. +12mo. Cloth, $.60. Crowell.</div> + +<div class='hang1'>*"Two Years before the Mast." By Richard H. Dana, Jr. +24mo. Cloth, $.25. Macmillan.</div> + +<div class='hang1'>*"The Oregon Trail." By Francis Parkman. Fully illustrated +by Frederic Remington. Crown 8vo. Cloth, $2.00. +Little. A fine edition to own.</div> + +<div class='hang1'>"The Oregon Trail." By Francis Parkman. Four illustrations +by Remington. 12mo. Cloth, $1.00. Little.</div> + +<div class='hang1'>*"Parkman's Oregon Trail." Edited by C. H. J. Douglas. +(Pocket Classics Series.) 24mo. Cloth, $.25. Macmillan.</div> + +<div class='hang1'>"The Oregon Trail." By Francis Parkman. 18mo. Cloth, +$.35. Crowell.<span class='pagenum'><a name="Page_286" id="Page_286">[286]</a></span></div> + +<div class='hang1'>"Boys of Other Countries." By Bayard Taylor. Illustrated +in colour by Frederick Simpson Coburn. 8vo. Cloth, $2.00. +Putnam.</div> + +<div class='hang1'>"The Cruise of the Catchelot around the World after Sperm +Whales." By Frank T. Bullen. Illustrated. 12mo. +Cloth, $1.50. Appleton.</div> + +<div class='hang1'>*"Plutarch for Boys and Girls." Edited by John S. White. +Illustrated. 8vo. Cloth, $1.75. Putnam.</div> + +<div class='hang1'>*"The Children's Plutarch: Tales of the Greeks." Edited by +F. J. Gould with an introduction by William Dean Howells. +Illustrated by Walter Crane. 12mo. Cloth, $.75. Harper. +"Tales of the Romans" uniform with the above at the same +price.</div> + +<div class='hang1'>"Plutarch's Lives." Retold by W. H. Weston and illustrated +in colour by W. Ramey. Large 8vo. Cloth, $2.50. +Stokes.</div> + +<div class='hang1'>"Plutarch's Lives." Edited by Edward Ginn. Illustrated. +12mo. Cloth, $.45. Ginn.</div> + +<div class='hang1'>"Plutarch. Lives of Cæsar, Brutus, and Anthony." Edited +by Martha Brier. (Pocket Classics Series.) 24mo. Cloth, +$.25. Macmillan.</div> + +<div class='hang1'>"Hawthorne's Grandfather's Chair." Edited by H. H. +Kingsley. (Pocket Classics Series.) 24mo. Cloth, $.25. +Macmillan.</div> + +<div class='hang1'>*"Grandfather's Chair and Biographical Stories." By Nathaniel +Hawthorne. Illustrated. Crown 8vo. Cloth. +$.70. Houghton.</div> + +<div class='hang1'>"Tales of a Grandfather." By Sir Walter Scott. 12mo. +Cloth, $2.50. Macmillan.</div> + +<div class='hang1'>"Tales of a Grandfather." By Sir Walter Scott. Selected by +Edward Ginn. 12mo. Cloth, $.40. Ginn.</div> + +<div class='hang1'>*"Life of Lord Nelson." By Robert Southey. Illustrated by +engravings. 12mo. Cloth, $1.50. Macmillan. In Bohn's +Illustrated Library.<span class='pagenum'><a name="Page_287" id="Page_287">[287]</a></span></div> + +<div class='hang1'>"Life of Lord Nelson." By Robert Southey. 12mo. Boards, +$.75. Warne. In the Chandos Classics.</div> + +<div class='hang1'>*"The Autobiography of Benjamin Franklin." The unmutilated +and correct version by John Bigelow. 8vo. Cloth, +$1.25. Putnam. In the Ariel Classics at $.75.</div> + +<div class='hang1'>"Franklin's Autobiography." Edited by D. H. Montgomery. +Illustrated. 12mo. Cloth, $.40. Ginn.</div> + +<div class='hang1'>"Benjamin Franklin's Autobiography." With a chapter completing +the story of his life. Illustrated. 16mo. Cloth, +$.75. Houghton.</div> + +<div class='hang1'>"Franklin's Autobiography." 24mo. (Pocket Classics.) +Cloth, $.25. Macmillan.</div> + +<div class='hang1'>"A Child's History of England." By Charles Dickens. Illustrated +by Patten Wilson. 12mo. Cloth, $2.50. Dutton.</div> + +<div class='hang1'>"A Child's History of England." Illustrated. 12mo. Cloth, +$1.00. Macmillan.</div> + +<div class='hang1'>*"The Boy's Parkman." Compiled by Louise C. Hasbrouck. +Illustrated by Howard Pyle and others. Crown 8vo. +Cloth, $1.00. Little. The passages in Parkman's words +have to do with the manners, customs, and characteristics +of the Indians.</div> + +<div class='hang1'>*"Stories from Froissart." By Henry Newbolt. Illustrated. +12mo. Cloth, $1.50. Macmillan. Also in a $.50 edition.</div> + +<div class='hang1'>"The Boy's Froissart." By Sidney Lanier. Illustrated by +Alfred Kappes. 8vo. Cloth, $2.00. Scribner.</div> + + +<h3>G—OLD FAVOURITES</h3> + +<div class='hang1'>"Mrs. Leicester's School." By Charles and Mary Lamb. +Illustrated in colour and pen-and-ink by Winifred Green. +Small 4to. Decorated cloth, $1.50. Dutton. "One of +the loveliest things in the language."—<i>The Nation.</i></div> + +<div class='hang1'>"Mrs. Lester's School." By Charles and Mary Lamb. 12mo. +Cloth, $1.50. Macmillan.<span class='pagenum'><a name="Page_288" id="Page_288">[288]</a></span></div> + +<div class='hang1'>"Tales from Maria Edgeworth." With an introduction by +Austin Dodson and illustrations by Hugh Thompson. +8vo. Cloth, $1.50. Stokes.</div> + +<div class='hang1'>"Parent's Assistant." By Maria Edgeworth. Illustrated by +Chris Hammond. 12mo. Cloth, $.80; leather, $1.25. +Macmillan.</div> + +<div class='hang1'>"Old-Fashioned Tales." Collected by E. V. Lucas and illustrated +by F. D. Bedford. 8vo. Cloth, $1.50. Stokes. +Stories from Thomas Day, Mary Lamb, Peter Parley, and +others.</div> + +<div class='hang1'>"Stories Grandmother Knew." Fully illustrated. Crown +8vo. Cloth, $1.00. Putnam. From Goldsmith, Edgeworth, +Sinclair, and others.</div> + +<div class='hang1'>"Old Time Tales." By Kate Forrest Oswell. (Everychild's +Series.) Ill. 16mo. Cloth, $.40. Macmillan.</div> + +<div class='hang1'>"Stories Grandmother Told." By Kate Forrest Oswell. +(Everychild's Series.) Ill. 16mo. Cloth, $.40. Macmillan.</div> + +<div class='hang1'>"The Swiss Family Robinson." By J. R. Wyss. Illustrated +in colour and black-and-white by Charles Folkard. +8vo. Cloth, $2.50. Dutton.</div> + +<div class='hang1'>*"The Swiss Family Robinson." By J. R. Wyss. With an +introduction by William Dean Howells. Illustrated from +drawings made by Louis Rhead. 8vo. Cloth, $1.50. +Harper.</div> + +<div class='hang1'>"Swiss Family Robinson." By J. R. Wyss. Illustrated in +colour. 8vo. Cloth, $1.50. Lippincott.</div> + +<div class='hang1'>"The Swiss Family Robinson." By J. R. Wyss. Illustrated +by E. Prater. 12mo. Cloth, $1.25. Dutton.</div> + +<div class='hang1'>"The Swiss Family Robinson." By J. R. Wyss. Illustrated. +16mo. Cloth, $.50. Crowell.</div> + +<div class='hang1'>"The Swiss Family Robinson." By J. R. Wyss. Illustrated +by T. H. Robinson with 25 colour-plates. Large 8vo. +Cloth, $2.00. Doran.</div> + +<div class='hang1'>"Little Lame Prince." By Mrs. Dinah Mulock Craik.<span class='pagenum'><a name="Page_289" id="Page_289">[289]</a></span> +(Boy's and Girl's Series.) Ill. 12mo. Cloth, $.75. Macmillan.</div> + +<div class='hang1'>"The Child's Rip Van Winkle." Illustrated in colour by Maria +L. Kirk. 4to. Cloth, $1.50. Stokes.</div> + +<div class='hang1'>"Rip Van Winkle and the Legend of Sleepy Hollow." By +Washington Irving. Photogravures and text cuts. 2 vols. +8vo. Cloth, $3.50. Putnam. Also in the Ariel Classics +at $1.50.</div> + +<div class='hang1'>*"Rip Van Winkle and the Legend of Sleepy Hollow." By +Washington Irving. Illustrated by George Boughton. +12mo. Cloth, $1.50. Macmillan. In the New Cranford +Series. Some day the child should own an edition of Irving.</div> + +<div class='hang1'>"Rip Van Winkle." By Washington Irving. Illustrated with +50 colour-plates by Arthur Rackham. 7×10. Cloth, +$5.00. Doubleday.</div> + +<div class='hang1'>*"Old Christmas." By Washington Irving. Illustrated by +R. Caldecott. 12mo. Cloth, $1.50. (Cranford Series.) +Also in an $.80 edition. Macmillan.</div> + +<div class='hang1'>"The Alhambra." By Washington Irving. Illustrated by +J. Pennell. 12mo. Cloth, $1.50. (Cranford Series.) +Macmillan. Also in an $.80 edition.</div> + +<div class='hang1'>"Irving's Alhambra." Edited by A. M. Hitchcock. (Pocket +Classics Series.) 24mo. Cloth, $.25. Macmillan.</div> + +<div class='hang1'>"Irving's Sketch Book." (Pocket Classics Series.) 24mo. +Cloth, $.25. Macmillan.</div> + +<div class='hang1'>"A Christmas Carol." By Charles Dickens. Illustrated in +colour by A. C. Michael. 4to. Cloth, $2.00. Doran.</div> + +<div class='hang1'>"Dickens' Christmas Carol." Edited by J. M. Sawin +and Ida N. Thomas. (Pocket Classics Series.) 24mo. +Cloth, $.25. Macmillan.</div> + +<div class='hang1'>"A Christmas Carol." By Charles Dickens. Illustrated in +colour and line by George Alfred Williams. Square 8vo. +Cloth, $2.00. Baker.</div> + +<div class='hang1'>"A Christmas Carol." By Charles Dickens. Illustrated with<span class='pagenum'><a name="Page_290" id="Page_290">[290]</a></span> +photogravures by F. S. Coburn. 12mo. Cloth, $1.75. +Putnam.</div> + +<div class='hang1'>"A Christmas Carol." By Charles Dickens. Illustrated in +colour by Ethel Everett. 8vo. Cloth, $1.50. Crowell.</div> + +<div class='hang1'>*"A Christmas Carol." Illustrated in colour by C. E. Brock. +12mo. Cloth, $1.00. Dutton.</div> + +<div class='hang1'>"A Christmas Carol." By Charles Dickens. Illustrated. +16mo. Half-leather, $.60. Houghton.</div> + +<div class='hang1'>"Westward Ho!" By Charles Kingsley. Illustrated. 12mo. +Cloth, $1.25. Also in an $.80 edition illustrated by C. E. +Brock. Macmillan.</div> + +<div class='hang1'>"Tom Brown's School Days." By Thomas Hughes. Edited +by F. Sedgwick. Illustrated in colour. 8vo. Cloth, +$3.25. Putnam.</div> + +<div class='hang1'>"Tom Brown's School Days." By Thomas Hughes. Illustrated +by Louis Rhead. 8vo. Cloth, $1.50. Harper.</div> + +<div class='hang1'>*"Tom Brown's School Days." By Thomas Hughes. Illustrated +by E. J. Sullivan. 12mo. Cloth, $1.50. In the +New Cranford Series. Macmillan.</div> + +<div class='hang1'>"Tom Brown's School Days." By Thomas Hughes. Illustrated. +16mo. Half-leather, $.60. Houghton.</div> + +<div class='hang1'>"Quentin Durward." By Sir Walter Scott. Edited by A. L. +Eno. 24mo. (Pocket Classics.) Cloth, $.25. Macmillan.</div> + +<div class='hang1'>"Little Women." By Louisa May Alcott. Fully illustrated. +Crown 8vo. Cloth, $2.00. Little.</div> + +<div class='hang1'>"Madam How and Lady Why." By Charles Kingsley. Illustrated. +12mo. Cloth, $.50. (Standard School Library.) +Macmillan.</div> + +<div class='hang1'>*"The Sundering Flood: A Romance." By William Morris. +Royal 8vo. Cloth, $2.25. Longmans.</div> + +<div class='hang1'>*"Tales from the Travels of Baron Munchausen." Edited by +Edward Everett Hale. Illustrated by H. P. Barnes after +Doré. 12mo. Cloth, $.20. Heath. For a boy with a +sense of humour this will afford a rare treat.<span class='pagenum'><a name="Page_291" id="Page_291">[291]</a></span></div> + +<div class='hang1'>"The Adventures of Baron Munchausen." Illustrated. 16mo. +Limp leather, $.75. In the Ariel Classics. Putnam.</div> + +<div class='hang1'>"Girls and Boys." By Anatole France. Illustrated in +charming colour-plates by Boutet de Monvel. 4to. +Boards, $2.25. Duffield.</div> + + +<h3>G—MORE RECENT BOOKS</h3> + +<div class='hang1'>*P—"The Prince and the Pauper." By Mark Twain. Crown +8vo. Cloth, $1.75. Harper. A capital story.</div> + +<div class='hang1'>P—"Uncle Remus and Bre'r Rabbit." By Joel Chandler +Harris. Illustrated in colour by J. A. Condé. Oblong 4to. +Cloth, $1.00. Stokes.</div> + +<div class='hang1'>"Uncle Remus and the Little Boy." Illustrated by J. M. +Condé, in colour. 4to. Cloth, $1.25. Small.</div> + +<div class='hang1'>*"Uncle Remus: His Songs and His Sayings." By Joel +Chandler Harris. Fully illustrated by A. B. Frost. 12mo. +Cloth, $2.00. Appleton. Charming folk-lore to read +aloud to children.</div> + +<div class='hang1'>"The Jungle Book." By Rudyard Kipling. Illustrated +by W. A. Drake and others. 12mo. Cloth, $1.50. Century.</div> + +<div class='hang1'>*"The Jungle Book." Illustrated in 16 full-page coloured plates +by Maurice and Edward Detmold. 12mo. Cloth, $2.50. +Century. A fine book for a child to own.</div> + +<div class='hang1'>*"The Second Jungle Book." By Rudyard Kipling. Decorated +by J. Lockwood Kipling. 12mo. Cloth, $1.50. +Century.</div> + +<div class='hang1'>*P—"Just-So Stories." By Rudyard Kipling. Illustrated in +full colour by J. M. Gleason. Royal 8vo. Cloth, $2.50. +Doubleday. There is a cheaper edition illustrated by the +author at $1.25.</div> + +<div class='hang1'>"Red Cap Tales." By S. R. Crockett. Illustrated in colour +plates by S. H. Vedder. 12mo. Cloth, $2.00. Macmillan. +An edition at $.50.<span class='pagenum'><a name="Page_292" id="Page_292">[292]</a></span></div> + +<div class='hang1'>*"Men of Iron." Written and illustrated by Howard +Pyle. Post 8vo. Cloth, $2.00. Harper. A romantic +story of the England of Henry IV. As popular with girls +as with boys.</div> + +<div class='hang1'>"The Wonder Clock." Written and illustrated by Howard +Pyle. 4to. Cloth, $2.00. Harper. Twenty-four +good tales. Equally as good are "Twilight Land" and +"Pepper and Salt," delightful fairy tales.</div> + +<div class='hang1'>"Stevenson's Kidnapped." Edited by John Thompson Brown. +(Pocket Classics Series.) 24mo. Cloth, $.25. Macmillan.</div> + +<div class='hang1'>"Pinocchio Under the Sea." Translated from the Italian by +Carolyn Della Chiesa. Edited by John W. Davis. With +numerous illustrations and decorations in colours and black-and-white, +by Florence Rutledge Abel Wilde. 12mo. Dec. +cloth, $1.25. Macmillan.</div> + +<div class='hang1'>"Peter Pan Picture Book, The." By Alice B. Woodward and +Daniel O'Connor. Fourth Edition. Col. Ill. 8vo. Cloth, +$1.50. Macmillan.</div> + +<div class='hang1'>"Peter Pan: The Story Of." By Daniel O'Connor. Ill. +12mo. Cloth, $.30. Macmillan.</div> + +<div class='hang1'>"Voyage of the Hoppergrass." By Edmund Lester Pearson. +Ill. 12mo. Cloth, $1.35. Macmillan.</div> + +<div class='hang1'>"Children of the Wild." By Charles G. D. Roberts. Ill. +12mo. Dec. cloth, $1.35. Macmillan.</div> + +<div class='hang1'>"Christmas Tales and Christmas Verse." By Eugene +Field. Illustrated by Florence Storer. 8vo. Cloth, +$1.50. Scribner.</div> + +<div class='hang1'>"Christmas Every Day." By William Dean Howells. +Illustrated and decorated in colour. Small 4to. Cloth, +$1.75. Harper.</div> + +<div class='hang1'>"Fairies—Of Sorts." By Mrs. Molesworth. Illus. by +Gertrude Hammond. 12mo. Cloth, $1.50. Macmillan.</div> + +<div class='hang1'>"Magic Nuts, The." By Mrs. Molesworth. 12mo. Cloth, +$1.25. Macmillan.<span class='pagenum'><a name="Page_293" id="Page_293">[293]</a></span></div> + +<div class='hang1'>"The Queen's Museum and Other Fanciful Tales." By +Frank R. Stockton. Illustrated in colour and black-and-white +by Frederick Richardson. Royal 8vo. Cloth, $2.50. +Scribner.</div> + +<div class='hang1'>"Tales of the Enchanted Islands of the Atlantic." By Thomas +Wentworth Higginson. Ill. by Albert Herter. 12mo. +Cloth, $1.50. Macmillan.</div> + +<div class='hang1'>"Captains Courageous." By Rudyard Kipling. Illustrated +by Taber. 12mo. Cloth, $1.50. Century.</div> + + +<h3>THE HOLY BIBLE</h3> + +<div class='hang1'>"The Child's Bible." Arranged from the Authorized Version +with an introduction by Bishop Doane. Illustrated with +100 full-page plates by modern artists. 4to. Cloth, $3.50. +Cassell.</div> + +<div class='hang1'>*"The Bible for Young People." Arranged from the Authorized +Version by Mrs. Joseph B. Gilder. Illustrated with engravings +from paintings by the old masters. 4to. Cloth, $1.50. +Century. For children under twelve years.</div> + +<div class='hang1'>"The Old, Old Story-Book." Arranged from the Authorized +Version by Eva Marsh Tappan. Illustrated. 8vo. Cloth, +$1.50. Houghton.</div> + +<div class='hang1'>"Bible Story Retold for Young People." By W. H. Bennett +and W. F. Adeney. 2 parts: I. Old Testament Story. +II. New Testament Story. Maps. Ill. 12mo. Each $.60; +in one vol., $1.00. Macmillan.</div> + +<div class='hang1'>"Bible Stories." (Children's Series of the Modern Reader's +Bible.) By R. G. Moulton. 2 vols.: I. Old Testament; +II. New Testament. 16mo. Cloth, each, $.50. Macmillan.</div> + +<div class='hang1'>*"Select Masterpieces of Biblical Literature." (Modern +Reader's Bible.) Edited by R. G. Moulton. 24mo. +Cloth, $.50; leather, $.60. Macmillan.<span class='pagenum'><a name="Page_294" id="Page_294">[294]</a></span></div> + +<div class="blockquot"><p>It is doubtful if Bible stories in simple language form are of much +value to the boy. If he is too young to read the language on his own +account, the stories had better be read aloud to him from the Authorized +Version. Then as early as possible let him cultivate the habit of learning +this wonderful book first hand. Nothing in the field of literature will +serve him better than will this reading habit.</p></div> + +<div class='hang1'>*"Holy Bible, Containing the Old and New Testaments; Translated +out of the Original Tongues, and with Former Translation +Diligently Compared and Revised, by His Majesty's +Special Command." 8vo. Cloth, $1.30. Self-pronouncing +in long primer type. Oxford Press.</div> + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_295" id="Page_295">[295]</a></span></p> +<h2>INDEX TO FIRST LINES OF POEMS</h2> + + + +<div class='center'> +<table border="0" cellpadding="0" cellspacing="0" summary="First lines of poems"> +<tr><td align='left'> </td><td align='left'><span class='small'>PAGE</span></td></tr> +<tr><td align='left'>A great while ago the world began</td><td align='right'><a href="#Page_58">58</a></td></tr> +<tr><td align='left'>A life on the ocean wave</td><td align='right'><a href="#Page_130">130</a></td></tr> +<tr><td align='left'>As I in hoary winter's night stood shivering in the snow </td><td align='right'><a href="#Page_85">85</a></td></tr> +<tr><td align='left'>At Flores in the Azores, Sir Richard Grenville lay</td><td align='right'><a href="#Page_122">122</a></td></tr> +<tr><td align='left'>A wet sheet and a flowing sea</td><td align='right'><a href="#Page_86">86</a></td></tr> +<tr><td align='left'>Bless the Lord, O my soul</td><td align='right'><a href="#Page_152">152</a></td></tr> +<tr><td align='left'>Blow, blow, thou winter wind</td><td align='right'><a href="#Page_98">98</a></td></tr> +<tr><td align='left'>Boats sail on the rivers</td><td align='right'><a href="#Page_38">38</a></td></tr> +<tr><td align='left'>Boot, saddle, to horse and away</td><td align='right'><a href="#Page_93">93</a></td></tr> +<tr><td align='left'>By the rude bridge that arched the flood</td><td align='right'><a href="#Page_134">134</a></td></tr> +<tr><td align='left'>Call for the robin redbreast and the wren</td><td align='right'><a href="#Page_70">70</a></td></tr> +<tr><td align='left'>Come, dear children, let us away</td><td align='right'><a href="#Page_73">73</a></td></tr> +<tr><td align='left'>Come follow, follow me</td><td align='right'><a href="#Page_64">64</a></td></tr> +<tr><td align='left'>Come unto these yellow sands</td><td align='right'><a href="#Page_57">57</a></td></tr> +<tr><td align='left'>Dainty little maiden, whither would you wander</td><td align='right'><a href="#Page_49">49</a></td></tr> +<tr><td align='left'>Do you ask what the birds say? the sparrow, the dove</td><td align='right'><a href="#Page_59">59</a></td></tr> +<tr><td align='left'>Entreat me not to leave thee</td><td align='right'><a href="#Page_55">55</a></td></tr> +<tr><td align='left'>Faintly as tolls the evening chime</td><td align='right'><a href="#Page_105">105</a></td></tr> +<tr><td align='left'>Fair Daffodils, we weep to see</td><td align='right'><a href="#Page_89">89</a></td></tr> +<tr><td align='left'>From gold to gray</td><td align='right'><a href="#Page_119">119</a></td></tr> +<tr><td align='left'>From Oberon, in fairy land</td><td align='right'><a href="#Page_91">91</a></td></tr> +<tr><td align='left'>Full fathom five thy father lies</td><td align='right'><a href="#Page_67">67</a></td></tr> +<tr><td align='left'>God of our fathers, known of old</td><td align='right'><a href="#Page_141">141</a></td></tr> +<tr><td align='left'>Good-bye, good-bye to Summer</td><td align='right'><a href="#Page_60">60</a></td></tr> +<tr><td align='left'>Hark, hark, the dogs do bark</td><td align='right'><a href="#Page_33">33</a></td></tr> +<tr><td align='left'>Hark, hark, the lark at heaven's gate sings</td><td align='right'><a href="#Page_68">68</a></td></tr> +<tr><td align='left'><span class='pagenum'><a name="Page_296" id="Page_296">[296]</a></span>Haste thee, Nymph, and bring with thee</td><td align='right'><a href="#Page_120">120</a></td></tr> +<tr><td align='left'>He clasps the crag with crooked hands</td><td align='right'><a href="#Page_131">131</a></td></tr> +<tr><td align='left'>He that dwelleth in the secret place of the most high</td><td align='right'><a href="#Page_113">113</a></td></tr> +<tr><td align='left'>How sleep the brave who sink to rest</td><td align='right'><a href="#Page_130">130</a></td></tr> +<tr><td align='left'>Hush thee, my babby</td><td align='right'><a href="#Page_35">35</a></td></tr> +<tr><td align='left'>Hush! the waves are rolling in</td><td align='right'><a href="#Page_49">49</a></td></tr> +<tr><td align='left'>I bring fresh showers for the thirsting flowers</td><td align='right'><a href="#Page_116">116</a></td></tr> +<tr><td align='left'>I come from haunts of coot and hern</td><td align='right'><a href="#Page_82">82</a></td></tr> +<tr><td align='left'>I have a little shadow that goes in and out with me</td><td align='right'><a href="#Page_46">46</a></td></tr> +<tr><td align='left'>In winter I get up at night</td><td align='right'><a href="#Page_40">40</a></td></tr> +<tr><td align='left'>I saw a ship a-sailing</td><td align='right'><a href="#Page_36">36</a></td></tr> +<tr><td align='left'>I saw you toss the kites on high</td><td align='right'><a href="#Page_56">56</a></td></tr> +<tr><td align='left'>I sprang to the stirrup, and Joris, and he</td><td align='right'><a href="#Page_108">108</a></td></tr> +<tr><td align='left'>It was the schooner Hesperus</td><td align='right'><a href="#Page_100">100</a></td></tr> +<tr><td align='left'>I wandered lonely as a cloud</td><td align='right'><a href="#Page_135">135</a></td></tr> +<tr><td align='left'>Jog on, jog on, the foot-path way</td><td align='right'><a href="#Page_58">58</a></td></tr> +<tr><td align='left'>Lady Moon, Lady Moon, where are you roving</td><td align='right'><a href="#Page_54">54</a></td></tr> +<tr><td align='left'>Little Bo-Peep has lost her sheep</td><td align='right'><a href="#Page_35">35</a></td></tr> +<tr><td align='left'>Little Boy Blue, come blow your horn</td><td align='right'><a href="#Page_34">34</a></td></tr> +<tr><td align='left'>Little Lamb, who made thee</td><td align='right'><a href="#Page_51">51</a></td></tr> +<tr><td align='left'>Lord, thou hast been our dwelling place</td><td align='right'><a href="#Page_132">132</a></td></tr> +<tr><td align='left'>Minnie and Winnie lived in a shell</td><td align='right'><a href="#Page_50">50</a></td></tr> +<tr><td align='left'>Much have I travell'd in the realms of gold</td><td align='right'><a href="#Page_140">140</a></td></tr> +<tr><td align='left'>My heart leaps up when I behold</td><td align='right'><a href="#Page_70">70</a></td></tr> +<tr><td align='left'>Now fades the last long streak of snow</td><td align='right'><a href="#Page_107">107</a></td></tr> +<tr><td align='left'>Of speckled eggs the birdie sings</td><td align='right'><a href="#Page_37">37</a></td></tr> +<tr><td align='left'>Oh, hush thee, my babie! thy sire was a knight</td><td align='right'><a href="#Page_63">63</a></td></tr> +<tr><td align='left'>Oh, who is so merry, so merry, heigh-ho</td><td align='right'><a href="#Page_44">44</a></td></tr> +<tr><td align='left'>O Lord, our Lord</td><td align='right'><a href="#Page_79">79</a></td></tr> +<tr><td align='left'>O Mary, go and call the cattle home</td><td align='right'><a href="#Page_104">104</a></td></tr> +<tr><td align='left'>Over hill, over dale</td><td align='right'><a href="#Page_69">69</a></td></tr> +<tr><td align='left'>O wedding-guest! this soul hath been</td><td align='right'><a href="#Page_106">106</a></td></tr> +<tr><td align='left'>Pack, clouds, away, and welcome day</td><td align='right'><a href="#Page_71">71</a></td></tr> +<tr><td align='left'>Pease porridge hot</td><td align='right'><a href="#Page_33">33</a></td></tr> +<tr><td align='left'>Pibroch of Donuil Dhu</td><td align='right'><a href="#Page_117">117</a></td></tr> +<tr><td align='left'><span class='pagenum'><a name="Page_297" id="Page_297">[297]</a></span>Pussy cat, pussy cat, where have you been</td><td align='right'><a href="#Page_33">33</a></td></tr> +<tr><td align='left'>Queen and huntress, chaste and fair</td><td align='right'><a href="#Page_84">84</a></td></tr> +<tr><td align='left'>Ring out, wild bells, to the wild sky</td><td align='right'><a href="#Page_65">65</a></td></tr> +<tr><td align='left'>Season of mists and mellow fruitfulness</td><td align='right'><a href="#Page_137">137</a></td></tr> +<tr><td align='left'>Sleep, baby, sleep, our cottage vale is deep</td><td align='right'><a href="#Page_34">34</a></td></tr> +<tr><td align='left'>Sleep, baby, sleep, thy father is tending the sheep</td><td align='right'><a href="#Page_41">41</a></td></tr> +<tr><td align='left'>Spring, the sweet spring, is the year's pleasant king</td><td align='right'><a href="#Page_53">53</a></td></tr> +<tr><td align='left'>Sweet and low, sweet and low</td><td align='right'><a href="#Page_47">47</a></td></tr> +<tr><td align='left'>The Assyrian came down like a wolf on the fold</td><td align='right'><a href="#Page_111">111</a></td></tr> +<tr><td align='left'>The cock is crowing</td><td align='right'><a href="#Page_72">72</a></td></tr> +<tr><td align='left'>The curfew tolls the knell of parting day</td><td align='right'><a href="#Page_146">146</a></td></tr> +<tr><td align='left'>The friendly cow, all red and white</td><td align='right'><a href="#Page_39">39</a></td></tr> +<tr><td align='left'>The gorse is yellow on the heath</td><td align='right'><a href="#Page_97">97</a></td></tr> +<tr><td align='left'>The heavens declare the glory of God</td><td align='right'><a href="#Page_94">94</a></td></tr> +<tr><td align='left'>The king sits in Dunfermline town</td><td align='right'><a href="#Page_142">142</a></td></tr> +<tr><td align='left'>The Lord is my shepherd</td><td align='right'><a href="#Page_42">42</a></td></tr> +<tr><td align='left'>The melancholy days are come, the saddest of the year</td><td align='right'><a href="#Page_99">99</a></td></tr> +<tr><td align='left'>The Northern Star sailed over the bar</td><td align='right'><a href="#Page_96">96</a></td></tr> +<tr><td align='left'>The rain is raining all around</td><td align='right'><a href="#Page_37">37</a></td></tr> +<tr><td align='left'>The splendour falls on castle walls</td><td align='right'><a href="#Page_81">81</a></td></tr> +<tr><td align='left'>The voice of my beloved! behold, he cometh</td><td align='right'><a href="#Page_65">65</a></td></tr> +<tr><td align='left'>The warm sun is failing, the bleak wind is wailing</td><td align='right'><a href="#Page_90">90</a></td></tr> +<tr><td align='left'>The world is so full of a number of things</td><td align='right'><a href="#Page_37">37</a></td></tr> +<tr><td align='left'>The year's at the spring</td><td align='right'><a href="#Page_67">67</a></td></tr> +<tr><td align='left'>This is the ship of pearl, which, poets feign</td><td align='right'><a href="#Page_136">136</a></td></tr> +<tr><td align='left'>Three mice went into a hole to spin</td><td align='right'><a href="#Page_34">34</a></td></tr> +<tr><td align='left'>Under the greenwood tree</td><td align='right'><a href="#Page_88">88</a></td></tr> +<tr><td align='left'>Up the airy mountain</td><td align='right'><a href="#Page_52">52</a></td></tr> +<tr><td align='left'>Up, up, ye dames, ye lasses gay</td><td align='right'><a href="#Page_73">73</a></td></tr> +<tr><td align='left'>Wee Willie Winkie runs through the town</td><td align='right'><a href="#Page_35">35</a></td></tr> +<tr><td align='left'>What does little birdie say</td><td align='right'><a href="#Page_41">41</a></td></tr> +<tr><td align='left'>When cats run home and light is come</td><td align='right'><a href="#Page_58">58</a></td></tr> +<tr><td align='left'>When children are playing alone on the green</td><td align='right'><a href="#Page_61">61</a></td></tr> +<tr><td align='left'>When daffodils begin to peer</td><td align='right'><a href="#Page_58">58</a></td></tr> +<tr><td align='left'>Whenever the moon and stars are set</td><td align='right'><a href="#Page_39">39</a></td></tr> +<tr><td align='left'><span class='pagenum'><a name="Page_298" id="Page_298">[298]</a></span>When icicles hang by the wall</td><td align='right'><a href="#Page_68">68</a></td></tr> +<tr><td align='left'>When I was sick and lay a-bed</td><td align='right'><a href="#Page_45">45</a></td></tr> +<tr><td align='left'>When the green woods laugh with the voice of joy</td><td align='right'><a href="#Page_62">62</a></td></tr> +<tr><td align='left'>Where lies the land to which the ship would go</td><td align='right'><a href="#Page_87">87</a></td></tr> +<tr><td align='left'>Where the bee sucks, there suck I</td><td align='right'><a href="#Page_57">57</a></td></tr> +<tr><td align='left'>Whither, 'midst falling dew</td><td align='right'><a href="#Page_139">139</a></td></tr> +<tr><td align='left'>Who has seen the wind</td><td align='right'><a href="#Page_38">38</a></td></tr> +<tr><td align='left'>Who is Sylvia? what is she</td><td align='right'><a href="#Page_121">121</a></td></tr> +<tr><td align='left'>Who would true valour see</td><td align='right'><a href="#Page_115">115</a></td></tr> +<tr><td align='left'>You spotted snakes with double tongue</td><td align='right'><a href="#Page_47">47</a></td></tr> +</table></div> +<hr style="width: 65%;" /> + + +<div class='tnote'><h3>Transcriber's Notes:</h3> +<p>Obvious punctuation errors repaired.</p> + +<p>The remaining corrections made are indicated by dotted lines under the corrections. Scroll the mouse over the word and the original text will <ins title="Transcriber's Note: original reads 'apprear'">appear</ins>.</p></div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Literature for Children, by Orton Lowe + +*** END OF THIS PROJECT GUTENBERG EBOOK LITERATURE FOR CHILDREN *** + +***** This file should be named 35138-h.htm or 35138-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/5/1/3/35138/ + +Produced by Mark C. 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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: Literature for Children + +Author: Orton Lowe + +Release Date: February 1, 2011 [EBook #35138] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK LITERATURE FOR CHILDREN *** + + + + +Produced by Mark C. Orton, 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) + + + + + + + + + + + +LITERATURE FOR CHILDREN + +BY + +ORTON LOWE + +ASSISTANT SUPERINTENDENT OF THE ALLEGHENY COUNTY PENNSYLVANIA, PUBLIC +SCHOOLS + + New York + THE MACMILLAN COMPANY + 1922 + + _All rights reserved_ + + + + + PRINTED IN THE UNITED STATES OF AMERICA + + COPYRIGHT, 1914, + BY THE MACMILLAN COMPANY. + + Set up and electrotyped. Published June, 1914. + + Norwood Press + J. S. Cushing Co.--Berwick & Smith Co. + Norwood, Mass., U.S.A. + + + + +PREFACE + + +THIS book is about books of literature. Its excuse for being at all is +in the over-reading of books that are not literature. Confusion and +hurry confront both child and teacher in the land of books. The hope is +held that something can be done to lead the child out of this confusion. + +There is no greater possibility existing in the child's educational life +than the possibility of self-cultivation in the reading of great books. +Nor has there ever been a greater need for the quiet reading of such +books than in a time of wonderful mechanical invention. Shall a boy fly +or shall he read? It seems both fair and possible to say that he may fly +but he must read. Whatever be the line of work he chooses to follow, he +will have spare hours. His contribution to the life of his community and +the rounding out of his individual life are dependent very largely on +the wise use of these spare hours. Some spare hours may be given to +music or the theatre, some to social entertainment, some to outdoor +sports, some to church aid work; but some must surely be given to the +reading of great books. + +The following pages attempt to set the boy on the right trail, so that +when he reaches man's estate he will of his own accord devote a just +portion of his spare hours to books of literature. To do this, attention +needs to be given to these practices: the learning of a little choice +poetry by heart, the learning of a few fairy stories and myths through +the ear, the reading and rereading of a few great books, the saving of +money to build up a small but well-selected private bookshelf, the +practice of reading aloud by the fireside or in the schoolroom. The +chances are that a boy so directed will find reading a pleasure and will +turn to what is really worth while. The attempt by parents and teachers +to bring about an abiding love for books of power is a most commendable +attempt; and, if successful, the best contribution to a refined private +life. To all such attempts these pages aim to contribute. + +The preparation of these pages has been made easier and surer by the +generous aid of Mr. Fred L. Homer, of the Central High School of +Pittsburgh, and Mr. Homer L. Clark, a business man of Cleveland, in +reading a greater portion of the manuscript; by Miss Emily Beal, of the +Carnegie Library of Pittsburgh, in information on illustrated editions +of children's books; and by Mr. Ernest C. Noyes, of the Peabody High +School of Pittsburgh, in reading the proof. + +For kind permission to use copyright material the author thanks Mr. +Rudyard Kipling and Messrs. Doubleday, Page and Company for +"Recessional"; Professor Richard G. Moulton for the arrangement of the +selections of Hebrew poetry; Houghton, Mifflin and Company for the +selections from Longfellow, Holmes, Emerson, and Whittier; and The +Macmillan Company for the selections from Tennyson, Browning, Arnold, +Clough, and Rossetti. + + ORTON LOWE. + + PITTSBURGH, PENNSYLVANIA, + May, 1914. + + + + +CONTENTS + + + PAGE + PREFACE v + + PART I. INTRODUCTION + CHAPTER + I. THE VALUE OF GOOD BOOKS 3 + II. BOOKS AND LITERATURE IN ELEMENTARY SCHOOLS 11 + III. THE LEARNING OF LYRIC POETRY BY HEART 18 + + PART II. SELECTIONS FOR MEMORIZING + FIRST YEAR 33 + SECOND YEAR 44 + THIRD YEAR 56 + FOURTH YEAR 67 + FIFTH YEAR 81 + SIXTH YEAR 96 + SEVENTH YEAR 115 + EIGHTH YEAR 134 + + PART III. SOURCES OF STANDARD PROSE FOR CHILDREN + I. FAIRY TALES, HOUSEHOLD TALES, AND OTHER FANCIFUL TALES 159 + II. CLASSIC MYTHS IN LITERATURE 176 + III. BOOKS TO BE OWNED, TO BE READ AND REREAD 188 + IV. ON THE PURCHASE AND CARE OF BOOKS 219 + V. EDITIONS OF STANDARD BOOKS 232 + + BIBLIOGRAPHY 239 + + + + +PART I + + +INTRODUCTION + + + + +LITERATURE FOR CHILDREN + + + + +CHAPTER I + +THE VALUE OF GOOD BOOKS + + "The cloak that I left at Troas with Carpus, when + thou comest bring with thee, and the books, but + especially the parchments." + + +THE man who believes that education and books are designed for the +imparting only of useful information had better read no farther than +this sentence; for if he does, he will be irritated many a time by what +he regards as ideal and foolish and unworthy of a practical age. But if +he believes life to be something more than meat and the body something +more than raiment, and that he needs his books as well as his cloak +brought into Macedonia, he may with patience and sympathy follow the +guesses herein at the ways and means by which good books may be brought +into the life of a boy. For in the living out of the great story of +securing shelter and food and raiment, the boy who has never felt the +charm of a great book in chimney-corner days, or the man who has never +pored over a "midnight darling" by candlelight, has missed one of the +most refined and harmless pleasures of life. The very books themselves +are refining because they make up the art of literature, an art that is +in its highest sense an expression and interpretation of life. This art +deals with the beautiful. Its appeal is primarily to the feelings. Its +basis is truth whether actual or hoped for. It is this very nature of +literature itself that at the start brings up the question whether the +investment put into it is really worth while. How far has education a +right to develop a sense of the beautiful? What abiding pleasures and +tastes, if any, should the boy of school age seek and cultivate? Just +what equipment for life does a boy need, anyhow? + +These are big questions; they are knotty questions. They have never been +settled because they cannot be answered in a way satisfactory to all. +They are rather questions of temperament than of logic. To attempt an +investigation into the claims of literature in a scheme of education, +and to draw from such claims a logical conclusion, is beyond the +ability, knowledge, or inclination of the writer; only personal +impressions will be attempted in the chapters that follow. And besides, +such an investigation, if it could be made, would be so out of fashion +among schoolmasters at the present time that it might bring nothing but +reproach on the one attempting it. The very convenient plan is to assume +a certain educational specific as true and from that assumption to go +straight to a favourable conclusion. In accordance with this fashion it +seems the easiest way to take the privilege of the day and without more +ado assume that books of literature are necessary in the education of a +boy, and conclude therefrom that a principal business of the teacher is +to train the boy to read books intelligently and to form a substantial +taste for them. And why should not a schoolmaster who dotes on a few old +favourites have an unshaken faith in his assumption and go merrily on to +the business of the literature itself and what may be done toward +developing among school children a taste for it? + +The late Professor Norton pointed out that a taste for literature is a +result of cultivation more often than a gift of nature. The years of the +elementary school seem to be the time in which cultivation is easiest +and the one in which the taste takes deepest root. Vigorous and tactful +effort will go far to develop pure taste and abiding taste for books. + +The present age is more concerned about pure food than about pure +books--maybe an exemplification of John Bright's wish that the +working-men of England eat bacon rather than read Bacon. The bulky, +coarse food of the last century has been displaced by the sealed package +of condensed food done according to a formula, and a mystery to the man +who eats it. So is it in our books. We do not have the frankness and +vulgarity of the eighteenth century; but instead, we have the most +studied forms of insinuation, the harm of which was not approached by +the coarseness of former times. Many a present-day story makes the +ordinary course of life seem uninteresting, a dangerous thing for a book +to do, according to Ruskin. The conduct portrayed has in it too much of +personal freedom arising out of caprice, breaking too much with +traditional right through what a critic once designated as "debauching +innuendo and ill favoured love." The book is often spectacular or sullen +in tone. It may be melodramatic, leaving the reader rebellious or with a +weakened sense of responsibility. Or again, it may be given to +boisterous laughter over situations based on personal misfortune or bad +manners--the way of the comic supplement. And worst of all, it may +become the fashion; that is, a best seller. Its name and some of its +motives will probably get to the children through the talk of the +parents. Then to persuade the reading public that the pure taste for the +healthful story is much more worth while will try the resources of the +teacher. Yet that is exactly what should be expected of him--a Herculean +task and a most thankless one. + +To secure a stable as well as a pure taste for things worth while in +books should be an aim of the teacher. He must do this in an age when +the vaudeville idea is deep-rooted. Variety takes the place of sustained +attention. This begets the mood for profligacy. Something new and good +is expected to turn up in the shape of a book. In this mood there is +nothing to inspire to steady purpose. And it seems that the best thing +left for the teacher to do is to "come out strong" on a few good books. +Through fortune and misfortune such books will be permanent possessions +to their reader. + +The responsibility for securing this pure and abiding taste rests +primarily with the teacher. He needs to know and to appreciate the good +books which he desires the boy to read. He needs to know the poem or +story at first hand, not criticism about it. If the teacher has real +appreciation for a piece of literature, the boy will discern it in his +face. Then the boy can be put on the right scent and left to trail it +out for himself, as Scott long ago suggested. Time must be taken to do +this: a few good things must be done without fuss or hurry. It is +foolish to have a taste surfeited as soon as cultivated. Here is truly a +place to be temperate as well as enthusiastic. + +A teacher should be able to read aloud from a book with good effect. The +voice can bring out the finer touches that are likely to be missed by +the eye. No explanation in reading is so good as is adequate vocal +expression. In fact, as a rule, the less explaining the better. If there +is a single thing that for the last dozen years has stood in the way of +boys' and girls' appreciating good literature, it is the so-called +laboratory method. Of all the quack educational specifics that have +been advanced, the laboratory method, with a poem or an imaginative +story, has been the most presumptuous and absurd. Who cares to treat +fancies and fairies according to formulae? One might as well apply the +laboratory method to his faith and his hopes in his religion. + +In this struggle to bring good books into the life of the boy, many +opposing forces must be met with tact and with patience. Censorship of +books, like inspection of foods, may be highly desirable; but by no +means is it efficacious. The worthless book will continue to obtrude +itself at all times and on all occasions. Then there are the reading +habits of the community, the notions of parents about what the child +should read, and the child's own natural or acquired tastes,--these must +all be reckoned with. Here are a few of the opposing forces to be +encountered in every community: + +The juvenile series--the hardest problem to handle from the book side of +the question. The series is always "awful long," all of the volumes are +cut to the same pattern, they are always in evidence, and they are all +equally stupid. The themes range from boarding school proprieties to +criminal adventure; and they are all equally false to the facts of real +life or the longings for true romance. What shall be done with them? + +The ease of access of the child to the daily paper with headlines +inviting attention to the doings of police courts and clinics. + +The eagerness with which children read the comic supplement and even ask +at the public library if books of that class of humour cannot be had. + +The low-grade selection that is many times given the child by the school +reader as subject-matter from which to learn the great art of reading. + +The prejudice of parents and even of communities against fairy tales and +all forms of highly imaginative literature--the hardest thing to meet +from the reading side of the question. Librarians are requested not to +give fairy books to children. Such books are thought to be bad. The +demand is for true books. Parents have not discovered the existence of +the imagination and the part it has played in the intellectual, +artistic, and spiritual progress of man. But must school teachers not +first recognize the truth of this last statement before parents are +expected to do so? + +The impression that books of information are real literature and that +they ought to be sufficient subject-matter for any child's reading. + +The belief that books should teach facts and point morals rather than +entertain and refine and inspire. + +The early acquired taste of boys and girls for stories of everyday life; +boys turning to the athletic story and girls to the school story. + +Excessive reading and reading done at the suggestion of a chum. + +Lack of ownership of books and of the rereading of great books. + +The passing of the practice of reading aloud about the fireside. + +The teacher will surely need to summon his judgment, courage, and +perseverance if he is to succeed measurably in the effort for good +reading. Let him not forget that his most enduring work will not be +seeking to cut off from the child the book that is not good, nor yet +convincing the parents that this or that book is good or bad; but it +will be getting the interest and confidence of the child himself. When +the teacher comes to consider that a boy naturally loves a hero, and +like Tom Sawyer longs to "die temporarily," or that a girl is naturally +curious to open the forbidden door of the closet as was Fatima, he +cannot but see that this is good ground where the right seed will spring +up many fold. Here then is the place for the teacher to sow with care. +For him, the pages that follow are designed as something of a guide in +the field of children's books, if, whilst working as a husbandman +therein, by chance he feels the need of a fellow labourer. + + + + +CHAPTER II + +BOOKS AND LITERATURE IN ELEMENTARY SCHOOLS + + "He hath not fed of the dainties that are bred in + a book; he hath not eat paper, as it were; he hath + not drunk ink; his intellect is not replenished; + he is only an animal, only sensible in the duller + parts." + --SIR NATHANIEL. + + +THE place of literature in the primary and grammar grades of schools +needs neither a defence nor an apology. Being a part of that branch +called reading, it is fundamental in the course. The claims set up by +branches other than that of reading and speaking English do not concern +us here. We assume that the first portion of time in a programme is +allotted to this. The object may be dramatic expression in the lower +grades, getting the exact thought from a printed page and reproducing it +in the upper grades, drill in the mechanical details of the language, +such as spelling and pronunciation; or it may be that rare growth of +personality that comes, say, through the skilful reading of poetry +aloud. Without a fair degree of mastery of the elements of reading and +speaking English by the time he completes the grammar grade work, the +boy will enter a secondary school or turn to earning a living, +ill-equipped either to organize and express his own thoughts, or to +find profit and pleasure in gathering the thoughts of another from a +printed page--the greatest accomplishment that a school can give to any +one. It is rather common to hear a high school student say that he +cannot get the story by reading "The Lady of the Lake." This inability +is a positive discredit to what should be normal mental vigour; and such +a student will be found inefficient for the serious business of life or +the refined pleasure of the fireside. + +Now it behooves teachers to put on their thinking caps and devise ways +and means that will help students to get the thought from reading, to +tell this thought, and to appreciate the excellencies of good English +books. And they must do this single-handed and alone in the day school, +for but little help can be looked for from the Sunday school, from many +public libraries, and from the home as it is now governed. The child is +turned over to the teacher to train, and in that child lurk two +tendencies of American social life: the hope of getting something for +nothing and the passion for constant variety. And these tendencies are +unchecked by any exercise of that old-time positive authority in the +home, that had much salutary influence on young barbarians. But through +a foolish tolerance, the boy drifts into many habits that do not include +the exemplary ones of sustained attention, industry, thrift, and +self-reliance,--habits that make for efficient life. A royal road to +knowledge is expected, and travel thereon is to be unrestricted by +respect either for age or for authority. His hay must always be sugared. +He becomes a creature of whims, and with this creature the teacher finds +his task in hand. What are the reading habits and tastes that he brings +from his home, and how can the teacher best improve them? + +It is clear to even a casual observer that children leave the public +school without the groundwork for a course of reading either for +pleasure or for profit through life. It is also clear that they will get +little help in this line from places other than the public school as +things now obtain. And it is equally clear that the reading habits +formed before the age of fourteen years are the habits and tastes that +last. If then, according to his natural gifts, the student is to be led +to gather the fullest measure from the field of literature, it is the +special duty and privilege of the teacher to direct that gathering. To +this attempt to develop a taste for good literature, some one may raise +the objection that it will not fit all children--and the objection is +well taken. The appeal of literature is not universal. There are a few +persons who find its counterpart in a study and appreciation of the +beauties and wonders of nature. Then again there are many who, instead +of taking themselves to the art of books, find pleasure in perhaps the +greatest of all arts, the art of social intercourse--an art that is +universal enough to reach from vagabondia to the very exclusive set. +However, there is a vast class devoted to a subdued and refined domestic +life, and here it is that good books will bear good fruit many fold. +With this class the teacher must work. What then is to be given to the +children? + +Of course it is understood that we are to deal with the enduring +literature of childhood, the literature of power. And it is also to be +understood that reading is to be done in moderation and with care. Then +again it is evident that a certain amount of reading must be prescribed +and thoroughly mastered. Reading must be from what is standard down to +the point of appeal, lest the point always hold the boy to the earth +earthy. After a taste for onions has once been developed, little hope +can be entertained of making the boy a judge of the delicate flavour of +grapes--they will hang high. The teacher must assert a bit of that +healthful positive authority that sets many an urchin on the right path. +A limited choice from books that are classics may be given in good time. +All the chords of life have been struck in great literature, and a fair +knowledge and good judgment can reach almost any disposition, even the +most whimsical. + +The thing of first importance to be prescribed is learning classical +poetry by heart until its music has taken a hold on the learner. +Introduce the boy to the varied field of lyric poetry and you have put +before him one of the rarest and most abiding pleasures of life. Here +his troubled heart may always find consolation. Nothing will bring him +to a sense of his own personality with such a deft touch as a perfect +lyric coming to him through his own voice. The next thing to look to is +a right that is a fixed right of childhood and one that it is positively +vicious to suppress, the right to the land of fairy life. A free range +here will be meat and drink to any boy. Much sordidness and much +selfishness in old age come to the man or woman who has not a cultivated +imagination. Logic and cold facts are of precious little value in the +fireside life of a family. The best things of that life are not reasoned +out; but they are felt out and wondered out. Again, the great field of +mythology that is so fundamentally linked to that of literature, and +that is a capital mark of culture, should be open to the boy that he may +roam about and wonder at its mysteries. Then he may as certainly come to +own an "Age of Fable" as he must own a "Golden Treasury." And what a +pair are these! + +From these three fields the step will be to a knowledge and +classification of books and their authors, what books to own, and how to +take care of them. And to this working grasp of poetry and stories may +be added a little of what is possible in history, biography, and +personal essay. In this age of cheap and spurious book-making the +reader must know standard editions without abridged and garbled texts. +Even editors of hymn books do not hesitate to mutilate great hymns to +suit their particular notions. This freedom may be a form of that +exaggerated idea of personal privilege that was the gift of democracy in +the past century. A good knowledge of fables and proverbial wisdom will +certainly temper that notion. Such are some of the things that might be +prescribed by the teacher and learned by the student. The field as thus +given is limited, but the friends therein are dear friends. Nor are they +to be exchanged for the new friends that may come through the +advertising appeal, founded on the unsubstantial instinct for constant +variety. + +If enough idea of authority can ever be driven into the head of the +American boy to put him into the attitude of a willing learner, good +things may be looked for in habits of reading--provided the teacher be +equal to the responsible task that is laid upon him. The habits of +reading that measure the use of spare time, and in that way the +character of the individual, will work for a more sane and less showy +home life and through that for a community given to other than obtrusive +and frivolous social life. What bundle of habits will serve its slave +better than will this bundle? Or where is keener and more subdued +pleasure to be found? Though books are a bloodless substitute for life, +as Stevenson has well pointed out, we need some substitute in our hours +of ease, and a good book does passing well for such a substitute; and +this is especially true if the book be our favourite from the wonderful +Waverley series and with it we can square about to the fire, snuff the +candle, and let the rest of the world go spin. + + + + +CHAPTER III + +THE LEARNING OF LYRIC POETRY + + "These verses be worthy to keep a room in every + man's memory: they be choicely good." + + --From "The Complete Angler." + + +THE teacher who is a workman skilled in his craft looks upon a few +educational practices as being of intrinsic merit--through and through +in an age of veneer and cheap imitation. Of these practices the one most +fruitful under cultivation, when done with care and in moderation, is +that of learning good poetry by heart. The sense of having truly learned +a thing by heart, of having completely mastered it, is a most pleasant +sense to have. And when the thing learned is one of the many perfect +lyrics from the field of English poetry, a far-sighted judge who has +lived and considered what is of most value to the individual is led to +say: That is well and good. In some mysterious way this possession of a +few choice poems makes for a rarer personality and gives that touch +which can come only through a perfect work of art. By sheer force of +intellect a man may become a cold, designing man of action and set plans +on foot for the time being; but the power that is back of all great +movements for civilization and culture is one that is grounded in +feeling and constructive imagination. The proverbial songs of a nation +are a greater force than are its laws. In one of his most entertaining +essays, De Quincey points out that, when the intellect sets itself up in +opposition to the feelings, one should always trust to the feelings. +Normal instincts are worth more than syllogisms. The man who has attuned +himself to the moods and impulses of lyric poetry is a safe man in +action. Yet he is more than this; he has in him that which is the +groundwork of fireside pleasures and of the joys of companionship. In +other words, he is a man of cultivated imagination, and he can play in +many moods. + +Here it may not be amiss to mention the claim of the imagination to +consideration as a faculty of the mind and inquire to what extent it +should be cultivated in our schools; for if its claim be not good, there +is no warrant for using any of the literature of power as subject-matter +for education. Bearing on this question is the following excellent +remark by the late Charles Eliot Norton, who did so very much to raise +the standard of culture in American education: "The imagination is the +supreme intellectual faculty, and it is of all the one that receives +least attention in our common system of education. The reason is not far +to seek. The imagination is of all faculties the most difficult to +control, it is the most elusive of all, the rarest in its full power. +But upon its healthy development depend not only the sound exercise of +the faculties of observation and judgment, but also the command of the +reason, the control of the will, and the growth of the moral sympathies. +The means for its culture which good reading affords is the most +generally available and one of the most efficient." In the same +discussion Professor Norton has this to say of poetry as the highest +expression of the imagination: "Poetry is one of the most efficient +means of education of the moral sentiment, as well as of the +intelligence. It is the source of the best culture. A man may know all +science and yet remain uneducated. But let him truly possess himself of +the work of any one of the great poets, and no matter what else he may +fail to know, he is not without education." + +To the evident truth of these quotations the humanist will readily +assent; and so will the true scientist whose earnest and frank devotion +to truth makes it clear to him that nothing great in his field has ever +been done without a constructive imagination. The loss of artistic +imagination through years of painstaking investigation will be a source +of regret to any one devoted to science, as was the loss of the ability +to appreciate the charm of great poetry Darwin's old age regret. The +taste for this great poetry is grounded on healthful and normal +instincts, and it is the part of wisdom to see that this taste be +developed in youth. The boy who has nurtured his youthful imagination +on the magic of great verse will waken up some morning to find himself +among the competent ones of his generation. His life will be bounded by +that restraint which can come only through an inability to solve the +mysteries and wonders that his imagination is constantly conjuring up. +He wants much that he cannot understand and reason out; and the deeper +things of life, things which touch him most vitally as a living +creature, he looks on with reverence. If his imagination is alive to the +experiences of great poetry, he cannot scoff at things felt in the soul +but impossible of explanation. To him there are sacred things in the +fireside life and at the altar that are not to be laid bare by the +curiosity of the reasoner in his search for truth. And when the twilight +of the gods falls about him he is not curious to know, but he trusts and +fears. A song is worth more to him than a proof. On this he is satisfied +to throw himself. + +The music of the cathedral organ that Milton could hear daily as a boy +stirred his imagination, and in later years he brought forth verse that +for the grandeur and scope of its imagination has never been excelled. +In a minor but far more human key the songs and balladry of Scotland +awakened in Burns the imagination which has made him the idol of his +native land and loved wherever English poetry is known. Artistic +imagination for the creation or appreciation of poetry is contagious. +What is true of the poet himself is also true of the reader of great +poetry; its wonderful music causes him to feel and live poems that he +has not the gift to write down. It is with this feeling of poems, this +appreciation of the great work of poets, that we have to do. To awaken +feelings a teacher must have an imagination afire with a little verse +that is choicely good, must have at least felt the pure serene a time or +two. This same passion for verse, be it ever so limited, can be handed +over to the boy through a judicious use of the reading voice. That is +the teacher's work in hand. + +What kind of verse is to be handed over to the boy, and how much is +there to be of it? To the latter question the only safe answer is this: +not too much. Talents and tastes vary. Every student can be made to get +by rote a certain amount of verse; but as for learning it by heart, +feeling and appreciating its music, that is a different thing. The +greatest and most painstaking of all anthologists of English verse, +Francis Turner Palgrave, claims that there ought to be more than a +glimpse into the Elysian fields of song. In the best collection that has +yet appeared for the teacher or student, "The Children's Treasury of +English Song," Professor Palgrave has this to say in the introduction: +"The treasures here collected are but a few drops from an ocean, +unequalled in wealth and variety by any existing literature. But the +hope is held that it may prove a pleasure and gain to the dear English +and English-speaking children, all the world over,--yet the editor will +hold his work but half fulfilled, unless they are tempted by it to go on +and wander, in whatever direction their fancy may lead them, through the +roads and winding ways of this great and glorious world of English +poetry. He aims only at showing them the path, and giving them a little +foretaste of our treasures.--'To-morrow to fresh woods and pastures +new.'" That hope is to be the hope of the teacher; and it needs back of +it the mastering of a few choice lyrics, after which the boy is to be +sent forth to browse alone to his heart's desire. + +On the question of the kind of verse to give to the boy, Professor +Palgrave has made the following remark: "The standard of 'suitability to +childhood' must exclude many pieces that have 'merit as poetry': +pictures of life as it seems to middle age--poems coloured by +sentimentalism or morbid melancholy, however attractive to readers no +longer children--love as personal passion or regret (not love as the +groundwork of action)--artificial or highly allusive language--have, as +a rule, been held unfit. The aim has been to shun scenes and sentiments +alien from the temper of average healthy childhood, and hence of greater +intrinsic difficulty than poems containing unusual words." The +limitations of verse for children, as stated in the remark just quoted, +are reasonable and something of a guide to teachers. But they are not +always easy to follow. However, nothing must be given to the child +unless it has real merit as poetry, no matter how it may strike the +fancy at first reading. Nor is any poem that would be otherwise good, to +be excluded because it is feared the child may not completely grasp it. +He may read plenty of verse that is beyond him somewhat and be all the +better for having done so. The thing to be avoided is poetry that is not +poetry. He may be allowed to read verse at times that would not be +suitable for learning by heart. But what he learns thoroughly must be +through and through great poetry. And it matters little what form it may +have: ballad, song, fairy poem--he will learn to know it and to love it. +Nor is it to be always within the reach of his intellect; his feelings +will carry him safely beyond the narrow range of understanding. + +If he would reach the boy, the teacher must find a point of contact +between the home life and the altogether new life in the school. This +point is without doubt the nursery rhymes. Wise indeed are parents who +have taught these melodies before the school age has been reached, for +the teacher can start at once with the poems he intends to have learned. +But where these rhymes have not been mastered in the home, it is +imperative on the part of the first-grade teacher to have them mastered +in the first school year. For the teacher who hesitates about the +advisability of using the Mother Goose melodies, it may be well to state +their claim by a quotation from Charles Welsh in his modest but most +excellent collection called "A Book of Nursery Rhymes": "The direct +simplicity, dramatic imagination, and spontaneous humour of the nursery +rhymes of Mother Goose will probably never be excelled by any modern +verse. They will for the most part doubtless remain for all time 'the +light literature of the infant scholar.' Although some fragments of what +has been written since the collection was first made may go to swell the +volume of this inheritance from past ages, the selection of any +permanent addition will be made finally by the mother and the child. The +choice will be by no means a haphazard one, for it will be founded on +basal elements of human character, and it will, for the very same cause, +be an absolutely autocratic choice. Experience has proved these old +rhymes and jingles to be best fitted for the awakening intelligence of +the child. The appeal to the imagination by evoking a sense of wonder +accounts for the abiding place which these rhymes and jingles have in +the literature of the nursery." The truth of these words is so evident +that the teacher who would make the learning of poetry by heart a +pleasure must surely recognize such rhymes as the hitching-on place +between the literature of the home and that of the school. + +Next in simplicity, directness, and in the interest of its appeal is +verse in the ballad form. It is the easiest of all poetry to learn, for +it tells a dramatic tale in a simple way. But there are few short +ballads in the language suited to the grammar grades, and there is not +sufficient time for learning the longer ones by heart. Many of the best +old English ballads have difficulties for the child in the number of +obsolete words that they contain. These two things make it difficult to +use this absorbing field of poetry as subject-matter for learning by +heart. It is probably best to have the boy come to know the stories of +the ballads by hearing a frequent reading of them aloud by the teacher. +Of the ballads selected for such reading the teacher must go to the old +English field to get the greater number; but the modern field must not +be neglected, for no teacher could omit that powerful yet simple work of +genius, "The Rime of the Ancient Mariner." Its charm in holding the +hearer is as great as was the charm of the old mariner's eye itself when +telling the tale. If such a poem has been listened to in the elementary +school, it can be taught with greater ease in the secondary school. The +same thing is true of many poems. + +The greater number of selections that follow these two simple and direct +types, the nursery rhyme and the ballad, must be classic lyrics, fairly +well suited to the boy, and it matters little whether the form be song, +sonnet, ode, elegy, or that of Hebrew verse. In making these selections +poems of a martial nature are not to be altogether neglected; but they +must have fire, for without it a war ode is one of the most obsolete +works of the human intellect. An objection may be raised to the effect +that this type of poem is not suited to girls. To this objection the +answer may be made, that what is good literature for a boy ought to be +good literature for a girl. Will not a girl appreciate that great poem +of a sea fight, "The 'Revenge'"? It seems unwise to put in a list of +poems to be learned by heart an example of nonsense verse. This verse +evidently has a definite place in the intellectual equipment of the +child, and he may pick it up later of his own accord. No one would +knowingly, however, deprive him of "The Owl and the Pussy Cat," or "The +Jabberwocky"; even grown-ups dote on "Little Billee," as Thackeray +doubtless did himself. We must all fool more or less--even in verse. + +Some teachers will ask how poetry is to be taught. To that question the +absolute answer is: through the ear. All poetry is to be read aloud and +well read. The dry-as-dust fellow who wants to read it merely as prose +should be indicted for a crime against art. Poetry must be read +musically and with a natural time and swing. At this point it should be +understood that part of the work of a teacher is to develop a good +reading tone of voice. The present-day tendencies toward shrieking and a +mouthing of words are most deplorable tendencies. Let the teacher first +master the poem and then teach it by word of mouth, and teach it as +music. It will finally impress itself on the child. Now this reading by +which the poem is to be taught is to be merely a good natural +reading--not the affected and exaggerated one of the elocutionist. Let +the child get the idea that he must say the poem over and over until it +has become his own. There is much pleasure in saying poetry aloud when +one is walking by himself--a rare luxury in modern city or suburban +life. It does not matter if passers-by look on this practice as a sort +of lunacy, for it is a most commendable kind of lunacy to have and one +that all persons are not so lucky as to possess. + +So much is inviting us that no claim is made that the included list is +by any means the best one hundred poems. But it is one that the +experience of some years of schoolroom work has proved passing good. At +least it is good enough for the teacher who has not made a thorough +study of the subject. This, that, and t'other substitute might be +offered; but when all is said, the selections as they stand, if well +mastered, will be something of a king's treasury to the boy. + +For the convenience of the teacher the selections are given complete. +With but few exceptions the poems are unabridged and under the original +titles. When an extract has been made from a longer poem, the first +verse of the selection has generally been given as a title. All poems +might be remembered by first verses rather than by titles, and every +anthology should have an alphabetical index to first verses. The poems +as given below will vary in their appeal largely according to the mood +of the teacher and his natural temperament; but he can teach no poem +well unless he has mastered it himself and has come to appreciate it. +There are a few selections, however, as "The Fairy Life," "The Forsaken +Merman," and "I Wandered Lonely as a Cloud," that are so wholly +delightful that the teacher may hold them as favourite children of the +imagination. Let the teacher master the selections given below, and if +he so choose tear out the pages containing them and then throw the rest +of the book away; for if he truly knows these poems by heart, he will no +longer be a stranger to literature of power, and the purpose of this +book will have been fulfilled. + + + + +PART II + +SELECTIONS FOR MEMORIZING + + + + +FIRST YEAR + + +MOTHER GOOSE SONGS + +I + + Hark, hark, + The dogs do bark, + The beggars are coming to town; + Some in tags, + Some in rags, + And some in velvet gowns. + +II + + Pease porridge hot, + Pease porridge cold, + Pease porridge in the pot, nine days old. + Some like it hot, + Some like it cold, + Some like it in the pot, nine days old. + +III + + "Pussy cat, pussy cat, where have you been?" + "I've been to London to look at the Queen." + "Pussy cat, pussy cat, what did you there?" + "I frightened a little mouse under a chair." + +IV + + Three mice went into a hole to spin; + Puss passed by and Puss looked in: + "What are you doing, my little men?" + "Weaving coats for gentlemen." + "Please let me help you to wind off your threads." + "Ah, no, Mistress Pussy, you'd bite off our heads." + +V + + Little Boy Blue, come blow your horn, + The sheep's in the meadow, the cow's in the corn. + Where's the boy that looks after the sheep? + He's under the haycock, fast asleep. + "Will you wake him?" "No, not I; + For if I do, he'll be sure to cry." + +VI + + Sleep, baby, sleep! + Our cottage vale is deep: + The little lamb is on the green, + With snowy fleece so soft and clean. + Sleep, baby, sleep! + + Sleep, baby, sleep! + Thy rest shall angels keep: + While on the grass the lamb shall feed, + And never suffer want or need. + Sleep, baby, sleep! + +VII + + Hush thee, my babby, + Lie still with thy daddy, + Thy mammy has gone to the mill, + To grind thee some wheat + To get thee some meat, + And so, my dear babby, lie still. + + + VIII + + Wee Willie Winkie runs through the town, + Upstairs and downstairs, in his nightgown, + Rapping at the window, crying through the lock, + "Are the children in their beds? now it's eight o'clock." + + +LITTLE BO-PEEP + + Little Bo-peep has lost her sheep, + And can't tell where to find them; + Leave them alone and they'll come home, + And bring their tails behind them. + + Little Bo-peep fell fast asleep, + And dreamt she heard them bleating; + But when she awoke she found it a joke, + For still they all were fleeting. + + Then up she took her little crook, + Determined for to find them; + She found them indeed, but it made her heart bleed, + For they'd left all their tails behind 'em. + --MOTHER GOOSE. + + +I SAW A SHIP A-SAILING + + I saw a ship a-sailing, + A-sailing on the sea; + And, oh! it was all laden + With pretty things for thee. + + There were comfits in the cabin, + And apples in the hold; + The sails were made of silk, + And the masts were made of gold. + + The four-and-twenty sailors + That stood between the decks + Were four-and-twenty white mice, + With chains about their necks. + + The captain was a duck, + With a packet on his back; + And when the ship began to move, + The captain said, "Quack! quack!" + --MOTHER GOOSE. + + +THREE HAPPY THOUGHT SONGS + + I + + The world is so full of a number of things, + I'm sure we should all be as happy as kings. + + II + + The rain is raining all around, + It falls on field and tree, + It rains on the umbrellas here, + And on the ships at sea. + + III + + Of speckled eggs the birdie sings + And nests among the trees; + The sailor sings of ropes and things + In ships upon the seas. + + The children sing in far Japan, + The children sing in Spain; + The organ with the organ man + Is singing in the rain. + --ROBERT LOUIS STEVENSON. + + +BOATS SAIL ON THE RIVERS + + Boats sail on the rivers, + And ships sail on the seas; + But clouds that sail across the sky + Are prettier far than these. + + There are bridges on the rivers, + As pretty as you please; + But the bow that bridges heaven + And overtops the trees, + And builds a road from earth to sky, + Is prettier far than these. + --CHRISTINA G. ROSSETTI. + + +WHO HAS SEEN THE WIND? + + Who has seen the wind? + Neither I nor you; + But when the leaves hang trembling + The wind is passing through. + + Who has seen the wind? + Neither you nor I; + But when the trees bow down their heads + The wind is passing by. + --CHRISTINA G. ROSSETTI. + + +THE FRIENDLY COW + + The friendly cow all red and white + I love with all my heart; + She gives me milk with all her might, + To eat with apple tart. + + She wanders lowing here and there, + And yet she cannot stray, + All in the pleasant open air, + The pleasant light of day. + + And blown by all the winds that pass, + And wet with all the showers, + She walks among the meadow grass + And eats the meadow flowers. + --ROBERT LOUIS STEVENSON. + + +WINDY NIGHTS + + Whenever the moon and stars are set, + Whenever the wind is high, + All night long in the dark and wet, + A man goes riding by. + Late in the night when the fires are out, + Why does he gallop and gallop about? + + Whenever the trees are crying aloud, + And ships are tossed at sea, + By, on the highway, low and loud, + By at the gallop goes he. + By at the gallop he goes, and then + By he comes back at the gallop again. + --ROBERT LOUIS STEVENSON. + + +BED IN SUMMER + + In winter I get up at night + And dress by yellow candle light; + In summer, quite the other way, + I have to go to bed by day. + + I have to go to bed and see + The birds still hopping on the tree; + Or hear the grown-up people's feet + Still going past me in the street. + + And does it not seem hard to you, + When all the sky is clear and blue, + And I should like so much to play, + To have to go to bed by day? + --ROBERT LOUIS STEVENSON. + + +WHAT DOES LITTLE BIRDIE SAY? + + What does little birdie say, + In her nest at peep of day? + Let me fly, says little birdie, + Mother, let me fly away. + Birdie, rest a little longer, + Till the little wings are stronger. + So she rests a little longer, + Then she flies away. + + What does little baby say, + In her bed at peep of day? + Baby says, like little birdie, + Let me rise and fly away. + Baby, sleep a little longer, + Till the little limbs are stronger. + If she sleeps a little longer, + Baby too shall fly away. + --ALFRED LORD TENNYSON. + + +A SLUMBER SONG + + Sleep, baby, sleep. + Thy father is tending the sheep: + Thy mother is shaking the dreamland tree, + And down comes a little dream on thee. + Sleep, baby, sleep. + + Sleep, baby, sleep. + The large stars are the sheep: + The little stars are the lambs, I guess, + And the bright moon is the shepherdess. + Sleep, baby, sleep. + + Sleep, baby, sleep. + Our Saviour loves His sheep: + He is the Lamb of God on high, + Who for our sakes came down to die. + Sleep, baby, sleep. + --_From the German by_ CAROLINE SOUTHEY. + + +PSALM XXIII + + The Lord is my shepherd; + I shall not want. + + He maketh me to lie down in green pastures: + He leadeth me beside the still waters. + He restoreth my soul: + He leadeth me in the paths of righteousness for his name's sake. + + Yea, though I walk through the valley of the shadow of death, + I will fear no evil: + For thou art with me; + Thy rod and thy staff they comfort me. + + Thou preparest a table before me + In the presence of mine enemies: + Thou anointest my head with oil; + My cup runneth over. + + Surely goodness and mercy shall follow me all the days of my life: + And I will dwell in the house of the Lord forever. + --KING DAVID. + + + + +SECOND YEAR + + +THE LIGHT-HEARTED FAIRY + + Oh, who is so merry, so merry, heigh ho! + As the light-hearted fairy? heigh ho, + Heigh ho! + He dances and sings + To the sound of his wings + With a hey and a heigh and a ho. + + Oh, who is so merry, so airy, heigh ho! + As the light-headed fairy? heigh ho, + Heigh ho! + His nectar he sips + From the primroses' lips + With a hey and a heigh and a ho. + + Oh, who is so merry, so merry, heigh ho! + As the light-footed fairy? heigh ho, + Heigh ho! + The night is his noon + And his sun is the moon, + With a hey and a heigh and a ho. + --UNKNOWN. + + +THE LAND OF COUNTERPANE + + When I was sick and lay a-bed, + I had two pillows for my head, + + And all my toys beside me lay + To keep me happy all the day. + + And sometimes for an hour or so + I watched my leaden soldiers go, + + With different uniforms and drills, + Among the bed-clothes through the hills; + + And sometimes sent my ships in fleets + All up and down among the sheets; + + Or brought my trees and houses out, + And planted cities all about. + + I was the giant great and still + That sits upon the pillow-hill, + + And sees before him, dale and plain, + The pleasant land of counterpane. + --ROBERT LOUIS STEVENSON. + + +MY SHADOW + + I have a little shadow that goes in and out with me, + And what can be the use of him is more than I can see. + He is very, very like me from the heels up to the head; + And I see him jump before me when I jump into my bed. + + The funniest thing about him is the way he likes to grow-- + Not at all like proper children, which is always very slow; + For he sometimes shoots up taller like an india-rubber ball, + And he sometimes gets so little that there's none of him at all. + + He hasn't got a notion of how children ought to play, + And can only make a fool of me in every sort of way. + He stays so close beside me, he's a coward you can see; + I'd think shame to stick to nursie as that shadow sticks to me. + + One morning, very early, before the sun was up, + I rose and found the shining dew on every buttercup; + But my lazy little shadow, like an arrant sleepy-head, + Had stayed at home behind me and was fast asleep in bed. + --ROBERT LOUIS STEVENSON. + + +SWEET AND LOW + + Sweet and low, sweet and low, + Wind of the western sea; + Low, low, breathe and blow, + Wind of the western sea. + Over the rolling waters go, + Come from the dying moon, and blow, + Blow him again to me; + While my little one, while my pretty one, sleeps. + + Sleep and rest, sleep and rest, + Father will come to thee soon; + Rest, rest on mother's breast, + Father will come to thee soon; + Father will come to his babe in the nest, + Silver sails all out of the west + Under the silver moon; + Sleep, my little one, sleep, my pretty one, sleep. + --ALFRED LORD TENNYSON. + + +LULLABY FOR TITANIA + +_First Fairy_ + + You spotted snakes with double tongue, + Thorny hedgehogs, be not seen; + Newts and blind-worms, do no wrong; + Come not near our fairy queen. + + +_Chorus_ + + Philomel, with melody + Sing in our sweet lullaby; + Lulla, lulla, lullaby; lulla, lulla, lullaby: + Never harm, + Nor spell, nor charm, + Come our lovely lady nigh; + So, good night, with lullaby. + + +_Second Fairy_ + + Weaving spiders, come not here; + Hence, you long-legg'd spinners, hence; + Beetles black, approach not near; + Worm nor snail, do no offence. + + +_Chorus_ + + Philomel, with melody + Sing in our sweet lullaby; + Lulla, lulla, lullaby; lulla, lulla, lullaby: + Never harm, + Nor spell, nor charm, + Come our lovely lady nigh; + So, good night, with lullaby. + --WILLIAM SHAKESPEARE. + + +AN OLD GAELIC CRADLE SONG + + Hush! the waves are rolling in, + White with foam, white with foam! + Father toils amid the din; + But baby sleeps at home. + + Hush! the winds roar hoarse and deep. + On they come, on they come! + Brother seeks the lazy sheep; + But baby sleeps at home. + + Hush! the rain sweeps o'er the knowes, + Where they roam, where they roam; + Sister goes to seek the cows; + But baby sleeps at home. + --UNKNOWN. + + +CHILD-SONGS + +I + +THE CITY CHILD + + Dainty little maiden, whither would you wander? + Whither from this pretty home, the home where mother dwells? + "Far, and far away," said the dainty little maiden, + "All among the gardens, auriculas, anemones, + Roses and lilies and Canterbury-bells." + + Dainty little maiden, whither would you wander? + Whither from this pretty house, this city-house of ours? + "Far and far away," said the dainty little maiden, + "All among the meadows, the clover and the clematis, + Daisies and kingcups, and honeysuckle-flowers." + +II + +MINNIE AND WINNIE + + Minnie and Winnie + Slept in a shell. + Sleep, little ladies! + And they slept well. + + Pink was the shell within, + Silver without; + Sounds of the great sea + Wander'd about. + + Sleep, little ladies! + Wake not soon! + Echo on echo + Dies to the moon. + + Two bright stars + Peep'd into the shell. + "What are they dreaming of? + Who can tell?" + + Started a green linnet + Out of the croft; + Wake, little ladies, + The sun is aloft! + --ALFRED LORD TENNYSON. + + +THE LAMB + + Little Lamb, who made thee? + Dost thou know who made thee? + Gave thee life, and bade thee feed + By the stream and o'er the mead; + Softest clothing, woolly, bright; + Gave thee such a tender voice, + Making all the vales rejoice; + Little Lamb, who made thee? + Dost thou know who made thee? + + Little Lamb, I'll tell thee. + Little Lamb, I'll tell thee. + He is called by thy name, + For He calls Himself a Lamb:-- + + He is meek, and He is mild; + He became a little child: + I, a child, and thou, a lamb, + We are called by His name. + Little Lamb, God bless thee; + Little Lamb, God bless thee. + --WILLIAM BLAKE. + + +THE FAIRIES + + Up the airy mountain, + Down the rushy glen, + We daren't go a-hunting + For fear of little men; + Wee folk, good folk, + Trooping all together; + Green jacket, red cap, + And white owl's feather! + + Down along the rocky shore + Some make their home: + They live on crispy pancakes + Of yellow tide-foam; + Some in the reeds + Of the black mountain lake, + With frogs for their watch-dogs, + All night awake. + + By the craggy hill-side, + Through the mosses bare, + They have planted thorn-trees + For pleasure here and there. + Is any man so daring + As dig them up in spite, + He shall find their sharpest thorns + In his bed at night. + + Up the airy mountain, + Down the rushy glen, + We daren't go a-hunting + For fear of little men; + Wee folk, good folk, + Trooping all together; + Green jacket, red cap, + And white owl's feather! + --WILLIAM ALLINGHAM. + + +SPRING + + Spring, the sweet spring, is the year's pleasant king; + Then blooms each thing, then maids dance in a ring, + Cold doth not sting, the pretty birds do sing, + Cuckoo, jug-jug, pu-we, to-witta-woo! + + The palm and may make country houses gay, + Lambs frisk and play, the shepherds pipe all day, + And we hear aye birds tune this merry lay, + Cuckoo, jug-jug, pu-we, to-witta-woo! + + The fields breathe sweet, the daisies kiss our feet, + Young lovers meet, old wives a-sunning sit, + In every street these tunes our ears do greet, + Cuckoo, jug-jug, pu-we, to-witta-woo! + Spring, the sweet Spring! + --THOMAS NASH. + + +LADY MOON + + "I love the moon and the moon loves me; + God bless the moon and God bless me."--Old Song. + + "Lady Moon, Lady Moon, where are you roving?" + "Over the sea." + "Lady Moon, Lady Moon, whom are you loving?" + "All that love me." + + "Are you not tired with rolling, and never + Resting to sleep? + Why look so pale and so sad as forever + Wishing to weep?" + + "Ask me not this, little child, if you love me; + You are too bold. + I must obey the great Father above me, + And do as I'm told." + --LORD HOUGHTON. + + +SONG TO NAOMI + + Entreat me not to leave thee, + Or to return from following after thee; + For whither thou goest, I will go; + And where thou lodgest, I will lodge; + Thy people shall be my people, + And thy God my God; + Where thou diest, will I die, + And there will I be buried; + The Lord do so to me, + And more also, + If aught but death part thee and me. + --RUTH THE MOABITESS. + + + + +THIRD YEAR + + +THE WIND + + I saw you toss the kites on high + And blow the birds about the sky; + And all around I heard you pass, + Like ladies' skirts across the grass; + O wind, a-blowing all day long, + O wind, that sings so loud a song! + + I saw the different things you did, + But always you yourself you hid. + I felt you push, I heard you call, + I could not see yourself at all: + O wind, a-blowing all day long, + O wind, that sings so loud a song! + + O you that are so strong and cold, + O blower, are you young or old? + Are you a beast of field and tree, + Or just a stronger child than me? + O wind, a-blowing all day long, + O wind, that sings so loud a song! + --ROBERT LOUIS STEVENSON. + + +ARIEL'S SONGS + +I + + Where the bee sucks, there suck I: + In a cowslip's bell I lie; + There I couch when owls do cry. + On the bat's back I do fly + After summer merrily. + Merrily, merrily, shall I live now, + Under the blossom that hangs on the bough. + +II + + Come unto these yellow sands, + And then take hands: + Court'sied when you have, and kiss'd + The wild waves whist,-- + Foot it featly here and there; + And, sweet sprites, the burden bear. + Hark, hark! + Bow-wow. + The watch-dogs bark: + Bow-wow. + Hark, hark! I hear + The strain of strutting chanticleer + Cry, Cock-a-diddle-dow! + --WILLIAM SHAKESPEARE. + + +SONGS OF GOOD CHEER + +I + + When daffodils begin to peer, + With heigh the doxy over the dale, + Why then comes in the sweet o' the year: + For the red blood reigns in the winter's pale. + +II + + Jog on, jog on, the foot-path way, + And merrily hent the stile-a: + A merry heart goes all the day, + Your sad tires in a mile-a. + +III + + A great while ago the world began, + With heigh-ho the wind and the rain: + But that's all one, our play is done, + And we'll strive to please you every day. + --WILLIAM SHAKESPEARE. + + +THE OWL + + When cats run home and light is come, + And dew is cold upon the ground, + And the far-off stream is dumb, + And the whirring sail goes round, + And the whirring sail goes round; + Alone and warming his five wits, + The white owl in the belfry sits. + + When merry milkmaids click the latch, + And rarely smells the new-mown hay, + And the cock hath sung beneath the thatch + Twice or thrice his roundelay, + Twice or thrice his roundelay; + Alone and warming his five wits, + The white owl in the belfry sits. + --ALFRED LORD TENNYSON. + + +ANSWER TO A CHILD'S QUESTION + + Do you ask what the birds say? The sparrow, the dove, + The linnet, and thrush, say, "I love and I love!" + In the winter they're silent--the wind is so strong. + What it says I don't know, but it sings a loud song. + But green leaves, and blossoms, and sunny warm weather, + And singing, and loving,--all come back together. + But the lark is so brimful of gladness and love, + The green fields below him, the blue sky above, + That he sings, and he sings; and forever sings he-- + "I love my Love, and my Love loves me!" + --SAMUEL TAYLOR COLERIDGE. + + +ROBIN REDBREAST + + Good-bye, good-bye to Summer! + For Summer's nearly done; + The garden smiling faintly, + Cool breezes in the sun; + Our thrushes now are silent, + Our swallows flown away,-- + But Robin's here with coat of brown, + And ruddy breast-knot gay. + Robin, Robin Redbreast, + O Robin dear! + Robin sings so sweetly + In the falling of the year. + + Bright yellow, red, and orange, + The leaves come down in hosts; + The trees are Indian princes, + But soon they'll turn to ghosts; + The scanty pears and apples + Hang russet on the bough; + It's Autumn, Autumn, Autumn late, + 'Twill soon be Winter now. + Robin, Robin Redbreast, + O Robin dear! + And what will this poor Robin do? + For pinching days are near. + + The fire-side for the cricket, + The wheat-stack for the mouse, + When trembling night-winds whistle + And moan all round the house. + The frosty ways like iron, + The branches plumed with snow,-- + Alas! in winter dead and dark, + Where can poor Robin go? + Robin, Robin Redbreast, + O Robin dear! + And a crumb of bread for Robin, + His little heart to cheer! + --WILLIAM ALLINGHAM. + + +THE UNSEEN PLAYMATE + + When children are playing alone on the green, + In comes the playmate that never was seen. + When children are happy and lonely and good, + The Friend of the Children comes out of the wood. + + Nobody heard him and nobody saw, + His is a picture you never could draw, + But he's sure to be present, abroad or at home, + When children are happy and playing alone. + + He lies in the laurel, he runs on the grass, + He sings when you tinkle the musical glass; + Whene'er you are happy and cannot tell why, + The Friend of the Children is sure to be by! + + He loves to be little, he hates to be big, + 'Tis he that inhabits the caves that you dig; + 'Tis he when you play with your soldiers of tin + That sides with the Frenchmen and never can win. + + 'Tis he, when at night you go off to your bed, + Bids you go to your sleep and not trouble your head; + For wherever they're lying, in cupboard or shelf, + 'Tis he will take care of your playthings himself! + --ROBERT LOUIS STEVENSON. + + +A LAUGHING SONG + + When the green woods laugh with the voice of joy, + And the dimpling stream runs laughing by; + When the air does laugh with our merry wit, + And the green hill laughs with the noise of it; + + When the meadows laugh with lively green, + And the grasshopper laughs in the merry scene; + When Mary, and Susan, and Emily, + With their sweet round mouths sing, "Ha, ha, he!" + + When the painted birds laugh in the shade, + Where our table with cherries and nuts is spread: + Come live, and be merry, and join with me + To sing the sweet chorus of "Ha, ha, he!" + --WILLIAM BLAKE. + + +LULLABY OF AN INFANT CHIEF + + Oh, hush thee, my babie! thy sire was a knight, + Thy mother a lady, both lovely and bright; + The woods and the glens, from the towers which we see, + They all are belonging, dear babie, to thee. + + Oh, fear not the bugle, though loudly it blows, + It calls but the warders that guard thy repose; + Their bows would be bended, their blades would be red, + Ere the step of a foeman draw near to thy bed. + + Oh, hush thee, my babie! the time soon will come, + When thy sleep shall be broken by trumpet and drum; + Then hush thee, my darling! take rest while you may; + For strife comes with manhood, and waking with day. + --SIR WALTER SCOTT. + + +THE FAIRY QUEEN + +(An Old Song) + + Come follow, follow me, + You fairy elves that be, + Which circle on the green; + Come, follow Mab your queen. + Hand in hand let's dance around, + For this place is fairy ground. + + The grasshopper, gnat, and fly, + Serve for our minstrelsy; + Grace said, we dance a while + And so the time beguile: + And if the moon doth hide her head, + The glowworm lights us home to bed. + + On tops of dewy grass + So nimbly do we pass, + The young and tender stalk + Ne'er bends when we do walk; + Yet in the morning may be seen + Where we the night before have been. + --UNKNOWN. + + +RING OUT, WILD BELLS + + Ring out, wild bells, to the wild sky, + The flying cloud, the frosty light: + The year is dying in the night; + Ring out, wild bells, and let him die. + + Ring out the old, ring in the new, + Ring, happy bells, across the snow: + The year is going, let him go; + Ring out the false, ring in the true. + + Ring in the valiant man and free, + The larger heart, the kindlier hand; + Ring out the darkness of the land, + Ring in the Christ that is to be. + --ALFRED LORD TENNYSON. + + +SONG OF SPRING + + The voice of my beloved! behold, he cometh, + Leaping upon the mountains, + Skipping upon the hills. + My beloved is like a roe or a young hart: + Behold, he standeth behind our wall, + He looketh forth at the windows, + Showing himself through the lattice. + My beloved spake and said unto me: + Rise up, my love, my fair one, + And come away. + + For, lo, the winter is past, + The rain is over and gone; + The flowers appear on the earth; + The time of the singing of birds is come, + And the voice of the turtle is heard in our land; + The fig tree putteth forth her green figs, + And the vines with the tender grape + Give a good smell. + Arise, my love, my fair one, + And come away. + --KING SOLOMON. + + + + +FOURTH YEAR + + + +PIPPA'S SONG + + The year's at the spring + And day's at the morn; + Morning's at seven; + The hill-side's dew-pearled; + The lark's on the wing; + The snail's on the thorn: + God's in his heaven-- + All's right with the world! + --ROBERT BROWNING. + + +A SEA DIRGE + + Full fathom five thy father lies: + Of his bones are coral made; + Those are pearls that were his eyes: + Nothing of him that doth fade, + But doth suffer a sea-change + Into something rich and strange. + Sea-nymphs hourly ring his knell: + Hark! now I hear them,-- + Ding, dong, bell. + --WILLIAM SHAKESPEARE. + + +HARK! HARK! THE LARK + + Hark! hark! the lark at heaven's gate sings, + And Phoebus 'gins arise, + His steeds to water at those springs + On chalic'd flowers that lies; + And winking Mary-buds begin + To ope their golden eyes: + With everything that pretty bin, + My lady sweet, arise; + Arise, arise! + --WILLIAM SHAKESPEARE. + + +WINTER + + When icicles hang by the wall, + And Dick the shepherd blows his nail + And Tom bears logs into the hall, + And milk comes frozen home in pail; + When blood is nipp'd, and ways be foul, + Then nightly sings the staring owl, + To-who; + Tu-whit, to-who, a merry note, + While greasy Joan doth keel the pot. + + When all aloud the wind doth blow, + And coughing drowns the parson's saw, + And birds sit brooding in the snow, + And Marion's nose looks red and raw; + When roasted crabs hiss in the bowl, + Then nightly sings the staring owl, + To-who; + Tu-whit, to-who, a merry note, + While greasy Joan doth keel the pot. + --WILLIAM SHAKESPEARE. + + +A FAIRY'S SONG + + Over hill, over dale, + Thorough bush, thorough brier, + Over park, over pale, + Thorough flood, thorough fire, + I do wander everywhere, + Swifter than the moon's sphere; + And I serve the fairy queen, + To dew her orbs upon the green: + The cowslips tall her pensioners be; + In their gold coats spots you see; + Those be rubies, fairy favours, + In those freckles live their savours: + I must go seek some dewdrops here, + And hang a pearl in every cowslip's ear. + --WILLIAM SHAKESPEARE. + + +A LAND DIRGE + + Call for the robin-redbreast and the wren, + Since o'er shady groves they hover, + And with leaves and flowers do cover + The friendless bodies of unburied men. + Call unto his funeral dole + The ant, the field mouse, and the mole + To rear him hillocks that shall keep him warm, + And (when gay tombs are robb'd) sustain no harm: + But keep the wolf far thence, that's foe to men: + For with his nails he'll dig them up again. + --JOHN WEBSTER. + + +MY HEART LEAPS UP + + 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. + --WILLIAM WORDSWORTH. + + +A MORNING SONG + + Pack, clouds, away, and welcome day: + With night we banish sorrow; + Sweet air blow soft, mount larks aloft, + To give my Love good-morrow! + Wings from the wind to please her mind, + Notes from the lark I'll borrow; + Bird, prune thy wing, nightingale, sing, + To give my Love good-morrow; + To give my Love good-morrow + Notes from them both I'll borrow. + + Wake from thy nest, Robin-red-breast, + Sing, birds, in every furrow; + And from each hill, let music shrill + Give my fair Love good-morrow! + Blackbird and thrush in every bush, + Stare, linnet, and cock-sparrow! + You pretty elves, amongst yourselves, + Sing my fair Love good-morrow + To give my Love good-morrow; + Sing, birds, in every furrow! + --THOMAS HEYWOOD. + + +IN MARCH + + The cock is crowing, + The stream is flowing, + The small birds twitter, + The lake doth glitter, + The green field sleeps in the sun: + The oldest and youngest + Are at work with the strongest: + The cattle are grazing, + Their heads never raising, + There are forty feeding like one! + + Like an army defeated, + The snow has retreated, + And now doth fare ill + On the top of the bare hill; + The ploughboy is whooping--anon--anon: + There's joy in the mountains; + There's life in the fountains, + Small clouds are sailing, + Blue sky prevailing, + The rain is over and gone! + --WILLIAM WORDSWORTH. + + +CHORAL SONG TO THE ILLYRIAN PEASANTS + + Up, up! ye dames, ye lasses gay! + To the meadows trip away. + 'Tis you must tend the flocks this morn, + And scare the small birds from the corn. + Not a soul at home may stay: + For the shepherds must go + With lance and bow + To hunt the wolf in the woods to-day. + + Leave the hearth and leave the house + To the cricket and the mouse: + Find grannam out a sunny seat, + With babe and lambkin at her feet. + Not a soul at home may stay: + For the shepherds must go + With lance and bow + To hunt the wolf in the woods to-day. + --SAMUEL TAYLOR COLERIDGE. + + +THE FORSAKEN MERMAN + + Come, dear children, let us away; + Down and away below. + Now my brothers call from the bay; + Now the great winds shoreward blow; + Now the salt tides seaward flow; + Now the wild white horses play, + Champ and chafe and toss in the spray. + Children dear, let us away. + This way, this way! + + Call her once before you go. + Call once yet. + In a voice that she will know: + "Margaret! Margaret!" + Children's voices should be dear + (Call once more) to a mother's ear: + Children's voices, wild with pain. + Surely she will come again. + Call her once and come away. + This way, this way! + "Mother dear, we cannot stay. + The wild white horses foam and fret." + Margaret! Margaret! + + Come, dear children, come away down. + Call no more. + One last look at the white-wall'd town, + And the little gray church on the windy shore. + Then come down. + She will not come though you call all day. + Come away, come away. + + Children dear, was it yesterday + We heard the sweet bells over the bay? + In the caverns where we lay, + Through the surf and through the swell, + The far-off sound of a silver bell? + Sand-strewn caverns, cool and deep, + Where the winds are all asleep; + Where the spent lights quiver and gleam; + Where the salt weed sways in the stream; + Where the sea-beasts, ranged all round, + Feed in the ooze of their pasture-ground; + Where the sea-snakes coil and twine, + Dry their mail, and bask in the brine; + Where great whales come sailing by, + Sail and sail, with unshut eye, + Round the world for ever and aye? + When did music come this way? + Children dear, was it yesterday? + + Children dear, was it yesterday + (Call yet once) that she went away? + Once she sate with you and me. + On a red gold throne in the heart of the sea, + And the youngest sate on her knee. + She comb'd its bright hair, and she tended it well, + When down swung the sound of the far-off bell. + She sigh'd, she look'd up through the clear green sea. + She said, "I must go, for my kinsfolk pray + In the little gray church on the shore to-day. + 'Twill be Easter-time in the world--ah me! + And I lose my poor soul, Merman, here with thee." + I said, "Go up, dear heart, through the waves. + Say thy prayer, and come back to the kind sea-caves." + She smiled, she went up through the surf in the bay. + Children dear, was it yesterday? + + Children dear, were we long alone? + "The sea grows stormy, the little ones moan. + Long prayers," I said, "in the world they say. + Come," I said, and we rose through the surf in the bay. + We went up the beach, by the sandy down + Where the sea-stocks bloom, to the white-wall'd town, + Through the narrow paved streets, where all was still, + To the little gray church on the windy hill. + From the church came a murmur of folk at their prayers, + But we stood without in the cold-blowing airs. + We climb'd on the graves, on the stones worn with rains, + And we gazed up the aisle through the small leaded panes. + She sate by the pillar; we saw her clear: + "Margaret, hist! come quick, we are here. + Dear heart," I said, "we are long alone. + The sea grows stormy, the little ones moan." + But, ah! she gave me never a look, + For her eyes were seal'd to the holy book. + Loud prays the priest; shut stands the door. + Come away, children, call no more. + Come away, come down, call no more. + + Down, down, down; + Down to the depths of the sea. + She sits at her wheel in the humming town, + Singing most joyfully. + Hark what she sings: "O joy, O joy, + For the humming street, and the child with its toy; + For the priest, and the bell, and the holy well; + For the wheel where I spun, + And the blessed light of the sun." + And so she sings her fill, + Singing most joyfully, + Till the shuttle falls from her hand, + And the whizzing wheel stands still. + She steals to the window, and looks at the sand; + And over the sand at the sea; + And her eyes are set in a stare; + And anon there breaks a sigh, + And anon there drops a tear, + From a sorrow-clouded eye, + And a heart sorrow-laden, + A long, long sigh + For the cold strange eyes of a little Mermaiden, + And the gleam of her golden hair. + + Come away, away, children. + Come, children, come down. + The hoarse wind blows colder; + Lights shine in the town. + She will start from her slumber + When gusts shake the door; + She will hear the winds howling, + Will hear the waves roar. + We shall see, while above us + The waves roar and whirl, + A ceiling of amber, + A pavement of pearl. + Singing, "Here came a mortal, + But faithless was she: + And alone dwell for ever + The kings of the sea." + + But, children, at midnight, + When soft the winds blow; + When clear falls the moonlight; + When spring-tides are low: + When sweet airs come seaward + From heaths starr'd with broom; + And high rocks throw mildly + On the blanch'd sands a gloom: + Up the still, glistening beaches, + Up the creeks we will hie; + Over banks of bright seaweed + The ebb-tide leaves dry. + We will gaze, from the sand-hills, + At the white, sleeping town; + At the church on the hill-side-- + And then come back down, + Singing, "There dwells a loved one, + But cruel is she. + She left lonely forever + The kings of the sea." + --MATTHEW ARNOLD. + + +PSALM VIII + + O Lord, our Lord, + How excellent is thy name in all the earth! + + Who hast set thy glory above the heavens, + Out of the mouth of babes and sucklings hast thou ordained strength, + Because of thine enemies, + That thou mightest still the enemy and the avenger. + + When I consider thy heavens, the work of thy fingers, + The moon and the stars, which thou hast ordained; + What is man that thou art mindful of him? + And the son of man, that thou visitest him? + + For thou hast made him a little lower than the angels, + And hast crowned him with glory and honour. + Thou madest him to have dominion over the works of thy hands; + Thou hast put all things under his feet: + + All sheep and oxen, + Yea, and the beasts of the field; + The fowl of the air, and the fish of the sea, + And whatsoever passeth through the paths of the seas. + + O Lord, our Lord, + How excellent is thy name in all the earth! + --KING DAVID. + + + + +FIFTH YEAR + + +THE BUGLE SONG + + The splendour falls on castle walls + And snowy summits old in story: + The long light shakes across the lakes, + And the wild cataract leaps in glory. + Blow, bugle, blow, set the wild echoes flying, + Blow, bugle; answer, echoes, dying, dying, dying. + + O hark, O hear! how thin and clear, + And thinner, clearer, farther going! + O sweet and far from cliff and scar + The horns of Elfland faintly blowing! + Blow, let us hear the purple glens replying: + Blow, bugle; answer, echoes, dying, dying, dying. + + O love, they die in yon rich sky, + They faint on hill or field or river: + Our echoes roll from soul to soul, + And grow forever and forever. + Blow, bugle, blow, set the wild echoes flying, + And answer, echoes, answer, dying, dying, dying. + --ALFRED LORD TENNYSON. + + +THE BROOK + + I come from haunts of coot and hern, + I make a sudden sally, + And sparkle out among the fern, + To bicker down a valley. + + By thirty hills I hurry down, + Or slip between the ridges, + By twenty thorps, a little town, + And half a hundred bridges. + + Till last by Philip's farm I flow + To join the brimming river, + For men may come and men may go, + But I go on forever. + + I chatter over stony ways, + In little sharps and trebles, + I bubble into eddying bays, + I babble on the pebbles. + + With many a curve my banks I fret + By many a field and fallow, + And many a fairy foreland set + With willow-weed and mallow. + + I chatter, chatter, as I flow + To join the brimming river, + For men may come and men may go, + But I go on forever. + + I wind about, and in and out, + With here a blossom sailing, + And here and there a lusty trout, + And here and there a grayling, + + And here and there a foamy flake + Upon me, as I travel + With many a silvery waterbreak + Above the golden gravel, + + And draw them all along, and flow + To join the brimming river, + For men may come and men may go, + But I go on forever. + + I steal by lawns and grassy plots, + I slide by hazel covers; + I move the sweet forget-me-nots + That grow for happy lovers. + + I slip, I slide, I gloom, I glance, + Among my skimming swallows; + I make the netted sunbeam dance + Against my sandy shallows. + + I murmur under moon and stars + In brambly wildernesses; + I linger by my shingly bars; + I loiter round my cresses; + + And out again I curve and flow + To join the brimming river, + For men may come and men may go. + But I go on forever. + --ALFRED LORD TENNYSON. + + +HYMN TO DIANA + + Queen and Huntress, chaste and fair, + Now the sun is laid to sleep, + Seated in thy silver chair + State in wonted manner keep: + Hesperus entreats thy light, + Goddess excellently bright. + + Earth, let not thy envious shade + Dare itself to interpose; + Cynthia's shining orb was made + Heaven to clear when day did close: + Bless us then with wished sight, + Goddess excellently bright. + + Lay thy bow of pearl apart + And thy crystal-shining quiver; + Give unto the flying hart + Space to breathe, how short soever: + Thou that mak'st a day of night, + Goddess excellently bright! + --BEN JONSON. + + +THE BURNING BABE + + As I in hoary winter's night stood shivering in the snow, + Surprised I was with sudden heat, which made my heart to glow; + And lifting up a fearful eye to view what fire was near, + A pretty babe, all burning bright, did in the air appear; + Who, scorched with excessive heat, such floods of tears did shed, + As though his floods should quench his flames which with his tears + were fed:-- + "Alas!" quoth He, "but newly born, in fiery heats I fry, + Yet none approach to warm their hearts or feel my fire but I! + + "My faultless breast the furnace is, the fuel wounding thorns; + Love is the fire, and sighs the smoke, the ashes shame and scorns; + The fuel Justice layeth on, and Mercy blows the coals, + The metal in this furnace wrought are men's defiled souls, + For which, as now on fire I am, to work them to their good, + So will I melt into a bath to wash them in my blood."-- + With this He vanished out of sight, and swiftly shrunk away; + And straight I called unto mind that it was Christmas-day. + --ROBERT SOUTHWELL. + + +AT SEA + + A wet sheet and a flowing sea, + A wind that follows fast + And fills the white and rustling sail + And bends the gallant mast; + And bends the gallant mast, my boys, + While like the eagle free + Away the good ship flies, and leaves + Old England on the lee. + + O for a soft and gentle wind! + I heard a fair one cry; + But give to me the snoring breeze + And white waves heaving high; + And white waves heaving high, my lads, + The good ship tight and free:-- + The world of waters is our home, + And merry men are we. + + There's tempest in yon horned moon, + And lightning in yon cloud; + But hark the music, mariners! + The wind is piping loud; + The wind is piping loud, my boys, + The lightning flashes free-- + While the hollow oak our palace is, + Our heritage the sea. + --ALLAN CUNNINGHAM. + + +WHERE LIES THE LAND? + + Where lies the land to which the ship would go? + Far, far ahead, is all her seamen know. + And where the land she travels from? Away, + Far, far behind, is all that they can say. + + On sunny noons upon the deck's smooth face, + Linked arm in arm, how pleasant here to pace; + Or, o'er the stern reclining, watch below + The foaming wake far widening as we go. + + On stormy nights when wild north-westers rave, + How proud a thing to fight with wind and wave! + The dripping sailor on the reeling mast + Exults to bear, and scorns to wish it past. + + Where lies the land to which the ship would go? + Far, far ahead, is all her seamen know. + And where the land she travels from? Away, + Far, far behind, is all that they can say. + --ARTHUR HUGH CLOUGH. + + +UNDER THE GREENWOOD TREE + + Under the greenwood tree + Who loves to lie with me, + And turn his merry note + Unto the sweet bird's throat-- + Come hither, come hither, come hither! + Here shall he see + No enemy + But winter and rough weather. + + Who doth ambition shun + And loves to live i' the sun, + Seeking the food he eats + And pleased with what he gets-- + Come hither, come hither, come hither! + Here shall he see + No enemy + But winter and rough weather. + --WILLIAM SHAKESPEARE. + + +TO DAFFODILS + + Fair Daffodils, we weep to see + You haste away so soon: + As yet the early-rising Sun + Has not attain'd his noon. + Stay, stay, + Until the hasting day + Has run + But to the even-song; + And, having pray'd together, we + Will go with you along. + + We have short time to stay, as you, + We have as short a Spring; + As quick a growth to meet decay + As you, or anything. + We die, + As your hours do, and dry + Away + Like to the Summer's rain; + Or as the pearls of Morning's dew + Ne'er to be found again. + --ROBERT HERRICK. + + +AUTUMN + + The warm sun is failing, the bleak wind is wailing, + The bare boughs are sighing, the pale flowers are dying; + And the year + On the earth her death-bed, in a shroud of leaves dead, + Is lying. + Come, Months, come away, + From November to May, + In your saddest array,-- + Follow the bier + Of the dead cold year, + And like dim shadows watch by her sepulchre. + + The chill rain is falling, the nipt worm is crawling, + The rivers are swelling, the thunder is knelling, + For the year; + The blithe swallows are flown, and the lizards each gone + To his dwelling. + Come, Months, come away; + Put on white, black, and gray; + Let your light sisters play; + Ye, follow the bier + Of the dead cold year, + And make her grave green with tear on tear. + --PERCY BYSSHE SHELLEY. + + +ROBIN GOODFELLOW + + From Oberon, in fairy land, + The king of ghosts and shadows there, + Mad Robin I, at his command, + Am sent to view the night-sports here. + What revel rout + Is kept about, + In every corner where I go, + I will o'ersee, + And merry be, + And make good sport, with ho, ho, ho! + + More swift than lightning can I fly + About this airy welkin soon, + And, in a minute's space, descry + Each thing that's done below the moon. + There's not a hag + Or ghost shall wag, + Or cry 'ware goblins, where I go; + But, Robin, I + Their feast will spy, + And send them home with ho, ho, ho! + + Whene'er such wanderers I meet, + As from their night-sports they trudge home, + With counterfeiting voice I greet, + And call them on with me to roam; + Through woods, through lakes, + Through bogs, through brakes, + Or else, unseen, with them I go, + All in the nick + To play some trick, + And frolic it, with ho, ho, ho! + + Sometimes I meet them like a man, + Sometimes an ox, sometimes a hound; + And to a horse I turn me can, + To trip and trot about them round. + But if to ride, + My back they stride, + More swift than wind away I go, + O'er hedge and lands. + Through pools and ponds, + I hurry, laughing, ho, ho, ho! + + By wells and rills, in meadows green, + We nightly dance our heyday guise; + And to our fairy King and Queen, + We chant our moonlight minstrelsies. + When larks 'gin sing, + Away we fling; + And babes new born steal as we go; + And elf in bed, + We leave instead, + And wend us laughing, ho, ho, ho! + + From hag-bred Merlin's time have I + Thus nightly revell'd to and fro; + And for my pranks men call me by + The name of Robin Good-fellow. + Fiends, ghosts, and sprites, + Who haunt the nights, + The hags and goblins do me know; + And beldames old + So _vale_, _vale_! ho, ho, ho! + --UNKNOWN. + + +BOOT AND SADDLE + + Boot, saddle, to horse, and away! + Rescue my castle before the hot day + Brightens to blue from its silvery gray, + Boot, saddle, to horse, and away! + + Ride past the suburbs, asleep as you'd say; + Many's the friend there, will listen and pray + "God's luck to gallants that strike up the lay-- + Boot, saddle, to horse, and away!" + + Forty miles off, like a roebuck at bay, + Flouts Castle Brancepeth the Roundheads' array, + Who laughs, "Good fellows ere this, by my fay, + Boot, saddle, to horse, and away!" + + Who? My wife Gertrude; that, honest, and gay, + Laughs when you talk of surrendering, "Nay! + I've better counsellors; what counsel they? + Boot, saddle, to horse, and away!" + --ROBERT BROWNING. + + +PSALM XIX + + The heavens declare the glory of God; + And the firmament showeth his handiwork. + Day unto day uttereth speech, + And night unto night sheweth knowledge. + There is no speech nor language, + Where their voice is not heard. + Their line is gone out through all the earth, + And their words to the end of the world. + + In them hath he set a tabernacle for the sun, + Which is as a bridegroom coming out of his chamber, + And rejoiceth as a strong man to run a race. + His going forth is from the end of the heaven, + And his circuit unto the ends of it: + And there is nothing hid from the heat thereof. + + The law of the Lord is perfect, converting the soul: + The testimony of the Lord is sure, making wise the simple. + The statutes of the Lord are right, rejoicing the heart: + The commandment of the Lord is pure, enlightening the eyes. + The fear of the Lord is clean, enduring forever: + The judgments of the Lord are true and righteous altogether. + More to be desired are they than gold, yea, than much fine gold: + Sweeter also than honey and the honeycomb. + + Moreover by them is thy servant warned: + And in keeping of them there is great reward. + Who can understand his errors? cleanse thou me from secret faults. + Keep back thy servant also from presumptuous sins; let them not have + dominion over me: + Then shall I be upright, + And I shall be innocent from the great transgression. + + Let the words of my mouth, and the meditation of my heart, be + acceptable in thy sight, + O Lord, my strength, and my redeemer. + --KING DAVID. + + + + +SIXTH YEAR + + +THE NORTHERN STAR + +(A Tynemouth Ship) + + The "Northern Star" + Sail'd over the bar + Bound to the Baltic Sea; + In the morning gray + She stretch'd away:-- + 'Twas a weary day to me! + + For many an hour + In sleet and shower + By the lighthouse rock I stray; + And watch till dark + For the winged bark + Of him that is far away. + + The castle's bound + I wander round, + Amidst the grassy graves: + But all I hear + Is the north-wind drear, + And all I see are the waves. + + The "Northern Star" + Is set afar! + Set in the Baltic Sea: + And the waves have spread + The sandy bed + That holds my Love from me. + --UNKNOWN. + + +THE FIRST SWALLOW + + The gorse is yellow on the heath; + The banks of speedwell flowers are gay; + The oaks are budding, and beneath, + The hawthorn soon will bear the wreath, + The silver wreath of May. + + The welcome guest of settled spring, + The swallow, too, is come at last + Just at sunset, when thrushes sing, + I saw her dash with rapid wing, + And hail'd her as she past. + + Come, summer visitant, attach + To my reed roof your nest of clay, + And let my ear your music catch, + Low twittering underneath the thatch, + At the gray dawn of day. + --CHARLOTTE SMITH. + + +BLOW, BLOW, THOU WINTER WIND + + Blow, blow, thou winter wind, + Thou art not so unkind + As man's ingratitude; + Thy tooth is not so keen, + Because thou art not seen, + Although thy breath be rude. + Heigh ho! sing, heigh ho! unto the green holly: + Most friendship is feigning, most loving mere folly: + Then heigh ho, the holly! + This life is most jolly. + + Freeze, freeze, thou bitter sky, + That dost not bite so nigh + As benefits forgot: + Though thou the waters warp, + Thy sting is not so sharp + As friend remember'd not. + Heigh ho! sing, heigh ho! unto the green holly: + Most friendship is feigning, most loving mere folly: + Then heigh ho, the holly! + This life is most jolly. + --WILLIAM SHAKESPEARE. + + +THE DEATH OF THE FLOWERS + + The melancholy days are come, the saddest of the year, + Of wailing winds, and naked woods, and meadows brown and sear. + Heap'd in the hollows of the grove, the autumn leaves lie dead; + They rustle to the eddying gust, and to the rabbit's tread. + The robin and the wren are flown, and from the shrubs the jay, + And from the wood-top calls the crow through all the gloomy day. + + The wind-flower and the violet, they perish'd long ago, + And the brier-rose and the orchid died amid the summer glow; + But on the hill the golden-rod, and the aster in the wood, + And the yellow sun-flower by the brook in autumn beauty stood, + Till fell the frost from the clear cold heaven, as falls the plague + on men, + And the brightness of their smile was gone, from upland, glade, and + glen. + + And now, when comes the calm mild day, as still such days will come, + To call the squirrel and the bee from out their winter home; + When the sound of dropping nuts is heard, though all the trees are + still, + And twinkle in the smoky light the waters of the rill, + The south wind searches for the flowers whose fragrance late he bore, + And sighs to find them in the wood and by the stream no more. + --WILLIAM CULLEN BRYANT. + + +THE WRECK OF THE HESPERUS + + It was the schooner Hesperus, + That sail'd the wintry sea; + And the skipper had taken his little daughter, + To bear him company. + + Blue were her eyes as the fairy flax, + Her cheeks like the dawn of day, + And her bosom white as the hawthorn buds, + That ope in the month of May. + + The skipper he stood beside the helm, + His pipe was in his mouth; + And he watched how the veering flaw did blow + The smoke now West, now South. + + Then up and spake an old Sailor, + Had sailed the Spanish Main: + "I pray thee, put into yonder port, + For I fear a hurricane. + + "Last night, the moon had a golden ring, + And to-night no moon we see!" + The skipper, he blew a whiff from his pipe, + And a scornful laugh laughed he. + + Colder and louder blew the wind, + A gale from the North-east; + The snow fell hissing in the brine, + And the billows frothed like yeast. + + Down came the storm, and smote amain + The vessel in its strength; + She shuddered and paused, like a frightened steed, + Then leaped her cable's length. + + "Come hither! come hither! my little daughter, + And do not tremble so; + For I can weather the roughest gale, + That ever wind did blow." + + He wrapped her warm in his seaman's coat, + Against the stinging blast; + He cut a rope from a broken spar, + And bound her to a mast. + + "O father! I hear the church bells ring. + O say, what may it be?" + "'Tis a fog-bell on a rock-bound coast!"-- + And he steered for the open sea. + + "O father! I hear the sound of guns, + O say, what may it be?" + "Some ship in distress, that cannot live + In such an angry sea!" + + "O father! I see a gleaming light, + O say, what may it be?" + But the father answered never a word, + A frozen corpse was he. + + Lashed to the helm, all stiff and stark, + With his face turned to the skies; + The lantern gleamed through the gleaming snow + On his fixed and glassy eyes. + + Then the maiden clasped her hands and prayed + That saved she might be; + And she thought of Christ, who stilled the waves, + On the Lake of Galilee. + + And fast through the midnight dark and drear, + Through the whistling sleet and snow, + Like a sheeted ghost, the vessel swept + Towards the reef of Norman's Woe. + + And ever the fitful gusts between + A sound came from the land; + It was the sound of the trampling surf, + On the rocks and the hard sea-sand. + + The breakers were right beneath her bows, + She drifted a weary wreck, + And a whooping billow swept the crew + Like icicles from her deck. + + She struck where the white and fleecy waves + Looked soft as carded wool, + But the cruel rocks, they gored her side, + Like the horns of an angry bull. + + Her rattling shrouds, all sheathed in ice, + With the masts, went by the board; + Like a vessel of glass, she stove and sank, + Ho! ho! the breakers roared! + + At daybreak, on the bleak sea-beach, + A fisherman stood aghast, + To see the form of a maiden fair, + Lashed close to a drifting mast. + + The salt sea was frozen on her breast, + The salt tears in her eyes; + And he saw her hair, like the brown sea-weed, + On the billows fall and rise. + + Such was the wreck of the Hesperus, + In the midnight and the snow! + Christ save us all from a death like this, + On the reef of Norman's Woe! + --HENRY WADSWORTH LONGFELLOW. + + +THE SANDS OF DEE + + "O Mary, go and call the cattle home, + And call the cattle home, + And call the cattle home, + Across the sands of Dee." + The western wind was wild and dark with foam, + And all alone went she. + + The western tide crept up along the sand, + And o'er and o'er the sand, + And round and round the sand, + As far as eye could see. + The rolling mist came down and hid the land: + And never home came she. + + "O is it weed, or fish, or floating hair-- + A tress of golden hair, + A drowned maiden's hair, + Above the nets at sea?" + Was never salmon yet that shone so fair + Among the stakes of Dee. + + They row'd her in across the rolling foam + The cruel crawling foam, + The cruel hungry foam, + To her grave beside the sea. + But still the boatmen hear her call the cattle home, + Across the sands of Dee. + --CHARLES KINGSLEY. + + +CANADIAN BOAT SONG + + Faintly as tolls the evening chime, + Our voices keep tune, and our oars keep time; + Soon as the woods on shore look dim, + We'll sing at St. Anne's our parting hymn. + Row, brothers, row, the stream runs fast; + The Rapids are near, and the daylight's past. + + Why should we yet our sail unfurl? + There is not a breath the blue wave to curl; + But when the wind blows off the shore, + Oh! sweetly we'll rest our weary oar. + Blow, breezes, blow, the stream runs fast, + The Rapids are near, and the daylight's past. + + Ottawa's tide! this trembling moon + Shall see us float over thy surges soon: + Saint of this green isle! hear our prayers, + Oh! grant us cool heavens, and favouring airs. + Row, brothers, row, the stream runs fast, + The Rapids are near, and the daylight's past. + --THOMAS MOORE. + + +RETURN OF THE ANCIENT MARINER + + O wedding-guest! this soul hath been + Alone on a wide, wide sea: + So lonely 'twas, that God himself + Scarce seemed there to be. + + O sweeter than the marriage-feast, + 'Tis sweeter far to me, + To walk together to the kirk + With a goodly company! + + To walk together to the kirk, + And all together pray, + While each to his great Father bends, + Old men, and babes, and loving friends, + And youths and maidens gay! + + Farewell, farewell! but this I tell + To thee, thou Wedding-Guest! + He prayeth well, who loveth well + Both man and bird and beast. + + He prayeth best, who loveth best + All things both great and small; + For the dear God who loveth us, + He made and loveth all. + --SAMUEL TAYLOR COLERIDGE. + + +NOW FADES THE LAST LONG STREAK OF SNOW + + Now fades the last long streak of snow, + Now burgeons 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 drown'd in yonder living blue + The lark becomes a sightless song. + + Now dance the lights on lawn and lea, + The flocks are whiter down the vale, + And milkier every milky sail + On winding stream or distant sea; + + Where now the seamew pipes, or dives + In yonder greening gleam, and fly + The happy birds, that change their sky + To build and brood; that live their lives, + + From land to land; and in my breast + Spring wakens too; and my regret + Becomes an April violet, + And buds and blossoms like the rest. + --ALFRED LORD TENNYSON. + + +HOW THEY BROUGHT THE GOOD NEWS FROM GHENT TO AIX + + I sprang to the stirrup, and Joris, and he; + I galloped, Dirck galloped, we galloped all three; + "Good speed!" cried the watch, as the gate-bolts undrew; + "Speed!" echoed the wall to us galloping through; + Behind shut the postern, the lights sank to rest, + And into the midnight we galloped abreast. + + Not a word to each other; we kept the great pace + Neck by neck, stride by stride, never changing our place; + I turned in my saddle and made its girths tight, + Then shortened each stirrup, and set the pique right, + Rebuckled the cheek-strap, chained slacker the bit, + Nor galloped less steadily Roland a whit. + + 'Twas moonset at starting; but while we drew near + Lokeren, the cocks crew and twilight dawned clear; + At Boom, a great yellow star came out to see; + At Dueffield, 'twas morning as plain as could be; + And from Mecheln church-steeple we heard the half-chime, + So, Joris broke silence with, "Yet there is time!" + + At Aerschot, up leaped of a sudden the sun, + And against him the cattle stood black every one, + To stare thro' the mist at us galloping past, + And I saw my stout galloper Roland at last, + With resolute shoulders, each butting away + The haze, as some bluff river headland its spray; + + And his low head and crest, just one sharp ear bent back + For my voice, and the other pricked out on his track; + And one eye's black intelligence,--ever that glance + O'er its white edge at me, his own master, askance! + And the thick heavy spume-flakes which aye and anon + His fierce lips shook upwards in galloping on. + + By Hasselt, Dirck groaned; and cried Joris, "Stay spur! + Your Roos galloped bravely, the fault's not in her, + We'll remember at Aix"--for one heard the quick wheeze + Of her chest, saw the stretched neck and staggering knees, + And sunk tail, and horrible heave of the flank, + As down on her haunches she shuddered and sank. + + So, we were left galloping, Joris and I, + Past Looz and past Tongres, no cloud in the sky; + The broad sun above laughed a pitiless laugh, + 'Neath our feet broke the brittle bright stubble like chaff; + Till over by Dalhem a dome-spire sprang white, + And "Gallop," gasped Joris, "for Aix is in sight!" + + "How they'll greet us!"--and all in a moment his roan + Rolled neck and croup over, lay dead as a stone; + And there was my Roland to bear the whole weight + Of the news which alone could save Aix from her fate, + With his nostrils like pits full of blood to the brim, + And with circles of red for his eye-sockets' rim. + + Then I cast loose my buffcoat, each holster let fall, + Shook off both my jack-boots, let go belt and all, + Stood up in the stirrup, leaned, patted his ear, + Called my Roland his pet-name, my horse without peer; + Clapped my hands, laughed and sang, any noise, bad or good, + Till at length into Aix Roland galloped and stood. + + And all I remember is--friends flocking round + As I sat with his head 'twixt my knees on the ground; + And no voice but was praising this Roland of mine, + As I poured down his throat our last measure of wine, + Which (the burgesses voted by common consent) + Was no more than his due who brought good news from Ghent. + --ROBERT BROWNING. + + +THE DESTRUCTION OF SENNACHERIB + + The Assyrian came down like the wolf on the fold, + And his cohorts were gleaming in purple and gold, + And the sheen of their spears was like stars on the sea, + When the blue wave rolls nightly on deep Galilee. + + Like the leaves of the forest when summer is green, + That host with their banners at sunset were seen; + Like the leaves of the forest when autumn hath blown, + That host on the morrow lay wither'd and strown. + + For the Angel of Death spread his wings on the blast, + And breathed in the face of the foe as he pass'd; + And the eyes of the sleepers wax'd deadly and chill, + And their hearts but once heaved, and forever grew still. + + And there lay the steed with his nostril all wide, + But through it there roll'd not the breath of his pride: + And the foam of his gasping lay white on the turf, + And cold as the spray of the rock-beating surf. + + And there lay the rider, distorted and pale, + With the dew on his brow, and the rust on his mail; + And the tents were all silent, the banners alone, + The lances unlifted, the trumpet unblown. + + And the widows of Ashur are loud in their wail, + And the idols are broke in the temple of Baal, + And the might of the Gentile, unsmote by the sword, + Hath melted like snow in the glance of the Lord. + --LORD BYRON. + + +PSALM XCI + + He that dwelleth in the secret place of the most High + Shall abide under the shadow of the Almighty. + I will say of the Lord, He is my refuge and my fortress: + My God; in him will I trust. + Surely he shall deliver thee from the snare of the fowler, + And from the noisome pestilence. + He shall cover thee with his feathers, + And under his wings shalt thou trust: + His truth shall be thy shield and buckler. + Thou shalt not be afraid for the terror by night; + Nor for the arrow that flieth by day; + Nor for the pestilence that walketh in darkness; + Nor for the destruction that wasteth by noon-day. + A thousand shall fall at thy side, + And ten thousand at thy right hand; + But it shall not come nigh thee. + Only with thine eyes shalt thou behold + And see the reward of the wicked. + + Because thou hast made the Lord, which is my refuge, + Even the most High, thy habitation; + There shall no evil befall thee, + Neither shall any plague come nigh thy dwelling. + For he shall give his angels charge over thee, + To keep thee in all thy ways. + They shall bear thee up in their hands, + Lest thou dash thy foot against a stone. + Thou shalt tread upon the lion and adder: + The young lion and the dragon shalt thou trample under feet. + Because he hath set his love upon me, therefore will I deliver him: + I will set him on high, because he hath known my name. + He shall call upon me, and I will answer him: + I will be with him in trouble; + I will deliver him, and honour him. + With long life will I satisfy him, + And show him my salvation. + --KING DAVID. + + + + +SEVENTH YEAR + + +THE PILGRIM + + Who would true valour see + Let him come hither. + One here will constant be, + Come wind, come weather: + There's no discouragement + Shall make him once relent + His first-avow'd intent + To be a Pilgrim. + + Whoso beset him round + With dismal stories, + Do but themselves confound; + His strength the more is. + No lion can him fright; + He'll with a giant fight; + But he will have a right + To be a Pilgrim. + + Nor enemy, nor fiend, + Can daunt his spirit; + He knows he at the end + Shall Life inherit:-- + Then, fancies, fly away; + He'll not fear what men say; + He'll labour night and day, + To be a Pilgrim. + --JOHN BUNYAN. + + +THE CLOUD + + I bring fresh showers for the thirsting flowers, + From the seas and the streams; + I bear light shade for the leaves when laid + In their noon-day dreams. + From my wings are shaken the dews that waken + The sweet birds every one, + When rocked to rest on their Mother's breast, + As she dances in the sun. + I wield the flail of the lashing hail, + And whiten the green plains under; + And then again I dissolve it in rain, + And laugh as I pass in thunder. + + I sift the snow on the mountains below, + And their great pines groan aghast; + And all the night 'tis my pillow white, + While I sleep in the arms of the Blast. + Sublime on the towers of my skyey bowers, + Lightning, my pilot, sits; + In a cavern under is fettered the Thunder-- + It struggles and howls by fits. + Over earth and ocean, with gentle motion, + This pilot is guiding me, + Lured by the love of the Genii that move + In the depths of the purple sea; + Over the rills, and the crags, and the hills, + Over the lakes and the plains, + Wherever he dream, under mountain or stream, + The Spirit he loves remains; + And I, all the while, bask in heaven's blue smile, + Whilst he is dissolving in rains. + --PERCY BYSSHE SHELLEY. + + +THE GATHERING SONG OF DONALD THE BLACK + + Pibroch of Donuil Dhu + Pibroch of Donuil, + Wake thy wild voice anew, + Summon Clan Conuil. + Come away, come away, + Hark to the summons! + Come in your war-array, + Gentles and commons. + + Come from deep glen, and + From mountain so rocky; + The war-pipe and pennon + Are at Inverlocky. + Come every hill-plaid, and + True heart that wears one, + Come every steel blade, and + Strong hand that bears one. + + Leave untended the herd, + The flock without shelter; + Leave the corpse uninterr'd, + The bride at the altar; + Leave the deer, leave the steer, + Leave nets and barges: + Come with your fighting gear, + Broadswords and targes. + + Come as the winds come, when + Forests are rended, + Come as the waves come, when + Navies are stranded: + Faster come, faster come, + Faster and faster, + Chief, vassal, page and groom, + Tenant and master. + + Fast they come, fast they come; + See how they gather! + Wide waves the eagle plume + Blended with heather. + Cast your plaids, draw your blades, + Forward each man set! + Pibroch of Donuil Dhu, + Knell for the onset! + --SIR WALTER SCOTT. + + +INDIAN SUMMER + + From gold to gray + Our mild, sweet day + Of Indian summer fades too soon: + But tenderly + Above the sea + Hangs, white and calm, the hunter's moon. + + In its pale fire + The village spire + Shows like the zodiac's spectral lance: + The painted walls + Whereon it falls + Transfigured stand in marble trance. + --JOHN GREENLEAF WHITTIER. + + +MORNING + + Haste thee, Nymph, and bring with thee + Jest and youthful Jollity, + Quips and Cranks, and wanton Wiles, + Nods, and Becks, and wreathed Smiles, + Such as hang on Hebe's cheek, + And love to live in dimple sleek; + Sport that wrinkled Care derides, + And Laughter holding both his sides. + Come, and trip it as you go + On the light fantastic toe; + And in thy right hand lead with thee + The mountain nymph, sweet Liberty; + And if I give thee honour due, + Mirth, admit me of thy crew, + To live with her, and live with thee, + In unreproved pleasures free; + To hear the Lark begin his flight, + And singing startle the dull night, + From his watch-tower in the skies, + Till the dappled dawn doth rise; + Then to come, in spite of sorrow, + And at my window bid good morrow, + Through the sweetbrier, or the vine, + Or the twisted eglantine: + While the Cock with lively din, + Scatters the rear of darkness thin, + And to the stack, or the barn door, + Stoutly struts his dames before, + Oft list'ning how the hounds and horn + Cheerly rouse the slumbering morn, + From the side of some hoar hill, + Through the high wood echoing shrill. + Sometime walking not unseen + By hedge-row elms, on hillocks green, + Right against the eastern gate, + Where the great Sun begins his state, + Robed in flames and amber light, + The clouds in thousand liveries dight: + While the ploughman, near at hand, + Whistles o'er the furrow'd land, + And the milkmaid singeth blithe, + And the mower whets his scythe, + And every shepherd tells his tale + Under the hawthorn in the dale. + --JOHN MILTON. + + +WHO IS SYLVIA? + + Who is Sylvia? what is she, + That all our swains commend her? + Holy, fair, and wise is she; + The heaven such grace did lend her, + That she might admired be. + + Is she kind as she is fair? + For beauty lives with kindness: + Love doth to her eyes repair, + To help him of his blindness, + And, being help'd, inhabits there. + + Then to Sylvia let us sing, + That Sylvia is excelling; + She excels each mortal thing + Upon the dull earth dwelling: + To her let us garlands bring. + --WILLIAM SHAKESPEARE. + + +THE REVENGE + +(A Ballad of the Fleet) + + At Flores in the Azores Sir Richard Grenville lay, + And a pinnace, like a flutter'd bird, came flying from far away: + "Spanish ships of war at sea! we have sighted fifty-three!" + Then sware Lord Thomas Howard: "'Fore God I am no coward; + But I cannot meet them here, for my ships are out of gear, + And the half my men are sick. I must fly, but follow quick. + We are six ships of the line; can we fight with fifty-three?" + + Then spake Sir Richard Grenville: "I know you are no coward; + You fly them for a moment to fight with them again. + But I've ninety men and more that are lying sick ashore. + I should count myself the coward if I left them, my Lord Howard, + To these Inquisition dogs and the devildoms of Spain." + + So Lord Howard past away with five ships of war that day, + Till he melted like a cloud in the silent summer heaven; + But Sir Richard bore in hand all his sick men from the land + Very carefully and slow, + Men of Bideford in Devon, + And we laid them on the ballast down below; + For we brought them all aboard, + And they blest him in their pain, that they were not left to Spain, + To the thumbscrew and the stake, for the glory of the Lord. + He had only a hundred seamen to work the ship and to fight, + And he sailed away from Flores till the Spaniard came in sight, + With his huge sea-castles heaving upon the weather bow. + "Shall we fight or shall we fly? + Good Sir Richard, tell us now, + For to fight is but to die! + There'll be little of us left by the time this sun be set." + And Sir Richard said again: "We be all good English men. + Let us bang these dogs of Seville, the children of the devil, + For I never turn'd my back upon Don or devil yet." + + Sir Richard spoke and he laugh'd, and we roar'd a hurrah, and so + The little Revenge ran on sheer into the heart of the foe, + With her hundred fighters on deck, and her ninety sick below; + For half of their fleet to the right and half to the left were seen, + And the little Revenge ran on thro' the long sea-lane between. + Thousands of their soldiers look'd down from their decks and laugh'd, + Thousands of their seamen made mock at the mad little craft + Running on and on, till delay'd + By their mountain-like San Philip that, of fifteen hundred tons, + And up-shadowing high above us with her yawning tiers of guns, + Took the breath from our sails, and we stay'd. + + And while now the great San Philip hung above us like a cloud + Whence the thunderbolt will fall + Long and loud, + Four galleons drew away + From the Spanish fleet that day, + And two upon the larboard and two upon the starboard lay, + And the battle-thunder broke from them all. + + But anon the great San Philip, she bethought herself and went + Having that within her womb that had left her ill content; + And the rest they came aboard us, and they fought us hand to hand, + For a dozen times they came with their pikes and musqueteers, + And a dozen times we shook 'em off as a dog that shakes his ears + When he leaps from the water to the land. + + And the sun went down, and the stars came out far over the summer sea, + But never a moment ceased the fight of the one and the fifty-three. + Ship after ship, the whole night long, their high-built galleons came, + Ship after ship, the whole night long, with her battle-thunder and + flame; + Ship after ship, the whole night long, drew back with her dead and her + shame. + And some were sunk and many were shatter'd, and so could fight us no + more-- + God of battles, was ever a battle like this in the world before? + + For he said "Fight on! fight on!" + Tho' his vessel was all but a wreck; + And it chanced that, when half of the short summer night was gone, + With a grisly wound to be drest he had left the deck, + But a bullet struck him that was dressing it suddenly dead, + And himself he was wounded again in the side and the head, + And he said "Fight on! fight on!" + + And the night went down, and the sun smiled out far over the summer + sea, + And the Spanish fleet with broken sides lay round us all in a ring; + But they dared not touch us again, for they fear'd that we still + could sting, + So they watch'd what the end would be. + And we had not fought them in vain, + But in perilous plight were we, + Seeing forty of our poor hundred were slain, + And half of the rest of us maim'd for life + In the crash of the cannonades and the desperate strife; + And the sick men down in the hold were most of them stark and cold, + And the pikes were all broken or bent, and the powder was all of it + spent; + And the masts and the rigging were lying over the side; + But Sir Richard cried in his English pride, + "We have fought such a fight for a day and a night + As may never be fought again! + We have won great glory, my men! + And a day less or more + At sea or ashore, + We die--does it matter when? + Sink me the ship, Master Gunner--sink her, split her in twain! + Fall into the hands of God, not into the hands of Spain!" + + And the gunner said, "Ay, ay," but the seamen made reply: + "We have children, we have wives, + And the Lord hath spared our lives. + We will make the Spaniard promise, if we yield, to let us go; + We shall live to fight again and to strike another blow." + And the lion there lay dying, and they yielded to the foe. + + And the stately Spanish men to their flagship bore him then, + Where they laid him by the mast, old Sir Richard caught at last, + And they praised him to his face with their courtly foreign grace; + But he rose upon their decks, and he cried: + "I have fought for Queen and Faith like a valiant man and true; + I have only done my duty as a man is bound to do; + With a joyful spirit I Sir Richard Grenville die!" + And he fell upon their decks, and he died. + + And they stared at the dead that had been so valiant and true, + And had holden the power and glory of Spain so cheap + That he dared her with one little ship and his English few; + Was he devil or man? He was devil for aught they knew, + But they sank his body with honour down into the deep, + And they mann'd the Revenge with a swarthier alien crew, + And away she sail'd with her loss and long'd for her own; + When a wind from the lands they had ruin'd awoke from sleep, + And the water began to heave and the weather to moan, + And or ever that evening ended a great gale blew, + And a wave like the wave that is raised by an earthquake grew, + Till it smote on their hulls and their sails and their masts and + their flags, + And the whole sea plunged and fell on the shot-shatter'd navy of + Spain, + And the little Revenge herself went down by the island crags + To be lost evermore in the main. + --ALFRED LORD TENNYSON. + + +HOW SLEEP THE BRAVE + + How sleep the brave, who sink to rest + By all their country's wishes blest! + When Spring, with dewy fingers cold, + Returns to deck their hallow'd mould, + She there shall dress a sweeter sod + Than Fancy's feet have ever trod. + + By fairy hands their knell is rung, + By forms unseen their dirge is sung: + There Honour comes, a pilgrim gray, + To bless the turf that wraps their clay; + And Freedom shall awhile repair + To dwell a weeping hermit there! + --WILLIAM COLLINS. + + +A LIFE ON THE OCEAN WAVE + + A life on the ocean wave, + A home on the rolling deep, + Where the scattered waters rave, + And the winds their revels keep! + + Like an eagle caged, I pine + On this dull, unchanging shore: + Oh! give me the flashing brine, + The spray and the tempest's roar! + + Once more on the deck I stand + Of my own swift-gliding craft: + Set sail! farewell to the land! + The gale follows fair abaft. + We shoot through the sparkling foam + Like an ocean-bird set free: + Like the ocean-bird, our home + We'll find far out on the sea. + + The land is no longer in view, + The clouds have begun to frown: + But with a stout vessel and crew, + We'll say, Let the storm come down! + And the song of our heart shall be, + While the winds and waters rave, + A home on the rolling sea! + A life on the ocean wave! + --EPES SARGENT. + + +THE EAGLE + + He clasps the crag with crooked hands; + Close to the sun in lonely lands, + Ring'd with the azure world, he stands. + The wrinkled sea beneath him crawls; + He watches from his mountain walls, + And like a thunderbolt he falls. + --ALFRED LORD TENNYSON. + + +PSALM XC + + Lord, thou hast been our dwelling place + In all generations. + + Before the mountains were brought forth, + Or ever thou hadst formed the earth and the world, + Even from everlasting to everlasting, thou art God. + Thou turnest man to destruction; + And sayest, Return, ye children of men. + For a thousand years in thy sight + Are but as yesterday when it is past, + And as a watch in the night. + Thou carriest them away as with a flood; + They are as a sleep: + In the morning they are like grass which groweth up. + In the morning it flourisheth, and groweth up; + In the evening it is cut down, and withereth. + + For we are consumed by thine anger, + And by thy wrath are we troubled. + + Thou hast set our iniquities before thee, + Our secret sins in the light of thy countenance. + For all our days are passed away in thy wrath: + We spend our years as a tale that is told. + The days of our years are threescore years and ten; + And if by reason of strength they be fourscore years, + Yet is their strength labour and sorrow; + For it is soon cut off, and we fly away. + Who knoweth the power of thine anger? + Even according to thy fear, so is thy wrath. + + So teach us to number our days, + That we may apply our hearts unto wisdom. + + Return, O Lord, how long? + And let it repent thee concerning thy servants. + O satisfy us early with thy mercy; + That we may rejoice and be glad all our days. + Make us glad according to the days wherein thou hast afflicted us, + And the years wherein we have seen evil. + Let thy work appear unto thy servants, + And thy glory unto their children. + And let the beauty of the Lord our God be upon us: + And establish thou the work of our hands upon us; + Yea, the work of our hands establish thou it. + --KING DAVID. + + + + +EIGHTH YEAR + + +THE CONCORD HYMN + + By the rude bridge that arched the flood, + Their flag to April's breeze unfurled, + Here once the embattled farmers stood, + And fired the shot heard round the world. + + The foe long since in silence slept; + Alike the conqueror silent sleeps; + And Time the ruined bridge has swept + Down the dark stream which seaward creeps. + + On this green bank, by this soft stream, + We set to-day a votive stone; + That memory may their deed redeem, + When, like our sires, our sons are gone. + + Spirit, that made those heroes dare + To die, and leave their children free, + Bid Time and Nature gently spare + The shaft we raise to them and thee. + --RALPH WALDO EMERSON. + + +I WANDERED LONELY AS A CLOUD + + I wandered lonely as a cloud + That floats on high o'er vales and hills, + When all at once I saw a crowd, + A host of golden daffodils; + Beside the lake, beneath the trees, + Fluttering and dancing in the breeze. + + Continuous as the stars that shine + And twinkle on the milky way, + They stretched in never-ending line + Along the margin of a bay: + Ten thousand saw I at a glance, + Tossing their heads in sprightly dance. + + The waves beside them danced, but they + Out-did the sparkling waves in glee:-- + A poet could not but be gay, + In such a jocund company; + I gazed--and gazed--but little thought + What wealth the show to me had brought: + + For oft, when on my couch I lie + In vacant or in pensive mood, + They flash upon that inward eye + Which is the bliss of solitude; + And then my heart with pleasure fills + And dances with the daffodils. + --WILLIAM WORDSWORTH. + + +THE CHAMBERED NAUTILUS + + This is the ship of pearl, which, poets feign, + Sails the unshadowed main,-- + The venturous bark that flings + On the sweet summer wind its purpled wings + In Gulfs enchanted, where the Siren sings, + And coral reefs lie bare, + And the cold sea-maids rise to sun their streaming hair. + + Its webs of living gauze no more unfurl; + Wrecked is the ship of pearl! + And every chambered cell, + Where its dim dreaming life was wont to dwell, + As the frail tenant shaped his growing shell, + Before thee lies revealed,-- + Its irised ceiling rent, its sunless crypt unsealed! + + Year after year beheld the silent toil + That spread his lustrous coil; + Still, as the spiral grew, + He left the past year's dwelling for the new, + Stole with soft step its shining archway through, + Built up its idle door, + Stretched in his last-found home, and knew the old no more. + + Thanks for the heavenly message brought by thee, + Child of the wandering sea, + Cast from her lap, forlorn! + From thy dead lips a clearer note is born + Than ever Triton blew from Wreathed Horn! + While on mine ear it rings, + Through the deep caves of thought I hear a voice that sings:-- + + Build thee more stately mansions, O my soul, + As the swift seasons roll! + Leave thy low-vaulted past! + Let each new temple, nobler than the last, + Shut thee from heaven with a dome more vast, + Till thou at length art free, + Leaving thine outgrown shell by life's unresting sea! + --OLIVER WENDELL HOLMES. + + +TO AUTUMN + + Season of mists and mellow fruitfulness! + Close bosom-friend of the maturing sun; + Conspiring with him how to load and bless + With fruit the vines that round the thatch-eaves run; + To bend with apples the moss'd cottage-trees, + And fill all fruit with ripeness to the core; + To swell the gourd, and plump the hazel shells + With a sweet kernel; to set budding more + And still more, later flowers for the bees, + Until they think warm days will never cease; + For Summer has o'erbrimm'd their clammy cells. + + Who hath not seen thee oft amid thy store? + Sometimes whoever seeks abroad may find + Thee sitting careless on a granary floor, + Thy hair soft-lifted by the winnowing wind; + Or on a half-reap'd furrow sound asleep, + Drowsed with the fume of poppies, while thy hook + Spares the next swath and all its twined flowers; + And sometime like a gleaner thou dost keep + Steady thy laden head across a brook; + Or by a cider-press, with patient look, + Thou watchest the last oozings, hours by hours. + + Where are the songs of Spring? Ay, where are they? + Think not of them,--thou hast thy music too, + While barred clouds bloom the soft-dying day + And touch the stubble-plains with rosy hue; + Then in a wailful choir the small gnats mourn + Among the river-sallows, borne aloft + Or sinking as the light wind lives or dies; + And full-grown lambs loud bleat from hilly bourn; + Hedge-crickets sing, and now with treble soft + The redbreast whistles from a garden-croft, + And gathering swallows twitter in the skies. + --JOHN KEATS. + + +TO A WATERFOWL + + Whither, 'midst falling dew, + While glow the heavens with the last steps of day, + Far through their rosy depths, dost thou pursue + Thy solitary way? + + Vainly the fowler's eye + Might mark thy distant flight to do thee wrong, + As, darkly painted on the crimson sky, + Thy figure floats along. + + Seek'st thou the plashy brink + Of weedy lake, or marge of river wide, + Or where the rocking billows rise and sink + On the chafed ocean side? + + There is a power whose care + Teaches thy way along that pathless coast,-- + The desert and illimitable air,-- + Lone wandering, but not lost. + + All day thy wings have fann'd, + At that far height, the cold, thin atmosphere; + Yet stoop not, weary, to the welcome land, + Though the dark night is near. + + And soon that toil shall end; + Soon shalt thou find a summer home, and rest + And scream among thy fellows; reeds shall bend + Soon o'er thy sheltered nest. + + Thou'rt gone--the abyss of heaven + Hath swallow'd up thy form--yet on my heart + Deeply hath sunk the lesson thou hast given, + And shall not soon depart. + + He, who from zone to zone + Guides through the boundless sky thy certain flight, + In the long way that I must tread alone, + Will lead my steps aright. + --WILLIAM CULLEN BRYANT. + + +ON FIRST LOOKING INTO CHAPMAN'S HOMER + + Much have I travell'd in the realms of gold + And many goodly states and kingdoms seen; + Round many western islands have I been + Which bards in fealty to Apollo hold. + Oft of one wide expanse had I been told + That deep-brow'd Homer rul'd as his demesne; + Yet did I never breathe its pure serene + Till I heard Chapman speak out loud and bold: + Then felt I like some watcher of the skies + When a new planet swims into his ken; + Or like stout Cortez when with eagle eyes + He star'd at the Pacific--and all his men + Look'd at each other with a wild surmise-- + Silent, upon a peak in Darien. + --JOHN KEATS. + + +RECESSIONAL + + God of our fathers, known of old-- + Lord of our far-flung battle line-- + Beneath whose awful hand we hold + Dominion over palm and pine-- + Lord God of Hosts, be with us yet, + Lest we forget, lest we forget! + + The tumult and the shouting dies-- + The Captains and the Kings depart-- + Still stands Thine ancient sacrifice, + An humble and a contrite heart. + Lord God of Hosts, be with us yet, + Lest we forget, lest we forget! + + Far-called, our navies melt away-- + On dune and headland sinks the fire-- + Lo, all our pomp of yesterday + Is one with Nineveh and Tyre! + Judge of the Nations, spare us yet, + Lest we forget, lest we forget! + + If, drunk with sight of power, we loose + Wild tongues that have not Thee in awe-- + Such boasting as the Gentiles use, + Or lesser breeds without the Law-- + Lord God of Hosts, be with us yet, + Lest we forget, lest we forget! + + For heathen heart that puts her trust + In reeking tube and iron shard-- + All valiant dust that builds on dust, + And guarding calls not Thee to guard-- + For frantic boast and foolish word, + Thy Mercy on Thy People, Lord! + --RUDYARD KIPLING. + + +SIR PATRICK SPENS + +I. _The Sailing_ + + The king sits in Dunfermline town + Drinking the blude-red wine: + "O whare will I get a skeely skipper + To sail this new ship o' mine?" + + O up and spak an eldern knight, + Sat at the king's right knee: + "Sir Patrick Spens is the best sailor + That ever sail'd the sea." + + Our king has written a braid letter, + And seal'd it with his hand, + And sent it to Sir Patrick Spens, + Was walking on the strand. + + "To Noroway, to Noroway, + To Noroway o'er the faem; + The king's daughter o' Noroway, + 'Tis thou must bring her hame." + + The first word that Sir Patrick read + So loud, loud laugh'd he; + The neist word that Sir Patrick read + The tear blinded his e'e. + + "O wha is this has done this deed + And tauld the king o' me, + To send us out, at this time o' year, + To sail upon the sea? + + "Be it wind, be it weet, be it hail, be it sleet, + Our ship must sail the faem; + The king's daughter o' Noroway, + 'Tis we must fetch her hame." + + They hoysed their sails on Monenday morn + Wi' a' the speed they may; + They hae landed in Noroway + Upon a Wodensday. + +II. _The Return_ + + "Mak ready, mak ready, my merry men a'! + Our gude ship sails the morn." + "Now ever alack, my master dear, + I fear a deadly storm. + + "I saw the new moon late yestreen + Wi' the auld moon in her arm; + And if we gang to sea, master, + I fear we'll come to harm." + + They hadna sail'd a league, a league, + A league but barely three, + When the lift grew dark, and the wind blew loud, + And gurly grew the sea. + + The ankers brak, and the topmast lap, + It was sic a deadly storm: + And the waves cam owre the broken ship + Till a' her sides were torn. + + "Go fetch a web o' the silken claith, + Another o' the twine, + And wap them into our ship's side, + And let nae the sea come in." + + They fetch'd a web o' the silken claith + Another o' the twine, + And they wapp'd them round that gude ship's side, + But still the sea came in. + + O laith, laith were our gude Scots lords + To wet their cork-heel'd shoon; + But lang or a' the play was play'd + They wat their hats aboon. + + And mony was the feather bed + That flatter'd on the faem; + And mony was the gude lord's son + That never mair cam hame. + + O lang, lang may the ladies sit, + Wi' their fans into their hand, + Before they see Sir Patrick Spens + Come sailing to the strand! + + And lang, lang may the maidens sit + Wi' their gowd kames in their hair, + A-waiting for their ain dear loves! + For them they'll see nae mair. + + Half-owre, half-owre to Aberdour, + 'Tis fifty fathoms deep; + And there lies gude Sir Patrick Spens, + Wi' the Scots lords at his feet! + --UNKNOWN. + + +ELEGY WRITTEN IN A COUNTRY CHURCHYARD + + The curfew tolls the knell of parting day, + The lowing herd wind slowly o'er the lea, + The ploughman homeward plods his weary way, + And leaves the world to darkness and to me. + + Now fades the glimmering landscape on the sight, + And all the air a solemn stillness holds, + Save where the beetle wheels his droning flight, + And drowsy tinklings lull the distant folds: + + Save that from yonder ivy-mantled tow'r + The moping owl does to the moon complain + Of such as, wand'ring near her secret bow'r, + Molest her ancient solitary reign. + + Beneath those rugged elms, that yew-tree's shade, + Where heaves the turf in many a mould'ring heap, + Each in his narrow cell forever laid, + The rude forefathers of the hamlet sleep. + + The breezy call of incense-breathing morn, + The swallow twitt'ring from the straw-built shed, + The cock's shrill clarion, or the echoing horn, + No more shall rouse them from their lowly bed. + + For them no more the blazing hearth shall burn, + Or busy housewife ply her evening care: + No children run to lisp their sire's return, + Or climb his knees the envied kiss to share. + + Oft did the harvest to their sickle yield, + Their furrow oft the stubborn glebe has broke: + How jocund did they drive their team afield! + How bow'd the woods beneath their sturdy stroke! + + Let not Ambition mock their useful toil, + Their homely joys, and destiny obscure; + Nor Grandeur hear with a disdainful smile + The short and simple annals of the poor. + + The boast of heraldry, the pomp of pow'r, + And all that beauty, all that wealth e'er gave, + Await alike th' inevitable hour: + The paths of glory lead but to the grave. + + Nor you, ye proud, impute to these the fault + If Memory o'er their tomb no trophies raise, + Where through the long-drawn aisle and fretted vault + The pealing anthem swells the note of praise. + + Can storied urn or animated bust + Back to its mansion call the fleeting breath? + Can Honour's voice provoke the silent dust, + Or Flatt'ry soothe the dull cold ear of death? + + Perhaps in this neglected spot is laid + Some heart once pregnant with celestial fire; + Hands, that the rod of empire might have sway'd, + Or waked to ecstasy the living lyre. + + But Knowledge to their eyes her ample page + Rich with the spoils of time did ne'er unroll; + Chill Penury repress'd their noble rage, + And froze the genial current of the soul. + + 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. + + Some village Hampden that with dauntless breast + The little tyrant of his fields withstood, + Some mute inglorious Milton here may rest, + Some Cromwell guiltless of his country's blood. + + Th' applause of list'ning senates to command, + The threats of pain and ruin to despise, + To scatter plenty o'er a smiling land, + And read their history in a nation's eyes-- + + Their lot forbade: nor circumscribed alone + Their growing virtues, but their crimes confined; + Forbade to wade thro' slaughter to a throne, + And shut the gates of mercy on mankind; + + The struggling pangs of conscious truth to hide, + To quench the blushes of ingenuous shame + Or heap the shrine of Luxury and Pride + With incense kindled at the Muse's flame. + + Far from the madding crowd's ignoble strife + Their sober wishes never learn'd to stray; + Along the cool, sequester'd vale of life + They kept the noiseless tenor of their way. + + Yet ev'n these bones from insult to protect + Some frail memorial still erected nigh, + With uncouth rhymes and shapeless sculpture deck'd, + Implores the passing tribute of a sigh. + + Their name, their years, spelt by th' unlettered Muse, + The place of fame and elegy supply: + And many a holy text around she strews, + That teach the rustic moralist to die. + + For who, to dumb Forgetfulness a prey, + This pleasing anxious being e'er resign'd, + Left the warm precincts of the cheerful day, + Nor cast one longing ling'ring look behind? + + On some fond breast the parting soul relies, + Some pious drops the closing eye requires; + E'en from the tomb the voice of Nature cries, + E'en in our ashes live their wonted fires. + + For thee, who, mindful of th' unhonour'd dead, + Dost in these lines their artless tale relate; + If chance, by lonely contemplation led, + Some kindred spirit shall inquire thy fate-- + + Haply some hoary-headed swain may say, + "Oft have we seen him at the peep of dawn + Brushing with hasty steps the dews away + To meet the sun upon the upland lawn. + + "There at the foot of yonder nodding beech + That wreathes its old fantastic roots so high, + His listless length at noontide would he stretch, + And pore upon the brook that babbles by. + + "Hard by yon wood, now smiling as in scorn, + Mutt'ring his wayward fancies he would rove, + Now drooping, woeful-wan, like one forlorn, + Or crazed with care, or cross'd in hopeless love. + + "One morn I miss'd him on the custom'd hill, + Along the heath, and near his favourite tree; + Another came; nor yet beside the rill, + Nor up the lawn, nor at the wood was he: + + "The next with dirges due in sad array + Slow through the church-way path we saw him borne. + Approach and read (for thou canst read) the lay + Graved on the stone beneath yon aged thorn:" + +_The Epitaph_ + + Here rests his head upon the lap of Earth + A Youth, to Fortune and to Fame unknown. + Fair Science frown'd not on his humble birth, + And Melancholy mark'd him for her own. + + Large was his bounty, and his soul sincere, + Heav'n did a recompense as largely send: + He gave to Mis'ry all he had, a tear, + He gain'd from Heav'n ('twas all he wished) a friend. + + No farther seek his merits to disclose, + Or draw his frailties from their dread abode + (There they alike in trembling hope repose), + The bosom of his Father and his God. + --THOMAS GRAY. + + +PSALM CIII + + Bless the Lord, O my soul: + And all that is within me, bless his holy name. + Bless the Lord, O my soul, + And forget not all his benefits: + Who forgiveth all thine iniquities; + Who healeth all thy diseases; + Who redeemeth thy life from destruction; + Who crowneth thee with loving kindness and tender mercies; + Who satisfieth thy mouth with good things; + So that thy youth is renewed like the eagle's. + + The Lord executeth righteousness + And judgment for all that are oppressed. + He made known his ways unto Moses, + His acts unto the children of Israel. + The Lord is merciful and gracious, + Slow to anger, and plenteous in mercy. + He will not always chide: + Neither will he keep his anger forever. + He hath not dealt with us after our sins; + Nor rewarded us according to our iniquities. + + For as the heaven is high above the earth, + So great is his mercy toward them that fear him. + As far as the east is from the west, + So far hath he removed our transgressions from us. + Like as a father pitieth his children, + So the Lord pitieth them that fear him. + For he knoweth our frame; + He remembereth that we are dust. + + As for man, his days are as grass: + As a flower of the field, so he flourisheth. + For the wind passeth over it, and it is gone; + And the place thereof shall know it no more. + But the mercy of the Lord is from everlasting to everlasting upon + them that fear him, + And his righteousness unto children's children; + To such as keep his covenant, + And to those that remember his commandments to do them. + + The Lord hath prepared his throne in the heavens; + And his kingdom ruleth over all. + Bless the Lord, ye his angels, + That excel in strength, + That do his commandments, + Hearkening unto the voice of his word. + Bless ye the Lord, all ye his hosts; + Ye ministers of his, that do his pleasure. + Bless the Lord, all his works + In all places of his dominion: + Bless the Lord, O my soul. + --KING DAVID. + + + + +ANTHOLOGIES OF CHILDREN'S POEMS + + +IN addition to what the student has mastered by heart he needs to own +and keep within arm's reach a good anthology. He should first own "A +Children's Treasury of English Song," and about the time he is ready to +leave the elementary school the greatest of all collections of verse, +"The Golden Treasury of the Best Songs and Lyrical Poems in the English +Language," must fall into his hands. The next best collection is +doubtless "The Oxford Book of English Verse," by A. T. Quiller-Couch. +For ballad literature "The Oxford Book of English Ballads" by the +last-named editor and "The Ballad Book" by Allingham are both good. It +is to be hoped that if he has a taste for verse of the ballad form, the +boy may some day wander back to Percy's "Reliques of Ancient English +Poetry." An occasional boy who cares little for great poetry may have a +bent toward songs of war and daring. Though this tendency is to be +deplored if it comes late in the boy's school life, it is best to +satisfy it. A fairly good but not altogether judiciously selected +anthology for this purpose is Henley's "Lyra Heroica." From this reading +of poetry in anthologies the boy might go to the carefully edited and +selected volumes of the great poets in the Golden Treasury Series. The +step to choice complete editions is then easy. + +It may chance that the boy who has once tasted of the honeydew of great +poetry and who has left the elementary school to take up the actual +affairs of life will go back to the authority of his teacher who first +pointed out to him such a pure pleasure for his quiet hours. If this +gratifying condition should come about, the teacher might name to him +the following poems that are still more rare in their appeal--as he will +surely come to know when he has felt the touch of "An Ode on a Grecian +Urn." Here are the titles: "Shall I Compare Thee to a Summer's Day," +Shakespeare; "The Time of Year Thou May'st in Me Behold," Shakespeare; +"On the Late Massacre in Piedmont," Milton; "The World is too Much with +Us," Wordsworth; "Milton, Thou Should'st Be Living at This Hour," +Wordsworth; "Tuscan, That Wander'st in the Realms of Gloom," Longfellow; +"Rose Aylmer," Landor; "Out of the Night That Covers Me," Henley; "Go +Fetch to Me a Pint o' Wine," Burns; "Proud Maisie is in the Woods," +Scott; "She Dwelt among the Untrodden Ways," Wordsworth; "Helen, Thy +Beauty is to Me," Poe; "She Walks in Beauty," Byron; "The Lost Leader," +Browning; "It Was a Lover and His Lass," Shakespeare; "Callicles beneath +Etna," Arnold; "La Belle Dame sans Merci," Keats; "Ode to Evening," +Collins; "Ode to a Skylark," Shelley; "Ode on a Grecian Urn," Keats; +"Kubla Khan," Coleridge; "Ulysses," Tennyson; "L'Allegro," Milton. From +these the boy may with the coming of manhood be led to heights of such +tunes of the masters as Wordsworth's powerful "Ode on the Intimations of +Immortality from Earliest Childhood," and Tennyson's song that is so +near to the heart of great things, "In Memoriam." + + + + +PART III + +SOURCES OF STANDARD PROSE FOR CHILDREN + + + + +CHAPTER I + +FAIRY TALES, HOUSEHOLD TALES, AND OTHER FANCIFUL STORIES + + "In the olde times they were the only revivers of + drowsy age at midnight: old and young have with + his tales chim'd mattens till the cocks crow in + the morning: Batchelors and Maides with his tales + have compassed the Christmas fire-block till the + Curfew-bell rings, Candle out: the old Shepherd + and the young Plow boy after their day's labour + have carol'd out a Tale of Tom Thumb to make merry + with: and who but little Tom hath made long nights + seem short and heavy toyles easie?" + --Said in 1611 of the Tales of Tom Thumb. + + +IN that comforting essay, "An Apology for Idlers," Robert Louis +Stevenson tells us that it is by no means certain that a man's business +is the most important thing that he has to do. And somewhere else he has +remarked on a club of men in Brussels who talked about the commercial +affairs of Belgium during the day, but who at night came together to +discuss the more serious affairs of life. These views are in accord with +the Stevenson temperament that looked on life as made up of two worlds: +a real workaday one to be unflinchingly faced, no matter what the task +that came, and a fanciful one, a play world, that by its appeal to the +ideal nature created an atmosphere of joy that made the duties of the +real one more tolerable. His own life, so well balanced between work and +play, so sane and healthful and inspiring in its influence on all who +knew him or read his books, has shown what a romantic cast of mind can +get out of life, though it suffer the handicap of ill health and worldly +misfortune. The balance-wheel of his life was a playful imagination that +always "hath made long nights seem short and heavy toyles easie." + +Stern materialism, cold, calculatingly just, impatient with the dreamer, +with no charity for lovable human frailties, has always mocked at the +notion of a fanciful place where great and glorious things are going on. +She spins no web from the threads of her imagination. The warp and woof +of her fabric are drawn from facts; and it comes from the loom all wool, +a yard wide, and used to cover the nakedness of real men and women. She +has never felt the free abandon of fairy land. Her heart has never +leap'd up at beholding a rainbow in the sky, a rainbow with the fabled +pot of gold--though she has toiled and sweat many a day for nothing more +than a mess of pottage. Whilst pointing the finger of scorn at the magic +lamp, the ogre's hen, or the seven-league boots, she plays the fool and +pays the fiddler in actual life merely because under it all there lurks +a passion for the marvellous, founded on chance. In the business world +this manifests itself in the perennial hope of a "bull market" or a +"bonanza." Of course, pleasures are largely a question of taste, not a +question of right, and it is everybody to his liking,--one may prefer +the counting house to the back-log at the drowsy hour of midnight,--yet +may we all be spared the time when fancy and romance cease to dominate +men. Without them life would become mediocre, stupid, dull. + +It has been claimed that a nation without fancy and romance never can +hold a great place. Material prosperity without a corresponding +well-being in the things of the imagination is an unfortunate +prosperity. Its pleasures must necessarily be sensual pleasures that +grow out of luxury. They carry the man or woman too far away from the +land of childhood. Dickens saw this clearly when he said: "What +enchanted us in childhood and is captivating a million young fancies +now, has at the same blessed time of life, enchanted vast hosts of men +and women who have done their long day's work, and laid their gray heads +down to rest. It has greatly helped to keep us in some sense ever young, +by preserving through our worldly ways one slender tract not overgrown +with weeds, where we may walk with children sharing their delights." A +good thing it is to keep that slender tract free from weeds. And the +stronger the man, the more he needs to do it. Only a man who sees things +out of their right proportions and who is without a sense of humour +would scorn to renew his youth occasionally in the land of romance. If +in life the strongest and wisest men are good at a fight, they are still +better at a play. And it is no shame if their "Arabian Nights' +Entertainments" is more thumbed than their Bacon's "Essays." They may be +all the wiser for it. In Howard Pyle's delightful rendering of the Robin +Hood tales he gives this happy admonition in the introduction: "You who +so plod among serious things that you feel it a shame to give yourself +up even for a few short moments to mirth and joyousness in the land of +Fancy; you who think that life hath naught to do with innocent laughter +that can harm no one; these pages are not for you. Clap the leaves and +go no further than this, for I tell you plainly that if you will go +further you will be so scandalized by seeing good, sober folk of real +history so frisk and caper in gay colours and motley that you would not +know them but for the names tagged to them." And then he sees the secret +of making the heart beat young whilst carrying the burdens of grown-up +life, and he says, "The land of Fancy is of that pleasant kind that, +when you tire of it,--whisk,--you clap the leaves of this book together +and 'tis gone, and you are ready for everyday life, with no harm done." + +The present age as it gives colouring to educational practices is a +matter-of-fact age. Whilst boasting of freedom of thought, it has fallen +into a despotism of fact. Like the Old Man of the Sea, this reign of +fact has been clutching at the neck of culture and railing at the play +of fancy until there is but precious little of the "merrie" life left to +look to. The men who cleared away the forest can be pardoned if they +lived their lives largely in the light of stern fact, and so might the +sons of these men; but those as many generations removed as the present +should be able to drop back to the even tenor of a domestic and school +life that recognizes the play of fanciful imagination as an essential +part of the business of living at all. No sooner had the founders of our +nation succeeded in giving men their long-coveted political freedom than +science, cock-sure of being able to solve the riddle of existence, +strode upon the scene and smote the favourite creatures of the +imagination hip and thigh. It not only played havoc with the fairies of +our fathers, but it came perilously near doing the same with their +faith. And as a result, a material and utilitarian tone has taken hold +of education in most places, and boys must be practical, scientific, and +wear old heads on young shoulders. This same tendency had begun in the +days of Charles Lamb, for he wrote the following protest to Coleridge: +"Knowledge must now come to the child in the shape of knowledge, and his +empty noddle must be turned with conceit at his own powers when he has +learnt that a horse is an animal and Billy is better than a horse and +such like; instead of that beautiful interest in wild tales which made +the child a man while all the time he suspected himself to be no bigger +than a child. Science has succeeded to poetry no less in the little +walks of children than with men. Is there possibility of averting this +sore evil? Think of what you would have been now if, instead of being +fed with tales and old wives' fables in childhood, you had been crammed +with geography and natural history." And what must be said to +supplanting the subject of fairy life by the anatomy and physiology of +the human body? Is not a boy who knows the happy likeness of Old King +Cole or Allan-a-Dale as well educated as he who recognizes the picture +of an alcoholic liver? All this educational pother about having boys +practical and trained to reason instead of being imaginative and +romantic will die of its own accord some day, and then they may once +more listen to merrie tales told under the greenwood tree. + +The boy who has been nurtured on tales of fancy and who trusts to things +to work out for the best of their own accord will generally fall into +ways of cheerfulness and contentment. He will play the game of life out +with more of heart and courage, and less of doubt and fear. He may be +something of an impractical dreamer, but he will be kind and true. He +will not aim to understand all mysteries and all knowledge, but will aim +to make people happy rather than learned. His early experience of the +feelings of pity and terror will refine his emotions as much as it did +in the age of Thespias those of the Greek youth. In other words, his +early familiarity with fairy tales, whether learned by word of mouth +from his father, his nurse, or his teacher, will set his face in the +right direction. And to keep it so turned he will of necessity have to +build up a fairy library. What that library might contain and what he +should know as a perfect lesson must now be considered. + +A sense of fitness rather than a feeling of loyalty to the language +points to the English fairy and household tales as the ones with which +to begin. If the teacher has a folk-lore curiosity and interest which +aid him in giving these fairy tales to the children, that is well and +good. But this historic view is by no means so important as it is to +know thoroughly the tales themselves and to enter into an appreciation +of them with a keen and boyish interest. The present concern is with a +limited number of stories that are so wholly good and so very necessary +to the child that he should come to know them completely. Then from this +beginning the boy can wander at his own sweet will and keep friends with +Jacobs, Perrault, Grimm, Andersen, and, last of all and no doubt best of +all, "The Arabian Nights' Entertainments." But from all of these the +rude vigour, the dramatic directness, and above all the playful humour +of the English tales will first captivate him. They have not quite the +grace, simplicity, and elegance of the French tales, nor the more +fanciful and romantic touches of the German tales; yet, as Mr. Jacobs +has told us, "They have the quality of going home to English children. +The English folk-muse wears homespun and plods afoot, albeit with a +cheerful smile and a steady gaze." + +"English Fairy Tales" and "More English Fairy Tales" should be in the +hands of every child. The stories are told in a way that preserves all +of their dramatic interest and humour of phrase and situation. This +characteristic humour of English folk-fancy, Mr. Jacobs has skilfully +caught. He has this to say of his way of telling them: "I am inclined to +follow the traditions of my old nurse, who was not bred at Girton and +scorned at times the rules of Lindley Murray and the diction of polite +society. And I have left vulgarisms in the mouths of vulgar people. +Children appreciate the dramatic propriety of this as much as do their +elders. Generally speaking, it has been my ambition to write as a good +old nurse would speak when she tells Fairy Tales. I am doubtful of my +success in catching the colloquial-romantic tone appropriate for such +narratives, but they had to be done or else my object, to give a book of +English Fairy Tales which children would listen to, would have been +unachieved. This book is to be read aloud and not merely to be taken by +the eye." All children should rejoice, that, so long after Puritanism +had suppressed these tales in many parts of England, and after its +decline they had come to be supplanted by the Mother Goose tales of +Perrault, there has come such an excellent retelling of them in the +Jacobs books. If there be anything in fairy literature better than "Tom +Tit Tot," I have not found it. It is altogether fitting to have it stand +first in such a great collection. And with other such very good tales as +"Cap o' Rushes," "The Three Sillies," and "Jack and the Golden Snuff +Box," to say nothing of the dramatic telling of "Hop o' My Thumb," "Jack +the Giant Killer," and "Jack and the Bean Stalk," the pleasure from +reading the book at the right age will mayhap never be surpassed. One +might regret that the curious and helpful information of the notes had +not been reserved for a separate treatise for mature readers, did not +the amusing illustration of the court-crier by John D. Batton give the +warning that the tales are closed and children must not read any +further. After having learned some of the best stories through the ear, +the boy must certainly buy and keep these two books. + +After the English tales are familiar, the boy might be given the Mother +Goose tales as first collected by Charles Perrault in 1696. They had +been current orally in France for many years before this, and they +undoubtedly had their origin in the oldest folk-lore of the world. It is +said Perrault wrote them down as he heard them with the intention of +writing them over in verse after the manner of the fables done by La +Fontaine. But his little son, to whom they had been told, rewrote them +from memory as an exercise, and the lad's version, being so simple and +direct, was given to the world in that form by his father. They slowly +found their way into England and for a while supplanted the native +tales. There is surely a universal appeal in such stories as "Little Red +Riding Hood," "Cinderella," "Puss in Boots," and "Sleeping Beauty." The +best rendering of these to-day is a small volume by Charles Welsh, +entitled "The Tales of Mother Goose." It has none of the poetic justice +that refuses to have the wolf eat up Little Red Riding Hood. It would be +well for some publisher to reprint an edition issued in New York in 1795 +under the title of "Tales of Passed Times, by Mother Goose." Some good +renderings of particular tales, however, may be found scattered through +collections of fairy stories that have appeared. + +The temptation to say something about the famous "Cruikshank Fairy Book" +in which some of these Mother Goose tales appeared cannot be resisted at +this point. It is a very noticeable illustration of the inability of a +man of talent always to keep to his last. No artist has ever drawn such +superior pictures for children as did Cruikshank. Where can anything +better be found than Jack's descent on the harp, the Ogre's flight, or +the presentation of the boots to the King? Why then did not Cruikshank +make a picture book with pictures only? Why did he leave his last to +write the stories anew in order that he might take the opportunity to +give his own views and convictions on what he considered important +social and educational questions; or "to introduce a few temperance +truths with a fervent hope that some good may result therefrom"? The +notion that moralizing makes children good has spoiled many an artistic +horn and has never made a good educational spoon. + +In Cruikshank's work in illustrating "Household and Fairy Tales" by the +brothers Grimm, we have a masterful production from the best period of +his genius, and we have it illustrating a superior text, the translation +made by Edward Taylor in 1823 and reprinted in 1868 with an introduction +by John Ruskin. Thackeray said that they had been the first real, +kindly, agreeable, and infinitely amusing and charming illustrations for +a child's book in England, and that they united beauty, fun, and fancy. +And who was a better judge of this than Thackeray? If it was not too +bold to say that "Tom Tit Tot" is the best household fairy story in the +language, it could be said with equal truth that Cruikshank's etching of +the two elves in "The Elves and the Shoemaker" is the best fairy +illustration yet done. These German stories are charming. The contention +that the stories are creepy is but the contention of a moralist. It +should carry no weight with the teacher who would give the boy artistic +notions of beauty, love, and mystery. These notions are always safer +than those of cold realism worked out in artificial conduct. Sir Walter +Scott wrote in this strain to Edward Taylor in 1832: "There is a sort of +wild fairy interest in them which makes me think them fully better +adapted to awaken the imagination and soften the heart of childhood than +the good boy stories which have in late years been composed for them. In +the latter case, their minds are, as it were, put into stocks, like +their feet at the dancing-school, and the moral always consists in good +moral conduct being crowned with temporal success. Truth is, I would not +give one tear shed over Little Red Riding Hood for all the benefit to be +derived from a hundred histories of Johnny Goodchild. In a word, I think +the selfish tendencies will soon enough be acquired in this arithmetical +age; and that, to make the higher class of character, our wild +fictions--like our own simple music--will have more effect in awakening +the fancy and elevating the disposition than the colder and more +elaborate compositions of modern authors and composers." It is hoped the +pictures of Cruikshank and the translation of Taylor will soon appear in +a large and attractive volume. + +When the dramatic colloquialism and humour of the English tales, the +superior grace, elegance, and beauty of the French tales, and the light, +airy fancy of the German tales have been presented to the boy, the +Scandinavian tales of Hans Christian Andersen will give him a refinement +in fairy life that he has not found before. They do not have, save in a +few such cases as "Holger the Dane," the quality of appealing to +grown-ups as well as to children--the test of a child's book that is +literature, or rather the test of a man yet on good terms with the +world. They are somewhat dull, wearisome, and overdone in places and do +not stop when the story is ended, as we find in "The Fir Tree"; yet in +some way they temper the English and German tales and meet Ruskin's +requirement that a child's tale should sometimes be both sweet and sad. +In fact, these stories are great favourites with many children, who +actually prefer "The Ugly Duckling" to "The Golden Bird." The boy might +early start with a few of the individual stories so delightfully +illustrated by Helen Stratton, and then when he can afford it buy the +excellent edition illustrated by the Danish artist, Hans Tegner, from +all of which he will get a new and pleasant touch of fairy life. + +There yet remains one book, not always called a fairy book, that must be +read before the boy leaves the land of fancy and wonder. It was the +favourite volume of Stevenson, and small surprise is it to any one who +knows the book and knows of the man. Nor is it less surprising to think +that the Oriental scholar, Antoine Galland, who first gave these stories +to Europe two hundred years ago, would be called out of bed at night to +tell them to an eager crowd under his window, the crowd always begging +for just one story more. One might search in vain for a companion +volume to this most capital of all books, "The Arabian Nights' +Entertainments." The tales are on a bigger scale than are the English +and German tales. There is a vastness of desert and starry sky in the +tent life of the Arab that is unknown in the cottage life of the English +peasant. And this is reflected in the tale that is told. Immensity and +Oriental mystery have taken the place of colloquial directness and +humour, and we have almost pure romance. Their richness and splendour +captivate the reader and transport him into a wonderland of powerful +magicians and magnificent palaces. The book is elemental in its appeal +and will always furnish royal entertainment for man or boy. And the man +who is not too completely grown up will keep his Lane's translation +within arm's reach against the hours when the dull cares of the world +are weighing him down. + +As fairy tales have a common plot in many languages, so has there been a +common way of preserving and transmitting them. This has been by oral +tradition. They were originally to be given by word of mouth, a method +that is yet best fitted to curious children. The teacher must give them +through the ear, if they are to be learned and retained. Whenever it is +possible in doing this, he must not forget to start with the pleasant +beginning, "once upon a time," nor yet to omit the best of all +conclusions, "and all went well ever afterwards"--neglecting, of +course, to add that truism for grown-ups, "that didn't go ill." In this +practice of giving a few choice tales through the ear is the preparation +for the time when a boy will eagerly thumb a favourite volume of his own +in some quiet nook. But a few of the better tales must first have been +mastered so that they can be told with dramatic directness. Here then +the same practice must hold that is followed in all reading: do not +overread. A few stories are to be well learned and a few books to be +owned, but only a few. If the boy once comes to feel his strength from a +limited number of good stories, the made-to-order story for the fellow +with the curls will never appeal to him. What he knows he will know and +be glad to know. + +If it be presumption to select a limited list of stories by grades when +the world is so full of stories, it must be presumption. There are +stories that can have no substitutes until the world has had another +accumulated experience of some hundreds of years of fireside lore. The +list that follows has been found good for a limited list, yet as +complete a one as a child can master. No apology need be offered for the +insertion of Ruskin's great story or the two stories of jungle life by +Kipling. They are modern, but form a good bridge to modern books that +have real merit. A boy who will not read "Red Dog" with an interest on +fire had better grow weak on a Rollo book. His taste is surely to be +lamented. He will early fall in love and later fall into cynicism. + +Here is the list for the first four or five grades to be given in about +the order in which they are written: "The Old Woman and Her Pig," "The +Three Little Pigs," and "Henny-Penny," all as told by Jacobs in "English +Fairy Tales"; "The Three Bears" as told by the poet Southey, where the +little old woman continues to play a part; "Little Red Riding Hood" in +which the wolf eats her up, "Cinderella; or, the Glass Slipper," and +"The Master Cat; or, Puss in Boots" from "The Tales of Mother Goose" as +told by Charles Welsh; "Tom Tit Tot," "The History of Tom Thumb," "Jack +the Giant Killer," and "Whittington and His Cat" from "English Fairy +Tales"; "Beauty and the Beast" and "Hop o' My Thumb" from "The +Children's Book"; "Hansel and Grethel," "The Blue Light," and "The +Golden Bird" from Taylor's translation of the Grimm tales; "The Ugly +Duckling" and "The Fir Tree" from Andersen; "The Story of Aladdin; or, +the Wonderful Lamp," "The History of Ali Baba and the Forty Robbers +Killed by One Slave," and "The Story of Sinbad the Sailor" from "The +Arabian Nights' Entertainments"; "The King of the Golden River" by John +Ruskin; "Kaa's Hunting" and "Red Dog" from "The Jungle Books" of Rudyard +Kipling. + +When these stories have been well learned through the ear, their +purpose as literature and as groundwork for narrative speech will have +been accomplished. Of course, the teacher must read many stories to his +class besides the ones named above; but he is not to require more than a +mere listening to the reading from a point of interest only. By and by +the boy will fall into the habit of reading aloud to some one else, and +this may now be trusted to carry him along. Wise suggestion on the part +of the teacher will direct him in getting a few good volumes that he can +call his own. A fairy library, not large but well selected, will become +a comfort to him in later years when the lamp is getting dim. For the +man who finds himself unable to read with pleasure a fairy tale that +charmed him in youth proclaims himself a slave either to relentless +materialism or to cold and dignified egotism. And if he be not +obstinately short-sighted, he cannot help seeing that the man who yet +loves a fairy tale is one who also fears God, is clear of head, and is +brave of heart. + +In the succession of the seasons, the coming of spring puts young blood +into old veins much as it dresses the gray of winter in a lively green. +The possibilities of the daughter of Ceres while she dwells beneath the +earth are likewise to be found between the covers of a fairy library. A +man might travel many a long way in search of a better fountain of +youth. + + + + +CHAPTER II + +CLASSIC MYTHS IN LITERATURE + + "Oft of one wide expanse had I been told + That deep-brow'd Homer ruled as his demesne."--KEATS. + + "They hear like Ocean on a western beach + The surge and thunder of the Odyssey."--LANG. + + +THERE is not the slightest necessity for schoolmen's staring at one +another when it is proposed to let boys once more look through magic +casements at the classic myths of Greece and Rome. These masters of +knowledge can depend upon it that their pedagogic systems are wrong if +they set themselves up against the primitive feelings of mystery and +fear. There is yet too strong a trace in the blood to forsake the gods +and heroes that have satisfied instincts, very human and commendable, +for many generations. No goblin nor witch needs to be cast out when the +blood flows red; it is merely an indication of abundant life drawn from +the strength and courage that marked an heroic age. If a boy's talents +be anything but mediocre, they will naturally turn to this age to +satisfy a longing. It is small wonder that the young Keats should stay +up all night reading Chapman's Homer, or should translate the AEneid +into English "just for fun." These glimpses were pure serene to a poet +who afterwards caught in such a rare way their classic beauty; and the +gods surely loved him for it, for they decreed that he should die young. + +The charm of the myths of Greek and Roman literature is enduring, +because they embody both truth and beauty--sometimes held to be one and +the same. Nothing but a perverted taste, that is fed on the prosaic +processes of material achievements or the artificial standards of a +moral system, could fail to find pleasure and inspiration in them. Their +appeal is artistic, to the sense of beauty. Their truth is a deification +of the longings of the human heart as it seeks for comfort and +protection in a world whose mysterious events can hardly be fathomed. +And their gods and heroes embody the great virtues that marked a classic +people as much as they did the beauty of their intellectual +achievements--the virtues of courage, patience, honour, loyalty, +contentment. A normal disposition will take satisfaction in this +interpretation of truth and beauty. Not only will its possessor be +satisfied, but he will be ennobled by the very presence of these +qualities before his keen senses. The world will seem to him more than a +place in which he is to toil and spin day after day; his soul will dwell +apart on a mountain where not all mortals can ever climb, a mountain +crowded with culture. He can temporarily leave the common crofts, seek +his solace and confession, and be all the better to ply again his +allotted task. He will learn of one spot where the greed and brutality +of industrial progress cannot set its heel and leave the print of what +is practical and ugly. + +This cry for the practical has laid a curse on the culture of many a +boy. He has been educated for the eight or ten hours that he works for +his board and keep, and the rest of his waking day finds him ill at ease +in a field of study or an appreciation of the better things of life. Not +being able to "speak Greek" or to talk with men who do speak Greek, he +naturally turns to the spectacular, the ornate, the frivolous. Nothing +of an order above the broadly burlesque or the melodramatic will hold +his interest and attention. The theatre of Dionysus is too severely +classical in the beauty with which it represents life in action, and he +never learns to sit out a pure tragedy, hear "sweetest Shakespeare +warble his native wood-notes wild," or dilate on the right emotions, if +"Jonson's learned sock be on." + +The boy's talents are in all probability not at fault. They are merely +dressed in the prevailing fashion. This fashion is set by a standard of +what is useful for material success in life. The subject-matter of +education must be scientific facts, and with these facts the boy must be +taught to reason. The uselessness of imagination and memory as mental +powers is held up to him. It is not for him to enrich his mind by what +an active and retentive memory can give him of classic literature. In +fact, the memory is looked upon, by the "scientific gent" (as Thackeray +labelled him) in his laboratory, as a minor concern and left to work out +its own salvation--if it really needs to be saved. And as for the memory +being used to chronicle the exploits of mythical heroes in an age of +superstition, that would be unthinkable in the day of scientific +research. Let not the boy then be held up to blame if he is no more able +to name the Olympian council than was Tom Sawyer to name the first two +disciples chosen. The fault is with the system, the rational scientific +system. + +Greek is well nigh gone from the high school course. Latin is under +indictment. In their stead we are to have such substitutes as biology +and chemistry. The exploits of Achilles and the wanderings of AEneas are +to be supplanted by the dissection of an oyster and the making of soap. +Now oysters and soap are all right in their way, and it is a good thing +we have the one to eat and the other to wash with; but when it comes to +using them to satisfy the instinct for a fight or for the discovery of a +hidden treasure, that is a stupid and brutal forcing of a theory. If +progress must come at the price of selling a boy's birthright for a mess +of pottage, it is a pity some one cannot smite her with the edge of a +sword. The study of the humanities that has been the bone and sinew of +generations past cannot give place to the scientific vogue without +wrecking the hope and desire of many a romantic youth. To leave out the +classics is to proclaim a material age to be bigoted, boastful, and +self-sufficient. Yet that is exactly what the scientific educator, who +calls himself modern and progressive, is proposing, because business +demands it. What claim has a business demand on academic policy, anyhow? +Is not vagabondia as much entitled to the floor? + +"The descent to Avernus is easy." Reformed spelling is not so hard as +Greek roots. In fact, the plan is to follow along the line of least +resistance. The memory must not be cumbered with dead matter if the boy +can reason on experiments for practical business demands. And are not +the myths of these Greek and Latin languages too imaginative and +impractical, covered with too much of academic dust, to serve a purpose +in a practical age? This is heralded from educational convention to +educational convention, and whilst the breaking of idols goes merrily +on, a few brave teachers who speak Greek are regularly taking a Spartan +stand to preserve what yet remains of the classic structure. In a +boastful age they are not going to forget. If Homer and Ovid are forced +by business demands from the academic halls, what hope is there left in +Israel? + +The one and only one seems to be the myths in translation. Their claim +to the attention of teachers can be clearly given from the preface to +the best telling of them that has yet appeared, Bulfinch's "Age of +Fable; or, Beauties of Mythology," a happy title to such a valuable +book: "If no other knowledge deserves to be called useful but that which +helps to enlarge our possessions or to raise our station in society, +then Mythology has no claims to the appellation. But if that which tends +to make us happier and better can be called useful, then we claim that +epithet for our subject; for Mythology is the handmaid of literature, +and literature is one of the best allies of virtue and promoters of +happiness. + +"Without a knowledge of mythology much of the elegant literature of our +own language cannot be understood and appreciated. When Byron calls Rome +'the Niobe of nations,' or says of Venice, 'she looks a Sea-Cybele fresh +from ocean,' he calls up to the mind of one familiar with our subject +illustrations more vivid and striking than the pencil could furnish, but +which are lost to the reader ignorant of mythology. Milton abounds in +similar allusions. The short poem 'Comus' contains more than thirty +such, and the ode 'On the Morning of the Nativity' half as many. Through +'Paradise Lost' they are scattered profusely. This is one reason why we +often hear people say that they cannot enjoy Milton. But were these +persons to add to their solid acquirements the easy learning of this +little volume, much of the poetry of Milton which has appeared to them +'harsh and crabbed' would be found 'musical as is Apollo's lute.'" + +The truth of this last statement is very evident to the English teacher +in high school work. He must stop to teach myths that should be the +common possession of all children before he can go on with his work in +the "Minor Poems." If boys would enter the high school with some of the +classic myths firmly drilled into them, they would read with pleasure +the most imaginative of all the English poets. Mythology in translation +is a fixed possession of English literature, and it must be grasped more +or less in detail before the boy can ever expect to have the marks of +literary culture and to read figurative composition with ease. With the +beginning of school life must begin the learning of myths by word of +mouth. No classical dictionary can later take the place of this +practice. These myths are to be mastered and reproduced in good English; +and after a few years of such drill the children will read the stories +of gods and heroes with the same ease that they do a colloquial fairy +tale. It is the same old step from the story-teller to the book and a +quiet corner where no one can break the spell. + +Fortunately there is not so extensive a field of mythology suitable for +use as there is of fairy literature, and the boy can easily hope to make +it his own. The field must exclude both the modern nature myths that +have been compounded to suit the occasion, and the cruder and more +recent discoveries of savage races. In short, Greek mythology must make +both the beginning and the end of what is to be learned; for there has +been no nation other than Greece that has developed a mythical faith so +intellectual in its scope and so beautiful in its expression. This +beauty has been expressed through both art and literature. It would be +an almost unpardonable neglect on the part of a teacher if a boy were +permitted to go through school and not be familiar with the heroic age. +He should know the stories of the gods and heroes; know the Olympian +council, the labours of Hercules, the adventures of Jason, of Perseus, +of Achilles; he should know the Trojan War in its picturesque greatness +and the wonderful exploits of Odysseus on his homeward journey; and he +should know such stories as those of Apollo, of Oedipus, of Orpheus, +of Admetus, of Proserpine, of Niobe, and of Psyche. This knowledge of +Greek mythology will bring one of the most pleasurable and stimulating +of all feelings to a boy, the consciousness of wandering at ease in a +domain where all mortals have not been privileged to enter. + +Almost hand in hand with the Greek myths must be taken their variations +in Roman life and the few that seem to be original there. Although the +Greek and Roman deities had most attributes in common, they were yet +distinct, each having his particular name. It is unfortunate that the +Latin names have come into such extensive use and that we always speak +of Jupiter instead of Zeus, and Venus instead of Aphrodite. But the +Hellenic spirit is hard to keep foremost in this commercial age. If the +glare of the arc light could be screened at times and the starry sky be +read as a book wherein the constellations still hold their Greek names, +some of the heroes that have been made permanent might inspire the +observer with a feeling to read again their story. Yet let us have the +sweetness of the rose, whatever be its name. + +It is rather perplexing to know what myths to give the child when he +first enters school and through the first four or five years of his +school life. The taste and culture of the teacher have much to do with +this. But whatever is given, give it as it is written without deforming +it by having it adapted to suit the years of the boy. He can understand +many things of which the teacher is not aware. Take it directly from +"The Age of Fable," and at the start remove all difficulties of telling +by drilling on the pronunciation of proper names. Then let the boy learn +the myth through the ear and tell it fluently and exactly. While doing +this, the art that is so closely woven with Greek myths must become +familiar also. The boy must be able to recognize such works as +"Aphrodite of Melos," "Apollo of the Belvidere," "Diana of Versailles," +"The Faun of Praxiteles," "The Laocooen Group," and "Nike of +Samothrace." The refining influence that comes through them is not easy +to explain, but it comes. Take it for what it is worth, as you take the +myths themselves. And at no time should the teacher seek for +philosophical arrangement and interpretation, that at best is merely a +confusion of words, or moralize on something that is purely dramatic +instead of didactic. The myths are stories and should be used as +stories. + +A reasonably good list to use for this kind of drill work in, say the +first four grades, is the following, to be learned in the order written: +"Latona and the Frogs," "Arachne," "Niobe," "Midas and the Golden +Touch," "Apollo and Daphne," "Pandora and her Box." "Narcissus," "Ceres +and Proserpine," "Ulysses and Polyphemus," "Daedalus," "AEolus," +"Philemon," "Vulcan," "Cyparissus and the Stag," "Arion," "Ulysses and +the Sirens," "Callisto and Areas," "Ariadne's Thread." "Io and the +Gadfly," "Perseus and Medusa," "The Wooden Horse," "Phaeton," "Pygmalion +and Galatea," "AEsculapius and Apollo," "Jason and the Golden Fleece," +"The Death of Hector," "Cupid and Psyche," "Ulysses and Penelope," +"Pegasus," "Orpheus and Eurydice," "The Labors of Hercules," "Admetus +and Alcestis." After mastering these stories, the boy will be ready to +read for himself. + +Let him first read Hawthorne's "The Wonder-Book for Girls and Boys," +and then the companion volume, "Tanglewood Tales for Girls and Boys; a +Second Wonder-Book." These are indispensable. Then he must read a good +edition of Kingsley's "Heroes; or, Greek Fairy Tales for My Children." +That is a delightful book, despite its deplorable tendency to preach. +Now he is ready for that charming continuous tale, Lamb's "Adventures of +Ulysses," which of course he must own and keep near at hand. He can now +take up and learn the second most valuable work he can own as a student +of literature, Bulfinch's "Age of Fable." Of course it is understood +that Palgrave's "Golden Treasury" is to be the first most valuable one. + +Some dozen years ago there appeared in a magazine a story called "The +Little Brother of the Books." It was the story of a small crippled boy +who each afternoon went his way to a certain book stall and was always +found absorbed in the same book. The book was the "Age of Fable." That +he did this is not strange to any one who owns the book and knows it +well. There are few compilations in which the richness of a literature +is gathered together and retold in a way that will make it endure as a +book. Yet this is true of the "Age of Fable." Every student should own +an illustrated copy of it, and preferably one that has never been +edited. It is told as a story, and a captivating story it is. A +quotation from the preface cannot be resisted here: "Our book is not +for the learned, nor for the theologian, nor for the philosopher, but +for the reader of English literature, of either sex, who wishes to +comprehend the allusions so frequently made by public speakers, +lecturers, essayists, and poets, and those which occur in polite +conversation. + +"We trust our young readers will find it a source of entertainment; +those more advanced, a useful companion in their reading; those who +travel, and visit museums and galleries of art, an interpreter of +paintings and sculptures; those who mingle in cultivated society, a key +to allusions which are occasionally made; and, last of all, those in +advanced life, pleasure in retracing a path of literature which leads +them back to the days of their childhood, and revives at every step the +associations of the morning of life. + +"The permanency of these associations is beautifully expressed in the +well-known lines of Coleridge: + + "'The intelligible forms of ancient poets, + The fair humanities of old religion, + The Power, the Beauty, and the Majesty + That had their haunts in dale or piny mountain, + Or forest, by slow stream, or pebbly spring, + Or chasms and watery depths; all these have vanished. + They live no longer in the faith of reason; + But still the heart doth need a language; still + Doth the old instinct bring back the old names, + Spirits or gods that used to share this earth + With man as with their friend; and at this day + 'Tis Jupiter who brings whate'er is great + And Venus who brings every thing that's fair.'" + + + + +CHAPTER III + +BOOKS TO BE OWNED, TO BE READ, AND TO BE REREAD + + "The first time I read an excellent book, it is to + me just as if I had gained a new friend. When I + read a book I have perused before, it resembles + the meeting with an old one."--GOLDSMITH. + + +JUST how far books and reading are questions of taste, or should be +looked on as questions of taste merely, is passing hard to say. That +there are prevailing fashions, local-colour variations, and a few more +or less permanent models is noticeable to such a degree that an observer +might conclude motley to be the only wear. The readers seem to be no +more able to agree in what they like than did the urchins over the +pease-porridge in the nursery rhyme: + + Some like it hot, + Some like it cold, + Some like it in the pot + Nine days old. + +So it goes in books with every one to his own liking, though the +particular likings are a very unsubstantial guide to the literary merits +of the books liked. A book may become a fashion based on conventional +acquiescence and appearances rather than on real worth. Let the +judgment of individualism, with courage and restraint, lay bare the +fashion, and where then is its habitation or what is its name? Such +judgment sets up more or less arbitrary lines of taste that run wide, +and it makes a guess at what is enduring literature, a hazardous kind of +guess. Yet the peculiar thing of it all is that in this guess pedantry +is as likely to play false as is the capricious fancy of the reading +public that takes the book of the hour, whatever it be. This makes a +kind of self-constituted division of readers, each satisfied with his +lot and each serving a purpose. + +Some readers' tastes, however, are neither prudish nor slovenly. They +are very catholic and succeed in picking out what is good from both the +bookish and the popular kinds of books. They can read any book that is a +book. But you recall that Charles Lamb could not reckon directories, +scientific treatises, the works of Hume and Gibbon, and generally those +"volumes which no gentleman's library should be without" as being books. +If to these were added those books which no gentleman's library should +contain, we come to a field fairly easy of investigation. In other +words, we must get back to that field that includes the literature of +power rather than the literature of knowledge. Of course, if somebody +chooses to read blockheaded encyclopaedias, withering economic essays, +proper Sunday school books, sophomoric novels, or privately printed +verse, that is purely his own concern; but such reading is beyond the +pale of real books as they relate to well-regulated courses in the home +or in school life. + +How far is a teacher to be influenced in his selection of books for +students by their lines of taste? That depends on how far the tastes of +readers in general indicate that books of their liking are to be classed +as books of power, as real literature. It is rash to say that a book has +real merit because it becomes the best seller of a season; nor is it to +be condemned for the very reason that it is a best seller. However, the +general praise of a hundred thousand readers is not so much an index to +the book's merit as the book is an index to the character of the readers +who praise it. Unqualified laudation of a new book, especially a novel, +is an annoying kind of hysteria that has failed to find any other +outlet. But the very fact that the book is opportune or spectacular +carries it along. It grows up and flourishes in a day, and in a day dies +out. + +It is curious to note how times change in the reading world and with +them lines of taste. To-day the line most evident in the American +reading public, and the one most difficult to meet in the development of +a taste for good books, is the passion to be up-to-date, as its +commercial phraseology would have it. It is awakened by that wonderful +agent, the advertising appeal, that deals not with quality but with +quantity. In books it calls for a story, and that story must be the +latest or it is certain to be absolutely neglected. On being asked what +dish he preferred at a dinner, Thoreau said, "The nearest." That was in +keeping with his theory of cutting down the denominator; the theory of +the reader of the latest is one of multiplying the numerator. As the +proper thing, each new book is taken, horns, hide, and tallow. The +reader's reverence for the present grows apace, and he no longer has use +for old wine, old friends, and old books. This is a reflection of a +widespread impression in American life that up to the present time but +little truth of substantial value as to methods of living and thinking +has been found out. A wonderful industrial progress, working through +inventive skill, has given the notion that anything over a generation +old is scarcely worth a passing notice, a notion fatal to all art. Every +one must seize in a hurry the newest thing in the market, lest he be +branded as out of date. And it all looks as if everybody was trying to +do what Alice found them trying to do in Wonderland, running as fast as +they could to keep where they were. + +This mad rush for the latest is largely aided and abetted by that +invention of the devil, the literary section of many Sunday newspapers. +Finding research a bit dull, the ambitious or needy doctor of philosophy +launches into literary criticism for the reading public. He at once +discovers that the college sophomore who wrote a particular story is +another Thackeray in style. Then in turn a Dickens or a Balzac is found +out. Finally the news is passed on the Rialto that there is being issued +a story combining the delightful characteristics of the three old +masters. And thus and thus it goes, with the whirligig of Sunday +newspaper criticism spinning out the tastes of the reading public. + +Now if these titled critics ever cease discovering great new books as +regularly as the day of rest comes around, or if the paper reading +public cease to take these critics as truthful, then the teacher may +hope to find a more sympathetic field in which to work. Of course the +teacher must shake off his pedantry and quit his foolishness in taking a +classic beyond the years of the boy whose veins are full of red blood, +and putting it on a dissecting table for the study of etymology and +syntax. He must know fairly well the boy's likes and dislikes and +remember that they are very strong. And he must also remember that the +boy is joined to his idols, and these are not to be broken until better +ones are substituted. Iconoclasm for its own sake is sheer waste. The +teacher himself must be wedded to good literature, or his efforts will +avail little. If he knows, from his own quiet reading, a few good books +well, that is enough. Sympathetic appreciation, like good nature, is +contagious. If the teacher does not appreciate the book, the boy will +not--unless he does it out of pardonable perversity. + +The teacher has more to do with shaping the boy's reading than he at +first sees. He is apt to hesitate because the public library, ambitious +for a circulation record, gives the boy what he will be likely to read; +the Sunday school library, anxious to inculcate moral principles through +stories false to life, gives him what he does not want; the home, eager +to please him in every way, gives him anything he asks for. Yet in the +face of this threefold condition, the wise and sympathetic teacher can +direct an average course of reading that has in it more good than poor +books. To do this, he must work along two lines: discourage overreading +and encourage ownership in books. The practice of overreading is the +worst reading practice in modern life. Like all extremism, it is hard to +meet. It is as unpopular to oppose unlimited reading as it is to oppose +unlimited charity or unlimited education; yet they all need to be +carried out in moderation. The aim should be the mastery of a few good +books and the discouragement of the passion for constant variety that +indicates a lack of singleness of purpose through a lack of self-control +and the power of sustained attention. The greatest aid to this will be +the encouragement of small savings and the buying of good editions. When +this is done, encourage the boy to read out loud to his family at home +in the evenings the portions of his book he likes best. If he does +this, he and his book are friends as long as he continues reading. Soon +he will have a small, well-chosen, and much-used library. The boy who +will buy a book with his own money, will read aloud from it to his +family, will reread it, is safely started on the way to becoming a +well-read man. + +After feeling the need of good books in the home where they can be +turned to as the fancy directs, and after feeling a desire to buy such +books, the boy will next need to know what titles to select. And that is +no easy question. Temperament, home circumstances, occupation, and many +other factors enter into it. But the thing that helps out is the fact +that the range of books of power is universal, embracing so many moods, +that enough good titles may be found for any one, however whimsical his +tastes may be. In fact the boy will find many more good books to his +liking than he will ever find time to read, or than he needs to read. +The problem will become one of exclusion. Two lists for two boys of +different dispositions may vary widely and yet both be good literature. +But in the range of English books there are a few that the common +judgment of readers and the praise of critics have so generally classed +as necessary to the shelves of a cultivated man, that they should be +given first place and in some way or other a reading and a rereading of +them be secured. It is not meant that reading is never to depart from +this seemingly arbitrary standard. That would be at least prudish, to +say nothing of its being impracticable. What is meant is that such +things as comic supplements, at once stupid, silly, and debauching to +both the intellectual and the artistic tastes, should be kept from all +boys. The daily newspaper with its sensational head-lines telling of +crimes is as bad, and the schoolboy has no business with it at all. But +maybe the practice most widespread and fatal to an appreciation of books +of real worth and power is the addiction to "juveniles" in the ever +issuing series. If he has drunk to excess of these, the boy will have +hopelessly weakened his ability ever to appreciate anything great. He +will never be able to warm to the powerful deeds of Odysseus, Hector, or +Joshua--he will be only a tolerable but proper grown-up. In the face of +these and many more hindrances, reading will have to be rigidly +directed, and in that directing, lines of appeal in the field of good +literature can be drawn out. Generally the reason for a boy's revolting +against a good book is the fact that whoever is in control of his +reading presupposes that very thing. The book is often timidly handed +out and with something of an apologetic air. By some peculiar piece of +judgment it is believed that the boy prefers the book that is both +insipid and stupid. This ineffectual effort arises from a lack of +courage on the part of preceptor and parent: the old, old story of +overindulgence. What may be sauce for the father should not always be +sauce for the son. The theory that what is good for the one ought to be +good for the other, even to food and drink, is only another sophism of a +falsely sentimental age that is over-tolerant of what is called personal +rights. The fact that Senator Hoar delighted in an occasional yellow +back, is no reason why a boy should have such a story when he should be +learning his catechism. + +Before venturing on a list of books that will serve the boy fairly well +as he passes through the primary and the grammar grades of school, a few +of the superior books that have stood the test of time must be noticed. +They are fundamental in school and in general reading. The arguments of +literary critics as to what constitutes this good literature have no +place in a work of this nature that aims to aid teachers and parents in +selecting books for their children. It is enough to know that the +verdict of time has been rendered in favour of such books as "The +Arabian Nights' Entertainments," "Robinson Crusoe," and "Gulliver's +Travels." A knowledge of such books is fundamental to any one who is +ambitious to master the elements of English literature. And the mere +fact that he knows them well will give him a conscious strength and +pardonable feeling of superiority that the unlettered youth cannot have. +After this he can be trusted to browse pretty much as he chooses. He may +occasionally find the bars down, or maybe later go over the fences; but +he has learned to judge of what is worth while, and will surely return +to the books that gave him happy hours, whatever other tasks were laid +on him. + +In selecting this list for schoolboys there is a temptation to take +works too mature for school age. This may come from that lingering +instinct that supposes every one, no matter what the age, to be +interested in the same things in which you are interested. The very best +things for manhood are to be reserved for that time of life. Grammar +school boys cannot appreciate the playful humour of Lamb, the prophetic +scolding of Carlyle, or Thackeray's keen analysis of human weaknesses +and foibles; neither can a high school boy do it, and it is foolish to +insist that it be done. Schoolboys are not men, and they might be told +to reserve the greater part of Carlyle and Thackeray until two or three +years after they have cast their first vote. Neither author is adapted +to a beardless youth. But then we have that wonderful pair of +story-tellers, Scott and Stevenson! What boy can resist them or would +ever think of trying to do so? If Margaret Ogilvy would not lay down a +book of "that Stevenson man" until she had found out how the laddie got +out of the barrel, do you suppose that a boy with adventurous blood in +his veins could do so? Though the best test for a child's book is the +fact that it has charms for the grown-up, he would certainly be foolish +who would insist that the great books for mature men and women be read +in youth. It is after all school days are ended and the boy has become a +man well started in the actual affairs of life that he can read and +appreciate "Vanity Fair," "Adam Bede," "Tess of the D'Urbervilles," or +"Anna Karenina." The tendency to take great books for mature readers, +abridge and overedit them, and then present them to adventurous boys by +a laboratory method of minute dissection, is annoying and foolish. Boys +who still enjoy harnessing a dog to a wagon are neither university +students nor good literary critics. But they do like to find out how +Robinson Crusoe made a canoe, Tom Canty ate his first royal dinner, or +David Balfour helped Alan Breck defend the roundhouse. + +Naturally, the first book to put into the hands of the primary school +child to be called his own is a good illustrated edition of the Mother +Goose rhymes. There is nothing to take the place of that accumulated +wisdom of the nursery that is so charming to the ear. He has learned +many of the jingles by word of mouth before his school age; but he now +needs to own the book himself, read the words, and look at the pictures. +The whole thing must be in one volume for him. But what volume? It is +hardly safe to presuppose the possession of these nursery rhyme books +before the school age, though that is exactly where they belong. Maybe +for this reason it is better to start with the edition of Kate Greenaway +that makes up in refinement and delicacy for what it lacks in power and +intensity. It is unfortunate that there is no available reprint of the +original edition of "Mother Goose's Melody" compiled by Oliver Goldsmith +for John Newbery about 1765, which contained the "most celebrated songs +and lullabies of the old British nurses, calculated to amuse children +and incite them to sleep." To own such a quaint edition would surely be +a delight. Nearly as quaint and delightful, especially the +illustrations, is the "Only True Mother Goose Melodies" now reprinted +from the Boston edition of 1839. Of the editions of recent years there +are many good ones, the one appearing under the title of "National +Rhymes of the Nursery" having superior illustrations by Leslie Brooke, +but being marred by an artificial arrangement. If some artist with the +genius of Cruikshank would give a few of the best years of his life to +illustrating a complete collection of these rhymes, he would become a +benefactor of childhood. And if such an edition were well made +mechanically, printed on good unglazed linen paper from large type and +good woodcuts, well sewed, and bound in linen or leather, the boy might +consider himself favoured of the gods if he could call such a book his +own. These "things that are old and pretty" deserve to be well arrayed. +Yet they deserve to be read for their own sake, an enduring charm of +sound. Professor Saintsbury has clearly pointed out that they should +never be twisted into an authentic meaning according to the spirit of +severest "scientism"; but they should be made "to serve as anthems and +doxologies to the goddess whom in this context it is not satirical to +call 'Divine Nonsensia,' who still in all lands and times condescends +now and then to unbind the burden of meaning from the backs and brains +of men, and lets them rejoice once more in pure, natural, senseless +sound." + +After the nursery rhymes, the next volumes for the boy's book shelf will +be collections of fables and fairy tales. The animal fable is easiest to +start with, and children like it best as a rule. Talking beasts kindle +their imagination and stimulate their awakening powers. Fables are +direct, simple, wise, and have a universal appeal. In the delightful +first chapter of "The Newcomes," Thackeray tells us that long ages +before AEsop, asses under lions' manes roared in Hebrew, sly foxes +flattered in Etruscan, and wolves in sheep's clothing gnashed their +teeth in Sanscrit. They are a common inheritance for childhood. The +English-speaking child has a number of very good collections at his +command, among them being the one recently issued with illustrations by +Arthur Rackham and another in the New Cranford series illustrated by +Richard Heighway, and he should surely own the one or the other. But in +neither is the drawing quite so charming as is that of Boutet de Monvel +for the French fables of La Fontaine. + +What a pity that there is no single volume of fairy tales to meet the +child's demands! It should contain the best of the English folk tales, +the best of Perrault, the brothers Grimm, Andersen, and others; should +have illustrations of the merit of Cruikshank's; should be artistically +printed and bound--and it should be a big book. Children love big books. +A child's book on thin paper and bound in limp leather would not be a +child's book. Coloured illustrations are not necessary; children like a +few lines in black and white; but it is necessary to have the book a +kind of "ponderous tome." Then it can be read on the floor while it +rests on the boy's knees as he sits cross-legged before the fire; or, +better still, while he lies on his belly, his chin in his hands and his +feet swaying in the air. While he is small, no real boy was ever +designed to sit upright on a chair and hold a small book ten inches from +his eyes, with the light coming over his left shoulder. Maybe some +philanthropic publisher will some day issue a big book of tales to be +owned by the boy and read at his ease. But the lack of it to-day +necessitates the building up of a fairy library. + +The first book to be put into the fairy library might be the charming +"Golden Goose Book" of Leslie Brooke, followed by Cruikshank's "Fairy +Book." The Mother Goose tales as first collected by Perrault should now +be owned in a well-illustrated English translation. On account of their +humour and their common everyday tone, the English household and folk +tales will make a strong appeal. Scudder's "Folk Stories," S. +Baring-Gould's "Old English Fairy Tales," and "Fairy-Gold" by Ernest +Rhys are all good in their way; but "English Fairy Tales" by Joseph +Jacobs, with its amusing illustrations by John Batton, is told in the +simplest and most dramatic way, and it should be owned by every boy. + +There is one collection of fairy tales that should come into the boy's +possession about the end of the third school year, and that book is the +excellent work of the brothers Grimm, whatever be the title. The one +superior translation is the one made by Edward Taylor about 1826, and a +reprint of it issued in 1878, with Cruikshank's etchings and Ruskin's +introduction. But there are many good and simple translations that are +well illustrated. After these highly imaginative tales of the German +fireside, there should be owned a good translation of the romantic and +refined tales of the North, the fairy tales of Hans Christian Andersen. +To these stories are many excellent illustrations, including those of +Stratton, Tegner, and Dulac. It may not be possible and maybe not +desirable to own editions of the tales of D'Aulnoy, Laboulaye, Hauff, +and others, for the best of their stories may be found in some +compilations. Among these are "Mother Goose Nursery Tales" issued by +Nister, Andrew Lang's "Blue Fairy Book," "Big Book of Fairy Tales" +collected by Walter Jerrold, "A Child's Book of Stories" illustrated by +Jessie Wilcox Smith and the recently issued attractive edition of "The +Fairy Book" by Dinah Maria Mulock. A distinct service could have been +rendered to children if Andrew Lang had selected the best of the stories +from his voluminous and unequally good colour fairy books and had issued +them in one large, well-made volume with artistic illustrations. + +And yet there remains the greatest and most wonderful of all fairy +tales, the "Tales of a Thousand and One Nights," to be begun with the +easier tales now, but only to be enjoyed thoroughly in the upper grammar +grades. No other book is so romantic or so entrancing, nor does anybody +ever get too old to read it. It worked its spell on Coleridge, for he +wrote: "Give me the 'Arabian Nights' Entertainments' which I used to +watch, till the sun shining on the bookcase appeared, and, glowing full +upon it, gave me the courage to take it from the shelf." And was it not +this book that made wonderful little Marjorie Fleming willing to sleep +at the foot of the bed where she could continually read it? The +translation made by Edward William Lane in 1839 and illustrated by +William Harvey under his direction will never be surpassed; but Jonathan +Scott's translation is easier for the boy to read. Many well-illustrated +but not always well-edited editions may be found. + +Will a boy read "Alice's Adventures in Wonderland"? Should a boy read +"Alice's Adventures in Wonderland"? Yes and yes! Any boy who cannot +enjoy the most delightful fooling that was ever put into a book deserves +the greatest of sympathy. He is certainly full of unmannerly sadness in +his youth. Where else was there ever such clever and curious nonsense? +What mathematician other than Dodgson ever put before boys and girls +such enduring work? It is a case where two and two does not always make +four, but it does always make the pleasing thing. Much that goes as +serious literature is not half so wise as is the playfulness of this +book, nor is it so worthy of being thoroughly known and appreciated. Of +course there are a few perpendicular people who see not that it has +abiding charms. They cannot double or shake to the mood of its +nonsense--nor do they find it grow "curiouser and curiouser" with each +reading. Yet it is a classic for children, and it is going to endure. + +As a general rule, books for children are cast in a rather serious mood. +This is true of the myth and the romantic fairy tale. But the element of +humour creeps into the English and the German household tales, for +humour is necessary to all earnest living. How far this sense of humour +is to be developed is a question hard to answer. This much is true, +however: in mature years and under the full responsibility of life, a +keen sense of humour is about the only thing that will save a man from +himself at times, preserve his balance when he is nearing the borderland +of tragedy. Now what is to be the nature of this humour? Is it to be the +insipid burlesque that finds its pleasure in the medical almanac and the +comic supplement? Or is it to be the kind that wears the sock with +brains and taste, the kind that Touchstone has? The latter is the one +that sparkles and is worth while. It is the kind that the child starts +with in "Alice's Adventures in Wonderland" and "The Rose and the Ring." +It is the product of men who possess qualities of mind and heart such as +Thackeray did. How Shakespeare must have doted on his jesters! And what +musical nonsense refrains he wrote. + +All this bears out De Quincey's saying that only a man of extraordinary +talent can write nonsense. And nonsense literature is a test of the +ability of a reader. Pitt once exclaimed: "Don't tell me of a man's +being able to talk sense; every one can talk sense. Can he talk +nonsense?" Now a child will talk nonsense and delight in it, even if it +is nothing but a counting-out rhyme. Then he will come to prefer +nonsense of a refined type, innocent and fantastic verse. A book of +this kind that he will take a fancy to is Edward Lear's "Nonsense +Songs"; and if it is the edition illustrated by Leslie Brooke, he will +be grateful when a nonsense mood is on him. Ruskin called it the most +beneficent and innocent of all nonsense books. The boy might start with +this book, go to "Alice's Adventures in Wonderland," and then try "The +Rose and the Ring." When he reaches the upper grammar grades, he will +then enjoy the splendid retelling of "The Adventures of Don Quixote," by +Judge Parry, with Walter Crane's illustrations. If he does this, on +reaching man's estate he will keep some favourite translation of this +wonderful book of Cervantes in a convenient pocket edition along with +his "Pickwick Papers." + +Before going to the class of books based on myths, one brief work must +be mentioned, not only because it marks an epoch in the making of +children's books, but also because it is a child's classic with real +merit, and about the only one on such a theme. Nearly all others of this +kind are prudish, priggish, and inartistic. This one happens to have a +loftiness of tone. Its style is as charming as this whimsical title: +"The History of Little Goody Two Shoes, otherwise called Mrs. Marjory +Two Shoes, the means by which she acquired her learning and wisdom, and +in consequence thereof her estate; set forth at large for the benefit of +those + + "Who from a state of Rags and Care, + And having Shoes but half a Pair; + Their Fortune and their Fame would fix, + And gallop in a Coach and Six." + +If any one is in doubt as to who wrote this book, the inscription "to +all young gentlemen and ladies who are good, or intend to be good" ought +to convince him. Intend to be good, was not that Goldsmith--and the rest +of us? An edition of this historic story with pictures after the +original woodcuts of 1765 should be in the hands of every child. + +Though America's contribution to children's literature of an enduring +type has been limited, it is gratifying to know that America's most +finished artist, Nathaniel Hawthorne, has given to that literature two +books that every boy must know, "Wonder-Book for Girls and Boys" and +"Tanglewood Tales for Girls and Boys; a Second Wonder-Book." That every +boy who is going to become a mature reader of good books needs to know +the myths of Greece and Rome, goes without saying. Now he had better +learn these from a book having a literary touch than from the ordinary +telling of text-books. For this reason he should completely master these +two books by Hawthorne. The illustrated edition of the former by Walter +Crane and George Wharton Edwards' illustrations of the latter are both +fine. Not so good as these two, yet necessary, is Charles Kingsley's +"Heroes; or, Greek Fairy Tales for My Children." And the telling of the +story of the Odyssey by Charles Lamb in his "Adventures of Ulysses" is +good to read, but rather difficult before the last year of the grammar +grades. The wonderful exploits of the heroes in the Iliad should be +familiar to every boy, and he can get them about all in Bulfinch's "Age +of Fable" as well as anywhere else. This book he must surely own, and +whether it is called merely a text-book or not, it is the best work that +has yet appeared on the mythology of the world as it is found in +classical allusions of English books. If he learns the story of the +siege of Troy and the return to Ithaca from this book, he may want to +hear Chapman speak out loud and bold a few years later. + +Does any schoolboy from a home other than one in which Puritan notions +yet prevail read "Pilgrim's Progress"? If he does not, the fault is not +in the book. It is as interesting as it is vitally true, and has been +positively helpful. According to Macaulay, it has been loved by those +too simple to admire it. There is really no such thing as an +uninteresting great book. There are uninterested people, though there +should not be an uninterested normal boy. If there is, he is a victim of +the emasculating process of sugar-coated teaching, parental indulgence, +and vaudeville amusement. Or maybe he has the habit of the boy's series, +that cuts all characters to the same fashion, the fashion of prudery. In +either case he will never be a pilgrim. Of course it would be foolish +to insist on a boy's reading many such books, even if there were more +like it written. You might as well insist on seven sermons a week for a +man. One in seven days seems often enough to be effective; and one great +book like this one, if well mastered, is all that the boy needs. In +mature years he can again read it and marvel at its intrinsic greatness +and find it something of a reflection of his own experiences in life. +And by having done this he may chance to read such great poetical +allegories as the "Faerie Queene" and the "Divine Comedy." + +As this allegory of Bunyan's represented the spiritual experiences of +life as the Puritan saw it, so does "Robinson Crusoe" represent the +Puritan view of the practical virtues in experience, such as the virtues +of prudence, ingenuity, and patience. But for all this it is one of the +most fascinating and typical of English stories, and one of the really +great ones. Every lad must know this book. Stevenson tells of a Welsh +blacksmith who learned to read that he might add this hero to his +possibilities of experience. + +The third book of that great half-century following the Restoration is +one of the few books written to be read by men that has become a child's +classic. No wonder Swift afterwards exclaimed, "What a genius I had when +I wrote that book!" Yet children read it with pleasure without seeing +anything in it but the interesting adventures of Gulliver. Of course, +the voyages to Lilliput and to Brobdingnag are the only ones to be given +to the boy, and it is unfortunate that publishers have not generally +recognized this in issuing "Gulliver's Travels" for children. It is less +necessary to read the other two voyages than it is to read the second +part of "Pilgrim's Progress" and the "Further Adventures of Robinson +Crusoe." + +There is a field of reading very much akin to the field of mythology in +which there is no single book that the boy can read that is so permanent +in its form as is the "Wonder-Book," yet it is a field in which the boy +should feel at home. That is the field that includes the Arthurian +legends and the Robin Hood stories. Among the many books that have +appeared, the excellent work done by the poet Lanier in his "Boy's King +Arthur" and by the late artist Howard Pyle should surely find a place on +every boy's book shelf. Much of Malory is retained in the former, and +the conventional drawings in the latter make a strong appeal despite the +widespread mania for colour. The boy who has become attached to his "Age +of Fable" might satisfy his curiosity in this romantic field by the +almost equally good "Age of Chivalry" and "The Legends of Charlemagne." + +At what age should a boy turn to Shakespeare? That depends on the boy. +If he is an average child, he should have something of the plays read to +him at a fairly young age; but it is doubtful if he can do much on his +own account before the high school age is reached. He might, however, be +urged to attempt "A Midsummer-Night's Dream," "The Tempest," and "King +Henry V." At about the age of twelve or fourteen years he should own a +good illustrated edition in one volume such as the one done by Sir John +Gilbert. But be this as it may, he has a right to get something of a +glimpse of the wonderful things in these plays through that admirable +telling of some of them in Lamb's "Tales from Shakespeare." Though it +may be Lamb instead of Shakespeare, there is no better book of retold +stones in English than this work of Thackeray's "Dear Saint Charles" and +his sister Mary. + +This brings up the question of the boy's reading of poetry and the books +that he should own. As suggested in a former chapter, the one good +collection is Palgrave's "Children's Treasury of English Song." There is +no second one in this class; for all others seem to have some fatal +defects of judgment, though they are usually printed in more attractive +form. The publishers of this anthology need to issue a well printed, +well illustrated, and well bound edition, and the book stores need to +put it on their shelves, where it is now almost a total stranger. But +the approach to such a collection should be gradual. It might start in +the second grade with Kate Greenaway's edition of "Dame Wiggins of Lee +and Her Seven Wonderful Cats; a Humorous Tale Written Principally by a +Lady of Ninety," and Caldecott's "John Gilpin's Ride." This could be +followed with Kate Greenaway's or Hope Dunlap's "Pied Piper of Hamelin." +And all children must have Stevenson's "A Child's Garden of Verses" with +illustrations by either Florence Edith Storer or Jessie Wilcox Smith. +Eugene Field's "Poems of Childhood," illustrated by Maxfield Parrish, +deserves a place, as does the dainty volume of Blake's "Songs of +Innocence," illustrated by Geraldine Morris. If on reaching the upper +grammar grades the boy has found pleasure in his "Children's Treasury of +English Song," he might be urged to own complete editions of a few of +the poets. The first volume should be the poems of Longfellow, not +because of his greatness but because he is the best loved of our noted +poets and the easiest one for the boy to read. The next volume should be +one of Tennyson, where he will find things actually great. If he comes +to prefer "The Passing of Arthur" to "Enoch Arden," he is developing +taste and judgment and will later enjoy Milton and Wordsworth. + +There are two books of recent years, "The Jungle Book" and "The Second +Jungle Book," that have intrinsic worth and charm and should be owned by +every boy about his fifth school year. The superior tales are the Mowgli +stories, and it is a pity they are not issued in a single volume. Where +was there ever a more intense or dramatic story written than "Red Dog"? +How does it happen that teachers seldom give these stories to children, +but manage to waste plenty of good time on insipid, made-to-order +stories designed to teach mercy to animals? These animal stories for a +purpose are like most verse for an occasion--an offence against literary +art. Let the boy learn of the charms and the tragedies of animal life in +the jungle. + +When the boy's reading shifts toward the romance and the novel, he needs +to guard against overreading, indiscriminate reading, and being +bewildered by the multitude of books from which to choose. For a while +he had better keep to such books as "The Prince and the Pauper" and +"Treasure Island." If he is not at once interested in that plot based on +the universal desire to change lots with some one else, or the universal +longing to find a hidden treasure, he either has perverted tastes or is +without any tastes at all. From these it is an easy step to the forest +life of "The Last of the Mohicans" and the life of chivalry presented in +"Ivanhoe." He will then surely like that charming story of romantic home +life, "Lorna Doone." + +Some teacher may wonder if books other than stories and verse are not to +be read. Of course they are, and they will be anyhow. Yet they are not +books of power, fundamental to the growth of personality; they are +books of knowledge of one kind or another. Just where the division line +is to be drawn and which is the right class for this book and that, is +hard to say, and matters little when it is determined; but the place of +a few has been definitely fixed by experience, and they happen to be +stories. That great literary field of comfort to men, the personal +essay, is beyond the schoolboy. And so is much of biography and history. +But there can be found for him to read many books, such as "Tales of a +Grandfather," "A Child's History of England," Southey's "Life of +Nelson," "Two Years Before the Mast," "The Oregon Trail," Franklin's +"Autobiography," and some good abridgment of "Plutarch's Lives," that +make an order of books different from "Robinson Crusoe," "Pilgrim's +Progress," and "Arabian Nights' Entertainments"; yet they ought to be +read after a few of the greater ones have been mastered. Many a boy may +be greatly helped and inspired to honest effort by Samuel Smiles' +"Self-Help," yet no one would think of classing it as great literature. +This, together with books on travel and the wonders of science and +invention will take care of themselves, and the average boy will pick up +enough of them of his own accord. What he needs is a book that by its +imaginative power lifts him above the commonplace facts of everyday +life. If the foundation be laid in the enduring work of a few great +books, what is built thereon will abundantly reward the early effort of +mastering them. + +There is yet one book of powerful and pure English that must be +mentioned. The boy should have early heard it read aloud, learned +passages from it by heart, and have read parts of it on his own account. +In proportion as he has gathered the richness of this book will he have +a grasp on clear language and clear understanding. That book is the +version of the Bible authorized by King James. It gave to our fathers +not only their faith but also that grip on racy, clear, and vigorous +English that made many an artisan a better talker and writer than the +man trained in the halls of higher learning. It has had a power above +all other books in English to stir the imagination and move the soul, +and this without regard to any particular religious belief. No book has +ever told stories with the ease, directness, and intensity of this one. +Its style expresses the strongest and deepest feelings of +English-speaking men. And this style has been caught by such masters of +prose in their own centuries as Bunyan and Lincoln. Yet it is evident to +teachers that the great stories of the Scriptures are not known by +children. The Bible needs to be dusted and read, even if it is brought +about by the strong hand of authority in the home and in the school. + +Taste in books can be directed, or at least modified, and the authority +to direct must be about its business with the urchins at school. The +aphorism that you can lead a horse to the water but you cannot make him +drink, is only half true. If the water is kept under his nose and there +is a good grip on the halter, he will be drinking before he is aware of +it. In fact, he may need to be led away at times to keep him from +drinking too much. The business of the school teacher is to get the boy +to the trough and then see that he does not drink too much. This will be +a thing of effort, for at every turn there are the springs of juvenile +series, Sunday School Pharisees, comic supplements, and penny-dreadfuls +that flow as if they would never cease. The boy needs to develop a sort +of anchorite spirit and seek out a secluded place with an armful of +books that are really worth while. + +The armful which he needs to own and be friends with might be something +like the following, if such a list can be ventured without offence to +that strong spirit of individualism that will call it wooden and +lock-step; yet that in its iconoclasm and mental anarchy gets nowhere +and does nothing. This is the list by grades: First grade--"Mother Goose +Rhymes," Brooke's "The Golden Goose Book," "Dame Wiggins of Lee and Her +Seven Wonderful Cats"; second grade--"AEsop's Fables," "The Cruikshank +Fairy Book," Goldsmith's "The History of Little Goody Two Shoes"; third +grade--Carroll's "Alice's Adventures in Wonderland," Jacobs' "English +Fairy Tales," Stevenson's "A Child's Garden of Verses," Scudder's "The +Children's Book"; fourth grade--Grimm's "Fairy and Household Tales," +Andersen's "Fairy Tales," Browne's "Granny's Wonderful Chair," +Thackeray's "The Rose and the Ring"; fifth grade--Hawthorne's "The +Wonder-Book for Girls and Boys" and "Tanglewood Tales for Girls and +Boys; a Second Wonder-Book," Kingsley's "Heroes; or, Greek Fairy Tales +for My Children," Swift's "Gulliver's Travels into Several Remote +Nations of the World," Kipling's "The Jungle Book" and "The Second +Jungle Book"; sixth grade--"Arabian Nights' Entertainments," Lamb's +"Adventures of Ulysses," Defoe's "The Life and Strange Adventures of +Robinson Crusoe," Pyle's "The Merry Adventures of Robin Hood," +Palgrave's "The Children's Treasury of English Song"; seventh +grade--Bunyan's "The Pilgrim's Progress," Lanier's "The Boy's King +Arthur," Twain's "The Prince and the Pauper," Cervantes' "The Adventures +of Don Quixote of the Mancha," Stevenson's "Treasure Island"; eighth +grade--Lamb's "Tales from Shakespeare," Cooper's "The Last of the +Mohicans," Scott's "Ivanhoe," Blackmore's "Lorna Doone," Bulfinch's "The +Age of Fable; or, the Beauties of Mythology." + +The savings necessary to buy these books, the time spent in reading and +rereading them, the power and taste that will come from both of these +efforts,--these will serve the boy when he comes to man's estate. For no +work in a finishing school or in college English can ever give him what +he will get of his own accord by having good books as his companions +during his public school life. Let him try the list with the hope that +it will meet Ruskin's comment: "Of course you must or will read other +books for amusement, once or twice; but you will find that these have an +element of perpetuity in them." + + + + +CHAPTER IV + +ON THE PURCHASE AND CARE OF BOOKS + + "Knowing I lov'd my books, he furnish'd me, + From my own library, with volumes that + I prize above my dukedom."--PROSPERO. + + +THE publishing of books is like the brook in the poem, it goes on +forever. The number and variety found on sale at the end of each year is +truly bewildering. The flesh is becoming wearied with the number and the +spirit perturbed with the variety. The prospective buyer does not know +where or how to begin, and about the only way out of the confusion is to +do as the brothers did in the story, buy them by the yard. For the man +of long purse it is a convenient way to untie the library knot; but +after this has been done the question of where to begin reading is a +harder one than where to begin buying had been. There was much +philosophy in the remark of the quickly made millionaire, who after +having bought many editions de luxe of standard authors, said: "Now give +me something that I can read, a few stories of Old Sleuth and Nick +Carter." Though his taste might be questioned, his remark hit the nail +on the head--a few books that can be read. + +That is what the average buyer is after. And these few must be books +that are worth while, must be taken from the multitude, and must be +taken one or two at a time if they are to be properly enjoyed. Each +season brings a few of these in new and attractive editions. By them +must the library be slowly built up. The purchase of many volumes at a +time, even if they are good volumes, is something few readers can stand. +It is like the sudden acquisition of wealth or the sudden coming into +fame: a stumbling block to the greatest of pleasures, the slow but +certain enrichment of life. Many a good student has been spoiled by +being turned loose in a school library that cost him no effort or +inconvenience to acquire. Ease of access and intemperance of use are +things on which he will fall down. And therein is the foolishness of +parents in supplying their children all at once with that great and +varied load that has several times appeared under different names, but +with the general title of libraries for young folk. There is much good +and conveniently arranged material in all of them; but it is this very +thing of coming into the child's possession all at once that makes them +objectionable. Books, like many other luxuries, should not be indulged +in to excess. + +Books for the boy should largely be purchased out of his own savings. No +book bought in this way will be left unread. Some persuasion on the +part of teachers and parents will be necessary to bring about this +practice of saving. A month or so before Christmas or the summer +vacation the town boy ought to be told to save the money he is used to +spending on candy and picture shows that he may buy for himself a book. +The country boy can do the same thing by hoeing corn a few more days for +a neighbour or raising a few more chickens on his own account. As they +should, books will also come as gifts, and poor judgment on the part of +the giver is very unfortunate. The giving of a poor book that can hardly +be afforded is kind-hearted as an act; but the boy who feels by courtesy +bound to read it is surely a helpless victim. Yet in his own family he +should be given a book twice each year, on his birthday and at Christmas +time. In fact he needs to be taught always to celebrate the one and hang +up his stocking on the other; for no two practices will be so likely to +keep him from falling into cynicism in mature years--especially if each +anniversary brings with it a helpful book. Highly prized as will be +these good books the boy receives as gifts, they will never mean quite +the same to him as the books bought at a sacrifice to himself. When all +is said and done, about the best indication of practical wisdom in this +age of prodigality is economy of savings. It will surely be followed by +economy of time and energy. The boy who is taught to save money for the +purchase of something of permanent value has a good start in the right +direction. The most reasonable thing to buy with these savings is a few +good books. + +What shall the reader buy, and where shall it be bought? To the former +question a partial answer has already been attempted, but to the latter +one the answer is more uncertain. In a general way a book might be +bought as any other article is bought, where the same quality can be +bought cheapest. But that principle is based on the advertising appeal, +an appeal that is strong where extravagance and wastefulness abound. The +making, selling, and buying of books is no exception to this rule of +trade. Books, like other articles, are now bought and sold according to +fashion, and the official pot of fashion must be kept boiling if it +takes the last penny. And like other fashions book fashions change, even +to morals and heroines; so that a body might as well be out of the +reading world as to be out of fashion in it. Just now the fashion seems +to turn out books with morbid morals and mediocre heroines, and yet the +people continue to read them and talk about them. The story is drawn, +printed, bought, read, dramatized, heard, and praised--even from the +pulpit. And before there is time for you to compose yourself in peace, a +new emotion is sprung on which all must dilate alike. This is the hubbub +about the multitude of new books that makes the buying of a few standard +ones something of a problem. The classics, especially for children, +either in old or in new editions, are hidden in the confusion. And +because of the talk the youngsters hear they want to read the book their +parents are reading, as they are curious to read the daily paper, a +thing never designed for any schoolboy to do. For this reason they need +to be urged strongly to buy the book that is old and tried by years of +helpful reading. + +The advertising appeal that persuades a buyer of books to invest in what +he does not want and cannot use is active in two ways, through +travelling agents and at the book counters of department stores. Of all +the hindrances to the building up of a small library out of savings for +that purpose, the proverbial book agent is the greatest. This master of +the art of persuasive perseverance, with his oilcloth bag hidden under +the frock of his coat, has filched many a hard-earned dollar from the +farmer. If he had had either the artifice or the charity to get the +money and not deliver the book, the effect of his pernicious activity +would not be so marked. Yet what he sells as a book takes its place on +the centre-table with others of its kind to waste the time of winter +evenings and wet days for a generation. That interesting and rather +convenient character, the pedler with his pack, has passed away; but the +agent and his book continue to flourish. Can no one propose a short way +with book agents? + +In the city the confusion is wrought by the woman agent and the girl +clerk. Next to resisting civilly the entreaties of the agent in black is +for a man, after having threaded that modern labyrinth, the department +store, and having halted at the book counter to take his bearings, to be +pounced upon by the clerk in black before he has had time to thumb a +single volume, and asked if he has been waited on. He watches the +cosmopolitan stream of buyers tossing about the cosmopolitan collection +of book bargains on the main aisle counter, and then retreats in +confusion to seek some old-fashioned book store where he can loaf in +ease and think of what he wants to buy. Though scarcely willing to admit +the claim of many buyers and readers of books that it is not good +book-buying etiquette to purchase a book at a department store, he feels +at least that it is not a quiet, convenient, and wise way. And the pity +of it all is, that out of this shuffle and clatter the child is made the +victim of the poor book that is bought because it can be bought cheap. + +The fairly well arranged book store is the one place where a book for a +boy may be bought in proper form. Though the second-hand book store is +an interesting place for the man who has not the germ fear, it is no +place to get a boy's book. And the old-fashioned book shop that must +have been a joy to the man of reading tastes has passed, as has the old +apothecary shop. From their modern offspring, the book store and the +drug store, we must get our books and our physic. It is on the shelves +of these book stores that buyers like to explore and make discoveries of +editions. If the particular edition be known, a good way to buy is to +order books directly by mail from the publisher. In fact, this is what +often has to be done in small towns and in country districts where +well-stocked shelves are not within reach. Yet few buyers can adjust +themselves to the practice of buying anything that they have not seen. +They like to feel the response of the book to the touch, see the type +and the illustrations and the binding. This is all good where the store +carries a complete stock; but if every good book wanted has to be +ordered for the buyer, he might as well do it himself directly from the +publisher. From these publishers good descriptive catalogues may be had +for the asking, and by means of them the book not found at the store may +be ordered. + +At the usual book store, whether purely secular or connected with the +publishing house of a denominational church, books for men are bought +with greater ease than books for children. A well-selected list of +titles for boys is seldom found. The ubiquitous juveniles are lined up +as usual, but good reprints of children's classics are absent. The +uninformed buyer is at the mercy of the more uninformed clerk. Out of +the indecision of the one and the advice of the other something wholly +unfit for the boy is bought. The poor book received as a gift is beyond +the boy's control and a delicate matter to handle; but the buying of a +poor book with good money is a serious blunder. About the only safe way +is to know what you want before you go into the store, dig it out from +the shelves yourself, and have the clerk do nothing but wrap it up and +give you your change. If you are not settled on what you want, get into +the habit of reading the book numbers of some journal like _The Nation_, +or consult with the well-informed heads of the children's departments of +public libraries. + +The particular edition of a book to be bought is largely a question of +taste and of the money at the command of the buyer. Many a boy sees +little in fine, well-illustrated editions. What he wants is the story +without regard to its dress. He may become wedded to the poorly made, +unattractive book that has opened up new lands to him, just as many a +child has formed a greater attachment for a small rag doll than for an +expensive one of wax. Again, circumstances may necessitate the buying of +a twenty-five or fifty-cent edition of a book instead of a two or three +dollar one. Yet this is true: if the book is bought at a sacrifice and +is to serve for a lifetime (and no old book that has served its owner +well ought ever to be replaced by a new one), the best edition available +should be bought, even if it is expensive. Of course, this largely +depends on the book. Mother Goose, some treasury of poetry, AEsop, +stories from Shakespeare, a favourite collection of fairy tales, and +all such books often used need to be in the best of editions; but the +ones less often read may be in cheaper form. + +In selecting an edition the first thing to look to is the type and +paper. Even a standard edition may be printed from worn plates giving an +indistinct impression. A clear-cut, large type on unglazed paper is +certainly the best. The detailed colour illustration on a special sized +plate-paper does not appeal to the average child any more than do the +simpler black and white drawings done in a few lines and put on the +ordinary reading page. But the best illustrations that are being done +to-day are very often done in colour, and at first glance they catch the +fancy of the child--then, too, they are the fashion. Whatever kind they +may be, illustrations are almost necessary to a child's book. The next +consideration is the binding. What may have been gained in +attractiveness of page has surely been lost in mechanical execution on +binding. Books, even high-priced books, are now cased instead of bound. +The machine-made back is hung to the book in an insecure way. There is +no hand shaping or building of the back to the book. A child's book +costing three dollars will in a short time become loose, hollow-backed, +and the plate illustrations will fall out. Hand-craft at a reasonable +price has gone by the way here as it has in many other fields of +workmanship. What the publisher has failed to do in the binding of the +book, the boy must be urged to make up in the handling of it. + +This brings up the question of the care of books. Vandalism may do its +work among books as well as anywhere else. A good book deserves the best +of care and needs to be secure from the hand that would soil or deface +it. It is a friend to be kept in comfortable quarters, and its rights +are to be respected. It is never to be used as a flower press nor as a +window stick; neither is it to have its back carelessly broken nor its +leaves turned down. It was made to be read and to be enjoyed, and this +without regard to the fact that it came as a gift or was bought with +hard-earned money. The boy should early be taught how to take care of it +as he would any other product of art. + +The best-made book may be broken by opening it carelessly the first +time. Glue is flexible under slow pressure, but will break under sudden +strain. If the book is taken in the middle and the halves suddenly +jerked open, it will be broken beyond repair; but if the back of the +book is placed on a table and the leaves turned down slowly from both +covers to the centre, the glue will give and the book will not be +damaged. By going over the whole book carefully in this way once or +twice, it will be ready for use. At no time, however, while reading, +should the covers or leaves be turned farther back than they would be in +lying flat open on a table. The next thing for the boy to learn is how +to take care of the leaves of the book. The leaves should be carefully +turned with the dry tips of the fingers from the top of the page and +pressed down gently but firmly. And under no circumstances should the +corner of a leaf be turned down to mark the place where the reader left +off--an interested memory and a book mark are designed for that purpose. +To keep his books, every boy should have a book shelf or two of his own +that he can easily reach. Any kind of home-made shelf will do; and in it +the books are to be set on end, never on the front of the book, each in +its particular place so that it might be found in the dark. He ought to +learn all of his books by touch. After each reading the book is to be +carefully put in its stall and left there until the owner chooses to +take it out again. + +When a book has been bought or received as a gift, the boy should, +according to the old style, write therein his name, the date it came +into his possession, and the warning that it is his book. Book plates +are really unnecessary to a small library, unless the owner can well +afford them. But it is necessary that the owner's name be written in +each one. Now, should the boy lend his book? It is a question whether +the refusal to lend it is a selfish act or not. Like umbrellas, books +are often looked on as stray blessings to be taken in by any one who +chances to come across them or who needs them. The well-conceived +chaining idea has long since disappeared, but the purloining habit still +lingers. It and its handmaiden, borrowing, have wrought much confusion +and inconvenience in private libraries. Few people ever think to return +a book, or at least to return it in good condition. If the truth were +always told, the couplet of the satirist would fit the possessor of many +a repleted library: + +"Next, o'er his books his eyes began to roll, In pleasant memory of all +he stole." + +Selfish or not selfish, the wise thing for the boy to do is to refuse to +lend his books. It is too much like lending a meal or a friend; but they +can all be shared in the presence of the owner. If the boy's chum has a +hungry mind and clean hands, he may be asked to drop in and read the +book where it belongs, but not to carry it off elsewhere. Or better +still: the owner of the book who knows its riches may fall into the +habit of reading his favourite portions aloud to his boy friends who +have gathered in for that purpose. No single thing will awaken such a +love for good literature as the gathering of choice bits of it through +the ear. That is the good lesson that has come from the tent of the +Arab. And it is a lesson that readers must learn to-day. By no means let +the book of the boy fail to entertain his chums, but let it entertain +them at his own home. + +Does any one who has laboured hard to build a house move out of it as +soon as it is completed? Does any one who has cultivated a friendship +give it up as soon as it is secure? Should any one who has learned to +thoroughly enjoy a good book throw it aside as soon as this is done? +Like the house or the friend, that book should continue to be a comfort +to him who has learned to appreciate it. In short, the boy must make +friends with a few books and then keep them without capitulation. If he +does, he may some day feel the truth of these verses: + + "Books, we know, + Are a substantial world, both pure and good; + Round these with tendrils strong as flesh and blood, + Our pastimes and our happiness will grow." + + + + +CHAPTER V + +EDITIONS OF STANDARD BOOKS + + "A precious treasure had I long possessed, + A little yellow canvas-covered book, + A slender abstract of the Arabian Tales; + And for companions in a new abode, + When first I learnt, that this dear prize of mine + Was but a block hewn from a mighty quarry-- + That there were four more volumes, laden all + With kindred matter, 'twas to me, in truth, + A promise scarcely earthly." --WORDSWORTH. + + +WHAT edition of a book to buy is determined in about the same way as is +the pattern of our clothes--by a compromise between our means and our +likings. But in the case of our children it is a pretty well-known fact +that their likings must be directed and the means at their disposal +regulated--even in the purchase and reading of books. A boy left to +himself will about as often fall into extravagant habits of taste as he +will into extravagant habits in the use of his pocket money. He is no +more able to judge of the good investment of knowledge than of the good +investment of money. In the desire to appear as a good fellow among his +companions he disregards either economy of time or economy of means. He +needs to be shown the wisdom of saving along both lines. This can be +done in no better way than by indicating to him an edition of a book +that will require some sacrifice on his part to buy, and maybe to find +time to read. This may all have to be done without regard to his tastes. + +To let the mere notions of a boy determine the edition of a book to be +bought and to estimate the merits of different editions by these same +notions is foolish. This is neither directing nor cultivating tastes. +The old plan of fencing in the pasture and of not letting the boy wander +too far afield was many times a very good plan. Tastes need to be +directed and boundaries fixed. Instead of permitting the boy to +determine the merits of the illustrations and the binding, he should +have pointed out to him repeatedly what good illustrations and good +binding are, and whether they can both be afforded. + +Both tastes and circumstances may lead to the buying of a cheap, +modest-looking book. This may serve its owner well, and he may never +miss what might be called the charm of a well-illustrated, well-printed, +and well-bound edition--one pleasant to look into and to touch. He may +be as little able to judge of the artistic make-up of a book as of the +cut of his clothes or the quality of his food; what he wants is +something to satisfy hunger and to cover nakedness, in whatever form it +may be given. Because of this the boy can bury himself in the pages of +an ill-made book if the words tell an enchanting story. But it is safe +to say that most boys do like well-made books with good illustrations. + +The pencil of the artist seems almost necessary to give the right touch +to a child's book that is great literature. Not in that they enable the +boy to get the story more easily are illustrations valuable, but in the +fact that they lend an artistic touch to a thing that is of itself a +work of art. A guess, however, at the kind of illustrations needed for +children's books would be very arbitrary. No one could hold that the +present-day coloured illustrations, with what is termed life in action +instead of decoration and convention, are the only right ones for +children. Nor are the old line-drawings in black and white to be +discarded. We need woodcuts as well as the engraved colour-plate; we +need Cruikshank, Tenniel, Greenaway, and Crane, as well as Brooke, +Rackham, Parrish, and Smith, for each has added a charm to some of the +great literature of childhood. May children's books continue to fare +well at the hands of talented artists. No more enduring work can be +wrought than that in which a keen and sympathetic imagination gives +expression to a picture that was first put into words. + +The work in hand for the teacher is to secure the buying of as good an +edition of a book as the boy can afford. The fact should be kept before +him at all times that he can usually get the good edition if he is +willing to do so. If it should happen that in any particular year the +boy cannot afford all of the books that might be bought in that year, +the teacher should see that the one or two most valuable ones are +secured. For example, if he is a sixth-grade boy, he must by some means +manage to get "Robinson Crusoe" and "The Arabian Nights' +Entertainments." The teacher's own interest, enthusiasm, and good taste +will successfully solve what is to be done. As an aid in this direction +it is to be hoped that book stores will display a number of good +editions of each title of the standard books for children in order that +a more satisfactory choice may be made of any one title. And the stores +could do a good turn by having well-informed and painstaking clerks to +aid in the selection of the right edition. + +In the list that follows, a few low-priced editions without +illustrations are given as well as the more artistic and expensive ones. +The teacher may not care to own the large illustrated edition that +appeals to the boy. Nor does he want an abridged edition. He may have to +depart from the list in order to get a complete copy of such great books +as "Don Quixote." For this particular title the teacher may range from +the single volume of Motteaux's translation in "Everyman's Library" (one +of the best issues of standard books for the teacher to select from at a +low price) to that of the excellent translation by Shelton issued in the +expensive "Tudor Translations." So does he need some complete edition of +Lane's translation of "A Thousand and One Nights" with Harvey's +illustrations if possible, such as the three-volume edition imported by +Scribner, the four-volume edition in "Bohn's Standard Library," or the +six-volume edition in the "Ariel Classics." Then again, it may happen +that an edition such as the two-shilling edition of Grimm translated by +Taylor and illustrated by Cruikshank, issued by the Oxford Press, is as +good for the teacher as for the boy. But the appended list will not +include and designate editions suitable for teachers only. The working +out of such a list by the teacher for himself will indicate his interest +in the task that is before him. + +The list is not intended as a guide in building up an extensive library +for the use of children. Its chief merit, no doubt, is in the fact that +it is a limited list. And its first good result must be in the practice +of the boy's buying a few books that are good and that will be read and +reread. But little comment will be offered here and there on the +preference of one edition over another. All editions designated by a +star are well worth owning. A guess at the age for reading a book has +been made, but with considerable latitude because of the unequal reading +ability among children. The age from six to ten years, the primary +grades of public school, will be indicated by the letter "P" placed +before the title; the age from ten to fifteen years, the grammar grades +of school, will be indicated by the letter "G" placed before the title. +Any suggestions on included editions found unsatisfactory by +experience, or on good editions omitted, will be gladly received. The +sole aim herein is to present a list that will be of help to the teacher +and the boys under him in finding the best that publishers have to give +of the enduring literature for children. + + + + +BIBLIOGRAPHY + + +MOTHER GOOSE NURSERY RHYMES + +P--but must be learned even if done in the college class in English. + +*"Randolph Caldecott's Picture Books." Any or all of the following are +merrily done: "The House That Jack Built"; "Sing a Song of Sixpence"; +"The Queen of Hearts"; "Hey Diddle Diddle, and Baby Bunting"; "Ride a +Cock Horse"; "The Frog That Would a-Wooing Go." 4to. Picture wrappers, +25 cents each. Warne. + +"The Baby's Opera: Old Rhymes with New Dresses, Set to Music." Walter +Crane. Small 4to. Varnished boards, $1.50. Warne. A second volume is +"The Baby's Bouquet." + +*"Our Old Nursery Rhymes." The original tunes harmonized by Alfred +Moffat. Illustrated in colour by H. Willebeek LeMair. 11 x 9. Cloth, +$1.50. McKay. Thirty well-known rhymes with dainty and aristocratic +illustrations of unusual beauty. A second volume is called "Little Songs +of Long Ago." + +"Thirty Old-time Nursery Songs." Arranged by Joseph Moorat and pictured +by Paul Woodroffe. Large 4to. Boards, $2.00. Schirmer. + +"Old Songs and Rounds." Decorated in full colour by Boutet de Monvel. +Arranged to music by Wider. Cloth, $2.25. Duffield. Both English and +French texts are given. There is nothing more charming in all the realm +of picture books, according to The Nation. + +*"Mother Goose; or, The Old Nursery Rhymes." Illustrated in colour by +Kate Greenaway. 16mo. Decorated boards, 60 cents. Warne. Forty-four +rhymes done with this artist's usual charm and nursery propriety. + +"The Only True Mother Goose Melodies." An exact reproduction of the text +and illustrations of the original edition printed in Boston in 1834 by +Munroe and Francis. An introduction by Edward Everett Hale. 16mo. Cloth, +60 cents. Houghton. + +*"The Nursery Rhyme Book." Collected by Andrew Lang and illustrated by +Leslie Brooke. Crown 8vo. Cloth, $1.50. Warne. Well illustrated. + +"National Rhymes of the Nursery." Collected by George Saintsbury and +illustrated by Gordon Browne. 8vo. Cloth, $1.50. Stokes. A splendid +introduction for a teacher to read. + +"Big Book of Nursery Rhymes." Edited by Walter Jerrold and illustrated +by Charles Robinson. 8vo. Cloth, $3.00. Dutton. + +"A Book of Nursery Songs and Rhymes." Edited by S. Baring-Gould. +Illustrated and decorated. 12mo. Cloth, $1.50. McClurg. + +"Mother Goose's Melodies for Children; or, Songs for the Nursery." +Edited by William A. Wheeler. Illustrated by numerous woodcuts. 4to. +Cloth, $1.50. Houghton. + +*"Mother Goose." Illustrated in colour and black-and-white by Arthur +Rackham. 4to. Cloth, $2.50. Century. Fine for a child. + +"Mother Goose." Illustrated in colour by Fanny Y. Cory. 4to. Cloth, +$1.50. Bobbs-Merrill. + +"Mother Goose Nursery Rhymes." Illustrated in colour and black-and-white +by Tenniel, Hardy, and others. 4to. Cloth, $2.50. Dutton. A Nister +book. + +"Mother Goose." Edited by Clifton Johnson. Illustrated in duo-tone with +line cuts by Will Bradley and others. Square 8vo. Cloth, $1.50. Baker. + +"Nursery Rhymes." Chosen by Louey Chisholm. Illustrated in colour and +black-and-white by F. M. B. Blaikie. 4to. Cloth, $2.00. Stokes. + +"Nursery Rhymes from Mother Goose." Illustrated in colour and +black-and-white by Grace E. Wiederseim. Large square 8vo. Cloth, $1.50. +Scribner. + +"The Complete Mother Goose." Illustrated in colour and black-and-white +by Ethel Franklin Betts. 8vo. Cloth, $1.50. Stokes. + +"Mother Goose's Nursery Rhymes." Collected by Walter Jerrold. +Illustrated by John Hassall. 6-1/2x9. Cloth, $1.50. Dodge. + +"Our Nursery Rhyme Book." Edited by Letty and Frank Littlewood. +Illustrated by Honor C. Appleton. Small 4to. Cloth, $1.50. Dana. + +"Favourite Rhymes of Mother Goose." Illustrated in colour by Maria L. +Kirk. Large 4to. Cloth, $1.25. Cupples. + +*"Old Mother Goose Nursery Rhymes." Illustrated by E. Stewart Hardy. +Decorated cloth, 12mo, $1.25. Dutton. + +"Mother Goose in Silhouettes." Cut by Katharine G. Buffum. 6x6. Cloth, +75 cents. Lathrop. Forty-one clever pictures to twenty-three old rhymes. + +"Mother Goose Book of Nursery Rhymes and Songs." From Everyman's +Library. 12mo. Cloth, 35 cents; leather, 70 cents. Dutton. + +*"Mother Goose: A Book of Nursery Rhymes." Collected by Charles Welsh. +Illustrated by Clara E. Atwood. 12mo. Cloth, 30 cents. Heath. A good +cheap edition. + +"Heart of Oak Books: Book I." Edited by Charles Eliot Norton. +Illustrated by Frank T. Merrill. 12mo. Cloth, 25 cents. Heath. + +*"This Little Pig's Picture Book." Illustrated by Walter Crane. 4to. +Cloth, $1.25. Lane. Contains also "The Fairy Ship and King Luckieboy's +Party." + +"Mother Hubbard's Picture Book." Illustrated by Walter Crane. 4to. +Paper, $.25. Lane. + +"April Baby's Book of Tunes, The." By the author of "Elizabeth and her +German Garden." Col. Ill. by Kate Greenaway. 12mo. Cloth, $1.50. +Macmillan. + +"Jingle Book." By Carolyn Wells. (Standard School Library.) Ill. 12mo. +Cloth, $.50. Macmillan. + + +G--COLLECTIONS OF VERSE + +*"The Children's Treasury of English Song." Selected by Francis Turner +Palgrave. 16mo. Cloth, $1.00. Macmillan. This is the best collection +that has yet been made for children. The publishers of this collection +could do a great service by issuing a large, attractive, +well-illustrated edition, adding to it a judicious selection from the +great volume of verse covering the last quarter of the nineteenth +century. + +"The Children's Garland from the Best Poets." Selected by Coventry +Patmore. 16mo. Cloth, $1.00. Macmillan. + +"The Blue Book of Poetry." Selected by Andrew Lang. Illustrated by H. J. +Ford and Lancelot Speed. Large crown 8vo. Cloth, $2.00. Longmans. + +"A Book of Famous Verse." Selected by Agnes Repplier. 16mo. Cloth, 75 +cents. Houghton. A good selection, especially for boys. + +"One Thousand Poems for Children: A Choice of the Best Verse Old and +New." Selected by Roger Ingpen. 8vo. Cloth, $1.25. Jacobs. + +"Lyra Heroica: A Book of Verse for Boys." Selected and arranged by +William Ernest Henley. 12mo. Cloth, $1.25. Scribner. + +"Our Children's Songs." Illustrated. 8vo. Cloth, $1.25. Harper. + +*"The Listening Child: A Selection from the Songs of English Verse, Made +for the Youngest Readers and Hearers." Selected by Lucy W. Thatcher. +12mo. Cloth, $1.00. Macmillan. An edition at $.50. + +"A Book of Verse for Children." Compiled by E. V. Lucas. 8vo. Cloth, +$2.00. Holt. + +"The Posy Ring: A Book of Verse for Children." Selected by Kate Douglas +Wiggin and Nora Archibald Smith. 12mo. Cloth, $1.25. Doubleday. + +"Poems Children Love." Edited by Peurhyn W. Coussens. 12mo. Cloth, +$1.25. Dodge. + +"Little Folks' Book of Verse." Edited by Clifton Johnson. Illustrated. +12mo. Cloth, $1.00. Baker. + +"A Treasury of Verse for Little Children." Selected by M. G. Edgar. +Illustrated in colour and black-and-white by W. Pogany. 8vo. Cloth, +$2.50. Crowell. + +"The Golden Staircase." Selected by Louey Chisholm Illustrated in colour +by M. Dibdin Spooner. Large 8vo. Cloth, $2.50. Putnam. + +"A Child's Book of Old Verse." Selected and illustrated by Jessie Wilcox +Smith. Large 8vo. Cloth, $2.50. Duffield. + +"The Treasure Book of Children's Verse." Edited by Mabel and Lillian +Quiller-Couch. Illustrated in colour by M. Ethelred Gray. 4to. Cloth, +$5.00. Hodder. Popular edition, $2.00. + +*"The Golden Treasury of the Best Songs and Lyric Poems in the English +Language." By Francis Turner Palgrave. 16mo. Cloth, $1.00. Macmillan. +Before entering high school, the boy should own some edition of this +great collection of verse. + +"The Golden Treasury of Songs and Lyrics." Illustrated by Hugh Thompson, +W. Heath Robinson, and A. C. Michael. Small 4to. Cloth, $1.50. Hodder. A +good edition. + +"The Golden Treasury of Songs and Lyrics." Illustrated in colour by +Maxfield Parrish. 4to. Cloth, $2.50. Duffield. + +"Golden Treasury of Songs and Lyrics." Illustrated in colour by Anning +Bell. Square 8vo. Cloth, $3.00. Dutton. + +"The Oxford Book of English Verse." By Sir Arthur Quiller-Couch. Crown +8vo. Cloth, $1.90; leather and India paper, $3.50. Oxford Press. A good +substitute for "The Golden Treasury." + +"The Boy's Percy." Being old ballads of war, adventure, and love, from +Bishop Thomas Percy's "Reliques of Ancient Poetry." Edited for boys by +Sidney Lanier. Illustrated from original designs by E. B. Bonsell. 8vo. +Cloth, $2.00. Scribner. A capital book for any boy who is a real reader. + +*"A Book of English Ballads." Collected by Hamilton Wright Mabie. +Decorative illustrations by George Wharton Edwards. 12mo. Cloth, $1.25. +Macmillan. + +"The Ballad Book." Katharine Lee Bates. 12mo. Cloth, $.50. Sibley. A +very good selection deserving a more attractive make-up. + +"The Ballad Book." William Allingham. 16mo. Cloth, $1.00. Macmillan. + +*"Robin Hood: His Deeds and Adventures." The original ballads +illustrated in colour by Lucy Fitch Perkins. 4to. Cloth, $1.00. Stokes. + +"Ballads of Famous Fights." Illustrated in colour by W. H. C. Groome, +Archibald Webb, and Dudley Fennant. Large 4to. Decorated boards, $1.25. +Doran. + +"The Oxford Book of Ballads." Chosen and edited by Sir Arthur +Quiller-Couch. Crown 8vo. Cloth, $2.00; leather and India paper, $3.50. +Oxford Press. Very complete and good for the high school age. + +"English Narrative Poems." Selected and edited by Claude M. Fuers and +Henry N. Sanborn. 24mo. (Pocket Classics.) Cloth, $.25. Macmillan. + +"Story Telling Poems." Edited by Frances J. Olcott. Narrow 12mo. Cloth, +$1.25. Houghton. + +"Old English Ballads and Folk Songs." (Pocket Classics.) Edited by W. D. +Armes. 24mo. Cloth, $.25. Macmillan. + +"Collection of Poetry for School Reading." By M. White. 12mo. Cloth, +$.40. Macmillan. + +"Another Book of Verses for Children." By E. V. Lucas. Col. Ill. 8vo. +$1.50. Macmillan. + +"Nature Pictures by American Poets." By Annie R. Marble. 12mo. Cloth, +$1.25. Macmillan. + +"The Sunday Book of Poetry for the Young." Selected by C. F. Alexander. +(Golden Treasury Series.) 16mo. Cloth, $1.00. Macmillan. + +"English Poets, The. Selections." 4 vols. By T. Humphry Ward. Each, +12mo. Cloth, $1.00. Macmillan. For reference and for the use of the +teacher. + +"Treasury of Irish Poetry, A." (Globe.) By S. A. Brooke and T. W. +Rolleston. 12mo. Cloth, $1.75. Macmillan. + + +INDIVIDUAL WRITERS OF VERSE + +*P--"Dame Wiggins of Lee and Her Seven Wonderful Cats." Written +principally by a lady of ninety (Mrs. Sharp) and edited by John Ruskin. +Illustrated by Kate Greenaway. 16mo. Cloth, 1_s._ Allen. + +*P--"John Gilpin's Ride." By William Cowper. Illustrated by Randolph +Caldecott. 4to. Paper, 25 cents. Warne. + +*P--"Nonsense Songs." By Edward Lear. Illustrated in colour by Leslie +Brooke. Small 4to. Cloth, $2.00. Warne. + +*P--"The Pied Piper of Hamelin." By Robert Browning. Illustrated in +colour by Kate Greenaway. Post 4to. Varnished boards, $1.50. Warne. + +"The Pied Piper of Hamelin." Illustrated in colour by Hope Dunlap. 4to. +Cloth, $1.25. Rand. + +"The Pied Piper of Hamelin." Illustrated in colour and black-and-white +by Margaret Terrant. 8vo. Decorated cloth, $1.25. Dutton. + +*P--"A Child's Garden of Verses." By Robert Louis Stevenson. Illustrated +in colour and black-and-white by Florence Storer. Square 8vo. Cloth, +$1.50. Scribner. + +"A Child's Garden of Verses." Illustrated by Charles Robinson. 12mo. +Cloth, $1.50. Scribner. + +"A Child's Garden of Verses." Illustrated in colour by Jessie Wilcox +Smith. Royal 8vo. Cloth, $2.50. Scribner. + +"A Child's Garden of Verses." Illustrated by Bessie Collins Pease. 12mo. +Cloth, $1.50; leather, $2.00. Dodge. + +"A Child's Garden of Verses." Illustrated in colour. 4to. Cloth, $2.00. +Harper. + +"A Child's Garden of Verses." Illustrated by Millicent Sowerby. 12mo. +Cloth, 75 cents. McKay. + +"A Child's Garden of Verses." Illustrated. In the Ariel Classics. 16mo. +Limp leather, 75 cents. Putnam. Good for a teacher. + +*P--"Songs of Innocence." By William Blake. Illustrated by Geraldine +Morris. 16mo. Cloth, 50 cents; leather, 75 cents. Lane. + +"Songs of Innocence." Illustrated in colour by Honor C. Appleton. 4to. +Cloth, $1.50. Dana. + +"Songs of Innocence." In Ariel Classics. 16mo. Leather, $.75. Putnam. + +*P--"Sing Song: A Nursery Rhyme Book." By Christina Rossetti. +Illustrated by Arthur Hughes. 16mo. Cloth, $.80. Macmillan. + +*P--"Lullaby Land." By Eugene Field. Selected by Kenneth Graham and +illustrated by Charles Robinson. 12mo. Cloth, $1.50. Scribner. + +*P--"Poems of Childhood." By Eugene Field. Illustrated in colour by +Maxfield Parrish. Royal 8vo. Cloth, $2.50. Scribner. + +*G--"The Rime of the Ancient Mariner." By Samuel Taylor Coleridge. +Illustrated in colour by W. Pogany. 4to. Cloth, $5.00. Crowell. + +G--"Tales of a Wayside Inn." By Henry W. Longfellow. Edited by J. H. +Castleman. 24mo. Cloth, $.25. Macmillan. + +*G--"The Song of Hiawatha." By Henry W. Longfellow. Cover in colour by +Maxfield Parrish, frontispiece in colour by N. C. Wyeth, and 400 text +illustrations by Frederic Remington. Square 8vo. Cloth, $2.50. Houghton. +A good edition. + +G--"Hiawatha." By Henry W. Longfellow. Illustrated by Harrison Fisher. +Large 8vo. Cloth, $1.50. Bobbs-Merrill. + +G--"The Children's Longfellow." Illustrated in colour. 8vo. Cloth, +$3.00. Houghton. + +G--"Poetical Works." Sir Walter Scott. With a memoir by Palgrave. 12mo. +Cloth, $1.75. (New Globe Poets.) Macmillan. + +G--"Lyrical Poems." Alfred Lord Tennyson. Edited by Palgrave. 16mo. +Cloth, $1.00. (Golden Treasury Series.) Macmillan. + + +FAIRY STORIES + +P--GENERAL COLLECTIONS OF FAIRY AND HOUSEHOLD STORIES + +*"Puss in Boots" and "Jack and the Beanstalk." Illustrated by H. M. +Brock. 10-1/2x9. Art boards, $1.00. Warne. Delightful! + +*"Beauty and the Beast Picture Book." Done by Walter Crane. Large 4to. +Cloth, $1.25. Lane. Contains also "The Frog Prince" and "The Hind in the +Wood." + +*"The Golden Goose Book." Illustrated by Leslie Brooke. Square 8vo. +Cloth, $2.00. Warne. Contains also "The Three Bears," "The Three Pigs," +and "The History of Tom Thumb." A delightful volume. + +*"The Cruikshank Fairy Book." Illustrated by George Cruikshank. Crown +8vo. Cloth, $2.00; a cheaper edition at $1.00. Putnam. Contains the +famous stories of "Puss in Boots," "Jack and the Beanstalk," "Hop o' My +Thumb," and "Cinderella." Every child should own this book. + +*"English Fairy Tales." Edited by Joseph Jacobs. Illustrated by John D. +Batton. Crown 8vo. Cloth, $1.25. Putnam. Too entertaining to miss. The +editor and illustrator have done almost as good work in "More English +Fairy Tales," "Celtic Fairy Tales," and "More Celtic Fairy Tales." + +"English Fairy Tales." Edited by Ernest and Grace Rhys. Illustrated by +Anning Bell and Herbert Cole. 12mo. Cloth, $.50. Dutton. A few of the +more common tales. + +"Mother Goose Nursery Tales." Illustrated in colour and black-and-white +by E. Stewart Hardy and others. 4to. Cloth, $2.50. Dutton. A Nister +book. + +"Tales of Past Times." As written down by Perrault. Illustrated by +Charles Robinson. 16mo. Cloth, $.40; leather, $.60. Dutton. + +"Perrault's Fairy Tales." Illustrated with colour plates by Honor C. +Appleton. 4to. Cloth, $1.50. Dana. + +"Perrault's Tales of Mother Goose." Edited by Charles Welsh and +illustrated after Dore. 12mo. Cloth, $.20. Heath. + +"Mother Goose Nursery Tales." Edited by Walter Jerrold and illustrated +by A. E. Jackson. 12mo. Cloth, $1.25. Dutton. + +"The English Fairy Book." Edited by Ernest Rhys. Illustrated in colours. +12mo. Cloth, $1.35. Stokes. Uniform with this may be had well-selected, +well-illustrated, and well-made volumes of Scottish and Italian fairy +tales. + +"Fairy Gold: A Book of Old English Fairy Tales." Chosen by Ernest Rhys +and illustrated by Herbert Cole. 8vo. Cloth, $2.50. Dutton. A cheap +edition in Everyman's Library. + +"A Child's Book of Stories." Edited by Peurhyn Wingfield Coussens. +Illustrated in colour by Jessie Wilcox Smith. Quarto. Cloth, $2.25. +Duffield. Eighty-seven well-known tales. + +"The Big Book of Fairy Tales." Selected and edited by Walter Jerrold. +Illustrated by Charles Robinson. Large 4to. Cloth, $2.50. Caldwell. +Thirty well-known tales. + +*"The Fairy Book." Edited by Dinah Maria Mulock. Illustrated with 36 +plates in colour by Walter Goble. Large 8vo. Cloth, $5.00. Macmillan. An +excellent edition of one of the best collections of fairy tales ever +made. Dainty and artistic coloured plates. + +"The Blue Fairy Book." Edited by Andrew Lang. Illustrated by H. J. Ford +and G. P. Jacont Hood. Crown 8vo. Cloth, $2.00. Longmans. The dozen +colour fairy books are not all equally good, this being the best one. + +"The Fairy Book." Collected by Dinah Maria Mulock. Illustrated. 12mo. +Cloth, $1.25. Harper. Thirty-six familiar tales. + +"The Oak Tree Fairy Book." Edited by Clifton Johnson. Illustrated from +pictures by Willard Bonte. Crown 8vo. Cloth, $1.50. Little. A +half-hundred stories with all of the terrible taken out. There are more +tree books. + +"The Fairy Ring." Edited by Kate Douglas Wiggin and Nora Archibald +Smith. Illustrated by E. M. Mackinstry. 8vo. Cloth, $1.35. Doubleday. +Other titles by the same editors are "Magic Casements," "Tales of +Wonder," and "Tales of Laughter." + +"Fairy Tales Old and New." With colour plates and text illustrations by +Arthur Rackham and other artists. 8vo. Cloth, $1.25. Cassell. + +"In Fairy Land: Tales Told Again." Edited by Louey Chisholm. Illustrated +in colour by Katharine Cameron. 8vo. Cloth, $3.00. Putnam. Twenty-six +familiar tales. A second volume is "The Enchanted Land." + +"The Reign of King Oberon." Edited by Walter Jerrold and illustrated by +Charles Robinson. 12mo. Cloth, $1.50. Dutton. A cheap edition in +Everyman's Library. In uniform editions are "The Reign of King Cole" and +"The Reign of King Herla." + +"Household Tales and Fairy Stories." Illustrated by Sir John Gilbert and +others. 8vo. Cloth, $2.00. Dutton. + +"Forty Famous Fairy Tales." From Jacobs, Grimm, Perrault, and Andersen. +Fully illustrated. Crown 8vo. Cloth, $1.00. Putnam. + +"Fairy Tales Children Love." Edited by Charles Welsh. 12mo. Cloth, +$1.35. Dodge. + +"The Sleeping Beauty and Other Fairy Tales from the Old French." Retold +by Sir Arthur T. Quiller-Couch. Illustrated in colour by Edmund Dulac. +4to. Cloth, $5.00. Hodder. Contains "Beauty and the Beast," +"Cinderella," and "Bluebeard," as well as a good introduction and +artistic plates. Popular edition at $2.00. + +"Old, Old Fairy Tales." Selected by Mrs. Valentine. Fully illustrated. +Square crown 8vo. Cloth, $1.75. Warne. Also in the Chandos Classics at +$.75. Thirteen good tales. + +"The Fairy Book." (Everychild's Series.) By Kate Forrest Oswell. 16mo. +Ill. Cloth, $.40. Macmillan. + +"The Twenty Best Fairy Tales." Illustrated in colour and +black-and-white by Lucy Fitch Perkins. 4to. Cloth, $1.00. Stokes. + +"Favourite Fairy Tales." Illustrated by Peter Newell. 8vo. Cloth, $1.50. +Harper. Seventeen familiar stories. + +"The Rose Fairy Book." Edited by Mrs. Herbert Strang. Illustrated by +Lillian A. Govey. Large 8vo. Cloth, $2.00. Doran. + +"Where the Wind Blows: Being Ten Fairy Tales from Ten Nations." +Collected by Katharine Pyle and illustrated by Bertha Corson Day, in +colour. 12mo. Cloth, $2.00. Dutton. + +"The Wild Flower Fairy Book." Compiled by Esther Singleton. Illustrated +by Charles Buckles Falls. 8vo. Cloth, $2.00. Dodd. Twenty-five tales +from all countries. + +"Fairy Tales." Comtesse d'Aulnoy. Translated by J. R, Planche. +Illustrated by Gordon Browne and Lydia F. Emmet. 12mo. Cloth, $1.25. +McKay. + +"Fairy Tales." By Edward Laboulaye. Fully illustrated by Arthur A. +Dixon. 8vo. Cloth, $2.50. Dutton. A Nister book. + +"Fairy Tales." By William Hauff. Translated by L. L. Weedon. Fully +illustrated by Arthur A. Dixon. 8vo. Cloth, $2.50. Dutton. A Nister +book. + +"The Hungarian Fairy Book." Collected by Nander Pogany and illustrated +in black and red by Willy Pogany. 12mo. Cloth, $1.35. Stokes. With all +of the terrible left in. + +"Folk Tales From Many Lands." Collected by Lillian Gask and illustrated +by Willy Pogany. Large 8vo. Cloth, $1.50. Crowell. + +"Outlook Fairy Book for Little People." By Laura Winnington. Ill. 8vo. +Cloth, $1.00. Macmillan. + +"Folk Tales of East and West." Collected by John Harrington Cox. 12mo. +Cloth, $1.00. Little. + +"The Book of Folk Stories." Rewritten by Horace E. Scudder. 16mo. Cloth, +$.50. Houghton. Good for a teacher. + +"Fairy Tales." Selected and adapted by W. J. Rolf. 12mo. Cloth, $.50. +American. + +"Fairy Tales." Illustrated by Charles Copeland. 16mo. Cloth, 2 vols., +$.35 each. Ginn. + +"Six Nursery Classics." Edited by M. V. O'Shea. Illustrated by Ernest +Fosbery. 12mo. Cloth, $.20. Heath. Contains "Dame Wiggins of Lee" with +the Greenaway pictures. + +"Old World Wonder Stories." Edited by M. V. O'Shea. Illustrated by J. V. +Hollis. 12mo. Cloth, $.20. Heath. + +*"The Children's Book." A collection of the best and most famous poems +and stories in the English language, chosen by Horace E. Scudder. +Illustrated in fifteen full-page plates and many text illustrations by +Dore, Chruikshank, and others. Cover design by Maxfield Parrish. Small +4to. Cloth, $2.50. Houghton. In this book are ballads, fables, fairy +stories from Grimm, Perrault, Andersen, "Arabian Nights' +Entertainments," and other sources, as well as "Goody Two Shoes," +selections from "Gulliver's Travels," classic myths, and other +well-known stories. The best single book for a child to own. Big and +good. + + + "TALES OF A THOUSAND AND ONE NIGHTS" + + P and G--or any age. Lovers of a good tale, both + young and old, should be thankful for this work of + Queen Scheherazade, done as it was to prevent her + husband from cutting off her head. While kings are + yet in fashion could not some other one succeed as + well? + + +*"Fairy Tales from the Arabian Nights." Retold by Gladys Davidson and +illustrated by Helen Stratton. Large 4to. Cloth, 5_s._ Blackie. Eight +tales for young children. + +"The Arabian Nights." Selected and retold by Gladys Davidson. +Illustrated by Helen Stratton. Large crown 8vo. Cloth, $1.50. Caldwell. + +*"Fairy Tales from the Arabian Nights." Edited by E. Dixon. Illustrated +by John D. Batton. Large 8vo. Cloth, $2.50. Dent. Sixteen of the +better-known tales told for boys and girls. An attractive edition. + +"The Arabian Nights." Edited by Andrew Lang and illustrated by H. J. +Ford. Crown 8vo. Cloth, $2.00. Longmans. + +"The Arabian Nights." Edited by W. H. D. Rouse. Illustrated in colour +and black-and-white by Walter Paget. 8vo. Cloth, $2.50. Dutton. A Nister +book. Eight tales that are well known. + +"The Arabian Nights: Their Best Known Tales." Edited by Kate Douglas +Wiggin and Nora Archibald Smith. Illustrated in colour by Maxfield +Parrish. Square 8vo. Cloth, $2.50. Scribner. Eleven tales. + +"The Arabian Nights." Illustrated in colour and black-and-white by Rene +Bull. Large 8vo. Cloth, $3.50. Dodd. + +"Stories from the Arabian Nights." Retold by Laurence Houseman. +Illustrated by Edmund Dulac, with 50 colour plates. Large square 8vo. +Cloth, $5.00. Hodder. Six tales. Issued in an edition at $1.50. + +"Arabian Nights." A six-volume edition from the Lane text with additions +by Stanley Lane-Poole. 16mo. Leather, $.75 a volume. Putnam. In the +Ariel Classics. Good for the teacher. + +"The Arabian Nights' Entertainments." Translated by E. W. Lane. Edited +by S. Lane-Poole. 4 vols. 12mo. Cloth, $1.00 each. Macmillan. + +"Arabian Nights' Entertainments." Translated by Edward William Lane. +Illustrated from the original Lane designs by eminent artists. Royal +8vo. Cloth, $1.50. McKay. Good for the teacher. + +*"Fairy Tales from the Arabian Nights." 12mo. Cloth, $.35; leather, +$.75. Dutton. Everyman's Library. + +"The Arabian Nights' Entertainments." Edited by George Tyler Townsend. +Fully illustrated. Square crown 8vo. Cloth, $1.75. Warne. Issued also in +the Chandos Classics at $.75. + +"The Arabian Nights." Illustrated by W. Heath Robinson, Helen Stratton, +and others. 8vo. Cloth, $1.50. Dodge. + +*"The Arabian Nights." Edited by Frances J. Olcott, from the Lane +translation. Illustrated by Munro Orr. 12mo. Cloth, $2.50. Heath. A +judicious selection of stories. + +"The Arabian Nights." Edited by Clifton Johnson. Illustrated by Casper +Emerson and Leon D'Elmo. 12mo. Cloth, $1.00. Baker. + +"Stories from the Arabian Nights." Illustrated. 16mo. Half leather, +$.60. Houghton. In the Riverside School Library. + +"Arabian Nights." Illustrated. 16mo. Cloth, $.50. Crowell. + +"The Arabian Nights." Selected and edited by Edward Everett Hale. 12mo. +Cloth, $.45. Ginn. + +"Stories from the Arabian Nights." 12mo. Cloth, $.60. American. + +P--"FAIRY AND HOUSEHOLD TALES" + +AS COLLECTED AND ARRANGED BY JACOB AND WILHELM GRIMM + + +*"Grimm's Fairy Tales: Selected and Edited for Little Folks." +Illustrated by Helen Stratton. Large 4to. Cloth, 6_s._ Blackie. Fifteen +tales well done. + +"Grimm's Fairy Tales." Translated by L. L. Weeden. Illustrated in colour +by Ada Dennis and black-and-white by E. Stewart Hardy. 4to. Cloth, +$2.50. Dutton. A Nister book. Thirty-two tales illustrated for young +children. + +*"Household Stories." Translated from the German of the Brothers Grimm +by Lucy Crane and done into pictures by Walter Crane. 12mo. Cloth, +$1.50. Macmillan. In the New Cranford Series. "A lasting joy." + +"Grimm's Household Tales." Translated by Marion Edwards. Illustrated by +R. Anning Bell. 12mo. Cloth, $2.50. Dutton. Forty-nine tales. + +"Grimm's Household Stories." Edited and illustrated by J. R. Monsell, in +colour and black-and-white. 12mo. Cloth, $1.25. Cassell. + +*"Grimm's Fairy Tales." From the Taylor translation with an introduction +by John Ruskin. Illustrated in colour by Charles Folkard. 8vo. Cloth, +6_s._ Black. Fifty-six tales. + +"Fairy Tales from Grimm." With an introduction by S. Barring-Gould and +illustrations by Gordon Browne. 8vo. Cloth, $1.50. Stokes. Forty-four +tales. + +"Grimm's Fairy Tales." All of the best-known stories edited by Walter +Jerrold. Illustrated in colour and black-and-white by Charles Robinson. +12mo. Cloth, $1.25. Dutton. + +"Grimm's Fairy Tales." Illustrated in colour by Hope Dunlap. Large 8vo. +Cloth, $1.20. Rand. + +"Grimm's Fairy Tales." Translated by Mrs. Edgar Lucas and illustrated by +Arthur Rackham. Large 12mo. Cloth, $1.50. Lippincott. Sixty-three tales. + +"Grimm's Fairy Tales and Stories." A complete translation by Mrs. H. B. +Paull. Fully illustrated in colour and black-and-white. Square 8vo. +Cloth, $1.75. Warne. Also in the Chandos Classics at $.75. + +"Grimm's Fairy Tales." Illustrated with colour plates by Noel Pocock. +Large 8vo. Cloth, $2.00. Doran. Fifty-five tales. + +"The House in the Woods and Other Fairy Stories." Illustrated in colour +and pen-and-ink drawings by Leslie Brooke. Large 8vo. Boards, $1.35. +Warne. + +"Grimm's Animal Stories." Decorations and pictures in colour by John +Rae. Small 4to. Cloth, $1.50. Duffield. + +*"Gammer Grethel; or, Fairy Tales and Stories." The original stories as +taken down from a peasant woman by Jacob Grimm. Illustrated with +woodcuts after George Cruikshank. 12mo. Cloth, $1.00. In Bohn's +Illustrated Library. Macmillan. + +"The Popular Stories Collected by the Brothers Grimm." A reprint of the +first English edition, with notes and illustrations by George +Cruikshank. 12mo. Cloth, $.50. Oxford Press. + +"Grimm's Fairy Tales." 12mo. Cloth, $.35; leather, $.70. In Everyman's +Library. Dutton. Any one of the last three would be good for the +teacher. + +"Grimm's Household Tales." Illustrated. 16mo. Half leather, $.60. +Houghton. In the Riverside School Library. + +"Grimm's Tales." Translated by Lucy Crane. Illustrated. 16mo. Cloth, +$.50. Crowell. + +"Grimm's Fairy Tales." Edited by J. H. Fassett. (Pocket Classics +Series.) 24mo. Cloth, $.25. Macmillan. + +*"Grimm's Fairy Tales." Illustrated with 50 colour plates and +black-and-white drawings by Arthur Rackham. 7-1/2x10. Cloth, $6.00. +Doubleday. An elegant edition. In cheaper form at $1.50. + + +P--"DANISH LEGENDS AND FAIRY TALES" + +BY HANS CHRISTIAN ANDERSEN + +*"Andersen's Fairy Stories for Youngest Children." Translated by Mrs. E. +Lucas and illustrated by Helen Stratton. Large 4to. Cloth, 5_s._ +Blackie. + +*"Wonder Stories Told for Children." Illustrated. Crown 8vo. Cloth, +$1.00. Houghton. + +"Andersen's Fairy Tales." Illustrated in colour by A. Duncan Carse. 8vo. +Cloth, 6_s._ Black. + +"Andersen's Fairy Tales." Translated by Mrs. E. Lucas. Illustrated by +Thomas, Charles, and William Robinson. 12mo. Cloth, $2.50. Dutton. +Thirty-eight of the best-known tales. + +*"Fairy Tales from Hans Andersen." Translated by Mrs. E. Lucas. +Illustrated with colour plates and line drawings by Maxwell Armfield. +Large 8vo. Cloth, $3.00. Dutton. Forty-one tales. + +"Fairy Tales from Hans Andersen." Edited by Walter Jerrold. Illustrated +in colour and black-and-white by F. Pape. 12mo. Cloth, $1.25. Dutton. + +"Fairy Tales from Hans Andersen." Translated by W. Angledorff. +Illustrated by E. Stewart Hardy, in colour and black-and-white. 4to. +Cloth, $2.50. Dutton. A Nister book. Twenty-nine tales. + +"Andersen's Fairy Tales." Introduction by Edward Everett Hale. +Illustrated by Helen Stratton. Large square 8vo. Cloth, $1.50. +Lippincott. + +"Fairy Tales from Hans Andersen." With an introduction by Edward Clodd +and illustrations by Gordon Browne. Large 8vo. Cloth, $1.50. Stokes. +Twenty-five tales. + +"Hans Andersen's Fairy Tales." Illustrated by J. J. Mora. 4to. Cloth, +$1.00. Dana. + +"Danish Legends and Fairy Tales." Fully illustrated by wood engravings. +12mo. Cloth, $1.50. In Bohn's Illustrated Library. Macmillan. + +"Andersen's Fairy Tales." 12mo. Cloth, $.35; leather, $.70. In +Everyman's Library. Dutton. Either of the last two is convenient for the +teacher. + +"Hans Andersen's Fairy Tales." Fully illustrated. Square crown 8vo. +Cloth, $1.75. Warne. Also in the Chandos Classics at $.75. + +"Andersen's Fairy Tales." Illustrated. 16mo. Cloth, $.50. Crowell. + +"Hans Andersen's Fairy Tales." Translated by H. Oscar Sommer. +Illustrated in colour by Cecile Walton. Large 8vo. Cloth, $2.50. Stokes. + +*"Hans Andersen's Fairy Tales and Stories." Translated by H. L. +Breakstead, with an introduction by Edmund Gosse and illustrations by +Hans Tegner. Imperial 4to. Cloth, $5.00. Century. Forty-two stories. + +"Stories from Hans Andersen." Illustrated with 28 colour-plates by +Edmund Dulac. 4to. Cloth, $5.00. Doran. Six tales, including "The Snow +Queen." + +"Hans Andersen's Fairy Tales." Illustrated in colour by W. Heath +Robinson. 4to. Cloth, $3.50. Heath. + +"The Snow Queen and Other Stories from Hans Andersen." Illustrated in +colour-plates by Edmund Dulac. Small 4to. Cloth, $2.00. Doran. + +"Danish Fairy Legends and Tales." By Hans Andersen. Trans, by Caroline +Peachey and H. W. Dulcken. Introd. by Sarah C. Brooks. (Pocket Classics +Series.) 24mo. Cloth, $.25. Macmillan. + + +P--"THE HISTORY OF LITTLE GOODY TWO SHOES, OTHERWISE CALLED MRS. MARGERY +TWO SHOES" + +BY OLIVER GOLDSMITH + +*"Little Goody Two Shoes." Illustrated by Marion L. Peabody after the +woodcuts of the original edition of 1765. 12mo. Cloth, $.20. Heath. + +"Little Goody Two Shoes." Illustrated by Jessie M. King. 16mo. Leather, +$.75. Dutton. + +"Little Goody Two Shoes." Found in the second book of the "Heart of Oak +Books." Illustrated by Frank T. Merrill. 12mo. Cloth, $.35. Heath. + + +P--"GRANNY'S WONDERFUL CHAIR AND ITS TALES OF FAIRY TIMES" + +BY FRANCES BROWNE + +*"Granny's Wonderful Chair and the Tales That It Told." Edited by M. V. +O'Shea. Illustrated by Clara E. Atwood after Mrs. Seymour Lucas. 12mo. +Cloth, $.30. Heath. Fairy tales of great merit. + +"Granny's Wonderful Chair and Its Tales of Fairy Times." Illustrated in +colour by W. H. Margetson. Square 12mo. Cloth, $.50. Doran. + +"Granny's Wonderful Chair." 12mo. Cloth, $.35; leather, $.70. In +Everyman's Library. Dutton. + + +P--"THE ROSE AND THE RING; OR, THE HISTORY OF PRINCE GIGLIO AND PRINCE +BULBO + +A FIRESIDE PANTOMIME FOR GREAT AND SMALL CHILDREN" + +BY MR. M. A. TITMARSH (THACKERAY) + +*"The Rose and the Ring." With an introduction by Edward Everett Hale +and woodcuts after the originals by Thackeray. 12mo. Cloth, $.20. Heath. + +"The Rose and the Ring." Illustrated. 16mo. Cloth, $.50. Macmillan. + +"The Rose and the Ring." 16mo. Leather, $.75. In Ariel Classics. Putnam. + +"The Rose and the Ring." Illustrated. 16mo. Cloth, $1.25. Dutton. + +*"The Rose and the Ring." The original illustrations with others in +colour by J. R. Monsell. 8vo. Cloth, $1.50. Crowell. + + +P--"ALICE'S ADVENTURES IN WONDERLAND" + +BY LEWIS CARROLL + +*"Alice's Adventures in Wonderland." Illustrated by Sir John Tenniel. +12mo. Cloth, $1.00. Macmillan. It is hard to prefer any other edition to +this one. + +"Alice's Adventures in Wonderland." Illustrated by Sir John Tenniel. +Crown 8vo. Cloth, $.75. Putnam. + +"Alice's Adventures in Wonderland." Illustrated by John Tenniel with +colour plates by Maria L. Kirk. 12mo. Cloth, $1.25. Stokes. + +"Alice's Adventures in Wonderland." Illustrated by John Tenniel. 16mo. +Leather, $.75. Putnam. In the Ariel Classics. Good for the teacher. + +"Alice's Adventures in Wonderland." Illustrated. 16mo. Cloth, $.50. +Crowell. + +*"Alice in Wonderland." Illustrated in colour by Arthur Rackham. 8vo. +Cloth, $1.40. Doubleday. A fine edition. + +"Alice's Adventures in Wonderland." Illustrated in colour and +black-and-white by Bessie Collins Pease. 8vo. Cloth, $1.50. Dodge. + +"Alice in Wonderland." Illustrated in colour and line by George Soper. +Square 8vo. Cloth, $1.50. Baker. + +"Alice in Wonderland." Illustrated in colour and black-and-white by +Charles Robinson. 8vo. Cloth, $1.10. Cassell. + +"Alice in Wonderland." Pictures in colour by Millicent Sowerby. 8vo. +Cloth, $1.25. Duffield. + +"Alice's Adventures in Wonderland." (Standard School Library.) Ill. +12mo. Cloth, $.50. Macmillan. + +"Alice's Adventures in Wonderland." Illustrated in colour and line by W. +H. Walker. 12mo. Cloth, $1.00. Lane. + +"Alice in Wonderland." With an introduction by E. S. Martin and +illustrations by Peter Newell. 8vo. Cloth, $3.00. Harper. + +"Alice's Adventures in Wonderland." Illustrated with 90 coloured plates +by Henry Rosentree. Large 8vo. Cloth, $2.50. Nelson. + + +P--"THROUGH THE LOOKING GLASS AND WHAT ALICE FOUND THERE" + +BY LEWIS CARROLL + +*"Through the Looking Glass." Illustrated by Sir John Tenniel. 12mo. +Cloth, $1.00. Macmillan. + +"Through the Looking Glass." Illustrated by Sir John Tenniel. Crown 8vo. +Cloth, $.75. Putnam. + +"Through the Looking Glass." Illustrated by Sir John Tenniel. 16mo. +Leather, $.75. In the Ariel Classics. Putnam. + +"Through the Looking Glass." Illustrated in colour and pen-and-ink +sketches by Bessie Collins Pease. 8vo. Cloth, $1.50. Dodge. + +"Through the Looking Glass and What Alice Found There." (Standard School +Library.) 12mo. Cloth, $.50. Macmillan. + +"Through the Looking Glass." Illustrated by Peter Newell. 8vo. Cloth, +$.60. Harper. + +"Through the Looking Glass." Illustrated. 16mo. Cloth, $.50. Crowell. + +"Through the Looking Glass." Bound with "Alice in Wonderland." +Illustrated in colour by Eleanore Plaisted Abbot. Original illustrations +by Tenniel. 12mo. Cloth, $1.50. Jacobs. + + +P--"THE WATER-BABIES: A FAIRY TALE FOR A LAND-BABY" + +BY CHARLES KINGSLEY + +"Water Babies." Illustrated in colour by Katherine Cameron. 8vo. Cloth, +$2.50. Stokes. + +*"Water-Babies." With an introduction by Rose G. Kingsley and +illustrations in colour by Margaret W. Tarrant. 8vo. Cloth, $2.50. +Dutton. + +"The Water-Babies." Illustrated in colour and black-and-white by Arthur +Dixon. 8vo. Cloth, $2.50. Dutton. A Nister book. + +"The Water-Babies." Illustrated in colour and black-and-white by George +Soper. Square 8vo. Cloth, $1.50. Baker. + +"The Water-Babies." Illustrated in colour by Ethel Everett. 12mo. +Decorated cloth, $1.25. Little. + +*"The Water-Babies." Illustrated by Linley Sanbourne. 12 mo. Cloth, +$1.25. Macmillan. + +*"The Water-Babies." Illustrated by C. E. Brock. 12mo. Cloth, $.80. +Macmillan. + +"Water-Babies." Illustrated in colour by Agnes Foringe. Square 12mo. +Cloth, $.50. Doran. + +"The Water-Babies." Illustrated. 16mo. Cloth, $.50. Crowell. + +"Water-Babies, The." (Standard School Library.) Ill. 12mo. Cloth, $.50. +Macmillan. + + +G--"AT THE BACK OF THE NORTH WIND" + +BY GEORGE MACDONALD + +"At the Back of the North Wind." Illustrated in colour by Frank C. Pape +and in black-and-white by Arthur Hughes. Large crown 8vo. Cloth, $1.50. +Caldwell. + +"At the Back of the North Wind." Illustrated. 12mo. Cloth, $1.50. +Dutton. + +*"At the Back of the North Wind." With the original illustrations by +Arthur Hughes and plates in colour by Maria L. Kirk. Large 8vo. Cloth, +$1.50. Lippincott. + +"At the Back of the North Wind." Illustrated in colour. 8vo. Cloth, +3_s._ 6_d._ Blackie. + + +FOUR WORTHIES + +"AESOP'S FABLES" + + P--This enduring form of literature may be read in + almost any grade. The edition is to be determined + largely by the grade for which it is designed. In + point of effectiveness in showing human + experiences and weaknesses by means of animal + action, the classic fable has never been equalled + by any other form of literature. He would be a + rash man who would claim that Lincoln owed to + Euclid more of his power to think out a question + and carry his point than he did to AEsop. Fables + are imaginative literature, and in that lies their + power rather than in their didactic assertion that + later became attached as a moral to be pointed. + They need but one moral, as G. K. Chesterton so + aptly observes; for nothing in this world has more + than one moral. + +*"The Fables of AEsop." Selected and told anew by Joseph Jacobs. +Illustrated by Richard Heighway. 12mo. Cloth, $1.50. In the New Cranford +Series. Macmillan. Good for younger children, but should be printed +without notes and advertisements. + +*"AEsop's Fables." Illustrated by Arthur Rackham, in colour-plates. 12mo. +Cloth, $1.50. Doubleday. An attractive edition, except the poor binding, +for older children. The introduction by G. K. Chesterton is very +readable for grown-ups. + +*"A Hundred Fables of AEsop." From the English version of Sir Roger +L'Estrange with an introduction by Kenneth Grahame and illustrations by +Percy J. Billinghurst. Square 8vo. Cloth, $1.50. Lane. Good in its +quaint English. + +"AEsop's Fables." Illustrated by Boyd Smith. 8vo. Cloth, $2.00. Century. + +"The Fables of AEsop." Illustrated with colour-plates by Edward Detmond. +Large 8vo. Cloth, $2.00. Doran. + +"AEsop's Fables." Illustrated in colour and black-and-white by Harrison +Weir. Crown 8vo. Cloth, $1.50. Harper. + +"AEsop's Fables." Edited by Gordon Holmes and illustrated by Charles +Folkard. 8vo. Cloth, 6_s._ Black. + +"Big Book of Fables." Edited by Walter Jerrold and illustrated in +colour and black-and-white by Charles Robinson. Royal 8vo. Cloth, $3.00. +Caldwell. + +"AEsop's Fables." Illustrated in colour and black-and-white by J. M. +Conde. 8vo. Cloth, $1.25. Moffat. + +"AEsop's Fables." Illustrated in colour and line by Lucy Fitch Perkins. +4to. Cloth, $1.00. Stokes. + +"The Book of Fables." Chosen and phrased by Horace E. Scudder. 16mo. +Cloth, $.50. Houghton. Good. + +"AEsop's Fables." Translated from the original sources by the Reverend +Thomas James. Illustrated by Sir John Tenniel. In the Ariel Classics. +16mo. Leather, $.75. Putnam. A useful old edition for the teacher and +for the older boy who will read a dainty book done in red binding. + +"AEsop's Fables." Illustrated. In the Chandos Classics. 12mo. Cloth, +$.75. Warne. Good for the teacher. + +"AEsop's Fables." Edited by J. H. Stickney. Illustrated. 12mo. Cloth, +$.35. Ginn. + +"The Talking Beasts: A Book of Fable Wisdom." Edited by Kate Douglas +Wiggin and Nora Archibald Smith. Illustrated by Harold Nelson. 12mo. +Cloth, $1.25. Doubleday. From AEsop, La Fontaine, Bidpai, and other +sources. + +*"Select Fables from La Fontaine adapted from the Translation of Elizier +Wright for the Use of the Young." Illustrated in colour by Boutet de +Monvel. 11 x 9. Cloth, $2.25. Society for Promoting Christian Knowledge. +No better illustrations have yet appeared to any child's book. + + +G--"GULLIVER'S TRAVELS INTO SEVERAL REMOTE NATIONS OF THE WORLD" + +BY JONATHAN SWIFT + + Though abridged texts are generally a presumption + and a blunder, there is little warrant for school + children's having more than the first two voyages, + to Lilliput and to Brobdingnag, of this remarkable + book. An expurgated edition is probably necessary + in an age accustomed to a cloak of conventional + insinuation in a story rather than to the blunt + frankness that obtained in the times of Swift. + +*"Gulliver's Voyages to Lilliput and Brobdingnag." Illustrated in colour +by P. A. Stozios. 8vo. Cloth, $2.25. Holt. + +"Gulliver's Travels into Several Remote Nations of the World." +Illustrated in colour and black-and-white by Arthur Rackham. 8vo. Cloth, +$2.50. Dutton. + +"Gulliver's Travels." Adapted for the young by W. B. Scott. Illustrated +in colour and black-and-white by A. E. Jackson. 4to. Cloth, $2.50. +Dutton. A Nister book. + +"Gulliver's Travels." (Pocket Classics Series.) Edited by C. Johnson. +24mo. Cloth, $.25. Macmillan. + +"Gulliver's Travels." Illustrated by Stephen de la Bere. 12mo. Cloth, +$2.00. Macmillan. + +*"Gulliver's Travels." With an introduction by Sir Henry Craik and +illustrations by C. E. Brock. 12mo. Cloth, $1.50. In the New Cranford +Series. Macmillan. All of the voyages with old-fashioned spelling and +capitalization that make it an attractive edition to the student. + +*"Gulliver's Travels." The voyages to Lilliput and Brobdingnag, +illustrated by Arthur Rackham. 12mo. Cloth, $.50. Dutton. Good edition. + +"Gulliver's Travels." Illustrated in imitation of woodcuts by Louis +Rhead. Introduction by William Dean Howells. 8vo. Cloth, $1.50. Harper. + +"Gulliver's Travels." Reprinted from the first edition, expurgated and +revised. Illustrated by Herbert Cole. Square 12mo. Cloth, $1.50. Lane. + +"Gulliver's Travels." Illustrated by Gordon Browne. 12mo. Cloth, $1.00. +Scribner. + +*"Gulliver's Travels." The separate voyages each in a single volume. In +the Ariel Classics. 16mo. Leather, $.75. Putnam. + +"Gulliver's Travels." Illustrated. 16mo. Half-leather, $.60. In the +Riverside School Library. Houghton. + +"Gulliver's Travels." In Everyman's Library. 12mo. Cloth, $.35; leather, +$.75. Dutton. + +"Gulliver's Travels." Illustrated. 16mo. Cloth, $.50. Crowell. + +*"Gulliver's Travels." The voyages to Lilliput and Brobdingnag only. +Edited by T. M. Balliet. Illustrated. 12mo. Cloth, $.30. Heath. + +"Gulliver's Travels." Illustrated in colour by Leo Winter. Large 8vo. +Cloth, $1.20. Rand. + + +G--"THE PILGRIM'S PROGRESS FROM THIS WORLD TO THAT WHICH IS TO COME; +DELIVERED UNDER THE SIMILITUDE OF A DREAM" + +BY JOHN BUNYAN + +*"The Pilgrim's Progress." Illustrated in colour and black-and-white by +Frank C. Pape. 8vo. Cloth, $3.00. Dutton. A stately edition of both +parts. + +"The Pilgrim's Progress." Fourteen etchings by William Strang. A new and +cheaper reissue of the original plates. Large 8vo. Cloth, $3.00. Dutton. +A good edition. + +"The Pilgrim's Progress." With an introduction by the Bishop of Durham. +Illustrated in colour and black-and-white by Walter Paget. 8vo. Cloth, +$2.50. A Nister book. Dutton. + +"The Pilgrim's Progress." Illustrated in colour by Byam Shaw. Square +8vo. Cloth, $2.50. Scribner importation. A fine edition. + +"The Pilgrim's Progress." With a life of the author by the Reverend John +Brown. Illustrated in colour by James Clark. Super royal 8vo. Cloth, +$3.40. Cassell. + +"The Pilgrim's Progress." Illustrated in colour by Gertrude Hammond. +8vo. Cloth, $2.00. Macmillan. + +*"The Pilgrim's Progress." Introduction by the Reverend H. R. Haweis. +Illuminated pages and 120 designs by the Brothers Rhead. Large 4to. +Cloth, $1.50. Century. This attractive edition contains the first part +only. + +"The Pilgrim's Progress." Illustrated by Harold Copping. Large 12mo. +Cloth, $1.00. Revel. Has the authentic text with illustrations in +Puritan dress. + +*"The Pilgrim's Progress." Illustrated. 16mo. Half-leather, $.60. +Houghton. In the Riverside School Library. + +"The Pilgrim's Progress." Illustrated. 16mo. Cloth, $.50. Crowell. + +*"The Pilgrim's Progress." Edited by Canon Venable and Mabel Peacock. +With illustrations by George Cruikshank. 12mo. Cloth, $.50. Oxford +Press. + +"The Pilgrim's Progress." 12mo. Linen boards, $.75. In the Chandos +Classics. Warne. + +*"The Pilgrim's Progress." Edited by Ernest C. Noyes. 16mo. Cloth, $.40. +The first part only. Merrill. + +"The Pilgrim's Progress." In Everyman's Library. 12mo. Cloth, $.35; +leather, $.70. Dutton. + +"The Pilgrim's Progress." Edited by D. H. Montgomery. 12mo. Cloth, $.30. +Ginn. + + +G--"THE LIFE AND STRANGE SURPRISING ADVENTURES OF ROBINSON CRUSOE OF +YORK, MARINER, AS RELATED BY HIMSELF" + +BY DANIEL DEFOE + +*"Robinson Crusoe." Illustrated with 24 separately mounted colour plates +by Noel Pocock. Large 8vo. Cloth, $2.00. Hodder. A fine edition, +including the first part only. The cover page, illustrated with nothing +but a human footprint in the sand, could not have been more happily +done. + +*"Robinson Crusoe." Illustrated with over a hundred pen-and-ink +drawings, head-and-tail pieces, and decorations done in old woodcut +style by the Brothers Rhead. 8vo. Cloth, $1.50. Harper. The first part +only. A good edition. + +*"Robinson Crusoe." Illustrated in colour and with chapter headings by +E. Boyd Smith. Crown 8vo. Cloth, $1.50. Houghton. The first part only. +Good. + +"Robinson Crusoe." Illustrated in colour by W. B. Robinson. Large 12mo. +Cloth, $1.50. Stokes. + +"Robinson Crusoe." Edited by Walter Jerrold and illustrated in colour +and black-and-white by Archibald Webb. 12mo. Cloth, $1.25. Dutton. + +"Robinson Crusoe." Edited by H. Kingsley. Illustrated in colour. 12mo. +Cloth, $1.25. Macmillan. + +"Robinson Crusoe." Illustrated by Gordon Browne. Crown 8vo. Cloth, +$1.25. Scribner importation. + +"Robinson Crusoe." Illustrated in colour by Eleanore P. Abbott. 12mo. +Cloth, $1.00. Jacobs. + +"Robinson Crusoe." Edited with introduction and notes by Charles R. +Gaston. (Pocket Classics Series.) 24mo. Cloth, $.25. Macmillan. + +*"Robinson Crusoe." Edited by Ernest C. Noyes. 16mo. Cloth, $.50. The +first part only. Merrill. + +"Robinson Crusoe." Illustrated in colour and black-and-white by Walter +Paget. 8vo. Cloth, $1.40. Cassell. Both parts. + +"Robinson Crusoe." Illustrated in colour and line by J. A. Symington. +12mo. Cloth, $2.50. A Nister book. Dutton. Both parts. + +"Robinson Crusoe." Reprinted from the original edition of 1718 with an +introduction by William Lee, Esq. Illustrated by Ernest Griset. Square +crown 8vo. Cloth, $1.75. Warne. Also in the Chandos Classics at $.75. + +"Robinson Crusoe." Illustrated. 16mo. Half-leather, $.60. In the +Riverside School Library. Houghton. + +*"Robinson Crusoe." Reprinted from the edition of 1719. With an +introduction by Edward Everett Hale and illustrations by C. E. Brock and +D. L. Munro. 12mo. Cloth, $.60. Heath. The first part only. + +"Robinson Crusoe." In Everyman's Library. 12mo. Cloth, $.35; leather, +$.70. Dutton. + +"Robinson Crusoe." 16mo. Cloth, $.50. Crowell. + +"Robinson Crusoe." 12mo. Cloth, $.25. Cassell. + + +BOOKS OF DISTINCTION MADE FROM OTHER BOOKS ON PURPOSE FOR BOYS AND GIRLS + +"TALES FROM SHAKESPEARE" + +BY CHARLES AND MARY LAMB + +*"Tales from Shakespeare." Illustrated in colour and black-and-white by +Arthur Rackham. 8vo. Cloth, $2.50. Dutton. + +"Tales from Shakespeare." Illustrated in colour and black-and-white by +George Soper. Square 8vo. Cloth, $1.50. Baker. An attractive edition. + +*"Tales from Shakespeare." Illustrated by Byam Shaw. 8vo. Cloth, $1.00. +Macmillan. An 8vo. edition at $2.50. + +"Tales from Shakespeare." Illustrated in colour by N. M. Price. 8vo. +Cloth, $2.50. Scribner importation. + +"Tales from Shakespeare." Illustrated by twelve plates from the Boydell +Gallery. 8vo. Cloth, $3.00. Scribner importation. + +"Tales from Shakespeare." Illustrated in colour and black-and-white by +Walter Paget. 8vo. Cloth, $2.50. A Nister book. Dutton. With the +original preface and with "Pericles" omitted. + +"Tales from Shakespeare." Introduction by Andrew Lang. Illustrated. +Crown 8vo. Cloth, $1.50. Lippincott. + +*"Tales from Shakespeare." Illustrated by Romney, Hamilton, Kauffman, +and others, selected from the Boydell engravings. 12mo. Cloth, $.50. +Oxford Press. + +"Tales from Shakespeare." Illustrated. 16mo. Half-leather, $.60. In the +Riverside School Library. Houghton. + +"Tales from Shakespeare." Illustrated by Homer W. Colby after Pille. +12mo. Cloth, $.40. Heath. + +"Tales from Shakespeare." Illustrated. 12mo. Linen boards, $.75. In the +Chandos Classics. Warne. + +"Tales from Shakespeare." 12mo. Cloth, $.35; leather, $.70. In +Everyman's Library. Dutton. + +"Tales from Shakespeare." 16mo. Cloth, $.50. Crowell. + +"Tales from Shakespeare." 12mo. Cloth, $.25. Cassell. + +"Lamb's Tragedies and Comedies." Edited by W. J. Rolfe. 12mo. Cloth, +$.60. American. + +"Lamb: Tales from Shakespeare." Edited by A. Ainger. (Pocket Classics +Series.) 24mo. Cloth, $.25. Macmillan. + + It might not be amiss to insert several other + volumes of tales from Shakespeare's plays at this + point. Among these the following have proved + themselves good: + +"Shakespeare in Tale and Verse." By G. Louis Hufford. 12mo. Cloth, +$1.00. Macmillan. + +"The Shakespeare Story-Book." Told by Mary Macleod. With an introduction +by Sidney Lee and illustrations by Gordon Browne. 8vo. Cloth, 6_s._ +Gardner. Sixteen tragedies and comedies. + +"Stories from Shakespeare." Told by Thomas Carter. Illustrated in colour +by Gertrude Hammond. 8vo. Cloth, $1.50. Crowell. + +*"Shakespeare's Stories of the English Kings." Illustrated in colour by +Gertrude Hammond. 8vo. Cloth, $1.50. Crowell. This and the preceding +volume are rich in excerpts from the plays. After Lamb has been +appreciated, the reading of these stories will help the boy along toward +the plays in the original text. + +"Historic Tales from Shakespeare." Told by Sir Arthur T. Quiller-Couch. +12mo. Cloth, $1.50. Scribner. + +"A Midsummer Night's Dream." Edited by Ernest C. Noyes. 24mo. Cloth, +$.25. (Pocket Classics.) Macmillan. + +"The Tempest." Edited by S. C. Newson. 24mo. Cloth, $.25. (Pocket +Classics.) Macmillan. + +"The Merchant of Venice." Edited by Charlotte Underwood. 24mo. Cloth, +$.25. (Pocket Classics.) Macmillan. + + +G--"THE WONDER-BOOK FOR GIRLS AND BOYS." "TANGLEWOOD TALES FOR GIRLS AND +BOYS: A SECOND WONDER-BOOK." + +BY NATHANIEL HAWTHORNE + +"Hawthorne's Wonder-Book." (Pocket Classics Series.) Edited by L. E. +Wolfe. 24mo. Cloth, $.25. Macmillan. + +"Hawthorne's Tanglewood Tales." (Pocket Classics Series.) Edited by R. +H. Beggs. 24mo. Cloth, $.25. Macmillan. + +*"A Wonder-Book for Girls and Boys." Illustrated in colour and +decorated by Walter Crane. Square 8vo. Cloth, $3.00. Houghton. A fine +edition. + +*"Tanglewood Tales." Illustrated and decorated by George Wharton +Edwards. 4to. Cloth, $2.50. Houghton. + +*"The Wonder-Book and Tanglewood Tales." Illustrated in colour by +Maxfield Parrish. Large 8vo. Cloth, $2.50. Duffield. A very good +edition. + +*"A Wonder-Book and Tanglewood Tales." Illustrated in colour by H. +Granville Fell. 8vo. Cloth, $2.50. Dutton. The pictures have a classic +touch. + +"A Wonder-Book for Girls and Boys." Illustrated by F. S. Church. 4to. +Cloth, $2.50. Houghton. + +"A Wonder-Book." Illustrated in colour by Lucy Fitch Perkins. 4to. +Cloth, $1.00. Stokes. + +"The Wonder-Book and Tanglewood Tales." Illustrated. 12mo. Cloth, $1.00. +Jacobs. + +"A Wonder-Book." Illustrated in colour by Leo Winter. Large 8vo. Cloth, +$1.20. Rand. + +"Tanglewood Tales." Illustrated in colour by Leo Winter. Large 8vo. +Cloth, $1.20. Rand. + +"Tanglewood Tales." Illustrated in colour by George Soper. 12mo. Cloth, +$1.50. Crowell. + +*"A Wonder-Book and Tanglewood Tales." Illustrated 8vo. Half-leather, +$.75. In the Riverside School Library. Houghton. + +"Wonder-Book and Tanglewood Tales." In Everyman's Library. 12mo. Cloth, +$.35; leather, $.75. Dutton. + +"Wonder-Book." Illustrated. 16mo. Cloth, $.50. Crowell. + +"Tanglewood Tales." Illustrated. 16mo. Cloth, $.50. Crowell. + + +G--"THE ADVENTURES OF ULYSSES" + +BY CHARLES LAMB + + It is strange that educators and publishers have + not recognized the merits of this work and that it + has not been issued in a well-illustrated form. + Lamb's own estimate of it in a letter to a friend + is right: "Chapman is divine and my abridgement + has not quite emptied him of his divinity." + +*"The Adventures of Ulysses." Edited by W. P. Trent and illustrated +after Flaxman. 12mo. Cloth, $.25. Heath. + +"The Adventures of Ulysses." 12mo. Cloth, $.30. Ginn. + +*"The Adventures of Ulysses." With an introduction by Andrew Lang. +Square 8vo. Cloth, $.50. Longmans. + +"The Heart of Oak Books." Book IV. Illustrations after Flaxman, Turner, +and Burne-Jones. 12mo. Cloth, $.45. Heath. + + +P--"THE HEROES; OR, GREEK FAIRY TALES FOR MY CHILDREN" + +BY CHARLES KINGSLEY + +"Heroes; or, Greek Fairy Tales for My Children." Illustrated in colour +by T. H. Robinson. 8vo. Cloth, $2.50. Dutton. A Nister book. + +*"The Heroes; or, Greek Fairy Tales for My Children." Illustrated in +colour and line by George Soper. Square 8vo. Cloth, $1.50. Baker. + +*"The Heroes; or, Greek Fairy Tales for My Children." Illustrated. 12mo. +Cloth, $1.25. Macmillan. + +"Greek Heroes." Illustrated. 16mo. Limp leather, $.75. In the Ariel +Classics. Putnam. + +"Greek Heroes." In Everyman's Library. 12mo. Cloth, $.35; leather, $.70. +Dutton. + +*"Greek Heroes." Illustrated. 16mo. Cloth, $.50. Crowell. + +"Greek Heroes." Edited by John Tetlow. 16mo. Cloth, $.30. Ginn. + +"Kingsley's Heroes: Greek Fairy Tales." Edited by C. A. McMurry. (Pocket +Classics Series.) 24mo. Cloth, $.25. Macmillan. + +"Kingsley's Heroes." American edition. 12mo. Cloth, $1.00. Macmillan. + + +G--"THE ADVENTURES OF DON QUIXOTE DE LA MANCHA" + +BY MIGUEL DE CERVANTES SAAVEDRA + +*"Don Quixote of the Mancha." Retold for children by Judge Parry from +Shelton's translation. Illustrated in colour and black-and-white by +Walter Crane. Square 8vo. Cloth, $1.50. Lane. A delightful volume that +will entertain royally any boy who has a sense of humour. The right one +to own. + +"Don Quixote." Adapted for the young from Motteaux's translation. +Illustrated in colour and black-and-white by Paul Hardy. 8vo. Cloth, +$2.00. Dutton. + +"The Adventures of Don Quixote." Translated and abridged by Dominick +Daly. Illustrated in colour by Stephen de la Bere. Square 8vo. Cloth, +6_s._ Black. + +*"Don Quixote." Edited by Clifton Johnson. 12mo. Cloth, $.75. Macmillan. + +"Don Quixote de la Mancha." Abridged from the translation of Duffield +and Shelton by Mary E. Burt and Lucy Leffingwell Cable. 12mo. Cloth, +$.50. Scribner. + +"Don Quixote of La Mancha." Abridged and edited by Mabel E. Wharton. +12mo. Cloth, $.50. Ginn. + +"Don Quixote for Young People." Rewritten by James Baldwin. 12mo. Cloth, +$.50. American. + +"Adventures of Don Quixote." Translated by D. Daly and illustrated in +colour by S. B. de la Bere. 8vo. Cloth, $2.00. Macmillan. For the +teacher. + + +MYTHS, LEGENDS, AND STORIES OF ROMANCE FROM VARIOUS SOURCES + +G--ROBIN HOOD + +*"The Merry Adventures of Robin Hood of Great Renown in +Nottinghamshire." Written and illustrated by Howard Pyle. Royal 8vo. +Cloth, $3.00. Scribner. A capital book for any boy. + +"Robin Hood and His Adventures." Written by Paul Cheswick and +illustrated by T. H. Robinson. 8vo. Cloth, $2.50. A Nister book. Dutton. + +*"Robin Hood." Written by Henry Gilbert. Illustrated in colour by Walter +Crane. Large 8vo. Cloth, $2.50. Stokes. + +*"The Story of Robin Hood and His Merry Men." Told by John Finnemore and +illustrated in colour by Allen Stewart. 12mo. Cloth, $1.50. Macmillan. + +"Bold Robin Hood and His Outlaw Band." Penned and pictured by Louis +Rhead. 8vo. Cloth, $1.50. Harper. + +"Robin Hood." Told by Clifton Johnson. Illustrated by Bonte. 12mo. +Cloth, $1.00. Baker. + +*"Life in the Greenwood." Edited by Marion Florence Lancing and +illustrated by Charles Copeland. 16mo. Cloth, $.35. Ginn. For very young +children. + +"Robin Hood: His Book." Told by Eva March Tappan. Illustrated. 12mo. +Cloth, $1.50. Little. + + +G--KING ARTHUR + +*"The Boy's King Arthur." Edited by Sidney Lanier. Illustrated by Alfred +Kepper, Alfred Fredericks, and E. B. Bonsell. Crown 8vo. Cloth, $2.00. +Scribner. The boy should also read the author's "Knightly Legends of +Wales." + +"The Story of King Arthur and His Knights." Written and illustrated by +Howard Pyle. Royal 8vo. Cloth, $2.00. Scribner. The author has these +volumes to his credit. "The Story of the Champions of the Round Table," +"The Story of Sir Lancelot," "The Story of the Grail and the Passing of +Arthur." + +"King Arthur's Knights." Told by Henry Gilbert and illustrated in colour +by Walter Crane. 8vo. Cloth, $2.50. Stokes. + +*"The Book of King Arthur and His Noble Knights: Stories from Sir Thomas +Malory's Morte D'Arthur." Told by Mary Macleod and illustrated by A. G. +Walker. 8vo. Cloth, $1.50. Stokes. + +"Tales of King Arthur and His Knights of the Round Table." Told by +Margaret Vere Farrington. Illustrated. Crown 8vo. Cloth, $1.25. Putnam. + +"The King Who Never Died." By Dorothy Senior. Illustrated in colour +plates. 8vo. Cloth, $1.50. Macmillan. + +"The Legends of King Arthur and His Knights." Compiled from Malory by +Sir James Knowles. Illustrated in colour and black-and-white by Lancelot +Speed. Large 8vo. Cloth, $2.00. Warne. + +"Malory's King Arthur and His Knights." Version by B. H. Lathrop. +Illustrated. 12mo. Cloth, $1.50. Baker. + +*"Page, Esquire, and Knight." Told by Marion Lancing and illustrated by +Charles Copeland. 16mo. Cloth, $.35. Ginn. For young children. + +*"The Age of Chivalry; or, Legends of King Arthur." By Thomas Bulfinch. +Edited by J. Loughran Scott. Fully illustrated. Crown 8vo. Cloth, $1.50. +McKay. This is about as good a telling as the studious boy can find. But +if he has a taste for pure literary form, he will surely come to know +Tennyson's "Idylls of the King" and prefer it to any prose version. + +"Malory's Le Morte d'Arthur. Text of Caxton." (Globe.) 12mo. Cloth, +$1.75. Macmillan. + +"Malory's Morte d'Arthur Selections." (Pocket Classics Series.) Edited +by D. W. Swiggett. 24mo. Cloth, $.25. Macmillan. + + +G--CLASSIC MYTHS OF GREECE AND ROME + +*"The Age of Fable; or, the Beauties of Mythology." Told by Thomas +Bulfinch. Edited by J. Loughran Scott. Fully illustrated. Crown 8vo. +Cloth, $1.25. McKay. Every boy should own this or some other edition of +this great work. + +"The Age of Fable; or, the Beauties of Mythology." Edited by W. H. +Knapp. Fully illustrated. 12mo. Cloth, $1.25. Altemus. + +"The Age of Fable; or, the Beauties of Mythology." Edited by Edward +Everett Hale. Fully illustrated. 8vo. Cloth, $1.25. Lathrop. + +"The AEneid for Boys and Girls." By Alfred J. Church. Illustrated in +colour. 12mo. Cloth, $1.50. Macmillan. + +*"A Story of the Golden Age." Told by James Baldwin and illustrated by +Howard Pyle. 12mo. Cloth, $1.50. Scribner. Ends where the Iliad begins. + +"The Greek Heroes: Stories Translated from Niebuhr." Illustrated in +colour and black-and-white by Arthur Rackham. 12mo. Cloth, $1.00. +Cassell. + +"The Boy's Iliad." Told by Walter C. Perry. Illustrated. 12mo. Cloth, +$1.50. Macmillan. + +"The Boy's Odyssey." Told by Walter C. Perry. Illustrated. 12mo. Cloth, +$1.50. Macmillan. + +*"Story of the Iliad." Told by Alfred John Church. With illustrations +after Flaxman. 12mo. Cloth, $1.00. Macmillan. An edition in colour +plates at $1.50. + +"Story of the Odyssey." Told by Alfred John Church. With illustrations +after Flaxman. 12mo. Cloth, $1.00. Macmillan. An edition in colour +plates at $1.50. + +"Heroes of Chivalry and Romance." By A. J. Church. Ill. in colour plates +by G. Morrow. 12mo. Cloth, $1.75. Macmillan. + +"Heroes of the Olden Time." By Pamela M. Cole. Ill. 12mo. Cloth, $.40. +Macmillan. + +"Story of the Golden Apple." By Pamela M. Cole. Ill. 12mo. Cloth, $.40. +Macmillan. + +*"Adventures of Odysseus." By F. S. Marvin and others. Illustrated by +Charles Robinson. 12mo. Cloth, $1.50. Dutton. An easy telling done with +attractive pictures. + +"The Odyssey Translated into English Prose." By George H. Palmer. Crown +8vo. Cloth, $1.00. Houghton. A complete story that will be a little +difficult for the child to read, but well worth his while. + +"Half-a-Hundred Hero Tales of Ulysses and the Men of Old." Edited by +Francis Storr and illustrated by Frank C. Pape. 8vo. Cloth, $1.50. Holt. + +"Gods and Heroes; or, the Kingdom of Jupiter." By Robert Edward +Francillion. The authorized American edition. 12mo. Cloth, $.40. Ginn. + +*"Stories of Old Greece and Rome." By Emilie Kip Baker. 12mo. Cloth, +$1.50. Macmillan. A very good combination of literature and mythology. +An edition with pronouncing index at $1.00. + + +G--NORSE MYTHS + +*"Norse Stories Told from the Eddas." By Hamilton Wright Mabie. +Illustrated in colour and decorated by George Wright. 8vo. Cloth, $1.80. +Dodd. + +"In the Days of Giants: A Book of Norse Tales." By Abbie F. Brown. +Illustrated by E. Boyd Smith. Square 8vo. Cloth, $1.10. Houghton. Easier +to read than the one above. + +"Stories of the Norse Heroes." Retold from the Eddas and Sagas by E. M. +Wilmot-Buxton. Illustrated by J. C. Donaldson. 8vo. Cloth, $1.50. +Crowell. + +"One for Wod and One for Lok." Told by Thomas Cartwright. Illustrated in +colour. 16mo. Cloth, $.50. Dutton. + +*"Heroes of Asgard." By A. and E. Keary. 12mo. Cloth, $.50. Macmillan. + +"Brave Beowulf." Told by Thomas Cartwright. Illustrated in colour by +Patten Wilson. 16mo. Cloth, $.50. Dutton. + +"Beowulf." Told by John Harrington Cox. Illustrated. 12mo. Cloth, $.50. +Little. + +"Popular Tales from the Norse." By Sir George Webb Dasent. Illustrated. +8vo. Cloth, $2.50. Putnam. A collection of folk-tales. + +"Out of the Northland." By E. K. Baker. (Pocket Classics Series.) 24mo. +Cloth, $.25. Macmillan. + +*"Stories from Northern Myths." By E. K. Baker. 12mo. Cloth, $1.50. +Macmillan. + + +G--FROM CHAUCER + +*"Tales of the Canterbury Pilgrims." Told by F. J. H. Darton. With an +introduction by F. J. Furnival and illustrations by Hugh Thompson. 8vo. +Cloth, $1.50. Stokes. + +"The Chaucer Story Book." By Eva March Tappan. Illustrated. 8vo. Cloth, +$1.50. Houghton. + +"Canterbury Chimes; or, Chaucer Tales Retold to Children." By Francis +Storr and Hawes Turner. 12mo. Cloth, 3_s._ 6_d._ Kegan Paul. + +"The Canterbury Tales of Geoffrey Chaucer: A Modern Version in Prose of +the Prologue and Ten Tales." By Percy MacKaye. Illustrated in colour by +Walter Appleton Clark. 8vo. Cloth, $2.50. Duffield. + +"Stories from Chaucer." By J. W. McSpaden. Illustrated. 16mo. Cloth, +$.50. Crowell. + +"Chaucer's Prologue to the Book of the Tales of Canterbury." (Pocket +Classics Series.) Edited by A. Ingraham. 24mo. Cloth, $.25. Macmillan. + + +G--"_The Faerie Queene_" + +*"Stories from the Faerie Queene." Told by Mary Macleod. Illustrated by +A. G. Walker. 8vo. Cloth, $1.50. Stokes. Well done. + +"Fairy Queen and Her Knights, The." By Alfred J. Church. Col. Ill. 12mo. +Cloth, $1.50. Macmillan. + +"Stories from the Faerie Queene." Told by Lawrence Dawson. Illustrated +by Gertrude D. Hammond. 8vo. Cloth, $1.50. Crowell. + +"Una and the Red Cross Knight and Other Tales from Spenser's Faerie +Queene." By N. G. Royde-Smith. Illustrated in colour and decorated by T. +H. Robinson. 8vo. Cloth, $2.50. Dutton. + + +G--OTHER LEGEND AND ROMANCE + +*"Book of Legends." Gathered and rewritten by Horace E. Scudder. +Illustrated. 16mo. Cloth, $.50. Houghton. Such tales as "St. George and +the Dragon," "The Wandering Jew," and "The Flying Dutchman." + +"Heroic Legends." By Agnes Grazier Herbertson. Illustrated in colour by +Helen Stratton. Crown 8vo. Cloth, $1.50. Caldwell. Stories of "Valentine +and Orsen," "St. George and the Dragon," "Christopher," and others. + +*"Wonder-Book of Old Romance." Told by F. J. H. Darton and illustrated +by A. G. Walker. 8vo. Cloth, $1.50. Stokes. Stories such as "Guy of +Warwick," "King Horn," and "Sir Gawain and the Green Knight." + +"Stories from Old French Romance." Told by E. M. Wilmot-Buxton. 12mo. +Cloth, $.75. Stokes. Stories such as "Ogier the Dane" and "Aucassin and +Nicolete." + +"Heroes of Chivalry and Romance." By A. J. Church. Illustrated in colour +by Grace Morrow. 12mo. Cloth, $1.75. Macmillan. + +"The Story of Roland." Told by James Baldwin and illustrated by Reginald +B. Birch. 12mo. Cloth, $1.50. Scribner. + +*"A Chevalier of Old France." The Song of Roland translated and adapted +from Old French texts by John Harrington Cox. Illustrated. 12mo. Cloth, +$1.25. Little. + +"Book of Romance." By Andrew Lang. Illustrated in colour and +black-and-white by H. J. Ford. Crown 8vo. Cloth, $1.60. Longmans. The +stories of King Arthur, Robin Hood, Roland, and others. + +"Stories of Persian Heroes." Told by E. M. Wilmot-Buxton. Illustrated +and decorated. 8vo. Cloth, $1.50. Crowell. + +"Children's Tales from Scottish Ballads." Told by E. W. Grievson and +illustrated in colour by A. Stewart. 8vo. Cloth, $2.00. Macmillan. + +"Book of Ballad Stories." Told by Mary Macleod. With an introduction by +Edward Dowden and illustrations by A. G. Walker. 8vo. Cloth, $1.50. +Stokes. "Robin Hood," "Patient Griselda," "Sir Cauline," and many other +romantic tales. + +"Almost True Stories." Fully illustrated. Crown 8vo. Cloth, $1.00. +Putnam. Among others are found "The Legend of Sleepy Hollow," "The +Paradise of Children," "The Lady of Shalot," and "Cupid and Psyche." + +"Great Opera Stories." By M. S. Bender. (Everychild's Series.) Ill. +16mo. Cloth, $.40. Macmillan. + +"Thirty Indian Legends." By Margaret Bemister. Ill. 12mo. Cloth, $.40. +Macmillan. + +"Stories from the Classic Literature of Many Nations." Edited by Bertha +Palmer. (Standard School Library.) 12mo. Cloth, $.50. Macmillan. + +*"Children's Book of Celtic Stories." By E. W. Grievson. Illustrated in +colour by A. Stewart. 8vo. Cloth, $2.00. Macmillan. + + +G--A FEW LONG STORIES OF ROMANTIC ADVENTURE + +"TREASURE ISLAND" + +BY ROBERT LOUIS STEVENSON + +*"Treasure Island." Illustrated in colour by N. C. Wyeth. Royal 8vo. +Cloth, $2.50. Scribner. An excellent edition. + +*"Treasure Island." Illustrated in colour by John C. Cameron. 8vo. +Cloth, $2.00. Cassell. + +"Treasure Island." Illustrated by Walter Paget. 12mo. Cloth, $1.25. +Scribner. + +"Treasure Island." Small 12mo. Cloth, $1.25; limp leather, $1.50. Small. + +"Treasure Island." Illustrated. 12mo. Cloth, $1.00. Jacobs. + +"Treasure Island." In Everyman's Library. 12mo. Cloth, $.35; leather, +$.70. Dutton. + +*"Treasure Island." Illustrated. 16mo. Cloth, $.50. Crowell. + +"Treasure Island." 12mo. Cloth, $.25. Scribner. + +"Stevenson's Treasure Island." (Pocket Classics Series.) Edited by H. A. +Vance. 24mo. Cloth, $.25. Macmillan. + + The boy who has read this capital story of + adventure must of necessity have more of Stevenson + and had better try "Kidnapped" next. He may + sometime become absorbed in the wonderful tales of + a favourite of Stevenson himself, Dumas. Listen to + the testimony of Thackeray about the great French + story-teller as it was written in the essay, "On a + Lazy, Idle Boy": "What was the book in the hands + of my lad as he stood by the river shore? Do you + suppose that it was Livy, or the Greek grammar? + No: it was D'Artagnan locking up General Monk in a + box, or the prisoner of the Chateau d'If cutting + himself out of the sack fifty feet under water and + swimming to the island of Monte Cristo. Be assured + the lazy boy was reading Dumas; and as for the + tender pleadings of his mother that he should not + let his supper grow cold--I don't believe the + scapegrace cared one fig. No! Figs are sweet, but + fictions are sweeter." + + +G--"THE LAST OF THE MOHICANS" + +BY JAMES FENIMORE COOPER + +*"Last of the Mohicans." Illustrated by E. Boyd Smith. 12mo. Cloth, +$1.35. Holt. + +"Last of the Mohicans." Fully illustrated. Crown 8vo. Cloth, $1.25. +Putnam. + +"The Last of the Mohicans." Illustrated by Frank T. Merrill. 8vo. Cloth, +$1.50. Crowell. + +"The Last of the Mohicans." Illustrated. 2 vols. 16mo. Cloth, $3.00. +Macmillan. + +*"The Last of the Mohicans." Illustrated by H. M. Brock. 12mo. Cloth, +$.80. Macmillan. + +"The Last of the Mohicans." Illustrated. Crown 8vo. Half-leather, $.70. +In the Riverside School Library. Houghton. + +"Last of the Mohicans." In Everyman's Library. 12mo. Cloth, $.35; +leather, $.70. Dutton. + +*"Last of the Mohicans." 12mo. Cloth, $.50. Heath. + +"Last of the Mohicans." 24mo. Cloth, $.25. Macmillan. + + If the boy does not own, he should at least read, + the other four volumes of the Leather Stocking + Tales as well as one or two of Cooper's sea tales, + such as "The Pilot," and "The Red Rover." + + +G--"IVANHOE: A ROMANCE" + +BY SIR WALTER SCOTT + +"Ivanhoe." Illustrated in colour. 8vo. Cloth, $2.50. Lippincott. + +"Ivanhoe." Illustrated by H. M. Eaton. 8vo. Cloth, $1.50. Crowell. + +"Ivanhoe." Illustrated. 12mo. Cloth, $1.50. Appleton. + +"Ivanhoe." Fully illustrated. Post 8vo. Cloth, $1.50. In the Andrew Lang +edition. Dana. + +*"Ivanhoe." Fully illustrated. Post 8vo. Cloth, $1.00. In the Heather +edition. Harper. + +"Ivanhoe." Illustrated. Crown 8vo. Half-leather, $.70. Houghton. In the +Riverside School Library. + +"Ivanhoe." 12mo. Cloth, $.35; leather, $.70. Dutton. Everyman's Library. + +*"Ivanhoe." Illustrated by C. E. Brock. 12mo. Cloth, $.50. Heath. + +*"Ivanhoe." Illustrated in colour by E. Boyd Smith. 8vo. Cloth, $2.50. +Houghton. + +"Ivanhoe." 12mo. Cloth, $.60. Ginn. + +"Ivanhoe." 12mo. Cloth, $.40. American. + +"Ivanhoe." 24mo. Cloth, $.25. Macmillan. + +*"Ivanhoe." (Dryburgh Edition.) 12mo. Cloth, $1.25. Macmillan. + + This introduction to Scott should certainly be + followed by a reading of "Quentin Durward," "Rob + Roy," "The Talisman," and "Guy Mannering." + + +G--"LORNA DOONE: A ROMANCE OF EXMOOR" + +BY RICHARD D. BLACKMORE + +*"Lorna Doone." Illustrated in colour by Christopher Clarke. 8vo. Cloth, +$2.50. Crowell. A very good edition. + +*"Lorna Doone." Illustrated in colour and black-and-white by Gordon +Browne. 4to. Cloth, $4.20. Stokes. + +"Lorna Doone." Illustrated with photogravures. 2 vols. 16mo. Cloth, +$2.50; limp leather, $3.00. Putnam. + +"Lorna Doone." Illustrated by plates printed in sepia. 2 vols. 12mo. +Cloth, $3.00; leather, $5.00. Rand. + +*"Lorna Doone." Illustrated by Mrs. Catharine Weed Ward. Crown 8vo. +Cloth, $2.50. Harper. + +"Lorna Doone." Illustrated by Frank T. Merrill. 8vo. Cloth, $1.50. +Crowell. + +*"Lorna Doone." Illustrated. Large 12mo. Cloth, $1.25. Putnam. + +"Lorna Doone." Illustrated. Large 12mo. Cloth, $1.25. Rand. + +"Lorna Doone." Illustrated. Post 8vo. Cloth, $1.00. Scribner. + +*"Lorna Doone." 24mo. Cloth, $.25. Macmillan. + + The great field of realistic fiction will later + open up to the boy, but he must be in no hurry to + enter it. When he does enter it, however, see that + he selects well, and urge him to read in + moderation. He might well start with such books as + "David Copperfield" and "The Mill on the Floss," + leaving Thackeray untouched for a few years until + he can better appreciate him. With a taste once + formed for any one of these great novelists, he + will stand in little danger from the almost + countless current stories that are always getting + in his way. + + +G--TRAVEL, BIOGRAPHY, AUTOBIOGRAPHY, AND HISTORY + +*"Two Years Before the Mast." By Richard H. Dana, Jr. Illustrated in +colour by E. Boyd Smith. 8vo. Cloth, $1.50. Houghton. + +"Two Years before the Mast." By Richard H. Dana, Jr. Illustrated. Crown +8vo. Half-leather, $.70. Houghton. + +"Two Years before the Mast." By Richard H. Dana, Jr. 12mo. Cloth, $.60. +Crowell. + +*"Two Years before the Mast." By Richard H. Dana, Jr. 24mo. Cloth, $.25. +Macmillan. + +*"The Oregon Trail." By Francis Parkman. Fully illustrated by Frederic +Remington. Crown 8vo. Cloth, $2.00. Little. A fine edition to own. + +"The Oregon Trail." By Francis Parkman. Four illustrations by Remington. +12mo. Cloth, $1.00. Little. + +*"Parkman's Oregon Trail." Edited by C. H. J. Douglas. (Pocket Classics +Series.) 24mo. Cloth, $.25. Macmillan. + +"The Oregon Trail." By Francis Parkman. 18mo. Cloth, $.35. Crowell. + +"Boys of Other Countries." By Bayard Taylor. Illustrated in colour by +Frederick Simpson Coburn. 8vo. Cloth, $2.00. Putnam. + +"The Cruise of the Catchelot around the World after Sperm Whales." By +Frank T. Bullen. Illustrated. 12mo. Cloth, $1.50. Appleton. + +*"Plutarch for Boys and Girls." Edited by John S. White. Illustrated. +8vo. Cloth, $1.75. Putnam. + +*"The Children's Plutarch: Tales of the Greeks." Edited by F. J. Gould +with an introduction by William Dean Howells. Illustrated by Walter +Crane. 12mo. Cloth, $.75. Harper. "Tales of the Romans" uniform with the +above at the same price. + +"Plutarch's Lives." Retold by W. H. Weston and illustrated in colour by +W. Ramey. Large 8vo. Cloth, $2.50. Stokes. + +"Plutarch's Lives." Edited by Edward Ginn. Illustrated. 12mo. Cloth, +$.45. Ginn. + +"Plutarch. Lives of Caesar, Brutus, and Anthony." Edited by Martha Brier. +(Pocket Classics Series.) 24mo. Cloth, $.25. Macmillan. + +"Hawthorne's Grandfather's Chair." Edited by H. H. Kingsley. (Pocket +Classics Series.) 24mo. Cloth, $.25. Macmillan. + +*"Grandfather's Chair and Biographical Stories." By Nathaniel Hawthorne. +Illustrated. Crown 8vo. Cloth. $.70. Houghton. + +"Tales of a Grandfather." By Sir Walter Scott. 12mo. Cloth, $2.50. +Macmillan. + +"Tales of a Grandfather." By Sir Walter Scott. Selected by Edward Ginn. +12mo. Cloth, $.40. Ginn. + +*"Life of Lord Nelson." By Robert Southey. Illustrated by engravings. +12mo. Cloth, $1.50. Macmillan. In Bohn's Illustrated Library. + +"Life of Lord Nelson." By Robert Southey. 12mo. Boards, $.75. Warne. In +the Chandos Classics. + +*"The Autobiography of Benjamin Franklin." The unmutilated and correct +version by John Bigelow. 8vo. Cloth, $1.25. Putnam. In the Ariel +Classics at $.75. + +"Franklin's Autobiography." Edited by D. H. Montgomery. Illustrated. +12mo. Cloth, $.40. Ginn. + +"Benjamin Franklin's Autobiography." With a chapter completing the story +of his life. Illustrated. 16mo. Cloth, $.75. Houghton. + +"Franklin's Autobiography." 24mo. (Pocket Classics.) Cloth, $.25. +Macmillan. + +"A Child's History of England." By Charles Dickens. Illustrated by +Patten Wilson. 12mo. Cloth, $2.50. Dutton. + +"A Child's History of England." Illustrated. 12mo. Cloth, $1.00. +Macmillan. + +*"The Boy's Parkman." Compiled by Louise C. Hasbrouck. Illustrated by +Howard Pyle and others. Crown 8vo. Cloth, $1.00. Little. The passages in +Parkman's words have to do with the manners, customs, and +characteristics of the Indians. + +*"Stories from Froissart." By Henry Newbolt. Illustrated. 12mo. Cloth, +$1.50. Macmillan. Also in a $.50 edition. + +"The Boy's Froissart." By Sidney Lanier. Illustrated by Alfred Kappes. +8vo. Cloth, $2.00. Scribner. + + +G--OLD FAVOURITES + +"Mrs. Leicester's School." By Charles and Mary Lamb. Illustrated in +colour and pen-and-ink by Winifred Green. Small 4to. Decorated cloth, +$1.50. Dutton. "One of the loveliest things in the language."--_The +Nation._ + +"Mrs. Lester's School." By Charles and Mary Lamb. 12mo. Cloth, $1.50. +Macmillan. + +"Tales from Maria Edgeworth." With an introduction by Austin Dodson and +illustrations by Hugh Thompson. 8vo. Cloth, $1.50. Stokes. + +"Parent's Assistant." By Maria Edgeworth. Illustrated by Chris Hammond. +12mo. Cloth, $.80; leather, $1.25. Macmillan. + +"Old-Fashioned Tales." Collected by E. V. Lucas and illustrated by F. D. +Bedford. 8vo. Cloth, $1.50. Stokes. Stories from Thomas Day, Mary Lamb, +Peter Parley, and others. + +"Stories Grandmother Knew." Fully illustrated. Crown 8vo. Cloth, $1.00. +Putnam. From Goldsmith, Edgeworth, Sinclair, and others. + +"Old Time Tales." By Kate Forrest Oswell. (Everychild's Series.) Ill. +16mo. Cloth, $.40. Macmillan. + +"Stories Grandmother Told." By Kate Forrest Oswell. (Everychild's +Series.) Ill. 16mo. Cloth, $.40. Macmillan. + +"The Swiss Family Robinson." By J. R. Wyss. Illustrated in colour and +black-and-white by Charles Folkard. 8vo. Cloth, $2.50. Dutton. + +*"The Swiss Family Robinson." By J. R. Wyss. With an introduction by +William Dean Howells. Illustrated from drawings made by Louis Rhead. +8vo. Cloth, $1.50. Harper. + +"Swiss Family Robinson." By J. R. Wyss. Illustrated in colour. 8vo. +Cloth, $1.50. Lippincott. + +"The Swiss Family Robinson." By J. R. Wyss. Illustrated by E. Prater. +12mo. Cloth, $1.25. Dutton. + +"The Swiss Family Robinson." By J. R. Wyss. Illustrated. 16mo. Cloth, +$.50. Crowell. + +"The Swiss Family Robinson." By J. R. Wyss. Illustrated by T. H. +Robinson with 25 colour-plates. Large 8vo. Cloth, $2.00. Doran. + +"Little Lame Prince." By Mrs. Dinah Mulock Craik. (Boy's and Girl's +Series.) Ill. 12mo. Cloth, $.75. Macmillan. + +"The Child's Rip Van Winkle." Illustrated in colour by Maria L. Kirk. +4to. Cloth, $1.50. Stokes. + +"Rip Van Winkle and the Legend of Sleepy Hollow." By Washington Irving. +Photogravures and text cuts. 2 vols. 8vo. Cloth, $3.50. Putnam. Also in +the Ariel Classics at $1.50. + +*"Rip Van Winkle and the Legend of Sleepy Hollow." By Washington Irving. +Illustrated by George Boughton. 12mo. Cloth, $1.50. Macmillan. In the +New Cranford Series. Some day the child should own an edition of Irving. + +"Rip Van Winkle." By Washington Irving. Illustrated with 50 +colour-plates by Arthur Rackham. 7x10. Cloth, $5.00. Doubleday. + +*"Old Christmas." By Washington Irving. Illustrated by R. Caldecott. +12mo. Cloth, $1.50. (Cranford Series.) Also in an $.80 edition. +Macmillan. + +"The Alhambra." By Washington Irving. Illustrated by J. Pennell. 12mo. +Cloth, $1.50. (Cranford Series.) Macmillan. Also in an $.80 edition. + +"Irving's Alhambra." Edited by A. M. Hitchcock. (Pocket Classics +Series.) 24mo. Cloth, $.25. Macmillan. + +"Irving's Sketch Book." (Pocket Classics Series.) 24mo. Cloth, $.25. +Macmillan. + +"A Christmas Carol." By Charles Dickens. Illustrated in colour by A. C. +Michael. 4to. Cloth, $2.00. Doran. + +"Dickens' Christmas Carol." Edited by J. M. Sawin and Ida N. Thomas. +(Pocket Classics Series.) 24mo. Cloth, $.25. Macmillan. + +"A Christmas Carol." By Charles Dickens. Illustrated in colour and line +by George Alfred Williams. Square 8vo. Cloth, $2.00. Baker. + +"A Christmas Carol." By Charles Dickens. Illustrated with photogravures +by F. S. Coburn. 12mo. Cloth, $1.75. Putnam. + +"A Christmas Carol." By Charles Dickens. Illustrated in colour by Ethel +Everett. 8vo. Cloth, $1.50. Crowell. + +*"A Christmas Carol." Illustrated in colour by C. E. Brock. 12mo. Cloth, +$1.00. Dutton. + +"A Christmas Carol." By Charles Dickens. Illustrated. 16mo. +Half-leather, $.60. Houghton. + +"Westward Ho!" By Charles Kingsley. Illustrated. 12mo. Cloth, $1.25. +Also in an $.80 edition illustrated by C. E. Brock. Macmillan. + +"Tom Brown's School Days." By Thomas Hughes. Edited by F. Sedgwick. +Illustrated in colour. 8vo. Cloth, $3.25. Putnam. + +"Tom Brown's School Days." By Thomas Hughes. Illustrated by Louis Rhead. +8vo. Cloth, $1.50. Harper. + +*"Tom Brown's School Days." By Thomas Hughes. Illustrated by E. J. +Sullivan. 12mo. Cloth, $1.50. In the New Cranford Series. Macmillan. + +"Tom Brown's School Days." By Thomas Hughes. Illustrated. 16mo. +Half-leather, $.60. Houghton. + +"Quentin Durward." By Sir Walter Scott. Edited by A. L. Eno. 24mo. +(Pocket Classics.) Cloth, $.25. Macmillan. + +"Little Women." By Louisa May Alcott. Fully illustrated. Crown 8vo. +Cloth, $2.00. Little. + +"Madam How and Lady Why." By Charles Kingsley. Illustrated. 12mo. Cloth, +$.50. (Standard School Library.) Macmillan. + +*"The Sundering Flood: A Romance." By William Morris. Royal 8vo. Cloth, +$2.25. Longmans. + +*"Tales from the Travels of Baron Munchausen." Edited by Edward Everett +Hale. Illustrated by H. P. Barnes after Dore. 12mo. Cloth, $.20. Heath. +For a boy with a sense of humour this will afford a rare treat. + +"The Adventures of Baron Munchausen." Illustrated. 16mo. Limp leather, +$.75. In the Ariel Classics. Putnam. + +"Girls and Boys." By Anatole France. Illustrated in charming +colour-plates by Boutet de Monvel. 4to. Boards, $2.25. Duffield. + + +G--MORE RECENT BOOKS + +*P--"The Prince and the Pauper." By Mark Twain. Crown 8vo. Cloth, $1.75. +Harper. A capital story. + +P--"Uncle Remus and Bre'r Rabbit." By Joel Chandler Harris. Illustrated +in colour by J. A. Conde. Oblong 4to. Cloth, $1.00. Stokes. + +"Uncle Remus and the Little Boy." Illustrated by J. M. Conde, in colour. +4to. Cloth, $1.25. Small. + +*"Uncle Remus: His Songs and His Sayings." By Joel Chandler Harris. +Fully illustrated by A. B. Frost. 12mo. Cloth, $2.00. Appleton. Charming +folk-lore to read aloud to children. + +"The Jungle Book." By Rudyard Kipling. Illustrated by W. A. Drake and +others. 12mo. Cloth, $1.50. Century. + +*"The Jungle Book." Illustrated in 16 full-page coloured plates by +Maurice and Edward Detmold. 12mo. Cloth, $2.50. Century. A fine book for +a child to own. + +*"The Second Jungle Book." By Rudyard Kipling. Decorated by J. Lockwood +Kipling. 12mo. Cloth, $1.50. Century. + +*P--"Just-So Stories." By Rudyard Kipling. Illustrated in full colour by +J. M. Gleason. Royal 8vo. Cloth, $2.50. Doubleday. There is a cheaper +edition illustrated by the author at $1.25. + +"Red Cap Tales." By S. R. Crockett. Illustrated in colour plates by S. +H. Vedder. 12mo. Cloth, $2.00. Macmillan. An edition at $.50. + +*"Men of Iron." Written and illustrated by Howard Pyle. Post 8vo. Cloth, +$2.00. Harper. A romantic story of the England of Henry IV. As popular +with girls as with boys. + +"The Wonder Clock." Written and illustrated by Howard Pyle. 4to. Cloth, +$2.00. Harper. Twenty-four good tales. Equally as good are "Twilight +Land" and "Pepper and Salt," delightful fairy tales. + +"Stevenson's Kidnapped." Edited by John Thompson Brown. (Pocket Classics +Series.) 24mo. Cloth, $.25. Macmillan. + +"Pinocchio Under the Sea." Translated from the Italian by Carolyn Della +Chiesa. Edited by John W. Davis. With numerous illustrations and +decorations in colours and black-and-white, by Florence Rutledge Abel +Wilde. 12mo. Dec. cloth, $1.25. Macmillan. + +"Peter Pan Picture Book, The." By Alice B. Woodward and Daniel O'Connor. +Fourth Edition. Col. Ill. 8vo. Cloth, $1.50. Macmillan. + +"Peter Pan: The Story Of." By Daniel O'Connor. Ill. 12mo. Cloth, $.30. +Macmillan. + +"Voyage of the Hoppergrass." By Edmund Lester Pearson. Ill. 12mo. Cloth, +$1.35. Macmillan. + +"Children of the Wild." By Charles G. D. Roberts. Ill. 12mo. Dec. cloth, +$1.35. Macmillan. + +"Christmas Tales and Christmas Verse." By Eugene Field. Illustrated by +Florence Storer. 8vo. Cloth, $1.50. Scribner. + +"Christmas Every Day." By William Dean Howells. Illustrated and +decorated in colour. Small 4to. Cloth, $1.75. Harper. + +"Fairies--Of Sorts." By Mrs. Molesworth. Illus. by Gertrude Hammond. +12mo. Cloth, $1.50. Macmillan. + +"Magic Nuts, The." By Mrs. Molesworth. 12mo. Cloth, $1.25. Macmillan. + +"The Queen's Museum and Other Fanciful Tales." By Frank R. Stockton. +Illustrated in colour and black-and-white by Frederick Richardson. Royal +8vo. Cloth, $2.50. Scribner. + +"Tales of the Enchanted Islands of the Atlantic." By Thomas Wentworth +Higginson. Ill. by Albert Herter. 12mo. Cloth, $1.50. Macmillan. + +"Captains Courageous." By Rudyard Kipling. Illustrated by Taber. 12mo. +Cloth, $1.50. Century. + + +THE HOLY BIBLE + +"The Child's Bible." Arranged from the Authorized Version with an +introduction by Bishop Doane. Illustrated with 100 full-page plates by +modern artists. 4to. Cloth, $3.50. Cassell. + +*"The Bible for Young People." Arranged from the Authorized Version by +Mrs. Joseph B. Gilder. Illustrated with engravings from paintings by the +old masters. 4to. Cloth, $1.50. Century. For children under twelve +years. + +"The Old, Old Story-Book." Arranged from the Authorized Version by Eva +Marsh Tappan. Illustrated. 8vo. Cloth, $1.50. Houghton. + +"Bible Story Retold for Young People." By W. H. Bennett and W. F. +Adeney. 2 parts: I. Old Testament Story. II. New Testament Story. Maps. +Ill. 12mo. Each $.60; in one vol., $1.00. Macmillan. + +"Bible Stories." (Children's Series of the Modern Reader's Bible.) By R. +G. Moulton. 2 vols.: I. Old Testament; II. New Testament. 16mo. Cloth, +each, $.50. Macmillan. + +*"Select Masterpieces of Biblical Literature." (Modern Reader's Bible.) +Edited by R. G. Moulton. 24mo. Cloth, $.50; leather, $.60. Macmillan. + + It is doubtful if Bible stories in simple language + form are of much value to the boy. If he is too + young to read the language on his own account, the + stories had better be read aloud to him from the + Authorized Version. Then as early as possible let + him cultivate the habit of learning this wonderful + book first hand. Nothing in the field of + literature will serve him better than will this + reading habit. + +*"Holy Bible, Containing the Old and New Testaments; Translated out of +the Original Tongues, and with Former Translation Diligently Compared +and Revised, by His Majesty's Special Command." 8vo. Cloth, $1.30. +Self-pronouncing in long primer type. Oxford Press. + + + + +INDEX TO FIRST LINES OF POEMS + + PAGE + A great while ago the world began 58 + A life on the ocean wave 130 + As I in hoary winter's night stood shivering in the snow 85 + At Flores in the Azores, Sir Richard Grenville lay 122 + A wet sheet and a flowing sea 86 + Bless the Lord, O my soul 152 + Blow, blow, thou winter wind 98 + Boats sail on the rivers 38 + Boot, saddle, to horse and away 93 + By the rude bridge that arched the flood 134 + Call for the robin redbreast and the wren 70 + Come, dear children, let us away 73 + Come follow, follow me 64 + Come unto these yellow sands 57 + Dainty little maiden, whither would you wander 49 + Do you ask what the birds say? the sparrow, the dove 59 + Entreat me not to leave thee 55 + Faintly as tolls the evening chime 105 + Fair Daffodils, we weep to see 89 + From gold to gray 119 + From Oberon, in fairy land 91 + Full fathom five thy father lies 67 + God of our fathers, known of old 141 + Good-bye, good-bye to Summer 60 + Hark, hark, the dogs do bark 33 + Hark, hark, the lark at heaven's gate sings 68 + Haste thee, Nymph, and bring with thee 120 + He clasps the crag with crooked hands 131 + He that dwelleth in the secret place of the most high 113 + How sleep the brave who sink to rest 130 + Hush thee, my babby 35 + Hush! the waves are rolling in 49 + I bring fresh showers for the thirsting flowers 116 + I come from haunts of coot and hern 82 + I have a little shadow that goes in and out with me 46 + In winter I get up at night 40 + I saw a ship a-sailing 36 + I saw you toss the kites on high 56 + I sprang to the stirrup, and Joris, and he 108 + It was the schooner Hesperus 100 + I wandered lonely as a cloud 135 + Jog on, jog on, the foot-path way 58 + Lady Moon, Lady Moon, where are you roving 54 + Little Bo-Peep has lost her sheep 35 + Little Boy Blue, come blow your horn 34 + Little Lamb, who made thee 51 + Lord, thou hast been our dwelling place 132 + Minnie and Winnie lived in a shell 50 + Much have I travell'd in the realms of gold 140 + My heart leaps up when I behold 70 + Now fades the last long streak of snow 107 + Of speckled eggs the birdie sings 37 + Oh, hush thee, my babie! thy sire was a knight 63 + Oh, who is so merry, so merry, heigh-ho 44 + O Lord, our Lord 79 + O Mary, go and call the cattle home 104 + Over hill, over dale 69 + O wedding-guest! this soul hath been 106 + Pack, clouds, away, and welcome day 71 + Pease porridge hot 33 + Pibroch of Donuil Dhu 117 + Pussy cat, pussy cat, where have you been 33 + Queen and huntress, chaste and fair 84 + Ring out, wild bells, to the wild sky 65 + Season of mists and mellow fruitfulness 137 + Sleep, baby, sleep, our cottage vale is deep 34 + Sleep, baby, sleep, thy father is tending the sheep 41 + Spring, the sweet spring, is the year's pleasant king 53 + Sweet and low, sweet and low 47 + The Assyrian came down like a wolf on the fold 111 + The cock is crowing 72 + The curfew tolls the knell of parting day 146 + The friendly cow, all red and white 39 + The gorse is yellow on the heath 97 + The heavens declare the glory of God 94 + The king sits in Dunfermline town 142 + The Lord is my shepherd 42 + The melancholy days are come, the saddest of the year 99 + The Northern Star sailed over the bar 96 + The rain is raining all around 37 + The splendour falls on castle walls 81 + The voice of my beloved! behold, he cometh 65 + The warm sun is failing, the bleak wind is wailing 90 + The world is so full of a number of things 37 + The year's at the spring 67 + This is the ship of pearl, which, poets feign 136 + Three mice went into a hole to spin 34 + Under the greenwood tree 88 + Up the airy mountain 52 + Up, up, ye dames, ye lasses gay 73 + Wee Willie Winkie runs through the town 35 + What does little birdie say 41 + When cats run home and light is come 58 + When children are playing alone on the green 61 + When daffodils begin to peer 58 + Whenever the moon and stars are set 39 + When icicles hang by the wall 68 + When I was sick and lay a-bed 45 + When the green woods laugh with the voice of joy 62 + Where lies the land to which the ship would go 87 + Where the bee sucks, there suck I 57 + Whither, 'midst falling dew 139 + Who has seen the wind 38 + Who is Sylvia? what is she 121 + Who would true valour see 115 + You spotted snakes with double tongue 47 + + * * * * * + +Transcriber's Notes: + +Page 219, "millionnaire" changed to "millionaire" (quickly made +millionaire) + +Page 247, "Wyth" changed to "Wyeth" (N. C. Wyeth, and) + +Page 256, "Abrabian" changed to "Arabian" (from the Arabian) + + + + + + +End of the Project Gutenberg EBook of Literature for Children, by Orton Lowe + +*** END OF THIS PROJECT GUTENBERG EBOOK LITERATURE FOR CHILDREN *** + +***** This file should be named 35138.txt or 35138.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/5/1/3/35138/ + +Produced by Mark C. Orton, 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) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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