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    The Project Gutenberg eBook of The World's Best Books, by Frank Parsons.
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The Project Gutenberg EBook of The World's Best Books, by Frank Parsons

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Title: The World's Best Books
       A Key to the Treasures of Literature

Author: Frank Parsons

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</pre>


<h1 class="booktitle">THE WORLD'S BEST BOOKS</h1>

<p class="h3">A KEY TO THE TREASURES OF LITERATURE</p>

<p class="h3">BY</p>

<p class="h2">FRANK PARSONS</p>

<p class="spacer">&nbsp;</p>

<p class="h4">THIRD EDITION</p>

<p class="h5">REVISED AND ENLARGED</p>

<p class="spacer">&nbsp;</p>

<p class="h4">BOSTON<br />
LITTLE, BROWN, AND COMPANY<br />
1893</p>
<p class="spacer">&nbsp;</p>

<p class="h6"><i>Copyright, 1889, 1891, 1893,</i></p>

<p class="h5"><span class="smcap">By Frank Parsons</span>.</p>

<p class="spacer">&nbsp;</p>

<p class="h5">UNIVERSITY PRESS:</p>

<p class="h6">
<span class="smcap">John Wilson and Son, Cambridge, U.S.A.<span class="pagenum"><a id="Page_iii">[iii]</a></span></span>
</p>

<hr class="chapter" />

<h2>PREFACE TO THE THIRD EDITION.</h2>

<p>At the request of the publishers the following
statement is made as a substitute for the former
indefinite arrangement in respect to authorship.</p>

<p>The plan and composition of the book were mine;
the work of my colleagues, F. E. Crawford and H. T.
Richardson, consisting of criticism, verifications, and
assistance in gathering materials for the appendix,&mdash;services
of great value to me, and of which I wish to
express my high appreciation.</p>

<p>A few additions have been made in this edition,
and the book has been carefully revised throughout.</p>

<p class="author">FRANK PARSONS.</p>

<p><span class="smcap">Boston</span>, January, 1893.</p>

<hr class="chapter" />

<p><span class="pagenum"><a id="Page_v">[v]</a></span></p>

<h2 id="PREFACE_TO_THE_SECOND_EDITION">PREFACE TO THE SECOND EDITION.</h2>

<p>The public and the critics have met us with a
welcome far more cordial than we had dared to
expect, though not more so, of course, than we hoped
for. When did a thing such as that ever happen?
We are glad to discover that in forming our expectations
we underrated their discernment, or our own
merit (probably not the latter, judging by the remarks
of two or three of our critics), and in real
earnest we are grateful for their high appreciation
of our work.</p>

<p>Some few&mdash;a very few&mdash;have found fault with us,
and our thanks are due to them also; for honest,
kindly, intelligent criticism is one of the most powerful
means of growth. The fact that this little volume
is not intended as an <i>infallible</i> guide, or as anything
more than a <i>stimulus</i> to seek the best, and a <i>suggestion</i>
of the method of guiding one's self and one's
children, has been missed by some, though it appears<span class="pagenum"><a id="Page_vi">[vi]</a></span>
distinctly in various places through the book, and is
involved in what we deem the most useful part of our
work,&mdash;the <a href="#REMARKS_ON_TABLE_V">remarks following Table V</a>., wherein we
endeavor to show the student how he may learn to
estimate the value of a book for himself. So far
were we from wishing to <i>decide</i> matters which manifestly
vary with the wants and capacities of each individual,
that we emphatically advised the reader not
to accept the opinions of any one as final, but to
form his own judgments.</p>

<p>Some have failed to perceive that, <i>in ranking the
books, we have considered, not merely their intrinsic
merit, but also the needs and abilities of the average
English reader</i>, making a compound test by which
to judge, not the relative greatness of the books simply,
but their relative claims on the attention of the
ordinary reader. This also was set forth, as we
thought, quite distinctly, and was in fact understood
by nearly every one, but not by all, for some have
objected to the order of the books in <a href="#TABLE_I">Table I</a>., affirming,
for example, that the "Federalist" and Bryce's
"American Commonwealth" are far <i>superior</i> to "Our
Country," and should be placed above it. That
would be true if intrinsic greatness alone decided the
matter. But the average reader with his needs and
abilities is a factor in the problem, as well as the<span class="pagenum"><a id="Page_vii">[vii]</a></span>
book with its subject and style. Now, the ordinary
reader's time and his mental power are both limited.
"Our Country" is briefer and simpler than the
others, and its contents are of vital interest to every
American, of even more vital interest than the discussions
of the "Federalist" or Bryce; and so, although
as a work of art it is inferior to these, it must rank
above them in this book, because of its superior
claims upon the attention of the average reader. In
a similar manner other questions of precedence are
determined on the principles contained in the <a href="#REMARKS_ON_TABLE_V">remarks on Table V</a>. It is not pretended, however, that the
arrangement is perfect even in respect to our own
tests, especially among the authors on the second
shelf of <a href="#TABLE_I">Table I</a>. The difficulties of making a true
list may be illustrated by the fact that one critic of
much ability affirms that Marietta Holley ought to
head the tenth column, as the best humorist of all
time; another says it is absurd to place her above
the Roman wits Juvenal and Lucian; and a third declares
with equal positiveness that she ought not to
appear in the list at all. We differ from them all,
and think the high place we have given Miss Holley
is very near the truth.</p>

<p>Communications have been received from Oliver
Wendell Holmes, Marietta Holley, Senator Hoar,<span class="pagenum"><a id="Page_viii">[viii]</a></span>
Phillips Brooks, Bishop J. H. Vincent, Brooke Herford,
Francis Parkman, ex-Gov. John D. Long, Gen.
Benj. F. Butler, T. W. Higginson, and many other
eminent persons, bringing to us a number of suggestions,
most of which we have adopted to the great
advantage of our book, as we hope and believe.</p>

<p>We have added a number of valuable works to the
lists of the first edition, and have written a new chapter
on the guidance of children, the means of training
them to good habits of reading, and the books best
adapted to boys and girls of various ages.</p>

<p>If any one, on noting some of the changes that
have been made in this edition, feels inclined to raise
the cry of inconsistency, we ask him to remember
the declaration of Wendell Phillips, that "Inconsistency
is Progress." There is room for still further
inconsistency, we do not doubt; and criticism or
suggestion will be gladly received.</p>

<p class="author">FRANK PARSONS.</p>

<p><span class="smcap">Boston</span>, January, 1891.</p>

<hr class="chapter" />

<p><span class="pagenum"><a id="Page_ix">[ix]</a></span></p>

<h2 id="CONTENTS">CONTENTS.</h2>

<div class="toc">
<p class="toc-sc">Introductory Remarks.
 <span class="toc-right-first">PAGE</span>
</p>

<p class="toc-in1">Purposes of the book briefly stated
 <span class="toc-right"><a href="#Page_1">1</a></span>
</p>

<p class="toc-in1">System in reading
 <span class="toc-right"><a href="#Page_2">2</a></span>
</p>

<p class="toc-in1">Purposes of reading
 <span class="toc-right"><a href="#Page_2">2</a></span>
</p>

<p class="toc-in1">Its influence on health and mind
 <span class="toc-right"><a href="#Page_2">2</a></span>
</p>

<p class="toc-in2">on character
 <span class="toc-right"><a href="#Page_3">3</a></span>
</p>

<p class="toc-in2">on beauty and accomplishments
 <span class="toc-right"><a href="#Page_4">4</a></span>
</p>

<p class="toc-in1">Its pleasures
 <span class="toc-right"><a href="#Page_5">5</a></span>
</p>

<p class="toc-in1">Quantity and quality of reading
 <span class="toc-right"><a href="#Page_5">5</a></span>
</p>

<p class="toc-in1">  Selection of books
 <span class="toc-right"><a href="#Page_6">6</a></span>
</p>

<p class="toc-in1">Order of reading
 <span class="toc-right"><a href="#Page_7">7</a></span>
</p>

<p class="toc-in1">Method of reading
 <span class="toc-right"><a href="#Page_8">8</a></span>
</p>

<p class="toc-in1">Importance of owning the books you read
 <span class="toc-right"><a href="#Page_9">9</a></span>
</p>

<p class="toc-in1">Effect of bad books
 <span class="toc-right"><a href="#Page_10">10</a></span>
</p>

<p class="toc-in2">useless books
 <span class="toc-right"><a href="#Page_11">11</a></span>
</p>

<p class="toc-in2">good books
 <span class="toc-right"><a href="#Page_12">12</a>-<a href="#Page_12">15</a></span>
</p>

<p class="toc-sc">Abbreviations used in this Work
 <span class="toc-right"><a href="#Page_16">16</a></span>
</p>

<p class="toc-sc">Note of Explanation
 <span class="toc-right"><a href="#Page_17">17</a>,<a href="#Page_17">20</a></span>
</p>

<p class="toc-sc">The First Two Shelves of the World's Library (Table.)
 <span class="toc-right"><a href="#Page_18">18</a>-<a href="#Page_18">19</a></span>
</p>

<p class="toc-sc">Remarks on Table I.
 <span class="toc-right"><a href="#Page_21">21</a>-<a href="#Page_21">80</a></span>
</p>

<p class="toc-in1">Religion and Morals
 <span class="toc-right"><a href="#Page_21">21</a>-<a href="#Page_21">24</a></span>
</p>

<p class="toc-in1">Poetry and the Drama
 <span class="toc-right"><a href="#Page_25">25</a>-<a href="#Page_25">41</a></span>
</p>

<span class="pagenum"><a id="Page_x">[x]</a></span>

<p class="toc-in1">Science
 <span class="toc-right"><a href="#Page_41">41</a>-<a href="#Page_41">46</a></span>
</p>

<p class="toc-in1">Biography
 <span class="toc-right"><a href="#Page_46">46</a>-<a href="#Page_46">48</a></span>
</p>

<p class="toc-in1">History
 <span class="toc-right"><a href="#Page_49">49</a>-<a href="#Page_49">52</a></span>
</p>

<p class="toc-in1">Philosophy
 <span class="toc-right"><a href="#Page_53">53</a>-<a href="#Page_53">56</a></span>
</p>

<p class="toc-in1">Essays
 <span class="toc-right"><a href="#Page_56">56</a>-<a href="#Page_56">57</a></span>
</p>

<p class="toc-in1">Fiction
 <span class="toc-right"><a href="#Page_58">58</a>-<a href="#Page_58">67</a></span>
</p>

<p class="toc-in1">Oratory
 <span class="toc-right"><a href="#Page_67">67</a>-<a href="#Page_67">68</a></span>
</p>

<p class="toc-in1">Wit and Humor
 <span class="toc-right"><a href="#Page_68">68</a>-<a href="#Page_68">71</a></span>
</p>

<p class="toc-in1">Fables and Fairy Tales
 <span class="toc-right"><a href="#Page_71">71</a>-<a href="#Page_71">73</a></span>
</p>

<p class="toc-in1">Guides
 <span class="toc-right"><a href="#Page_75">75</a>-<a href="#Page_75">76</a></span>
</p>

<p class="toc-in1">Miscellaneous
 <span class="toc-right"><a href="#Page_76">76</a>-<a href="#Page_76">80</a></span>
</p>

<p class="toc-sc">Glimpses of the Great Fields of Thought,
<span class="toc-norm">Arranged for the purpose of securing breadth of mind (Table II.)</span>
 <span class="toc-right"><a href="#Page_82">82</a>-<a href="#Page_82">83</a></span>
</p>

<p class="toc-sc">A Series of Brief but very Choice Selections
 <span class="toc-norm">from general literature, constituting a year's
  course for the formation of a true literary taste (Table III.)</span>
 <span class="toc-right"><a href="#Page_84">84</a>-<a href="#Page_84">93</a></span>
</p>

<p class="toc-in1">  Groups I. and II., Poetry
 <span class="toc-right"><a href="#Page_85">85</a>-<a href="#Page_85">91</a></span>
</p>

<p class="toc-in1">Group III., Prose
 <span class="toc-right"><a href="#Page_91">91</a>-<a href="#Page_91">92</a></span>
</p>

<p class="toc-in1">Group IV., Wit and Humor
 <span class="toc-right"><a href="#Page_93">93</a></span>
</p>

<p class="toc-sc">A Short Course Supplementary to the Last
 <span class="toc-norm">(Table IV.)</span>
 <span class="toc-right"><a href="#Page_94">94</a>-<a href="#Page_94">95</a></span>
</p>

<p class="toc-sc">What To Give the Children
 <span class="toc-right"><a href="#Page_97">97</a>-<a href="#Page_97">127</a></span>
</p>

<p class="toc-sc">Special Studies
 <span class="toc-right"><a href="#Page_123">123</a>-<a href="#Page_123">127</a></span>
</p>

<p class="toc-sc">The Distribution of the World's Great Authors<span class="toc-norm">
in time and space, with a parallel column of contemporaneous
noted historic events (Table V.)</span>
 <span class="toc-right"><a href="#Page_128">128</a>-<a href="#Page_128">132</a></span>
</p>

<p class="toc-sc">Remarks on Table V.
 <span class="toc-right"><a href="#Page_133">133</a>-<a href="#Page_133">148</a></span>
</p>

<p class="toc-in1">Definitions and divisions
 <span class="toc-right"><a href="#Page_133">133</a>-<a href="#Page_133">135</a></span>
</p>

<p class="toc-in1">Eight tests for the choice of books
 <span class="toc-right"><a href="#Page_135">135</a>-<a href="#Page_135">139</a></span>
</p>

<p class="toc-in1">Intrinsic merit
 <span class="toc-right"><a href="#Page_139">139</a>-<a href="#Page_139">148</a></span>
</p>

<span class="pagenum"><a id="Page_xi">[xi]</a></span>

<p class="toc-in1">Periods of English Literature
 <span class="toc-right"><a href="#Page_150">150</a>-<a href="#Page_150">160</a></span>
</p>

<p class="toc-in2">The Pre-Shakspearian age
 <span class="toc-right"><a href="#Page_150">150</a>-<a href="#Page_150">152</a></span>
</p>

<p class="toc-in2">The Shakspearian age
 <span class="toc-right"><a href="#Page_152">152</a>-<a href="#Page_152">155</a></span>
</p>

<p class="toc-in2">The Post-Shakspearian age
 <span class="toc-right"><a href="#Page_155">155</a>-<a href="#Page_155">160</a></span>
</p>

<p class="toc-in2">Time of Milton
 <span class="toc-right"><a href="#Page_155">155</a>-<a href="#Page_155">156</a></span>
</p>

<p class="toc-in3">Dryden
 <span class="toc-right"><a href="#Page_156">156</a>-<a href="#Page_156">158</a></span>
</p>

<p class="toc-in3">Pope
 <span class="toc-right"><a href="#Page_158">158</a>-<a href="#Page_158">159</a></span>
</p>

<p class="toc-in3">The novelists, historians, and scientists
 <span class="toc-right"><a href="#Page_159">159</a>-<a href="#Page_159">160</a></span>
</p>

<p class="toc-in1">The greatest names of other
literatures:&mdash;Greece, Rome, Italy, France, Spain, Germany,
Persia, Portugal, Denmark, Russia
<span class="toc-right"><a href="#Page_161">161</a>-<a href="#Page_161">164</a></span>
</p>

<p class="toc-in1">The fountains of national literatures:&mdash;Homer,
Nibelungenlied, Cid, Chansons, Morte D'Arthur, etc.
<span class="toc-right"><a href="#Page_165">165</a>-<a href="#Page_165">167</a></span>
</p>

<br />

<hr class="short" />

<br />

<p class="toc-sc">APPENDIX I.
</p>

<p class="toc-in1 smcap">The Best Thoughts of Great Men about Books and Reading
<span class="toc-right"><a href="#Page_171">171</a>-<a href="#Page_171">190</a></span>
</p>

<br />

<p class="toc-sc">APPENDIX II.
</p>

<p class="toc-in1 smcap">Books Used in the Boston Public Schools
as Supplementary Reading, Text-Books, <span class="toc-norm">etc.</span>
<span class="toc-right"><a href="#Page_191">191</a>-<a href="#Page_191">207</a></span>
</p>

</div>

<hr class="chapter" />

<p><span class="pagenum"><a id="Page_1">[1]</a></span></p>

<h2 id="THE_WORLDS_BEST_BOOKS">THE WORLD'S BEST BOOKS.</h2>

<hr class="chapter" />

<h2 id="INTRODUCTORY_REMARKS">INTRODUCTORY REMARKS.</h2>

<p>This book is the result of much reading and
thought, teaching, lecturing, and conversation,
in the direction of its subject-matter. Its purpose
is fivefold: <i>First</i>, to call attention to the importance
of reading the best literature to the exclusion of all
that is inferior, by setting forth the benefits that may
be derived from the former and the injuries that are
sure to result from the latter. <i>Second</i>, to select the
best things from all the literatures of the world; to
make a survey of the whole field of literature and
locate the mines most worthy of our effort, where
with the smallest amount of digging we may find the
richest ore; and to do this with far greater precision,
definiteness, and detail than it has ever been done
before. <i>Third</i>, to place the great names of the world's
literature in their proper relations of time and space
to each other and to the great events of history,&mdash;accompanying
the picture with a few remarks about
the several periods of English Literature and the<span class="pagenum"><a id="Page_2">[2]</a></span>
Golden Age of literature in each of the great nations.
<i>Fourth</i>, to discuss briefly the best methods of reading,
and the importance of system, quantity, quality, due
proportion, and thoroughness in reading, and of the
ownership of books and the order in which they
should be read. <i>Fifth</i>, to gather into a shining group,
like a constellation of stars, the splendid thoughts of
the greatest men upon these subjects.</p>

<p>The book is meant to be a practical handbook of
universal literature for the use of students, business
men, teachers, and any other persons who direct the
reading of others, and for the guidance of scholars
in departments other than their own.</p>

<p>1. <b>System</b> in reading is of as much importance as
it is in the business of a bank or any other mercantile
pursuit.</p>

<p>2. <b>The Purposes of Reading</b> should ever be kept in
mind. They are the purposes of life; namely, health,
mental power, character, beauty, accomplishments,
pleasure, and the knowledge which will be of use
in relation to our business, domestic life, and citizenship.
Literature can aid the <i>health</i>, indirectly, by
imparting a knowledge of the means of its attainment
and preservation (as in works on physiology
and hygiene); and directly, by supplying that exercise
of the mind which is essential to the balance of
the functions necessary to perfect health. A study
of literature will develop the <i>mind</i>&mdash;the perception,
memory, reason (especially true of science and philosophy),
and the imagination (especially the study of
<span class="pagenum"><a id="Page_3">[3]</a></span>
poetry and science)&mdash;directly, by exercising those
all-important faculties; and indirectly, by yielding a
knowledge of the conditions of their existence and
strength. On the other hand, the mind may be
greatly injured, if not wholly destroyed, by pouring
into it a flood of filth and nonsense; or by a torrent
of even the best in literature, so rapid and long continued
that it cannot be properly absorbed and digested.
The evil effects of cramming the mind are
only too often seen about us.</p>

<p>Literature can build or destroy the <i>character</i> both
directly and indirectly. Poetry, religion, philosophy,
fiction, biography, history,&mdash;indeed, all sorts of writings
in some degree make us more sympathetic,
loving, tender, noble, generous, kind, and just, or
the opposite, by the simple power of exercise, if for
no other reason. If we freely exercise the muscles
of the arm, we shall have more vigor there. If we
continually love, our power and tendency to love
will grow. The poet's passion, passing the gates of
the eye and ear into our souls, rouses our sympathies
to kindred states of feeling. We love when he loves,
and weep when he weeps; and all the while he is
moulding our characters, taking from or adding to
the very substance of our souls. Brave words change
the coward to a hero; a coward's cry chills the bravest
heart. A boy who reads of crime and bravery sadly
mixed by some foul traitor to the race, soon thinks
that to be brave and grand he must be coarse and
have the blood of villainy and rashness pulsing from
<span class="pagenum"><a id="Page_4">[4]</a></span>
his misled heart. Not all the books that picture vice
are harmful. If they show it in its truth, they drive
us from it by its very loathsomeness; but if they gild
it and plume it with pleasure and power, beware.
Literature, too, can give us a knowledge of the means
for the development of character, and the inspiration
to make the best use of these means. Books of
morals, religion, biography, science, poetry, and fiction
especially hold these treasures.</p>

<p>In the attainment and enrichment of <i>beauty</i>, literature
has a work to do. The choicest beauty is the
loveliness of soul that lights the eye and prints its
virtue in the face; and as our reading moulds the
mind and heart to beauty, their servants at the doorways
ever bend to their instructions and put on
the livery of their lords. Even that beauty which
is of the rounded form, the soft cheek's blooming
tinge, the rosy mouth, and pearly lip, owes its
debt to health; and that, as has been seen, may
profit much by literature. And beyond all this we
learn the means of great improvement in our comeliness,&mdash;how
crooked may be changed to straight,
and hollow cheeks to oval; frowns to smiles, and lean
or gross to plump; ill-fitting, ill-adapted dress to
beautiful attire; a shambling gait to a well-conducted
walk,&mdash;and even the stupid stare of ignorance be
turned to angel glances of indwelling power and
interested comprehension.</p>

<p><i>Accomplishments</i>, too, find help in written works of
genius, not merely as affording a record of the best
<span class="pagenum"><a id="Page_5">[5]</a></span>
methods of acquiring any given art, but directly as
supplying the substance of some of the greatest of all
accomplishments,&mdash;those of inspiring eloquent conversation,
and of writing clear and beautiful English.</p>

<p><i>Pleasure</i> manifestly is, by all these aids to beauty,
health, and power, much beholden to the books we
read; but more than this, the very reading of a worthy
book is a delicious joy, and one that does not drain
but fills the fount from which the happiness of others
comes. Plato, F&eacute;nelon, Gibbon, and a host of others
name the love of books the chiefest charm and glory
of their lives.</p>

<p>3. <b>The Quantity and Quality</b> of what we read should
have our careful thought. Whoever lives on literary
husks and intoxicants, when corn and wheat
and milk are just as easily within his reach, is
certainly no wiser than one who treats his physical
receptacle in the same way, and will as surely
suffer from ill feeding in diminished vital force. Indeed,
he may be glad if he escapes acquiring intellectual
dyspepsia or spiritual delirium tremens.
Even of the best of reading there may be too much
as well as not enough. More than we can assimilate
is waste of time and energy. Besides the regulation
of the <i>total</i> quantity we read, with reference
to our powers of digestion, we must watch the <i>relative</i>
amounts of all the various kinds of literary sustenance
we take. A due proportion ought to be
maintained by careful mixture of religious, scientific,
poetic, philosophic, humorous, and other reading.
<span class="pagenum"><a id="Page_6">[6]</a></span>
A man who exercises but one small muscle all
his days would violate the laws of health and power.
The greatest mind is that which comes the nearest
to attainment of a present perfect picture in the
mind of all the universe, past, present, and to come.
The greatest character is that which gets the greatest
happiness for self through fullest and most powerful
activities for others, and requires for its own work,
existence, and delight, the least subtraction from the
world's resources of enjoyment. The greatest man
is he who combines in due proportion and completest
harmony the fullest physical, emotional, and
intellectual life.</p>

<p>4. <b>The Selection</b> of books is of the utmost importance,
in view of their influence upon character.
All the reasons for care that apply to the
choice of friends among the living, have equal
force in reference to the dead. The same tests
avail in one case as in the other,&mdash;reputation and
personal observation of the words and deeds of
those we think to make companions. We may at
will and at slight cost have all the great and noble
for our intimate friends and daily guests, who will
come when we call, answer the questions we put,
and go when we wish. And better yet, however
long we talk to them, no other friends will be kept
waiting in the anterooms, longing to take our place.
Our most engrossing friendship, though we keep
them <i>always</i> with us, will produce no interference
with their equal friendship with all the world
<span class="pagenum"><a id="Page_7">[7]</a></span>
besides. We may associate with angels and become
angelic, or with demons and become satanic.</p>

<p>Besides the difference in the nature of books, the
very number of them commands a choice. In one
library there are three million volumes; in the Boston
Public Library about three hundred thousand,
or five hundred thousand including pamphlets. In
your short life you can read but a trifling part of the
world's literature. Suppose you are fortunate enough
to be able to read one book a week, in thirty years
you would read but fifteen hundred books. Use,
then, every care to get the best. If it were in your
equal choice to go to one of two reputed entertainments
and but one, it surely would be worth your
while to know their character before selecting. One
might be Beethoven's loveliest symphony, the other
but a minstrel show.</p>

<p>5. <b>The Order of our Reading</b> must be carefully attended
to. The very best books are not always to
be first read. If the reader is young or of little
culture, the <i>simplicity</i> of the writing must be taken
into account, for it is of no use to read a book that
cannot be understood. One of mature and cultivated
mind who begins a course of systematic reading
may follow the order of absolute value; but a
child must be supplied with easy books in each department,
and, as his powers develop, with works
of increasing difficulty, until he is able to grasp the
most complex and abstruse. If you take up a book
that is recommended to you as one of the world's
<span class="pagenum"><a id="Page_8">[8]</a></span>
best, and find it uninteresting, be sure the trouble
is in you. Do not reject it utterly, do not tell people
you do not like it; wait a few months or years, then
try it again, and it may become to you one of the
most precious of books.</p>

<p>6. <b>The Method</b> of your reading is an important
factor in determining its value to you. It is in proportion
to your <i>conquest</i> of what is worthy in literature
that you gain. If you pour it into your mind
so fast that each succeeding wave forces the former
out before its form and color have been fixed, you
are not better off, but rather worse, because the
process washes out the power of memory. Memory
depends on health, attention, repetition, reflection,
association of ideas, and practice. Some books
should be very carefully read, looking to both
thought and form; the best passages should be
marked and marginal notes made; reflection should
digest the best ideas, until they become a part of the
tissue of your own thought; and the most beautiful
and striking expressions should be verbally committed.
If you saw a diamond in the sand, surely
you would fix it where it might adorn your person.
If you find a sparkling jewel in your reading, fix
it in your heart and let it beautify your conversation.
Shakspeare, Milton, Homer, Bacon, &AElig;schylus, and
Emerson, and nearly all the selections in <a href="#TABLE_III">Table III</a>.
should be read in this way. Other books have value
principally by reason of the line of thought or argument
of which the whole book is an expression; such
<span class="pagenum"><a id="Page_9">[9]</a></span>
for the most part are books of history, science, and
philosophy. While reading them marks or notes
should be made; so that when the book is finished,
the steps of thought may several times be rapidly
retraced, until the force and meaning of the book
becomes your own forever. Still other books may
be simply glanced through, it being sufficient for the
purposes of the general reader to have an idea of
the nature of their contents, so that he may know
what he can find in them if he has need. Such
books to us are the Koran, the works of the lesser
essayists, orators, and philosophers. Ruskin says
that no book should be read fast; but it would be as
sensible to say that we should never walk or ride fast
over a comparatively uninteresting country. Adaptation
of method to the work in hand is the true rule.
We should not read "Robert Elsmere" as slowly and
carefully as Shakspeare. As the importance of the
book diminishes, the speed of our journey through it
ought to increase. Otherwise we give an inferior
book equal attention with its superiors.</p>

<p>7. <b>Own the Books you Read,</b> if possible, so that you
may mark them and often refer to them. If you are
able, buy the best editions, with the fullest notes and
finest binding,&mdash;the more beautiful, the better. A
lovely frame adds beauty to the picture. If you
cannot buy the best-dressed books, get those of
modest form and good large type. If pennies must
be counted, get the catalogues of all the cheap
libraries that are multiplying so rapidly of late,&mdash;the
<span class="pagenum"><a id="Page_10">[10]</a></span>
Elzevir, Bohn, Morley, Camelot, National, Cassel,
Irving, Chandos, People's Library, World's Library,
etc.,&mdash;and own the books you learn to love. Use
the public libraries for reference, but do not rely
on them for the standard literature you read. It is
better far to have an eight cent Bunyan, twelve cent
Bacon, or seven cent Hamlet within your reach from
day to day, and marked to suit yourself, than to read
such books from the library and have to take them
back. That is giving up the rich companionship
of new-found friends as soon as gained. The difference
between talking with a sage or poet for a
few brief moments once in your lifetime, and having
him daily with you as your friend and teacher is the
difference between the vales and summits of this life.
The immense importance of possessing the best
books for your own cannot be too strongly impressed
upon you, nor the value of clothing your noble
friends as richly as you can. If they come to you
with outward beauty, they will claim more easily their
proper share of your attention and regard. Get an
Elzevir Shakspeare if you can afford no other, but
purchase the splendid edition by Richard Grant
White, if you can. Even if you have to save on
drink and smoke and pie-crust for the purpose, you
never will regret the barter.</p>

<p>8. <b>Bad Books</b> corrupt us as bad people do. Whenever
they are made companions, insensibly we learn
to think and feel and talk and act as they do in
degree proportioned to the closeness that we hug
<span class="pagenum"><a id="Page_11">[11]</a></span>
them to our hearts. Books may be bad, not only
by imparting evil thoughts, awakening lust and gilding
vice, but by developing a false philosophy,
ignoble views of life, or errors in whatever parts
of science or religion they may touch. Avoid foul
books as you would shun foul men, for fear you
may be like them; but seek the errors out and
conquer them. Spend little time in following a
teacher you have tested and found false, but do
the testing for yourselves, and take no other person's
judgment as to what is truth or error. Truth
is always growing; you may be the first to catch
the morning light. The friend who warns you of
some book's untruth may be himself in error, led
by training, custom, or tradition, or unclearly seeing
in the darkness of his prejudice.</p>

<p>9. <b>Useless Books.</b> Many books that are not positively
bad are yet mere waste of time. A wise man
will not spend the capital of his life, or part with
the wealth of his energies except he gets a fair
equivalent. He will demand the highest market
price for his time, and will not give his hours and
moments&mdash;precious pieces of his life&mdash;for trash,
when he can buy with them the richest treasures
of three thousand years of thought. You have not
time to drink the whole of human life from out the
many colored bottles of our literature; will you take
the rich cream, or cast that aside for the skimmed
milk below, or turn it all out on the pathway and
swallow the dirt and the dregs in the bottom?</p>

<p><span class="pagenum"><a id="Page_12">[12]</a></span></p>

<p>10. <b>Good Books.&mdash;A Short Sermon.</b>&mdash;If you are a
scholar, professor or lawyer, doctor or clergyman,
do not stay locked in the narrow prison of your own
department, but go out into the world of thought
and breathe the air that comes from all the quarters
of the globe. Read other books than those that deal
with your profession,&mdash;poetry, philosophy, and travel.
Get out of the valleys up on to the ridges, where you
can see what relation your home bears to the rest of
the world. Go stand in the clamor of tongues, that
you may learn that the truth is broader than any
man's conception of it and become tolerant. Look
at the standards that other men use, and correct your
own by them. Learn what other thinkers and workers
are doing, that you may appreciate them and aid
them. Learn the Past, that you may know the Future.
Do not look out upon the world through one small
window; open all the doorways of your soul, let all
genius and beauty come in, that your life may be
bright with their glory.</p>

<p>If you are a busy merchant, artisan, or laborer, you
too can give a little time each day to books that are
the best. If Plato, Homer, Shakspeare, Tennyson,
or Milton came to town to-day, you would not let the
busiest hour prevent your catching sight of him; you
would stand a half day on the street in the sun or the
snow to catch but a glimpse of the famous form; but
how much better to receive his spirit in the heart
than only get his image on the eye! His choicest
thought is yours for the asking.<span class="pagenum"><a id="Page_13">[13]</a></span></p>

<p>If you are a thoughtless boy or silly girl, trying the
arts that win the matrimonial prize, remember that
there are no wings that fly so high as those of sense
and thought and inward beauty. Remember the old
song that ends,&mdash;</p>

<div class="poem"><div class="stanza">
<span class="i0">"Beauty vanish, wealth depart,<br /></span>
<span class="i0">Wit has won the lady's heart."<br /></span>
</div></div>

<p>Even as a preparation for a noble and successful
courtship, the best literature is an absolute necessity.
Perhaps you cannot travel: Humboldt, Cook,
and Darwin, Livingstone, and Stanley will tell you
more than you could see if you should go where
they have travelled. Perhaps you cannot have the
finest teachers in the studies you pursue: what a
splendid education one could get if he could learn
philosophy with Plato, Kant, and Spencer; astronomy
with Galileo, Herschel, and Laplace; mathematics
with Newton or Leibniz; natural history
with Cuvier or Agassiz; botany with Gray; geology
with Lyell or Dawson; history with Bancroft;
and poetry with Shakspeare, Milton, Dante, and
Homer! Well, those very teachers at their best are
yours if you will read their books. Each life is a
mixture of white and black, no one is perfect; but
every worthy passage and ennobling thought you read
adds to the white and crowds out the black; and of
what enormous import a few brief moments daily
spent with noble books may be, appears when we
remember that each act brings after it an infinite<span class="pagenum"><a id="Page_14">[14]</a></span>
series of consequences. It is an awe-inspiring truth
to me that with the color of my thought I tinge the
stream of life to its remotest hour; that some poor
brother far out on the ocean of the future, struggling
to breast the billows of temptation, may by my hand
be pulled beneath the waves, ruined by the influences
I put in action now; that, standing here, I make
the depths of all eternities to follow tremble to the
music of my life: as Tennyson has put it so beautifully
in his "Bugle Song,"&mdash;</p>

<div class="poem"><div class="stanza">
<span class="i0">"Blow, let us hear the purple glens replying:<br /></span>
<span class="i0">Blow, bugle; answer, echoes, dying, dying, dying.<br /></span>
</div><div class="stanza">
<span class="i3">"O love, they die in yon rich sky,<br /></span>
<span class="i6">They faint on hill or field or river:<br /></span>
<span class="i4"><i>Our echoes roll from soul to soul</i>,<br /></span>
<span class="i6"><i>And grow for ever and for ever</i>."<br /></span>
</div></div>

<p>How careful we should be of every moment if we
had imaginative power enough to fully realize the
meaning of the truth that slightly differing actions
now may build results at last as wide apart as poles
of opposite eternities! Even idleness, the negative of
goodness, would have no welcome at our door. Some
persons dream away two thirds of life, and deem
quiescence joy; but that is certainly a sad mistake.
The nearer to complete inaction we attain, the nearer
we are clay and stone; the more activity we gain,
that does not draw from future power, the higher
up the cliffs of life we climb, and nearer to celestial
life that never sleeps. Let no hour go idly by that<span class="pagenum"><a id="Page_15">[15]</a></span>
can be rendered rich and happy with a glorious bit
of Shakspeare, Dante, or Carlyle. Let us never
be deluded with the praise of peace, excepting that
of heart and conscience clear of all remorse. It
is ambition that has climbed the heights, and will
through all the future. Give me not the dead and
hopeless calm of indolent contentment, but far rather
the storm and the battle of life, with the star of my
hopes above me. Let me sail the central flow of the
stream, and travel the tides at the river's heart. I do
not wish to stay in any shady nook of quiet water,
where the river's rushing current never comes, and
straws and bubbles lie at rest or slowly eddying round
and round at anchor in their mimic harbor. How
often are we all like these imprisoned straws, revolving
listlessly within the narrow circle of the daily
duties of our lives, gaining no new truth, nor deeper
love or power or tenderness or joy, while all the
world around is sweeping to the sea! How often
do we let the days and moments, with their wealth
of life, fly past us with their treasure! Youth lies
in her loveliness, dreaming in her drifting boat, and
wakes to find her necklace has in some way come
unfast, and from the loosened ribbon trailing o'er the
rail the lustrous pearls have one by one been slipping
far beyond her reach in those deep waters over which
her slumbers passed. Do not let the pearls be lost.
Do not let the moments pass you till they yield their
wealth and add their beauty to your lives.<span class="pagenum"><a id="Page_16">[16]</a></span></p>

<p>11. <b>Abbreviations.&mdash;</b></p>

<p class="out-4">R. means, Read carefully.</p>

<p class="out-4">D. means, Digest the best passages; make the thought and
feeling your own.</p>

<p class="out-4">C. means, Commit passages in which valuable thought or
feeling is <i>exquisitely expressed</i>.</p>

<p class="out-4">G. means, Grasp the idea of the whole book; that is, the
train of the author's thought, his conclusions, and the
reasons for them.</p>

<p class="out-4">S. means, Swallow; that is, read as fast as you choose, it not
being worth while to do more than get a general impression
of the book.</p>

<p class="out-4">T. means, Taste; that is, skip here and there, just to get an
idea of the book, and see if you wish to read more.</p>

<p class="out-4">e. means <i>easy</i>; that is, of such character as to be within the
easy comprehension of one having no more than a
grammar-school education or its equivalent; and it
applies to all books that can be understood without
either close attention or more than an ordinary New
England grammar-school training.</p>

<p class="out-4">m. means <i>medium</i>; that is, of such character as to require
the close attention called "study," or a high-school
education, or both; and it applies to books the degree
of whose difficulty places them above the class e. and
below the class <i>d</i>.</p>

<p class="out-4">d. means <i>difficult</i>; that is, beyond the comprehension of an
ordinary person having only a New England high-school
education or its equivalent, even with close
study, unless the reader already has a fair understanding
of the <i>subject</i> of the book. In order to read with
advantage books that are marked <i>d.</i>, the mind should
be prepared by special reading of simpler books in
the same department of thought.</p>

<hr class="chapter" />

<p><span class="pagenum"><a id="Page_17">[17]</a></span></p>

<h2 id="TABLE_I">TABLE I.</h2>

<p class="h3">NOTE OF EXPLANATION.</p>

<div class="trnote">
<p>Transcriber's note:  The original format of the table exceeded
the width requirements for e-text. Therefore the table was
reformatted.  It is now organized from top to bottom in the order of
importance.  The first shelf and second shelf are arranged
side by side.</p>
</div>

<p><span class="smcap">Table I.</span> contains a list of authors whose books, on principle
and authority, have the strongest claims on the attention of the
average reader of English. They are arranged from left to right
in the order of importance of the divisions of the subject matter
regarded as wholes, and from above downward in the order of
their value in relation to the highest standard in their own department.
The <i>numbers</i> have nothing to do with the ranking,
but refer to notes that will be found on the pages following the
table. There is also, at the head of the notes relating to each
column of the table, a special note on the subject matter of that
column.</p>

<p>The upper part of the table represents the first shelf of
the world's library, and contains the books having the very
strongest claims upon the attention of all,&mdash;books with which
every one should endeavor to gain an acquaintance, at least <i>to
the extent</i> indicated in the notes.</p>

<p>The lower part of the table represents the second shelf of the
world's library, and contains books which in addition to those
of the first shelf should enter into a liberal education.</p>

<p>It must be always kept in mind that intrinsic merit alone
does not decide the position of a book in this table; for in order
to test the claim of a book upon the attention of a reader we
have to consider not only the artistic value of the author's work,
and its subject matter, but also the needs and abilities of the
reader. Thus it happens that it is not always the work of the
greatest genius which stands highest in the list. Moreover,
no claim is made that the ranking is perfect, especially on the
second shelf. The table is an example of the application of
the principles set forth in the <a href="#REMARKS_ON_TABLE_V">remarks following Table V</a>., to the
<span class="pagenum"><a id="Page_18">[18]</a></span>
case of the general reader. For every one above or below the
average reader the lists would have to be changed, and even
the average list has no quality of the absolute. It is but a suggestion,&mdash;a
suggestion, however, in which we have a good deal
of confidence, one that is based on a very wide induction,&mdash;and
we have no hesitation in affirming that the upper shelf represents
the best literature the world affords.</p>

<p>In addition to <a href="#TABLE_I">Table I</a>., there will be found in <a href="#TABLE_III">Tables III</a>. and
<a href="#TABLE_IV">IV</a>., and in the remarks upon the <a href="#CHILDREN">Guidance of Children</a> following
Table IV., a number of pieces of literary work of the very
highest merit and value. Some of the most important are Lowell's
"Vision of Sir Launfal," one of the very finest American poems;
Browning's "Ivan Ivanovitch;" Guyot's "Earth and Man;"
Mary Treat's "Home Book of Nature;" Burroughs' "Pepacton,"
"Signs and Seasons," "Wake Robin," etc.; Buckley's "Fairy
Land of Science," etc.; Ragozin's "Chaldea;" F&eacute;nelon's "Lives
of the Philosophers;" Bolton's "Poor Boys who became Famous;"
Rives' "Story of Arnon;" Drake's "Culprit Fay;" Dr.
Brown's "Rab and his Friends;" Mary Mapes Dodge's "Hans
Brinker;" Andrews' "Ten Boys on the Road;" Arnold's
"Sweetness and Light;" Higginson's "Vacations for Saints;"
and General Booth's "In Darkest England, and the Way Out,"
a book of great power, which sets forth the most practical method
yet proposed for the immediate relief of society from the burdens
of pauperism and vice.</p>

<p class="h3">TABLE I.&mdash;THE WORLD'S BEST BOOKS.</p>

<p class="h4">[See explanation on the preceding pages.]</p>

<div class="centered">
<table class="table1" border="01" cellpadding="4" cellspacing="0" summary="">
  <tr>
    <td class="tdc">(first shelf)</td>
    <td class="tdc">(second shelf)</td>
  </tr>
  <tr>
    <td colspan="2">1. Religion &amp; Morals.</td>
  </tr>
  <tr>
   <td class="tdl">Bible<a id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></td>
   <td class="tdl">Milton<a id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></td>
  </tr>
  <tr>
   <td class="tdl">Bunyan<a id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></td>
   <td class="tdl">Keble<a id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></td>
  </tr>
  <tr>
   <td class="tdl">Taylor<a id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></td>
   <td class="tdl">Cicero<a id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a></td>
  </tr>
  <tr>
   <td class="tdl">Kempis<a id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></td>
   <td class="tdl">Pascal<a id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a></td>
  </tr>
  <tr>
   <td class="tdl">Spencer<a id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></td>
   <td class="tdl">Channing<a id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></td>
  </tr>
  <tr>
   <td class="tdl">M. Aurelius<a id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></td>
   <td class="tdl">Aristotle<a id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a></td>
  </tr>
  <tr>
   <td class="tdl">Plutarch<a id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a></td>
   <td class="tdl">St. Augustine<a id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a></td>
  </tr>
  <tr>
   <td class="tdl">Seleca<a id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a></td>
   <td class="tdl">Butler<a id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a></td>
  </tr>
  <tr>
   <td class="tdl">Epictetus<a id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></td>
   <td class="tdl">Spinoza<a id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a></td>
  </tr>
  <tr>
   <td class="tdl">Brooks<a id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a></td>
  </tr>
  <tr>
   <td class="tdl">Drummond<a href="#Footnote_10_10" class="fnanchor">[10]</a></td>
  </tr>
  <tr>
    <td colspan="2">2. Poetry &amp; the Drama.</td>
  </tr>
  <tr>
   <td class="tdl">Shakspeare<a id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a></td>
   <td class="tdl">Spenser<a id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a></td>
  </tr>
  <tr>
   <td class="tdl">Homer<a id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a></td>
   <td class="tdl">Lowell<a id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a></td>
  </tr>
  <tr>
   <td class="tdl">Dante<a id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a></td>
   <td class="tdl">Whittier<a id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a></td>
  </tr>
  <tr>
   <td class="tdl">Goethe<a id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a></td>
   <td class="tdl">Tennyson<a id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a></td>
  </tr>
  <tr>
   <td class="tdl">Milton<a id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a></td>
   <td class="tdl">Burns<a id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a></td>
  </tr>
  <tr>
   <td class="tdl">&AElig;schylus<a id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a></td>
   <td class="tdl">Scott<a id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a></td>
  </tr>
  <tr>
   <td class="tdl">Fragments<a id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a></td>
   <td class="tdl">Byron<a id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Shelley<a id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a></td>
  </tr>
  <tr>
   <td class="tdl">&nbsp;</td>
   <td class="tdl">Keats<a id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a></td>
  </tr>
  <tr>
   <td class="tdl">&nbsp;</td>
   <td class="tdl">Campbell<a id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Moore<a id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Thomson<a id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Macaulay<a id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Dryden<a id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Collins<a id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Ingelow<a id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Bryant<a id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Longfellow<a id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Herbert<a id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Goldsmith<a id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Coleridge<a id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Wordsworth<a id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Pope<a id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Southey<a id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Walton<a id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Browning<a id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Young<a id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Jonson<a id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Beaumont &amp; F.<a id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Marlowe<a id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Sheridan<a id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Carleton<a id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Virgil<a id="FNanchor_60_59"></a><a href="#Footnote_60_59" class="fnanchor">[60]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Horace<a id="FNanchor_61_60"></a><a href="#Footnote_61_60" class="fnanchor">[61]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Lucretius<a id="FNanchor_62_61"></a><a href="#Footnote_62_61" class="fnanchor">[62]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Ovid<a id="FNanchor_63_62"></a><a href="#Footnote_63_62" class="fnanchor">[63]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Sophocles<a id="FNanchor_64_63"></a><a href="#Footnote_64_63" class="fnanchor">[64]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Euripides<a id="FNanchor_65_64"></a><a href="#Footnote_65_64" class="fnanchor">[65]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Aristophanes<a id="FNanchor_66_65"></a><a href="#Footnote_66_65" class="fnanchor">[66]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Pindar<a id="FNanchor_67_66"></a><a href="#Footnote_67_66" class="fnanchor">[67]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Hesiod<a id="FNanchor_68_67"></a><a href="#Footnote_68_67" class="fnanchor">[68]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Heine<a id="FNanchor_69_68"></a><a href="#Footnote_69_68" class="fnanchor">[69]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Schiller<a id="FNanchor_70_69"></a><a href="#Footnote_70_69" class="fnanchor">[70]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Corneille<a href="#Footnote_71_70" class="fnanchor">[71]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Racine<a href="#Footnote_71_70" class="fnanchor">[71]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Moli&egrave;re<a id="FNanchor_71_70"></a><a href="#Footnote_71_70" class="fnanchor">[71]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Musset<a id="FNanchor_74_71"></a><a href="#Footnote_74_71" class="fnanchor">[74]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Calderon<a id="FNanchor_75_72"></a><a href="#Footnote_75_72" class="fnanchor">[75]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Petrarch<a id="FNanchor_76_73"></a><a href="#Footnote_76_73" class="fnanchor">[76]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Ariosto<a id="FNanchor_77_74"></a><a href="#Footnote_77_74" class="fnanchor">[77]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Tasso<a id="FNanchor_78_75"></a><a href="#Footnote_78_75" class="fnanchor">[78]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Camoens<a id="FNanchor_79_76"></a><a href="#Footnote_79_76" class="fnanchor">[79]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Omar<a id="FNanchor_80_77"></a><a href="#Footnote_80_77" class="fnanchor">[80]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Firdusi<a href="#Footnote_81_78" class="fnanchor">[81]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Hafiz<a href="#Footnote_81_78" class="fnanchor">[81]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Saadi<a id="FNanchor_81_78"></a><a href="#Footnote_81_78" class="fnanchor">[81]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Arnold<a id="FNanchor_82_79"></a><a href="#Footnote_82_79" class="fnanchor">[82]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Pushkin<a id="FNanchor_83_80"></a><a href="#Footnote_83_80" class="fnanchor">[83]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Lermontoff<a id="FNanchor_84_81"></a><a href="#Footnote_84_81" class="fnanchor">[84]</a></td>
  </tr>
  <tr>
    <td colspan="2">3. Science.</td>
  </tr>
  <tr>
   <td class="tdl">Physiology and Hygiene<a id="FNanchor_85_82"></a><a href="#Footnote_85_82" class="fnanchor">[85]</a></td>
   <td class="tdl">De Tocqueville<a id="FNanchor_99_95"></a><a href="#Footnote_99_95" class="fnanchor">[99]</a></td>
  </tr>
  <tr>
   <td class="tdl">"Our Country"<a id="FNanchor_86_83"></a><a href="#Footnote_86_83" class="fnanchor">[86]</a></td>
   <td class="tdl">Von Holst<a id="FNanchor_100_96"></a><a href="#Footnote_100_96" class="fnanchor">[100]</a></td>
  </tr>
  <tr>
   <td class="tdl">Federalist<a id="FNanchor_88_84"></a><a href="#Footnote_88_84" class="fnanchor">[88]</a></td>
   <td class="tdl">Smith<a id="FNanchor_101_97"></a><a href="#Footnote_101_97" class="fnanchor">[101]</a></td>
  </tr>
  <tr>
   <td class="tdl">Bryce<a id="FNanchor_89_85"></a><a href="#Footnote_89_85" class="fnanchor">[89]</a></td>
   <td class="tdl">Malthus<a id="FNanchor_102_98"></a><a href="#Footnote_102_98" class="fnanchor">[102]</a></td>
  </tr>
  <tr>
   <td class="tdl">Montesquieu<a href="#Footnote_90_86" class="fnanchor">[90]</a></td>
   <td class="tdl">Carey<a id="FNanchor_103_99"></a><a href="#Footnote_103_99" class="fnanchor">[103]</a></td>
  </tr>
  <tr>
   <td class="tdl">Bagehot<a id="FNanchor_90_86"></a><a href="#Footnote_90_86" class="fnanchor">[90]</a></td>
   <td class="tdl">Cairnes<a id="FNanchor_104_100"></a><a href="#Footnote_104_100" class="fnanchor">[104]</a></td>
  </tr>
  <tr>
   <td class="tdl">Mill<a id="FNanchor_91_87"></a><a href="#Footnote_91_87" class="fnanchor">[91]</a></td>
   <td class="tdl">Freeman<a id="FNanchor_105_101"></a><a href="#Footnote_105_101" class="fnanchor">[105]</a></td>
  </tr>
  <tr>
   <td class="tdl">Bain<a id="FNanchor_92_88"></a><a href="#Footnote_92_88" class="fnanchor">[92]</a></td>
   <td class="tdl">Jevons<a id="FNanchor_106_102"></a><a href="#Footnote_106_102" class="fnanchor">[106]</a></td>
  </tr>
  <tr>
   <td class="tdl">Spencer<a id="FNanchor_93_89"></a><a href="#Footnote_93_89" class="fnanchor">[93]</a></td>
   <td class="tdl">Mulford<a id="FNanchor_107_103"></a><a href="#Footnote_107_103" class="fnanchor">[107]</a></td>
  </tr>
  <tr>
   <td class="tdl">Darwin<a id="FNanchor_94_90"></a><a href="#Footnote_94_90" class="fnanchor">[94]</a></td>
   <td class="tdl">Hobbes<a id="FNanchor_108_104"></a><a href="#Footnote_108_104" class="fnanchor">[108]</a></td>
  </tr>
  <tr>
   <td class="tdl">Herschel<a href="#Footnote_95_91" class="fnanchor">[95]</a></td>
   <td class="tdl">Machiavelli<a id="FNanchor_109_105"></a><a href="#Footnote_109_105" class="fnanchor">[109]</a></td>
  </tr>
  <tr>
   <td class="tdl">Proctor<a id="FNanchor_95_91"></a><a href="#Footnote_95_91" class="fnanchor">[95]</a></td>
   <td class="tdl">Max M&uuml;ller<a id="FNanchor_110_106"></a><a href="#Footnote_110_106" class="fnanchor">[110]</a></td>
  </tr>
  <tr>
   <td class="tdl">Lyell<a href="#Footnote_96_92" class="fnanchor">[96]</a></td>
   <td class="tdl">Trench<a id="FNanchor_111_107"></a><a href="#Footnote_111_107" class="fnanchor">[111]</a></td>
  </tr>
  <tr>
   <td class="tdl">Lubbock<a href="#Footnote_96_92" class="fnanchor">[96]</a></td>
   <td class="tdl">Taylor<a id="FNanchor_112_108"></a><a href="#Footnote_112_108" class="fnanchor">[112]</a></td>
  </tr>
  <tr>
   <td class="tdl">Dawson<a id="FNanchor_96_92"></a><a href="#Footnote_96_92" class="fnanchor">[96]</a></td>
   <td class="tdl">White<a id="FNanchor_113_109"></a><a href="#Footnote_113_109" class="fnanchor">[113]</a></td>
  </tr>
  <tr>
   <td class="tdl">Wood<a id="FNanchor_97_93"></a><a href="#Footnote_97_93" class="fnanchor">[97]</a></td>
   <td class="tdl">Cuvier<a id="FNanchor_114_110"></a><a href="#Footnote_114_110" class="fnanchor">[114]</a></td>
  </tr>
  <tr>
   <td class="tdl">Whewell<a id="FNanchor_98_94"></a><a href="#Footnote_98_94" class="fnanchor">[98]</a></td>
   <td class="tdl">Cook<a id="FNanchor_115_111"></a><a href="#Footnote_115_111" class="fnanchor">[115]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Tyndall<a id="FNanchor_116_112"></a><a href="#Footnote_116_112" class="fnanchor">[116]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Airy<a id="FNanchor_117_113"></a><a href="#Footnote_117_113" class="fnanchor">[117]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Faraday<a id="FNanchor_118_114"></a><a href="#Footnote_118_114" class="fnanchor">[118]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Helmholtz<a id="FNanchor_119_115"></a><a href="#Footnote_119_115" class="fnanchor">[119]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Huxley<a id="FNanchor_120_116"></a><a href="#Footnote_120_116" class="fnanchor">[120]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Gray<a id="FNanchor_121_117"></a><a href="#Footnote_121_117" class="fnanchor">[121]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Agassiz<a id="FNanchor_122_118"></a><a href="#Footnote_122_118" class="fnanchor">[122]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Silliman<a id="FNanchor_123_119"></a><a href="#Footnote_123_119" class="fnanchor">[123]</a></td>
  </tr>
  <tr>
    <td colspan="2">4. Biography.</td>
  </tr>
  <tr>
   <td class="tdl">Plutarch<a id="FNanchor_124_120"></a><a href="#Footnote_124_120" class="fnanchor">[124]</a></td>
   <td class="tdl">G. Smith<a id="FNanchor_139_135"></a><a href="#Footnote_139_135" class="fnanchor">[139]</a></td>
  </tr>
  <tr>
   <td class="tdl">Phillips<a id="FNanchor_125_121"></a><a href="#Footnote_125_121" class="fnanchor">[125]</a></td>
   <td class="tdl">Bourrienne<a id="FNanchor_140_136"></a><a href="#Footnote_140_136" class="fnanchor">[140]</a></td>
  </tr>
  <tr>
   <td class="tdl">Boswell<a id="FNanchor_126_122"></a><a href="#Footnote_126_122" class="fnanchor">[126]</a></td>
   <td class="tdl">Johnson<a id="FNanchor_141_137"></a><a href="#Footnote_141_137" class="fnanchor">[141]</a></td>
  </tr>
  <tr>
   <td class="tdl">Lockhart<a id="FNanchor_127_123"></a><a href="#Footnote_127_123" class="fnanchor">[127]</a></td>
   <td class="tdl">Walton<a id="FNanchor_142_138"></a><a href="#Footnote_142_138" class="fnanchor">[142]</a></td>
  </tr>
  <tr>
   <td class="tdl">Marshall<a href="#Footnote_128_124" class="fnanchor">[128]</a></td>
   <td class="tdl">Stanley<a id="FNanchor_143_139"></a><a href="#Footnote_143_139" class="fnanchor">[143]</a></td>
  </tr>
  <tr>
   <td class="tdl">Franklin<a id="FNanchor_128_124"></a><a href="#Footnote_128_124" class="fnanchor">[128]</a></td>
   <td class="tdl">Irving<a id="FNanchor_144_140"></a><a href="#Footnote_144_140" class="fnanchor">[144]</a></td>
  </tr>
  <tr>
   <td class="tdl">Nicolay &amp; H.<a href="#Footnote_129_125" class="fnanchor">[129]</a></td>
   <td class="tdl">Southey<a id="FNanchor_145_141"></a><a href="#Footnote_145_141" class="fnanchor">[145]</a></td>
  </tr>
  <tr>
   <td class="tdl">Grant<a id="FNanchor_129_125"></a><a href="#Footnote_129_125" class="fnanchor">[129]</a></td>
   <td class="tdl">Stanhope<a id="FNanchor_146_142"></a><a href="#Footnote_146_142" class="fnanchor">[146]</a></td>
  </tr>
  <tr>
   <td class="tdl">Carlyle<a href="#Footnote_130_126" class="fnanchor">[130]</a></td>
   <td class="tdl">Moore<a id="FNanchor_147_143"></a><a href="#Footnote_147_143" class="fnanchor">[147]</a></td>
  </tr>
  <tr>
   <td class="tdl">Renan<a id="FNanchor_130_126"></a><a href="#Footnote_130_126" class="fnanchor">[130]</a></td>
   <td class="tdl">Jameson<a id="FNanchor_148_144"></a><a href="#Footnote_148_144" class="fnanchor">[148]</a></td>
  </tr>
  <tr>
   <td class="tdl">Farrar<a id="FNanchor_131_127"></a><a href="#Footnote_131_127" class="fnanchor">[131]</a></td>
   <td class="tdl">Baring-Gould<a id="FNanchor_149_145"></a><a href="#Footnote_149_145" class="fnanchor">[149]</a></td>
  </tr>
  <tr>
   <td class="tdl">Emerson<a id="FNanchor_132_128"></a><a href="#Footnote_132_128" class="fnanchor">[132]</a></td>
   <td class="tdl">Field<a id="FNanchor_150_146"></a><a href="#Footnote_150_146" class="fnanchor">[150]</a></td>
  </tr>
  <tr>
   <td class="tdl">Greatest Men<a id="FNanchor_133_129"></a><a href="#Footnote_133_129" class="fnanchor">[133]</a></td>
   <td class="tdl">Hamilton<a href="#Footnote_151_147" class="fnanchor">[151]</a></td>
  </tr>
  <tr>
   <td class="tdl">Parton<a id="FNanchor_134_130"></a><a href="#Footnote_134_130" class="fnanchor">[134]</a></td>
   <td class="tdl">Darwin<a href="#Footnote_151_147" class="fnanchor">[151]</a></td>
  </tr>
  <tr>
   <td class="tdl">Hale<a id="FNanchor_135_131"></a><a href="#Footnote_135_131" class="fnanchor">[135]</a></td>
   <td class="tdl">Alcott<a href="#Footnote_151_147" class="fnanchor">[151]</a></td>
  </tr>
  <tr>
   <td class="tdl">Drake<a id="FNanchor_136_132"></a><a href="#Footnote_136_132" class="fnanchor">[136]</a></td>
   <td class="tdl">Talleyrand<a href="#Footnote_151_147" class="fnanchor">[151]</a></td>
  </tr>
  <tr>
   <td class="tdl">Fox<a id="FNanchor_137_133"></a><a href="#Footnote_137_133" class="fnanchor">[137]</a></td>
   <td class="tdl">Macaulay<a href="#Footnote_151_147" class="fnanchor">[151]</a></td>
  </tr>
  <tr>
   <td class="tdl">Grimm<a id="FNanchor_138_134"></a><a href="#Footnote_138_134" class="fnanchor">[138]</a></td>
   <td class="tdl">Bashkirtseff<a href="#Footnote_151_147" class="fnanchor">[151]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Guerin<a href="#Footnote_151_147" class="fnanchor">[151]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Jefferson<a href="#Footnote_151_147" class="fnanchor">[151]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">American Statesmen<a href="#Footnote_151_147" class="fnanchor">[151]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">English Men of Letters<a id="FNanchor_151_147"></a><a href="#Footnote_151_147" class="fnanchor">[151]</a></td>
  </tr>
  <tr>
    <td colspan="2">5. History.</td>
  </tr>
  <tr>
   <td class="tdl">Green<a id="FNanchor_152_148"></a><a href="#Footnote_152_148" class="fnanchor">[152]</a></td>
   <td class="tdl">Creasy <a id="FNanchor_155A_152"></a><a href="#Footnote_155A_152" class="fnanchor">[155a]</a></td>
  </tr>
  <tr>
   <td class="tdl">Bancroft<a id="FNanchor_153_149"></a><a href="#Footnote_153_149" class="fnanchor">[153]</a></td>
   <td class="tdl">Lecky<a id="FNanchor_156_153"></a><a href="#Footnote_156_153" class="fnanchor">[156]</a></td>
  </tr>
  <tr>
   <td class="tdl">Guizot<a href="#Footnote_154_150" class="fnanchor">[154]</a></td>
   <td class="tdl">Clarke<a id="FNanchor_157_154"></a><a href="#Footnote_157_154" class="fnanchor">[157]</a></td>
  </tr>
  <tr>
   <td class="tdl">Buckle<a id="FNanchor_154_150"></a><a href="#Footnote_154_150" class="fnanchor">[154]</a></td>
   <td class="tdl">Moffat<a id="FNanchor_158_155"></a><a href="#Footnote_158_155" class="fnanchor">[158]</a></td>
  </tr>
  <tr>
   <td class="tdl">Parkman<a href="#Footnote_155_151" class="fnanchor">[155]</a></td>
   <td class="tdl">Draper<a id="FNanchor_159_156"></a><a href="#Footnote_159_156" class="fnanchor">[159]</a></td>
  </tr>
  <tr>
   <td class="tdl">Freeman<a href="#Footnote_155_151" class="fnanchor">[155]</a></td>
   <td class="tdl">Hallam<a id="FNanchor_160_157"></a><a href="#Footnote_160_157" class="fnanchor">[160]</a></td>
  </tr>
  <tr>
   <td class="tdl">Fiske<a href="#Footnote_155_151" class="fnanchor">[155]</a></td>
   <td class="tdl">May<a id="FNanchor_161_158"></a><a href="#Footnote_161_158" class="fnanchor">[161]</a></td>
  </tr>
  <tr>
   <td class="tdl">Fyffe<a id="FNanchor_155_151"></a><a href="#Footnote_155_151" class="fnanchor">[155]</a></td>
   <td class="tdl">Hume<a id="FNanchor_162_159"></a><a href="#Footnote_162_159" class="fnanchor">[162]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Macaulay<a id="FNanchor_163_160"></a><a href="#Footnote_163_160" class="fnanchor">[163]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Froude<a id="FNanchor_164_161"></a><a href="#Footnote_164_161" class="fnanchor">[164]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Gibbon<a id="FNanchor_165_162"></a><a href="#Footnote_165_162" class="fnanchor">[165]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Grote<a id="FNanchor_166_163"></a><a href="#Footnote_166_163" class="fnanchor">[166]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Palfrey<a id="FNanchor_167_164"></a><a href="#Footnote_167_164" class="fnanchor">[167]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Prescott<a id="FNanchor_168_165"></a><a href="#Footnote_168_165" class="fnanchor">[168]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Motley<a id="FNanchor_169_166"></a><a href="#Footnote_169_166" class="fnanchor">[169]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Frothingham <a id="FNanchor_169A_167"></a><a href="#Footnote_169A_167" class="fnanchor">[169a]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Wilkinson<a id="FNanchor_170_168"></a><a href="#Footnote_170_168" class="fnanchor">[170]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Niebuhr<a id="FNanchor_171_169"></a><a href="#Footnote_171_169" class="fnanchor">[171]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Menzel<a id="FNanchor_172_170"></a><a href="#Footnote_172_170" class="fnanchor">[172]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Milman<a id="FNanchor_173_171"></a><a href="#Footnote_173_171" class="fnanchor">[173]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Ranke<a id="FNanchor_174_172"></a><a href="#Footnote_174_172" class="fnanchor">[174]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Sismondi<a id="FNanchor_175_173"></a><a href="#Footnote_175_173" class="fnanchor">[175]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Michelet<a id="FNanchor_176_174"></a><a href="#Footnote_176_174" class="fnanchor">[176]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Carlyle<a id="FNanchor_177_175"></a><a href="#Footnote_177_175" class="fnanchor">[177]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Thierry<a id="FNanchor_178_176"></a><a href="#Footnote_178_176" class="fnanchor">[178]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Tacitus<a id="FNanchor_179_177"></a><a href="#Footnote_179_177" class="fnanchor">[179]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Livy<a id="FNanchor_180_178"></a><a href="#Footnote_180_178" class="fnanchor">[180]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Sallust<a id="FNanchor_181_179"></a><a href="#Footnote_181_179" class="fnanchor">[181]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Herodotus<a id="FNanchor_182_180"></a><a href="#Footnote_182_180" class="fnanchor">[182]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Xenophon<a id="FNanchor_183_181"></a><a href="#Footnote_183_181" class="fnanchor">[183]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Thucydides<a id="FNanchor_184_182"></a><a href="#Footnote_184_182" class="fnanchor">[184]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Josephus<a href="#Footnote_185_183" class="fnanchor">[185]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Mackenzie<a href="#Footnote_185_183" class="fnanchor">[185]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Rawlinson<a id="FNanchor_185_183"></a><a href="#Footnote_185_183" class="fnanchor">[185]</a></td>
  </tr>
  <tr>
    <td colspan="2">6. Philosophy.</td>
  </tr>
  <tr>
   <td class="tdl">Spencer<a id="FNanchor_186_184"></a><a href="#Footnote_186_184" class="fnanchor">[186]</a></td>
   <td class="tdl">Mill<a id="FNanchor_192_190"></a><a href="#Footnote_192_190" class="fnanchor">[192]</a></td>
  </tr>
  <tr>
   <td class="tdl">Plato<a id="FNanchor_187_185"></a><a href="#Footnote_187_185" class="fnanchor">[187]</a></td>
   <td class="tdl">Mansel<a id="FNanchor_193_191"></a><a href="#Footnote_193_191" class="fnanchor">[193]</a></td>
  </tr>
  <tr>
   <td class="tdl">Berkeley<a id="FNanchor_188_186"></a><a href="#Footnote_188_186" class="fnanchor">[188]</a></td>
   <td class="tdl">B&uuml;chner<a id="FNanchor_194_192"></a><a href="#Footnote_194_192" class="fnanchor">[194]</a></td>
  </tr>
  <tr>
   <td class="tdl">Kant<a id="FNanchor_189_187"></a><a href="#Footnote_189_187" class="fnanchor">[189]</a></td>
   <td class="tdl">Edwards<a id="FNanchor_195_193"></a><a href="#Footnote_195_193" class="fnanchor">[195]</a></td>
  </tr>
  <tr>
   <td class="tdl">Locke &amp; Hobbes<a id="FNanchor_190_188"></a><a href="#Footnote_190_188" class="fnanchor">[190]</a></td>
   <td class="tdl">Bentham<a id="FNanchor_196_194"></a><a href="#Footnote_196_194" class="fnanchor">[196]</a></td>
  </tr>
  <tr>
   <td class="tdl">Comte<a id="FNanchor_191_189"></a><a href="#Footnote_191_189" class="fnanchor">[191]</a></td>
   <td class="tdl">Maurice<a id="FNanchor_197_195"></a><a href="#Footnote_197_195" class="fnanchor">[197]</a></td>
  </tr>
  <tr>
   <td class="tdl">Lewes</td>
   <td class="tdl">Hume<a id="FNanchor_198_196"></a><a href="#Footnote_198_196" class="fnanchor">[198]</a></td>
  </tr>
  <tr>
   <td class="tdl">or Ueberweg</td>
   <td class="tdl">Hamilton<a id="FNanchor_199_197"></a><a href="#Footnote_199_197" class="fnanchor">[199]</a></td>
  </tr>
  <tr>
   <td class="tdl">or Schwegler</td>
   <td class="tdl">Aristotle<a id="FNanchor_200_198"></a><a href="#Footnote_200_198" class="fnanchor">[200]</a></td>
  </tr>
  <tr>
   <td class="tdl">or Schlegel</td>
   <td class="tdl">Descartes<a href="#Footnote_201_199" class="fnanchor">[201]</a></td>
  </tr>
  <tr>
   <td class="tdl">on the History of Philosophy</td>
   <td class="tdl">Cousin<a id="FNanchor_201_199"></a><a href="#Footnote_201_199" class="fnanchor">[201]</a></td>
  </tr>
  <tr>
   <td class="tdl">&nbsp;</td>
   <td class="tdl">Hegel &amp; Schelling<a id="FNanchor_202_200"></a><a href="#Footnote_202_200" class="fnanchor">[202]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Fichte<a id="FNanchor_203_201"></a><a href="#Footnote_203_201" class="fnanchor">[203]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Erasmus<a id="FNanchor_204_202"></a><a href="#Footnote_204_202" class="fnanchor">[204]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Fiske<a id="FNanchor_205_203"></a><a href="#Footnote_205_203" class="fnanchor">[205]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Hickok<a id="FNanchor_206_204"></a><a href="#Footnote_206_204" class="fnanchor">[206]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">McCosh<a id="FNanchor_207_205"></a><a href="#Footnote_207_205" class="fnanchor">[207]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Spinoza<a id="FNanchor_208_206"></a><a href="#Footnote_208_206" class="fnanchor">[208]</a></td>
  </tr>
  <tr>
    <td colspan="2">7. Essays.</td>
  </tr>
  <tr>
   <td class="tdl">Emerson<a id="FNanchor_209_207"></a><a href="#Footnote_209_207" class="fnanchor">[209]</a></td>
   <td class="tdl">Macaulay</td>
  </tr>
  <tr>
   <td class="tdl">Bacon<a id="FNanchor_210_208"></a><a href="#Footnote_210_208" class="fnanchor">[210]</a></td>
   <td class="tdl">Leigh Hunt</td>
  </tr>
  <tr>
   <td class="tdl">Montaigne<a id="FNanchor_211_209"></a><a href="#Footnote_211_209" class="fnanchor">[211]</a></td>
   <td class="tdl">Arnold</td>
  </tr>
  <tr>
   <td class="tdl">Ruskin<a href="#Footnote_212_210" class="fnanchor">[212]</a></td>
   <td class="tdl">Buckle</td>
  </tr>
  <tr>
   <td class="tdl">Carlyle<a href="#Footnote_212_210" class="fnanchor">[212]</a></td>
   <td class="tdl">Hume</td>
  </tr>
  <tr>
   <td class="tdl">Addison<a id="FNanchor_212_210"></a><a href="#Footnote_212_210" class="fnanchor">[212]</a></td>
   <td class="tdl">Froude</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Symonds</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Steele</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Browne</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Johnson</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">De Quincey</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Foster</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Hazlitt</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Lessing</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Sparks</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Disraeli</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Whipple</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Lamb</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Schiller</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Coleridge</td>
  </tr>
  <tr>
    <td colspan="2">8. Fiction.</td>
  </tr>
  <tr>
   <td class="tdl">Scott<a id="FNanchor_213_211"></a><a href="#Footnote_213_211" class="fnanchor">[213]</a></td>
   <td class="tdl">Rousseau<a href="#Footnote_235_233" class="fnanchor">[235]</a></td>
  </tr>
  <tr>
   <td class="tdl">Eliot<a id="FNanchor_214_212"></a><a href="#Footnote_214_212" class="fnanchor">[214]</a></td>
   <td class="tdl">Saintine<a id="FNanchor_235_233"></a><a href="#Footnote_235_233" class="fnanchor">[235]</a></td>
  </tr>
  <tr>
   <td class="tdl">Dickens<a id="FNanchor_215_213"></a><a href="#Footnote_215_213" class="fnanchor">[215]</a></td>
   <td class="tdl">Coffin<a href="#Footnote_236_234" class="fnanchor">[236]</a></td>
  </tr>
  <tr>
   <td class="tdl">Hawthorne<a id="FNanchor_216_214"></a><a href="#Footnote_216_214" class="fnanchor">[216]</a></td>
   <td class="tdl">Reade<a href="#Footnote_236_234" class="fnanchor">[236]</a></td>
  </tr>
  <tr>
   <td class="tdl">Goldsmith<a id="FNanchor_217_215"></a><a href="#Footnote_217_215" class="fnanchor">[217]</a></td>
   <td class="tdl">Warren<a id="FNanchor_236_234"></a><a href="#Footnote_236_234" class="fnanchor">[236]</a></td>
  </tr>
  <tr>
   <td class="tdl">Bulwer<a id="FNanchor_218_216"></a><a href="#Footnote_218_216" class="fnanchor">[218]</a></td>
   <td class="tdl">Landor<a href="#Footnote_237_235" class="fnanchor">[237]</a></td>
  </tr>
  <tr>
   <td class="tdl">MacDonald<a id="FNanchor_219_217"></a><a href="#Footnote_219_217" class="fnanchor">[219]</a></td>
   <td class="tdl">Turgenieff<a href="#Footnote_237_235" class="fnanchor">[237]</a></td>
  </tr>
  <tr>
   <td class="tdl">Thackeray<a id="FNanchor_220_218"></a><a href="#Footnote_220_218" class="fnanchor">[220]</a></td>
   <td class="tdl">Sue<a href="#Footnote_237_235" class="fnanchor">[237]</a></td>
  </tr>
  <tr>
   <td class="tdl">Kingsley<a id="FNanchor_221_219"></a><a href="#Footnote_221_219" class="fnanchor">[221]</a></td>
   <td class="tdl">Manzoni<a id="FNanchor_237_235"></a><a href="#Footnote_237_235" class="fnanchor">[237]</a></td>
  </tr>
  <tr>
   <td class="tdl">Wallace<a id="FNanchor_222_220"></a><a href="#Footnote_222_220" class="fnanchor">[222]</a></td>
   <td class="tdl">Cottin<a href="#Footnote_238_236" class="fnanchor">[238]</a></td>
  </tr>
  <tr>
   <td class="tdl">Tourg&eacute;e<a id="FNanchor_223_221"></a><a href="#Footnote_223_221" class="fnanchor">[223]</a></td>
   <td class="tdl">Besant<a href="#Footnote_238_236" class="fnanchor">[238]</a></td>
  </tr>
  <tr>
   <td class="tdl">Hugo<a href="#Footnote_224_222" class="fnanchor">[224]</a></td>
   <td class="tdl">Stevenson<a id="FNanchor_238_236"></a><a href="#Footnote_238_236" class="fnanchor">[238]</a></td>
  </tr>
  <tr>
   <td class="tdl">Dumas<a id="FNanchor_224_222"></a><a href="#Footnote_224_222" class="fnanchor">[224]</a></td>
   <td class="tdl">Ward<a href="#Footnote_239_237" class="fnanchor">[239]</a></td>
  </tr>
  <tr>
   <td class="tdl">Defoe<a href="#Footnote_225_223" class="fnanchor">[225]</a></td>
   <td class="tdl">Deland<a href="#Footnote_239_237" class="fnanchor">[239]</a></td>
  </tr>
  <tr>
   <td class="tdl">Hughes<a id="FNanchor_225_223"></a><a href="#Footnote_225_223" class="fnanchor">[225]</a></td>
   <td class="tdl">Sewell<a href="#Footnote_239_237" class="fnanchor">[239]</a></td>
  </tr>
  <tr>
   <td class="tdl">Stowe<a href="#Footnote_226_224" class="fnanchor">[226]</a></td>
   <td class="tdl">Bret Harte<a id="FNanchor_239_237"></a><a href="#Footnote_239_237" class="fnanchor">[239]</a></td>
  </tr>
  <tr>
   <td class="tdl">Cooper<a id="FNanchor_226_224"></a><a href="#Footnote_226_224" class="fnanchor">[226]</a></td>
   <td class="tdl">Green<a href="#Footnote_240_238" class="fnanchor">[240]</a></td>
  </tr>
  <tr>
   <td class="tdl">Curtis<a href="#Footnote_227_225" class="fnanchor">[227]</a></td>
   <td class="tdl">Mulock<a href="#Footnote_240_238" class="fnanchor">[240]</a></td>
  </tr>
  <tr>
   <td class="tdl">Warner<a id="FNanchor_227_225"></a><a href="#Footnote_227_225" class="fnanchor">[227]</a></td>
   <td class="tdl">Disraeli<a href="#Footnote_240_238" class="fnanchor">[240]</a></td>
  </tr>
  <tr>
   <td class="tdl">Aldrich<a href="#Footnote_228_226" class="fnanchor">[228]</a></td>
   <td class="tdl">Howells<a href="#Footnote_240_238" class="fnanchor">[240]</a></td>
  </tr>
  <tr>
   <td class="tdl">Hearn<a id="FNanchor_228_226"></a><a href="#Footnote_228_226" class="fnanchor">[228]</a></td>
   <td class="tdl">Tolsto&iuml;<a id="FNanchor_240_238"></a><a href="#Footnote_240_238" class="fnanchor">[240]</a></td>
  </tr>
  <tr>
   <td class="tdl">Ebers<a href="#Footnote_229_227" class="fnanchor">[229]</a></td>
   <td class="tdl">Sand<a href="#Footnote_241_239" class="fnanchor">[241]</a></td>
  </tr>
  <tr>
   <td class="tdl">Sienkiewicz<a id="FNanchor_229_227"></a><a href="#Footnote_229_227" class="fnanchor">[229]</a></td>
   <td class="tdl">Black<a href="#Footnote_241_239" class="fnanchor">[241]</a></td>
  </tr>
  <tr>
   <td class="tdl">Austen<a href="#Footnote_230_228" class="fnanchor">[230]</a></td>
   <td class="tdl">Blackmore<a href="#Footnote_241_239" class="fnanchor">[241]</a></td>
  </tr>
  <tr>
   <td class="tdl">Bront&eacute;<a id="FNanchor_230_228"></a><a href="#Footnote_230_228" class="fnanchor">[230]</a></td>
   <td class="tdl">Schreiner<a id="FNanchor_241_239"></a><a href="#Footnote_241_239" class="fnanchor">[241]</a></td>
  </tr>
  <tr>
   <td class="tdl">Alcott<a href="#Footnote_231_229" class="fnanchor">[231]</a></td>
   <td class="tdl">Bremer<a href="#Footnote_242_240" class="fnanchor">[242]</a></td>
  </tr>
  <tr>
   <td class="tdl">Burnett<a id="FNanchor_231_229"></a><a href="#Footnote_231_229" class="fnanchor">[231]</a></td>
   <td class="tdl">Trollope<a href="#Footnote_242_240" class="fnanchor">[242]</a></td>
  </tr>
  <tr>
   <td class="tdl">Cable<a href="#Footnote_232_230" class="fnanchor">[232]</a></td>
   <td class="tdl">Winthrop<a id="FNanchor_242_240"></a><a href="#Footnote_242_240" class="fnanchor">[242]</a></td>
  </tr>
  <tr>
   <td class="tdl">Craddock<a id="FNanchor_232_230"></a><a href="#Footnote_232_230" class="fnanchor">[232]</a></td>
   <td class="tdl">Richardson<a href="#Footnote_243_241" class="fnanchor">[243]</a></td>
  </tr>
  <tr>
   <td class="tdl">Whitney<a href="#Footnote_233_231" class="fnanchor">[233]</a></td>
   <td class="tdl">Smollett<a href="#Footnote_243_241" class="fnanchor">[243]</a></td>
  </tr>
  <tr>
   <td class="tdl">Jewett<a id="FNanchor_233_231"></a><a href="#Footnote_233_231" class="fnanchor">[233]</a></td>
   <td class="tdl">Boccaccio<a id="FNanchor_243_241"></a><a href="#Footnote_243_241" class="fnanchor">[243]</a></td>
  </tr>
  <tr>
   <td class="tdl">Fielding<a href="#Footnote_234_232" class="fnanchor">[234]</a></td>
  </tr>
  <tr>
   <td class="tdl">Le Sage<a href="#Footnote_234_232" class="fnanchor">[234]</a></td>
  </tr>
  <tr>
   <td class="tdl">Balzac<a id="FNanchor_234_232"></a><a href="#Footnote_234_232" class="fnanchor">[234]</a></td>
  </tr>
  <tr>
    <td colspan="2">9. Oratory.</td>
  </tr>
  <tr>
   <td class="tdl">Demosthenes</td>
   <td class="tdl">Sumner</td>
  </tr>
  <tr>
   <td class="tdl">Burke</td>
   <td class="tdl">Henry</td>
  </tr>
  <tr>
   <td class="tdl">Fox</td>
   <td class="tdl">Otis</td>
  </tr>
  <tr>
   <td class="tdl">Pitt</td>
   <td class="tdl">Jay</td>
  </tr>
  <tr>
   <td class="tdl">Webster</td>
   <td class="tdl">Madison</td>
  </tr>
  <tr>
   <td class="tdl">Clay</td>
   <td class="tdl">Jefferson</td>
  </tr>
  <tr>
   <td class="tdl">Phillips</td>
   <td class="tdl">Beecher</td>
  </tr>
  <tr>
   <td class="tdl">Lincoln</td>
   <td class="tdl">Brooks</td>
  </tr>
  <tr>
   <td class="tdl">Everett</td>
   <td class="tdl">Choate</td>
  </tr>
  <tr>
   <td class="tdl">Bright</td>
   <td class="tdl">Garfield</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Ingersoll</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Erskine</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Sheridan</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Gladstone</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Cicero</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Quintilian</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Bossuet</td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Saint Chrysostom</td>
  </tr>
  <tr>
    <td colspan="2">10. Wit &amp; Humor.</td>
  </tr>
  <tr>
   <td class="tdl">Lowell<a id="FNanchor_244_242"></a><a href="#Footnote_244_242" class="fnanchor">[244]</a></td>
   <td class="tdl">Ingersoll<a id="FNanchor_248_246"></a><a href="#Footnote_248_246" class="fnanchor">[248]</a></td>
  </tr>
  <tr>
   <td class="tdl">Holmes<a id="FNanchor_245_243"></a><a href="#Footnote_245_243" class="fnanchor">[245]</a></td>
   <td class="tdl">Holley<a id="FNanchor_249_247"></a><a href="#Footnote_249_247" class="fnanchor">[249]</a></td>
  </tr>
  <tr>
   <td class="tdl">Dickens<a id="FNanchor_246_244"></a><a href="#Footnote_246_244" class="fnanchor">[246]</a></td>
   <td class="tdl">Curtis<a id="FNanchor_250_248"></a><a href="#Footnote_250_248" class="fnanchor">[250]</a></td>
  </tr>
  <tr>
   <td class="tdl">Cervantes<a id="FNanchor_247_245"></a><a href="#Footnote_247_245" class="fnanchor">[247]</a></td>
   <td class="tdl">Depew<a id="FNanchor_251_249"></a><a href="#Footnote_251_249" class="fnanchor">[251]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Twain<a id="FNanchor_252_250"></a><a href="#Footnote_252_250" class="fnanchor">[252]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Warner<a id="FNanchor_253"></a><a href="#Footnote_253" class="fnanchor">[253]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Edwards<a id="FNanchor_254_251"></a><a href="#Footnote_254_251" class="fnanchor">[254]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Hale<a id="FNanchor_255_252"></a><a href="#Footnote_255_252" class="fnanchor">[255]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Nasby<a id="FNanchor_256_253"></a><a href="#Footnote_256_253" class="fnanchor">[256]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Ward<a id="FNanchor_257_254"></a><a href="#Footnote_257_254" class="fnanchor">[257]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Jerrold<a id="FNanchor_258_255"></a><a href="#Footnote_258_255" class="fnanchor">[258]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Voltaire<a href="#Footnote_259_256" class="fnanchor">[259]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Byron<a id="FNanchor_259_256"></a><a href="#Footnote_259_256" class="fnanchor">[259]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Butler<a href="#Footnote_260_257" class="fnanchor">[260]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Swift<a id="FNanchor_260_257"></a><a href="#Footnote_260_257" class="fnanchor">[260]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Rabelais<a href="#Footnote_261_258" class="fnanchor">[261]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Sterne<a id="FNanchor_261_258"></a><a href="#Footnote_261_258" class="fnanchor">[261]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Juvenal<a href="#Footnote_262_259" class="fnanchor">[262]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Lucian<a id="FNanchor_262_259"></a><a href="#Footnote_262_259" class="fnanchor">[262]</a></td>
  </tr>
  <tr>
    <td colspan="2">11. Fables &amp; Fairy Tales.</td>
  </tr>
  <tr>
   <td class="tdl">Andersen<a id="FNanchor_263_260"></a><a href="#Footnote_263_260" class="fnanchor">[263]</a></td>
   <td class="tdl">Bulfinch<a id="FNanchor_268_265"></a><a href="#Footnote_268_265" class="fnanchor">[268]</a></td>
  </tr>
  <tr>
   <td class="tdl">La Fontaine<a id="FNanchor_264_261"></a><a href="#Footnote_264_261" class="fnanchor">[264]</a></td>
   <td class="tdl">Saxe<a id="FNanchor_269_266"></a><a href="#Footnote_269_266" class="fnanchor">[269]</a></td>
  </tr>
  <tr>
   <td class="tdl">&AElig;sop<a id="FNanchor_265_262"></a><a href="#Footnote_265_262" class="fnanchor">[265]</a></td>
   <td class="tdl">Florian<a href="#Footnote_270_267" class="fnanchor">[270]</a></td>
  </tr>
  <tr>
   <td class="tdl">Grimm<a id="FNanchor_266_263"></a><a href="#Footnote_266_263" class="fnanchor">[266]</a></td>
   <td class="tdl">Kipling<a id="FNanchor_270_267"></a><a href="#Footnote_270_267" class="fnanchor">[270]</a></td>
  </tr>
  <tr>
   <td class="tdl">Goethe<a href="#Footnote_267_264" class="fnanchor">[267]</a></td>
   <td class="tdl">Babrius<a id="FNanchor_271_268"></a><a href="#Footnote_271_268" class="fnanchor">[271]</a></td>
  </tr>
  <tr>
   <td class="tdl">Hawthorne<a id="FNanchor_267_264"></a><a href="#Footnote_267_264" class="fnanchor">[267]</a></td>
   <td class="tdl">Hauff<a id="FNanchor_272_269"></a><a href="#Footnote_272_269" class="fnanchor">[272]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Ovid<a href="#Footnote_273_270" class="fnanchor">[273]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Curtin<a href="#Footnote_273_270" class="fnanchor">[273]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Fiske<a id="FNanchor_273_270"></a><a href="#Footnote_273_270" class="fnanchor">[273]</a></td>
  </tr>
  <tr>
    <td colspan="2">12. Travel.</td>
  </tr>
  <tr>
   <td class="tdl">Cook<a id="FNanchor_274_271"></a><a href="#Footnote_274_271" class="fnanchor">[274]</a></td>
   <td class="tdl">Marco Polo<a id="FNanchor_277_274"></a><a href="#Footnote_277_274" class="fnanchor">[277]</a></td>
  </tr>
  <tr>
   <td class="tdl">Humboldt<a id="FNanchor_275_272"></a><a href="#Footnote_275_272" class="fnanchor">[275]</a></td>
   <td class="tdl">Kane<a id="FNanchor_278_275"></a><a href="#Footnote_278_275" class="fnanchor">[278]</a></td>
  </tr>
  <tr>
   <td class="tdl">Darwin<a id="FNanchor_276_273"></a><a href="#Footnote_276_273" class="fnanchor">[276]</a></td>
   <td class="tdl">Livingstone<a id="FNanchor_279_276"></a><a href="#Footnote_279_276" class="fnanchor">[279]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Stanley<a id="FNanchor_280_277"></a><a href="#Footnote_280_277" class="fnanchor">[280]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Du Chaillu<a id="FNanchor_281_278"></a><a href="#Footnote_281_278" class="fnanchor">[281]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Niebuhr<a id="FNanchor_282_279"></a><a href="#Footnote_282_279" class="fnanchor">[282]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Bruce<a id="FNanchor_283_280"></a><a href="#Footnote_283_280" class="fnanchor">[283]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Heber<a id="FNanchor_284_281"></a><a href="#Footnote_284_281" class="fnanchor">[284]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Lander<a id="FNanchor_285_282"></a><a href="#Footnote_285_282" class="fnanchor">[285]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Waterton<a id="FNanchor_286_283"></a><a href="#Footnote_286_283" class="fnanchor">[286]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Mungo Park<a id="FNanchor_287_284"></a><a href="#Footnote_287_284" class="fnanchor">[287]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Ouseley<a id="FNanchor_288_285"></a><a href="#Footnote_288_285" class="fnanchor">[288]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Barth<a id="FNanchor_289_286"></a><a href="#Footnote_289_286" class="fnanchor">[289]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Boteler<a id="FNanchor_290_287"></a><a href="#Footnote_290_287" class="fnanchor">[290]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Maundeville<a id="FNanchor_291_288"></a><a href="#Footnote_291_288" class="fnanchor">[291]</a></td>
  </tr>
  <tr>
    <td class="tdl">&nbsp;</td>
   <td class="tdl">Warburton<a id="FNanchor_292_289"></a><a href="#Footnote_292_289" class="fnanchor">[292]</a></td>
  </tr>
  <tr>
    <td colspan="2">13. Guides.</td>
  </tr>
  <tr>
   <td class="tdl">Foster<a id="FNanchor_293_290"></a><a href="#Footnote_293_290" class="fnanchor">[293]</a></td>
   <td class="tdl">Brook<a id="FNanchor_303_300"></a><a href="#Footnote_303_300" class="fnanchor">[303]</a></td>
  </tr>
  <tr>
   <td class="tdl">Pall Mall<a id="FNanchor_294_291"></a><a href="#Footnote_294_291" class="fnanchor">[294]</a></td>
   <td class="tdl">Leypoldt<a id="FNanchor_304_301"></a><a href="#Footnote_304_301" class="fnanchor">[304]</a></td>
  </tr>
  <tr>
   <td class="tdl">Morley<a id="FNanchor_295_292"></a><a href="#Footnote_295_292" class="fnanchor">[295]</a></td>
   <td class="tdl">Richardson<a id="FNanchor_305_302"></a><a href="#Footnote_305_302" class="fnanchor">[305]</a></td>
  </tr>
  <tr>
   <td class="tdl">Welsh<a id="FNanchor_296_293"></a><a href="#Footnote_296_293" class="fnanchor">[296]</a></td>
   <td class="tdl">Harrison<a id="FNanchor_306_303"></a><a href="#Footnote_306_303" class="fnanchor">[306]</a></td>
  </tr>
  <tr>
   <td class="tdl">Taine<a id="FNanchor_297_294"></a><a href="#Footnote_297_294" class="fnanchor">[297]</a></td>
   <td class="tdl">Ruskin<a id="FNanchor_307_304"></a><a href="#Footnote_307_304" class="fnanchor">[307]</a></td>
  </tr>
  <tr>
   <td class="tdl">Botta<a id="FNanchor_298_295"></a><a href="#Footnote_298_295" class="fnanchor">[298]</a></td>
   <td class="tdl">Bright<a id="FNanchor_308_305"></a><a href="#Footnote_308_305" class="fnanchor">[308]</a></td>
  </tr>
  <tr>
   <td class="tdl">Allibone<a id="FNanchor_299_296"></a><a href="#Footnote_299_296" class="fnanchor">[299]</a></td>
   <td class="tdl">Dunlop<a href="#Footnote_309_306" class="fnanchor">[309]</a></td>
  </tr>
  <tr>
   <td class="tdl">Bartlett<a id="FNanchor_300_297"></a><a href="#Footnote_300_297" class="fnanchor">[300]</a></td>
   <td class="tdl">Baldwin<a href="#Footnote_309_306" class="fnanchor">[309]</a></td>
  </tr>
  <tr>
   <td class="tdl">Ballou<a id="FNanchor_301_298"></a><a href="#Footnote_301_298" class="fnanchor">[301]</a></td>
   <td class="tdl">Adams<a id="FNanchor_309_306"></a><a href="#Footnote_309_306" class="fnanchor">[309]</a></td>
  </tr>
  <tr>
   <td class="tdl">Bryant<a href="#Footnote_302_299" class="fnanchor">[302]</a></td>
  </tr>
  <tr>
   <td class="tdl">Palgrave<a id="FNanchor_302_299"></a><a href="#Footnote_302_299" class="fnanchor">[302]</a></td>
  </tr>
  <tr>
   <td class="tdl">Roget's Thesaurus</td>
  </tr>
  <tr>
   <td class="tdl">Dictionaries</td>
  </tr>
  <tr>
   <td class="tdl">Encyclop&aelig;dias</td>
  </tr>
  <tr>
    <td colspan="2">14. Miscellaneous.</td>
  </tr>
  <tr>
   <td class="tdl">Smiles' Self-Help<a id="FNanchor_310_307"></a><a href="#Footnote_310_307" class="fnanchor">[310]</a></td>
   <td class="tdl">Sheking<a id="FNanchor_324_321"></a><a href="#Footnote_324_321" class="fnanchor">[324]</a></td>
  </tr>
  <tr>
   <td class="tdl">Irving's Sketch Book<a id="FNanchor_311_308"></a><a href="#Footnote_311_308" class="fnanchor">[311]</a></td>
   <td class="tdl">Analects of Confucius<a id="FNanchor_325_322"></a><a href="#Footnote_325_322" class="fnanchor">[325]</a></td>
  </tr>
  <tr>
   <td class="tdl">Bacon's New Atlantis<a id="FNanchor_312_309"></a><a href="#Footnote_312_309" class="fnanchor">[312]</a></td>
   <td class="tdl">Mesnevi<a id="FNanchor_326_323"></a><a href="#Footnote_326_323" class="fnanchor">[326]</a></td>
  </tr>
  <tr>
   <td class="tdl">Bellamy<a id="FNanchor_313_310"></a><a href="#Footnote_313_310" class="fnanchor">[313]</a></td>
   <td class="tdl">Buddhism<a id="FNanchor_327_324"></a><a href="#Footnote_327_324" class="fnanchor">[327]</a></td>
  </tr>
  <tr>
   <td class="tdl">Arabian Nights<a id="FNanchor_314_311"></a><a href="#Footnote_314_311" class="fnanchor">[314]</a></td>
   <td class="tdl">Mahabharata<a id="FNanchor_328_325"></a><a href="#Footnote_328_325" class="fnanchor">[328]</a></td>
  </tr>
  <tr>
   <td class="tdl">Munchausen<a id="FNanchor_315_312"></a><a href="#Footnote_315_312" class="fnanchor">[315]</a></td>
   <td class="tdl">Ramayana<a href="#Footnote_328_325" class="fnanchor">[329]</a></td>
  </tr>
  <tr>
   <td class="tdl">Beowulf<a id="FNanchor_316_313"></a><a href="#Footnote_316_313" class="fnanchor">[316]</a></td>
   <td class="tdl">Vedas<a id="FNanchor_330_326"></a><a href="#Footnote_330_326" class="fnanchor">[330]</a></td>
  </tr>
  <tr>
   <td class="tdl">Anglo-Saxon Chronicle<a id="FNanchor_317_314"></a><a href="#Footnote_317_314" class="fnanchor">[317]</a></td>
   <td class="tdl">Koran<a href="#Footnote_330_326" class="fnanchor">[331]</a></td>
  </tr>
  <tr>
   <td class="tdl">Froissart<a id="FNanchor_318_315"></a><a href="#Footnote_318_315" class="fnanchor">[318]</a></td>
   <td class="tdl">Talmud<a href="#Footnote_330_326" class="fnanchor">[332]</a></td>
  </tr>
  <tr>
   <td class="tdl">Nibelungenlied<a id="FNanchor_319_316"></a><a href="#Footnote_319_316" class="fnanchor">[319]</a></td>
   <td class="tdl">Hooker<a href="#Footnote_333_327" class="fnanchor">[333]</a></td>
  </tr>
  <tr>
   <td class="tdl">Icelandic Sagas<a id="FNanchor_320_317"></a><a href="#Footnote_320_317" class="fnanchor">[320]</a></td>
   <td class="tdl">Swedenborg<a href="#Footnote_333_327" class="fnanchor">[333]</a></td>
  </tr>
  <tr>
   <td class="tdl">Elder Edda<a id="FNanchor_321_318"></a><a href="#Footnote_321_318" class="fnanchor">[321]</a></td>
   <td class="tdl">Newton<a href="#Footnote_333_327" class="fnanchor">[333]</a></td>
  </tr>
  <tr>
   <td class="tdl">The Cid<a id="FNanchor_322_319"></a><a href="#Footnote_322_319" class="fnanchor">[322]</a></td>
   <td class="tdl">Kepler<a href="#Footnote_333_327" class="fnanchor">[333]</a></td>
  </tr>
  <tr>
   <td class="tdl">Morte D'Arthur<a id="FNanchor_323_320"></a><a href="#Footnote_323_320" class="fnanchor">[323]</a></td>
   <td class="tdl">Copernicus<a id="FNanchor_333_327"></a><a href="#Footnote_333_327" class="fnanchor">[333]</a></td>
  </tr>
</table></div>

<hr class="chapter" />

<p><span class="pagenum"><a id="Page_21">[21]</a></span></p>

<h2 id="n_T_I">REMARKS ON TABLE I.</h2>

<hr class="chapter" />

<h2 id="RELIGION_AND_MORALS">RELIGION AND MORALS.</h2>

<p>Religion and Morals, though not identical, are
so closely related that they are grouped together.
The books in Column 1 by no means exhaust
these subjects, for they run like threads of gold
through the whole warp and woof of poetry. Philosophy,
fiction, and fable, biography, history, and
essays, oratory and humor, seem rather satellites
that attend upon moral feelings than independent
orbs, and even science is not dumb upon these
all-absorbing topics. If we are to be as broad-minded
in our religious views as we seek to be
in other matters, we must become somewhat acquainted
with the worship of races other than our
own. This may be done through Homer, Hesiod,
Ovid, Confucius, Buddha, the Vedas, Koran, Talmud,
Edda, Sagas, Beowulf, Nibelungenlied, Shah
Nameh, etc. (which are all in some sense "Bibles,"
or books that have grown out of the hearts of the
people), and through general works, such as Clarke's
"Ten Great Religions."</p>

<p><span class="pagenum"><a id="Page_22">[22]</a></span></p><div class="footnote"><p><a id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Especially Job, and Psalms 19, 103, 104, 107, in the
Old Testament; and in the New the four Gospels, the Acts,
and the Epistles. (m. R. D. C. G.)</p></div>

<div class="footnote"><p><a id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Next to the Bible, probably no book is so much read
by the English peoples as Bunyan's "Pilgrim's Progress," a
simple, vivid, helpful story of Christian life and its obstacles.
No writer has so well portrayed the central truths of Christianity
as this great, untrained, imaginative genius, pouring his
life upon the deathless pages of his poetic allegory during
the twelve long years in the latter part of the 17th century,
when he was imprisoned, under the Restoration, merely
because of his religious principles. (e. R. D.)</p></div>

<div class="footnote"><p><a id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Taylor's "Holy Living and Dying" is a wise, frank
talk about the care of our time, purity of intention, practice
of the presence of God, temperance, justice, modesty, humility,
envy, contentedness, etc. Some portions of the first
hundred and fifty pages are of the utmost practical value.
Even Ruskin admits that Taylor and Bunyan are rightly
placed among the world's best. (Eng., 17th cent.&mdash;m.
R. D.)</p></div>

<div class="footnote"><p><a id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> "Imitation of Christ" is a sister book to the last, written
in the 15th century by Thomas &agrave; Kempis, a German
monk, of pure and beautiful life and thought. It is a world-famous
book, having been translated into every civilized
language, and having passed through more than five hundred
editions in the present century. (m. R. D.)</p></div>

<p><span class="pagenum"><a id="Page_23">[23]</a></span></p><div class="footnote"><p><a id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Spencer's "Data of Ethics" is one of the most important
books in literature, having to the science of ethics much
the same relation as Newton's "Principia" to astronomy, or
Darwin's "Origin of Species" to biology. Note especially
the parts concerning altruistic selfishness, the morality of
health, and the development of moral feeling in general.
(Eng., 19th cent.&mdash;d. R. D. G.) Spencer's "First Principles"
is also necessary to an understanding of the scientific
religious thinking of the day. In connection with Spencer's
works, "The Idea of God" and the "Destiny of Man," by
Fiske, may be read with profit. The author of these books
is in large part a follower and expounder of Spencer.</p></div>

<div class="footnote"><p><a id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> The "Meditations" of M. Aurelius is a book that is
full of deep, pure beauty and philosophy; one of the
sweetest influences that can be brought into the life, and
one of Canon Farrar's twelve favorites out of all literature.
(Rome, 2d cent.&mdash;m. R. D.)</p></div>

<div class="footnote"><p><a id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Plutarch's "Morals" supplied much of the cream used
by Taylor in the churning that produced the "Holy Living
and Dying." Emerson says that we owe more to Plutarch
than to all the other ancients. Many great authors have
been indebted to him,&mdash;Rabelais, Montaigne, Montesquieu,
Voltaire, Rousseau, Shakspeare, Bacon, and Dryden, among
the number. Plutarch's "Morals" is a treasure-house of
wisdom and beauty. There is a very fine edition with an
introduction by Emerson. (Rome, 1st cent.&mdash;m. R. D.)</p></div>

<div class="footnote"><p><a id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> Seneca's "Morals" is a fit companion of the preceding
six books, full of deep thought upon topics of every-day import,
set out in clear and forceful language. The Camelot
Library contains a very good selection from his ethical treatises
and his delightful letters, which are really moral essays.
(Rome, 1st cent.&mdash;m. R. D.)</p></div>

<p><span class="pagenum"><a id="Page_24">[24]</a></span></p><div class="footnote"><p><a id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Epictetus was another grand moralist, the teacher of
Marcus Aurelius. Next to Bunyan and Kempis, the books
of these great stoics, filled as they are with the serenity of
minds that had made themselves independent of circumstance
and passion, have the greatest popularity accorded
to any ethical works. Epictetus was a Roman slave in the
1st century <span class="smcap">a. d.</span> (m. R. D.)</p></div>

<div class="footnote"><p><a id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> The little book on "Tolerance" by Phillips Brooks
ought to be read by every one. See Table III. side No. <a href="#table3_23">23</a>.
The sermons of Dr. Brooks and of Robertson are among
the most helpful and inspiring reading we know. Drummond's
"Natural Law in the Spiritual World" is a book of
ingenious and often poetic analogies between the physical
and spiritual worlds. If read as poetry, no fault can be found
with it; but the reader must be careful to test thoroughly
the laws laid down, and make sure that there is some weightier
proof than mere analogy, before hanging important conclusions
on the statements of this author. A later book by
Drummond entitled "The Greatest Thing in the World" is
also worthy of attention. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> "Areopagitica." A noble plea for liberty of speech
and press. (Eng., early 17th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> Keble's beautiful "Christian Year."</p></div>

<div class="footnote"><p><a id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> Cicero's "Offices" is a very valuable ethical work.
It directs a young Roman how he may attain distinction and
the respect and confidence of his fellow-citizens. Its underlying
principles are of eternal value, and its arrangement is
admirable. Dr. Peabody's translation is the best. (Rome,
1st cent. <span class="smcap">b. c.</span>)</p></div>

<div class="footnote"><p><a id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> "Pens&eacute;es." Pascal's "Thoughts" are known the world
over for their depth and beauty. (France, 17th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> "The Perfect Life" and other works. (U. S., 19th
cent.)</p></div>

<div class="footnote"><p><a id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> Ethics. (Greece, 4th cent. <span class="smcap">b. c.</span>)</p></div>

<div class="footnote"><p><a id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> "Confessions" and "The City of God." (Rome,
4th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Analogy of Religion. (Eng., 18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> Ethics and theologico-political speculation. (Dutch,
17th cent.)</p></div>
<p><span class="pagenum"><a id="Page_25">[25]</a></span></p>

<hr class="chapter" />

<h2 id="POETRY_AND_THE_DRAMA">POETRY AND THE DRAMA.</h2>

<p>The faculty which most widely distinguishes man
from his possible relatives, the lower animals, and the
varying power of which most clearly marks the place
of each individual in the scale of superiority, is imagination.
It lies at the bottom of intellect and character.
Memory, reason, and discovery are built upon
it; and sympathy, the mother of kindness, tenderness,
and love, is itself the child of the imagination. Poetry
is the married harmony of imagination and beauty.
The poet is the man of fancy and the man of music.
This is why in all ages mankind instinctively feel that
poetry is supreme. Of all kinds of literature, it is the
most stimulating, broadening, beautifying, and should
have a large place in every life. Buy the best poets,
read them carefully, mark the finest passages, and
recur to them many, many times. A poem is like a
violin: it must be kept and played upon a long time
before it yields to us its sweetest music.</p>

<p>The drama, or representation of human thought
and life, has come into being, among very many peoples,
as a natural outgrowth of the faculty of mimicry
in human nature. Among the South Sea Islanders
there is a rude drama, and in China such representations
have existed from remote ages. Greece first
brought the art to high perfection; and her greatest
tragic artists, &AElig;schylus, Sophocles, and Euripides, of
the fifth century <span class="smcap">b. c.</span>, are still the highest names in<span class="pagenum"><a id="Page_26">[26]</a></span>
tragedy. The Greek drama with &AElig;schylus was only
a dialogue. Sophocles introduced a third actor. It
would be a dull play to us that should fill the evening
with three players. In another thing the Grecian
play was widely different from ours. The aim of ancient
playwrights was to bring to view some thought
in giant form and with tremendous emphasis. The
whole drama was built around, moulded, and adapted
to one great idea. The aim of English writers is to
give an interesting glimpse of actual life in all its multiplicity
of interwoven thought and passion, and let it
speak its lessons, as the great schoolmistress, Nature,
gives us hers. The French and Italian drama follow
that of Greece, but Spain and England follow Nature.</p>

<p><i>Mystery and miracle plays</i> were introduced about
1100 <span class="smcap">a. d.</span>, by Hilarius, and were intended to enforce
religious truths. God, Adam, the Angels, Satan,
Eve, Noah, etc., were the characters. In the beginning
of the 15th century, <i>morality plays</i> became
popular. They personified faith, hope, sadness,
magnificence, conceit, etc., though there might seem
little need of invention to personify the latter. About
the time of Henry VIII., <i>masques</i> were introduced
from Italy. In them the performers wore extravagant
costumes and covered the face, and lords and ladies
played the parts. It was at such a frolic that King
Henry met Anne Boleyn. The first English comedy
was written in 1540, by Udall; and the first tragedy
in 1561, by Sackville and Norton. It was called
"Ferrex and Porrex." From this time the English<span class="pagenum"><a id="Page_27">[27]</a></span>
drama rapidly rose to its summit in Shakspeare's
richest years at the close of the same century. At
first the theatre was in the inn-yard,&mdash;just a platform,
with no scenery but what the imagination of
the drinking, swearing, jeering crowd of common folk
standing in the rain or sunlight round the rough-made
stage could paint.</p>

<p>On the stage sat a few gentlefolk able to pay a
shilling for the privilege. They smoked, played
cards, insulted the pit, "who gave it to them back,
and threw apples at them into the bargain." Such
were the beginnings of what in Shakspeare's hands
became the greatest drama that the world has ever
seen.</p>

<p>The manner of reading all good poetry should
be: R. D. C. G.</p>

<p>If the reader wishes to study poetry critically, he
will find abundant materials in Lanier's "Science of
English Verse" and Dowden's "Mind and Art of Shakspeare"
(books that once read by a lover of poetry
will ever after be cherished as among the choicest of
his possessions); Lowell's "Fable for Critics," "My
Study Windows," and "Among my Books;" Arnold's
"Essays;" Hazlitt's "English Poets;" "English Men
of Letters;" Poe's "Essay on the Composition of the
Raven;" Taine's "English Literature;" Swinburne's
"Essays and Studies;" Stedman's "Victorian Poets;"
Shairp's "Studies in Poetry;" Warton's "History
of English Poetry;" Ward's "History of English
Dramatic Literature;" and Schlegel's "Dramatic
Literature."<span class="pagenum"><a id="Page_28">[28]</a></span></p>

<p><span class="pagenum"><a id="Page_29">[29]</a></span></p><div class="footnote"><p><a id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> Shakspeare is the summit of the world's literature.
In a higher degree than any other man who has lived on
this planet, he possessed that vivid, accurate, exhaustive
imagination which creates a second universe in the poet's
brain. Between our thought of a man and the man himself,
or a complete representation of him with all his thoughts,
feelings, motives, and possibilities, there is a vast gulf.
If we had a perfect knowledge of him, we could tell what
he would think and do. To this ultimate knowledge Shakspeare
more nearly approached than any other mortal. He
so well understood the machinery of human nature, that he
could create men and women beyond our power to detect
an error in his work. This grasp of the most difficult subject
of thought, and the oceanic, myriad-minded greatness of
his plays prove him intellectually the greatest of the human
race. It is simple nonsense to suppose that Bacon wrote
the dramas that bear the name of Shakspeare. They were
published during Shakspeare's life under his name; and
Greene, Jonson, Milton, and other contemporaries speak
with unmistakable clearness of the great master. Donnelly's
Cryptogram is a palpable sham; and to the argument that
an uneducated man like Shakspeare could not have written
such grand poetry, while Bacon, as we know, did have a
splendid ability, it is a sufficient answer to remark that Shakspeare's
sonnets, the authorship of which is not and cannot
be questioned, show far higher poetical powers than anything
that can be found in Bacon's acknowledged works. Richard
Grant White's edition is the best; and certainly every one
should have the very best of Shakspeare, if no other book is
ever bought. (16th cent.) See Table III. No. <a href="#table3_1">1</a>.
</p><p>
With Shakspeare may be used Dowden's "Shakspeare
Primer," and "The Mind and Art of Shakspeare," Abbott's
"Shakspearian Grammar," Lanier's "Science of English
Verse," Hazlitt's "Characters of Shakspeare's Plays" and
"Age of Elizabeth," Lamb's "Tales from Shakspeare,"
Ward's "English Dramatic Literature, and History of the
Drama," Lewes' "Actors and the Art of Acting," Hutton's
"Plays and Players," Leigh Hunt's "Imagination and Fancy,"
and Whipple's "Literature of the Age of Elizabeth."</p></div>

<div class="footnote"><p><a id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> Homer is the world's greatest epic poet. He is the
brother of Shakspeare, full of sublimity and pathos, tenderness,
simplicity, and inexhaustible vigor. Pope's translation
is still the best on the whole, but should be read with Derby's
Iliad and Worsley's Odyssey. In some parts these are fuller
of power and beauty; in others, Pope is far better. Flaxman's
designs are a great help in enjoying Homer, as
are also the writings of Gladstone, Arnold, and Symonds.
(Greece, about 1000 <span class="smcap">b. c.</span>) See Table III. No. <a href="#table3_2">2</a>.</p></div>

<div class="footnote"><p><a id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a>
Ruskin thinks Dante is the first figure of history, the
only man in whom the moral, intellectual, and imaginative
faculties met in great power and in perfect balance. (Italy,
14th cent.) Follow the advice given in Table III. No. <a href="#table3_5">5</a>,
and, if possible, read Longfellow's translation. See note <a href="#Footnote_24_24">24</a>,
p. 30.
</p><p>
Among writings that will be found useful in connection
with Dante, are Rossetti's "Shadow of Dante," Lowell's
Essay in "Among my Books," Symonds' "Introduction to
the Study of Dante," Farrar's "Lecture on Dante," Mrs.
Ward's "Life of Dante," Botta's "Dante as a Philosopher,"
and Carlyle's "Heroes and Hero Worship."</p></div>

<p><span class="pagenum"><a id="Page_30">[30]</a></span></p><div class="footnote"><p><a id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> Goethe is unquestionably the greatest German, and
one of the first six names in literature. His "Faust" is a
history of the soul. Read Bayard Taylor's translation, and
the explanation of the drama's meaning given in Taylor's
"Studies in German Literature." "Faust" was the work of
half a century, and completed in 1818, when Goethe was past
eighty.
</p><p>
As a preparation for Goethe it is interesting to study the
story of Faust in Butterworth's "Zigzag Journeys," and
read Marlowe's "Drama of Faustus." The novel "Wilhelm
Meister" has been splendidly translated by Carlyle, and is
full of the richest poetic thought, crammed with wisdom,
and pervaded by a delicious sweetness forever provoking the
mind to fresh activity. As a work of genius, it is preferred
by some critics even to Hamlet. See Table III. No. <a href="#table3_15">15</a>.</p></div>

<p><span class="pagenum"><a id="Page_31">[31]</a></span></p><div class="footnote"><p><a id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> Milton stands in his age like an oak among hazel-bushes.
The nobility of his character, the sublimity of his
thought, and the classic beauty of his style give him, in spite
of some coldness and some lack of naturalness in his conception
of the characters of Adam and Eve, the second place
in English literature. His "Lycidas" is a beautiful elegy.
His "Comus" is the best masque in English, and certainly a
charming picture of chastity and its triumph over temptation.
It should be read along with Spenser's "Britomart." His
"L' Allegro" and "Il Penseroso," on mirth and melancholy,
are among the best lyrics of the world. His "Paradise
Lost" is the greatest epic in English, and the greatest that
any literature has had since Dante's "Divine Comedy."
The two books should be read together. Milton shows us
Satan in all the pride and pomp and power this world oft
throws around his cloven Majesty. Dante tears away the
wrappings, and we see the horrid heart and actual loathsomeness
of sin. (Eng., 17th cent.) See Table III. No. <a href="#table3_2">2</a>.
</p><p>
The writings of Stopford Brooke, Macaulay, Dr. Johnson,
De Quincey, and Pattison about Milton may be profitably
referred to.</p></div>

<div class="footnote"><p><a id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> &AElig;schylus was the greatest of the noble triumvirate of
Greek tragedy writers. Sublimity reached in his soul the
greatest purity and power that it has yet attained on earth.
One can no more afford to tread in life's low levels all his
days and never climb above the clouds to thought's clear-ethered
heights with &AElig;schylus, than to dwell at the foot of
a cliff in New Mexico and never climb to see the Rockies
in the blue and misty distance, with their snowy summits
shining in the sun. Read, at any rate, his "Prometheus
Bound" and his "Agamemnon." (5th cent. <span class="smcap">b. c.</span>, the
Golden Age of Grecian literature.) See Table III. No. <a href="#table3_4">4</a>.
</p><p>
The student of &AElig;schylus will find much of value to him
in Mahaffy's "Greek Literature," "Old Greek Life," and
"Social Life in Greece;" Schlegel's "Dramatic Literature;"
Donaldson's "Theatre of the Greeks," and Froude's "Sea
Studies." Following the "Prometheus" of &AElig;schylus, it is a
good plan to read the works of Goethe, Shelley, Lowell, and
Longfellow on the same topic. We thus bring close the
ideas and fancies of five great minds in respect to the myth
of Prometheus.</p></div>

<p><span class="pagenum"><a id="Page_32">[32]</a></span></p><div class="footnote"><p><a id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> Many a selection in <a href="#TABLE_III">Table III</a>. is of very high merit,
and belongs on the world's first shelf, although the poetic
works of the author as a whole cannot be allowed such
honor. In the section preceding <a href="#TABLE_V">Table V</a>. also will be
found a number of short writings of the very highest merit.
See explanatory note to <a href="#TABLE_I">Table I</a>.</p></div>

<div class="footnote"><p><a id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> Edmund Spenser is the third name in English literature.
No modern poet is more like Homer. He is simple,
clear, and natural, redundant and ingenuous. He is a
Platonic dreamer, and worships beauty, a love sublime and
chaste; for all the beauty that the eye can see is only, in his
view, an incomplete expression of celestial beauty in the
soul of man and Nature, the light within gleaming and
sparkling through the loose woven texture of this garment of
God called Nature, or pouring at every pore a flood of soft,
translucent loveliness, as the radiance of a calcium flame
flows through a porcelain globe. Spenser was Milton's
model. The "Fa&euml;rie Queen," the "Shepherd's Calendar,"
and the "Wedding Hymn" should be carefully read; and if
the former is studied sufficiently to arrive at the underlying
spiritual meaning, it will ever after be one of the most
precious of books. (Eng., 16th cent.) See Table III. No. <a href="#table3_6">6</a>.
See also Lowell's "Among my Books," Craik's "Spenser
and his Poetry," and Taine's "English Literature."</p></div>

<div class="footnote"><p><a id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> Lowell is one of the foremost humorists of all time.
No one, except Shakspeare, has ever combined so much
mastery of the weapons of wit with so much poetic power,
bonhomie, and common-sense. Every American should
read his poems carefully, and digest the best. (Amer., 19th
cent.) See Table III. Nos. <a href="#table3_12">12</a> and <a href="#table3_24">24</a>.</p></div>

<div class="footnote"><p><a id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> Whittier is America's greatest lyric poet. Read what
Lowell says of him in the "Fable for Critics," and get acquainted
with his poetry of Nature and quiet country life,
as pure as the snow and as sweet as the clover. (Amer.,
19th cent.) See Table III. No. <a href="#table3_11">11</a>.</p></div>

<div class="footnote"><p><a id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> Tennyson is the first poet of our age; and though he
cannot rank with the great names on the upper shelf, yet his
tenderness, and noble purity, and the almost absolutely perfect
music of much of his poetry commands our love and admiration.
Read his "In Memoriam," "Princess," "Idylls of
the King," etc. (Eng., 19th cent.) See Table III. No. <a href="#table3_11">11</a>.</p></div>

<p><span class="pagenum"><a id="Page_33">[33]</a></span></p>

<div class="footnote"><p><a id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> Burns is like a whiff of the pure sea air. He is a
sprig of arbutus under the snow; full of tenderness and genuine
gayety, always in love, and singing forever in tune to
the throbs of his heart. Read "The Jolly Beggars," "The
Twa Dogs," and see Table III. No. <a href="#table3_11">11</a>. (Scot., 18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> Probably nothing is so likely to awaken a love for
poetry as the reading of Scott. (Scot., 19th cent.) See
Table III. No. <a href="#table3_7">7</a>.</p></div>

<div class="footnote"><p><a id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> Byron is the greatest English poet since Milton, and
except Goethe the greatest poet of his age in the world.
His music, his wonderful control of language, his impassioned
strength passing from vehemence to pathos, his fine sense
of the beautiful, and his combination of passion with beauty
would place him high on the first shelf of the world's literature
if it were not for his moral aberration. Read his "Childe
Harold." (Eng., 1788-1824.) See Table III. No. <a href="#table3_13">13</a>.</p></div>

<div class="footnote"><p><a id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> Shelley is indistinct, abstract, impracticable, but full of
love for all that is noble, of magnificent poetic power and
marvellous music. Read "Prometheus Unbound," and see
Table III. No. <a href="#table3_13">13</a>. (Eng., 19th cent.)</p></div>

<p><span class="pagenum"><a id="Page_34">[34]</a></span></p><div class="footnote"><p><a id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> Keats is the poetic brother of Shelley. He is deserving
of the title "marvellous boy" in a far higher degree than
Chatterton. If the lives of Shakspeare, Milton, and Wordsworth
had ended at twenty-five, as did the life of Keats, they
would have left no poetry comparable with that of this impassioned
dreamer. Like Shakspeare, he had no fortune or
opportunity of high education. Read "Hyperion," "Lamia,"
"Eve of Saint Agnes," "Endymion," and see Table III. No. <a href="#table3_13">13</a>. (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> Campbell clothed in romantic sweetness and delicate
diction, the fancies of the fairy land of youthful dreams, and
poured forth with a master voice the pride and grandeur of
patriotic song. Read his "Pleasures of Hope," "Gertrude
of Wyoming," and see Table III. No. <a href="#table3_12">12</a>. (Eng., 19th
cent.)</p></div>

<div class="footnote"><p><a id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> Moore is a singer of wonderful melody and elegance
and of inexhaustible imagery. Read his "Irish Melodies."
(Eng., 19th cent.) See Table III. No. <a href="#table3_11">11</a>.</p></div>

<div class="footnote"><p><a id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> Thomson is one of the most intense lovers of Nature,
and sees with a clear eye the correspondences between the
inner and outer worlds upon which poetry is built. Read
his "Seasons" and "The Castle of Indolence." (Eng.,
18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> Read Macaulay's "Lays of Ancient Rome." "Horatius"
cannot fail to make the reader pulse with all the heroism
and patriotism that is in his heart, and "Virginia" will
fill each heart with mutiny and every eye with tears. (Eng.,
19th cent.) See Table III. No. <a href="#table3_12">12</a>.</p></div>

<div class="footnote"><p><a id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> Dryden's song is not so smooth as Pope's, but doubly
strong. His translation of Virgil has more fire than the
original, though less elegance. He was the literary king of
his time, but knew better <i>how</i> to say things than <i>what</i> to
say. (Eng., 17th cent.) See Table III. No. <a href="#table3_14">14</a>.</p></div>

<div class="footnote"><p><a id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> Collins was a poet of fine genius. Beauty, simplicity,
and sweet harmony combine in his works, but he wrote very
little. Read his odes, "To Pity," "To Evening," "To
Mercy," "To Simplicity." See Table III. No. <a href="#table3_14">14</a>. (Eng.,
18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> Jean Ingelow's poems deserve at least tasting, which
will scarcely fail to lead to assimilation. (Eng., 1862.) See
Table III. No. <a href="#table3_14">14</a>.</p></div>

<p><span class="pagenum"><a id="Page_35">[35]</a></span></p><div class="footnote"><p><a id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> Bryant's "Thanatopsis," written at eighteen, gave promise
of high poetic power; but in the life of a journalist the
current of energy was drawn away from poetry, and America
lost the full fruitage of her best poetic tree. He is serene
and lofty in thought, and strong in his descriptive power and
the noble simplicity of his language. (Amer., 19th cent.)
See Table III. No. <a href="#table3_13">13</a>.</p></div>

<div class="footnote"><p><a id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> Longfellow's poetry is earnest and full of melody, but
<i>as a whole</i> lacks passion and imagery. Relatively to a world
standard he is not a great poet and has written little worthy
of universal reading, but as bone of our bone he has a claim
on us as Americans for sufficient attention at least to investigate
for ourselves his merits. (Amer., 19th cent.) See
Table III. No. <a href="#table3_10">10</a>.</p></div>

<div class="footnote"><p><a id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> Lowell says that George Herbert is as "holy as a
flower on a grave." (Eng., 1631.) See Table III. No. <a href="#table3_13">13</a>.</p></div>

<div class="footnote"><p><a id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> Goldsmith's "Deserted Village" and "Traveller" will
live as long as the language. They are full of wisdom and
lovely poetry. His dramas abound in fun. Read "The
Good-Natured Man" and "She Stoops to Conquer." (Eng.,
18th cent.) See <a href="#TABLE_IV">Table IV</a>.</p></div>

<div class="footnote"><p><a id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> Read Coleridge's "Christabel," and get somebody to
explain its mysterious beauty to you; also his "Remorse,"
"Ode to the Departing Year," "Ancient Mariner," and
"Kubla Khan." The latter is the most magnificent creation
of his time, but needs a good deal of study for most readers
to perceive the beautiful underlying thought, as is the case
also with the "Mariner." Coleridge is difficult reading.
He wrote very little excellently, but that little should be bound
in gold, and read till the inner light of it shines into the soul
of the reader. The terrible opium habit ruined him. Read
his life; it is a thrilling story. (Eng., 1772-1834.) Table III. No. <a href="#table3_11">11</a>.</p></div>

<div class="footnote">
<p>
 <a id="Footnote_48_48"></a>
 <a href="#FNanchor_48_48"><span class="label">[48]</span></a>
Lowell says, in his "Fable for Critics," that he is always
discovering new depths</p>

<div class="poem"><div class="stanza">
<span class="i6">"in Wordsworth, undreamed of before,&mdash;<br /></span>
<span class="i0">That divinely inspired, wise, deep, tender, grand&mdash;bore."<br /></span>
<span class="pagenum"><a id="Page_36">[36]</a></span></div></div>

<p>Nothing could sum up this poet better than that. His
intense delight in Nature and especially in mountain scenery,
and his pure, serene, earnest, majestic reflectiveness are his
great charms. His "Excursion" is one of the great works
of our literature, and stands in the front rank of the world's
philosophical poetry. Its thousand lines of blank verse roll
through the soul like the stately music of a cathedral organ.
(Eng., 19th cent.) See Table III. No. <a href="#table3_13">13</a>.</p></div>

<div class="footnote"><p><a id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> Pope is the greatest of the world's machine poets, the
noblest of the great army who place a higher value on skilful
execution than on originality and beauty of conception. The
"Rape of the Lock" is his most successful effort, and is the
best of all mock-heroic poems. "The sharpest wit, the keenest
dissection of the follies of fashionable life, the finest grace
of diction, and the softest flow of melody adorn a tale in
which we learn how a fine gentleman stole a lock of a lady's
hair." Read also his "Essay on Man," and glance at his
"Dunciad," a satire on fellow-writers. (Eng., 1688-1744.)
See Table III. No. <a href="#table3_13">13</a>, and <a href="#TABLE_IV">Table IV</a>.</p></div>

<div class="footnote"><p><a id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> Southey had great ideas of what poetry should be, and
strove for purity, unity, and fine imagery; but there was no
pathos or depth of emotion in him, and the stream of his
poetry is not the gush of the river, but the uninteresting
flow of the canal. Byron says, "God help thee, Southey, and
thy readers too." Glance at his "Thalaba the Destroyer"
and "Curse of Kehama." (Eng., 1774-1843.)</p></div>

<div class="footnote"><p><a id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> Walton's "Compleat Angler" is worthy of a glance.
(Eng., 1653.)</p></div>

<p><span class="pagenum"><a id="Page_37">[37]</a></span></p><div class="footnote"><p><a id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> Browning is very obscure, and neither on authority nor
principle a first-rate poet; but he is a strong thinker, and dear
to those who have taken the pains to dig out the nuggets of
gold. Canon Farrar puts him among the three living authors
whose works he would be most anxious to save from
the flames. Mrs. Browning has more imagination than her
husband, and is perhaps his equal in other respects. (Eng.,
19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> Read Young's "Night Thoughts."</p></div>

<div class="footnote"><p><a id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> Jonson, on account of his noble aims, comparative
purity, and classic style, stands next to Shakspeare in the
history of English drama. Read "The Alchemist," "Catiline,"
"The Devil as an Ass," "Cynthia's Revels," and "The
Silent Woman." The plot of the latter is very humorous.
(Eng., 1700.)</p></div>

<div class="footnote"><p><a id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> The dramas of Beaumont and Fletcher are poetically
the best in the language except those of Shakspeare. Read
"Philaster," "The Fair Maid of the Inn," "Thierry and
Theodoret," "The Maid's Tragedy." (Eng., 17th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> Marlowe's "Mighty Line" is known to all lovers of
poetry who have made a wide hunt. His energy is intense.
Read "The Tragical History of Dr. Faustus," based on
that wonderfully fascinating story of the doctor who offered
his soul to hell in exchange for a short term of power and
pleasure, on which Goethe expended the flower of his genius,
and around which grew hundreds of plays all over Europe.
(Eng., 17th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> For whimsical and ludicrous situations and a rapid
fire of witticisms, Sheridan's plays have no equals. Read
"The School for Scandal" and "The Rivals." (Eng.,
18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> Carleton's poetry is not of a lofty order, but exceedingly
enjoyable. Read his "Farm Ballads." (Amer.,
19th cent.)</p></div>

<p><span class="pagenum"><a id="Page_38">[38]</a></span></p><div class="footnote"><p><a id="Footnote_60_59"></a><a href="#FNanchor_60_59"><span class="label">[60]</span></a> Virgil is the greatest name in Roman literature. His
"&AElig;neid" is the national poem of Rome. His poetry is of
great purity and elegance, and for variety, harmony, and
power second in epic verse only to his great model, Homer.
(Rome, 1st cent. <span class="smcap">b. c.</span>) Read Dryden's translation if you
cannot read the original.</p></div>

<div class="footnote"><p><a id="Footnote_61_60"></a><a href="#FNanchor_61_60"><span class="label">[61]</span></a> The Odes of Horace combine wit, grace, sense, fire,
and affection in a perfection of form never attained by any
other writer. He is untranslatable; but Martin's version and
commentary will give some idea of this most interesting man,
"the most modern and most familiar of the ancients."
(Rome, 1st cent. <span class="smcap">b. c.</span>)</p></div>

<div class="footnote"><p><a id="Footnote_62_61"></a><a href="#FNanchor_62_61"><span class="label">[62]</span></a> Lucretius is a philosophic poet. He aimed to explain
Nature; and his poem has much of wisdom, beauty, sublimity,
and imagination to commend it. Virgil imitated whole passages
from Lucretius. (Rome, 1st cent. <span class="smcap">b. c.</span>)</p></div>

<div class="footnote"><p><a id="Footnote_63_62"></a><a href="#FNanchor_63_62"><span class="label">[63]</span></a> Ovid is gross but fertile, and his "Metamorphoses"
and "Epistles" have been great favorites. (Rome, 1st
cent. <span class="smcap">b. c.</span>)</p></div>

<div class="footnote"><p><a id="Footnote_64_63"></a><a href="#FNanchor_64_63"><span class="label">[64]</span></a> The "Antigone" and "&OElig;dipus at Colonus" of Sophocles
are of exquisite tenderness and beauty. In pathos
Shakspeare only is his equal. (Greece, 5th cent. <span class="smcap">b. c.</span>)</p></div>

<div class="footnote"><p><a id="Footnote_65_64"></a><a href="#FNanchor_65_64"><span class="label">[65]</span></a> Euripides is the third of the great triumvirate of Greek
dramatists. His works were very much admired by Milton
and Fox. Read his "Alcestis," "Iphigenia," "Medea," and
the "Bacchanals." (Greece, 5th cent. <span class="smcap">b. c.</span>)</p></div>

<div class="footnote"><p><a id="Footnote_66_65"></a><a href="#FNanchor_66_65"><span class="label">[66]</span></a> Aristophanes is the greatest of Greek comedy writers.
His plays are great favorites with scholars, as a rule. Read
the "Clouds," "Birds," "Knights," and "Plutus." (Greece,
5th cent. <span class="smcap">b. c.</span>)</p></div>

<div class="footnote"><p><a id="Footnote_67_66"></a><a href="#FNanchor_67_66"><span class="label">[67]</span></a> Pindar's triumphal odes stand in the front rank of the
world's lyric poetry. (Greece, 5th cent. <span class="smcap">b. c.</span>)</p></div>

<p><span class="pagenum"><a id="Page_39">[39]</a></span></p><div class="footnote"><p><a id="Footnote_68_67"></a><a href="#FNanchor_68_67"><span class="label">[68]</span></a> Hesiod's "Theogony" contains the religious faith of
Greece. He lived in or near the time of Homer.</p></div>

<div class="footnote"><p><a id="Footnote_69_68"></a><a href="#FNanchor_69_68"><span class="label">[69]</span></a> Heine is the most remarkable German poet of this
century. He has written many gems of rare beauty, and
many sketches of life unmatched for racy freshness and
graphic power.</p></div>

<div class="footnote"><p><a id="Footnote_70_69"></a><a href="#FNanchor_70_69"><span class="label">[70]</span></a> Schiller is the second name in German literature; indeed,
as a lover of men and as a poet of exquisite fancy,
he far excels Goethe. He was a great philosopher, historian,
and critic. Read his "Song of the Bell," and his
drama of "Wallenstein," translated by Coleridge. (Germany,
18th cent.)</p></div>

<p><span class="pagenum"><a id="Page_40">[40]</a></span></p><div class="footnote"><p><a id="Footnote_71_70"></a><a href="#FNanchor_71_70"><span class="label">[71]</span></a> Corneille, Racine, and Moli&egrave;re are the great
French triumvirate of dramatists. Their object is to produce
one massive impression. In this they follow the classic
writers. A French, Greek, or Roman drama is to a Shakspearean
play as a statue to a picture, as an idea carved
out of Nature and rendered magnificently impressive by
its isolation and the beauty of its modelling, to Nature itself.
The historical and ethical value of the French plays is very
great. Corneille is one of the grandest of modern poets.
Read "The Cid" ("As beautiful as the Cid" became a
proverb in France), and "Horace" (which is even more
original and grand than "The Cid"), and "Cinna" (which
Voltaire thought the best of all). Racine excels in grace,
tenderness, and versatility. Read his "Ph&egrave;dre." Moli&egrave;re
was almost as profound a master of human nature on its
humorous side as Shakspeare. He hates folly, meanness,
and falsehood; he is always wise, tender, and good. Read
"Le Misanthrope," or "The Man-Hater," and "Tartuffe,"
or "The Impostor."  (17th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_74_71"></a><a href="#FNanchor_74_71"><span class="label">[74]</span></a> Alfred de Musset is a famous French poet of this century,
and is a great favorite with those who can enjoy charming
and inspiring thoughts though mixed with the grotesque
and extravagant.</p></div>

<div class="footnote"><p><a id="Footnote_75_72"></a><a href="#FNanchor_75_72"><span class="label">[75]</span></a> Calderon de la Barca is one of the greatest dramatists
of the world. His purity, power, and passion, his magnificent
imagination and wonderful fertility, will place him in
company with Shakspeare in the eternal society of the great.
Read Shelley's fragments from Calderon, and Fitzgerald's
translation, especially "Zalamea" and "The Wonder-Working
Magician," two of his greatest plays. (Spain, 17th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_76_73"></a><a href="#FNanchor_76_73"><span class="label">[76]</span></a> Petrarch's lyrics have been models to all the great
poets of Southern Europe. The subject of nearly all his
poems is his hopeless affection for the high-minded and beautiful
Laura de Sade. His purity is above reproach. He is
pre-eminent for sweetness, pathos, elegance, and melody.
(Italy, 14th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_77_74"></a><a href="#FNanchor_77_74"><span class="label">[77]</span></a> Ariosto is Italy's great epic poet. Read his "Orlando
Furioso," a hundred-fold tale of knights and ladies, giants
and magicians. (Italy, 1474-1533).</p></div>

<div class="footnote"><p><a id="Footnote_78_75"></a><a href="#FNanchor_78_75"><span class="label">[78]</span></a> Tasso is the second name in Italian epic poetry; and
by some he is placed above Ariosto and named in the same
breath with Homer and Virgil. Read his "Jerusalem Delivered,"
and "Aminta," and glance at his minor poems
composed while in confinement. (Italy, 16th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_79_76"></a><a href="#FNanchor_79_76"><span class="label">[79]</span></a> Camoens is the glory of Portugal, her only poet whose
fame has flown far beyond her narrow borders. Read his
grand and beautiful poem, the "Lusiad," a national epic
grouping together all the great and interesting events in the
history of his country. (16th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_80_77"></a><a href="#FNanchor_80_77"><span class="label">[80]</span></a> Omar Khayy&aacute;m, the great astronomer poet of Persia,
has no equal in the world in the concise magnificence with
which he can paint a grand poetic conception in a single
complete, well-rounded, melodious stanza. Read Fitzgerald's
translation. (12th cent.)</p></div>

<p><span class="pagenum"><a id="Page_41">[41]</a></span></p><div class="footnote"><p><a id="Footnote_81_78"></a><a href="#FNanchor_81_78"><span class="label">[81]</span></a> Firdusi, the author of the "Shah Nameh," or Poetic
History of the great deeds of the sultans. Hafiz, the poet
of love, and Saadi are other great Persian poets deserving at
least a glance of investigation. (11th-14th cents.)</p></div>

<div class="footnote"><p><a id="Footnote_82_79"></a><a href="#FNanchor_82_79"><span class="label">[82]</span></a> Arnold's "Light of Asia" claims our attention for the
additions it can make to our breadth of thought, giving us
as it does briefly and beautifully the current of thinking of
a great people very unlike ourselves. (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_83_80"></a><a href="#FNanchor_83_80"><span class="label">[83]</span></a> Pushkin is called the Byron of Russia. Russian
songs have a peculiar, mournful tenderness. "They are the
sorrows of a century blended in one everlasting sigh."
(19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_84_81"></a><a href="#FNanchor_84_81"><span class="label">[84]</span></a> Lermontoff is the Russian Schiller. (19th cent.)</p></div>

<hr class="chapter" />

<h2 id="SCIENCE">SCIENCE.</h2>

<p>The most important sciences for the ordinary reader
are Physiology, Hygiene, Psychology, Logic, Political
Economy, Sociology and the Science of Government,
Astronomy, Geology, and Natural History;
but an elementary knowledge of all the sciences is
very desirable on account of the breadth of mind and
grasp of method which result therefrom. The International
Scientific Series is very helpful in giving the
brief comprehensive treatment of such subjects that is
needed for those who are not specialists. The best
books in this department are continually changing,
because science is growing fast, and the latest books
are apt to be fuller and better than the old ones.
The best thing that can be done by one who wishes
to be sure of obtaining the finest works upon any
given subject in the region of scientific research, is<span class="pagenum"><a id="Page_42">[42]</a></span>
to write to a professor who teaches that subject in
some good university,&mdash;a professor who has not
himself written a book on the subject,&mdash;and get his
judgment on the matter.</p>

<p><span class="pagenum"><a id="Page_43">[43]</a></span></p><div class="footnote"><p><a id="Footnote_85_82"></a><a href="#FNanchor_85_82"><span class="label">[85]</span></a> Physical health is the basis of all life and activity, and
it is of the utmost importance to secure at once the best
knowledge the world has attained in relation to its procurement
and preservation. This matter has far too little attention.
If a man is going to bring up chickens, he will study
chicken books no end of hours to see just what will make
them lay and make them fat and how he may produce the
finest stock; but if he only has to bring up a few children,
he will give no time to the study of the physical conditions
of their full and fine development. Some few people, however,
have a strange idea that a child is nearly as valuable as
a rooster. There is no book as yet written which gives in
clear, easily understood language the known laws of diet,
exercise, care of the teeth, hair, skin, lungs, etc., and simple
remedies. Perhaps Dalton's "Physiology," Flint's "Nervous
System," Cutter's "Hygiene," Blaikie's "How to get Strong,"
and Duncan's "How to be Plump," Beard's "Eating and
Drinking," Bellows' "Philosophy of Eating," Smith on Foods,
Holbrook's "Eating for Strength," "Fruit and Bread," "Hygiene
for the Brain," "How to Strengthen the Memory,"
and Kay's book on the Memory, Walter's "Nutritive Cure,"
Clark's "Sex in Education," Alice Stockham's "Tokology"
or "Hygiene for Married Women," and Naphy's "Transmission
of Life" will together give some idea of this all-valuable
subject, though none of these books except the first
are in themselves, apart from their subject, worthy of a place
on the first shelf.</p></div>

<div class="footnote"><p><a id="Footnote_86_83"></a><a href="#FNanchor_86_83"><span class="label">[86]</span></a> Dr. Strong's little book, "Our Country," is of the most
intense interest to every American who loves his country and
wishes its welfare. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_88_84"></a><a href="#FNanchor_88_84"><span class="label">[88]</span></a> The "Federalist" was a series of essays by Hamilton,
Jay, and Madison, in favor of the Federal Constitution, and
is the best and deepest book on the science of government
that the world contains. (Amer., 1788.)</p></div>

<div class="footnote"><p><a id="Footnote_89_85"></a><a href="#FNanchor_89_85"><span class="label">[89]</span></a> Bryce on the American Commonwealth is a splendid
book, a complete, critical, philosophic work, an era-making
book, and should be read by every American who wishes to
know how our institutions appear to a genial, cultured,
broad-minded foreigner. Mr. Bryce has the chair of Political
Economy in Oxford, and is a member of Parliament. His
chief criticism of our great republic is that it is <i>hard to fix
responsibility</i> for lawlessness under our institutions, which is
always an encouragement to wrongdoers. His book should
be read with De Tocqueville. (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_90_86"></a><a href="#FNanchor_90_86"><span class="label">[90]</span></a> Montesquieu's "Spirit of Laws" is a profound
analysis of law in relation to government, customs, climate,
religion, and commerce. It is the greatest book of
the 18th century. Read with it Bagehot's "Physics and
Politics."</p></div>

<div class="footnote"><p><a id="Footnote_91_87"></a><a href="#FNanchor_91_87"><span class="label">[91]</span></a> Mill's "Logic" and "Political Economy" are simply
necessities to any, even moderately, thorough preparation for
civilized life in America. (Eng., 19th cent.)</p></div>

<p><span class="pagenum"><a id="Page_44">[44]</a></span></p><div class="footnote"><p><a id="Footnote_92_88"></a><a href="#FNanchor_92_88"><span class="label">[92]</span></a> Read Bain on the "Emotions and the Will," "Mind
and Body," etc. (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_93_89"></a><a href="#FNanchor_93_89"><span class="label">[93]</span></a> Herbert Spencer is the foremost name in the philosophic
literature of the world. He is the Shakspeare of
science. He has a grander grasp of knowledge, and more
perfect <i>conscious</i> correspondence with the external universe,
than any other human being who ever looked wonderingly
out into the starry depths; and his few errors flow from an
over-anxiety to exert his splendid power of making beautiful
generalizations. Read his "First Principles," "Data
of Ethics," "Education," and "Classification of the Sciences,"
at any rate; and if possible, all he has written.
Plato and Spencer are brothers. Plato would have done
what Spencer has, had he lived in the 19th century.</p></div>

<div class="footnote"><p><a id="Footnote_94_90"></a><a href="#FNanchor_94_90"><span class="label">[94]</span></a> Darwin's "Origin of Species" stands in history by
the side of Newton's "Principia." The thought of both
has to a great extent become the common inheritance of
the race; and it is perhaps sufficient for the general reader
to refer to a good account of the book and its arguments,
such as may be found in the "Encyclop&aelig;dia Britannica."
(Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_95_91"></a><a href="#FNanchor_95_91"><span class="label">[95]</span></a> Read Herschel and Proctor in Astronomy, to
broaden and deepen the mind with the grand and beautiful
conceptions of this most poetic of the sciences. Proctor's
books are more fascinating than any fiction. (Eng.,
19th cent.)</p></div>

<p><span class="pagenum"><a id="Page_45">[45]</a></span></p><div class="footnote"><p><a id="Footnote_96_92"></a><a href="#FNanchor_96_92"><span class="label">[96]</span></a> For a knowledge of what has been going on in this
dim spot beneath the sun, in the ages before man came
upon the stage, and for an idea about what kind of a fellow
man was when he first set up housekeeping here, and how
long ago that was, read Lyell's "Geology;" Lubbock's
"Prehistoric Times," "Origin of Civilization and Primitive
Condition of Man," and Lyell's "Antiquity of Man" (Eng.,
19th cent.); and Dawson's "Chain of Life." (U. S., 19th
cent.)</p></div>

<div class="footnote"><p><a id="Footnote_97_93"></a><a href="#FNanchor_97_93"><span class="label">[97]</span></a> Read Wood's beautiful and interesting books on
Natural History; especially his "Evidences of Mind in
Animals," "Out of Doors," "Anecdotes of Animals,"
"Man and Beast," "Here and Hereafter."  (Eng., 19th
cent.)</p></div>

<div class="footnote"><p><a id="Footnote_98_94"></a><a href="#FNanchor_98_94"><span class="label">[98]</span></a> Whewell's "History of the Inductive Sciences" is a
very broadening book.</p></div>

<div class="footnote"><p><a id="Footnote_99_95"></a><a href="#FNanchor_99_95"><span class="label">[99]</span></a> De Tocqueville's "Democracy in America" is one
of the great books, and is superior in depth and style even
to Bryce. The two books supplement each other. See note <a href="#Footnote_89_85">89</a>: (France, 18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_100_96"></a><a href="#FNanchor_100_96"><span class="label">[100]</span></a> "Constitutional History of the United States." (Ger.,
19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_101_97"></a><a href="#FNanchor_101_97"><span class="label">[101]</span></a> "Wealth of Nations," "Moral Sentiments." (Eng.,
18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_102_98"></a><a href="#FNanchor_102_98"><span class="label">[102]</span></a> "Principles of Population." One of the most celebrated
of books. (Eng., 18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_103_99"></a><a href="#FNanchor_103_99"><span class="label">[103]</span></a> "Principles of Social Philosophy." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_104_100"></a><a href="#FNanchor_104_100"><span class="label">[104]</span></a> "Essays on Political Economy," "Leading Principles
of Political Economy." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_105_101"></a><a href="#FNanchor_105_101"><span class="label">[105]</span></a> "Comparative Politics."  (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_106_102"></a><a href="#FNanchor_106_102"><span class="label">[106]</span></a> "The Theory of Political Economy," "The Logic
of Statistics." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_107_103"></a><a href="#FNanchor_107_103">
<span class="label">[107]</span></a> "The Nation, the Foundation of Civil Order and
Political Life in the United States." (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_108_104"></a><a href="#FNanchor_108_104">
<span class="label">[108]</span></a> "Leviathan." See note <a href="#Footnote_190_188">190</a>. (Eng., 16th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_109_105"></a><a href="#FNanchor_109_105"><span class="label">[109]</span></a> "The Prince." (Italy, 1469-1527.)</p></div>

<div class="footnote"><p><a id="Footnote_110_106"></a><a href="#FNanchor_110_106"><span class="label">[110]</span></a> "Chips from a German Workshop," and various
works on Philology. (Ger., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_111_107"></a><a href="#FNanchor_111_107"><span class="label">[111]</span></a> "Study of Words," etc. (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_112_108"></a><a href="#FNanchor_112_108"><span class="label">[112]</span></a> "Words and Places." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_113_109"></a><a href="#FNanchor_113_109"><span class="label">[113]</span></a> "Natural History of Selborne." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_114_110"></a><a href="#FNanchor_114_110"><span class="label">[114]</span></a> "Animal Kingdom." (France, early 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_115_111"></a><a href="#FNanchor_115_111"><span class="label">[115]</span></a> "Voyages." (Eng., 18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_116_112"></a><a href="#FNanchor_116_112"><span class="label">[116]</span></a> "Heat as a Mode of Motion," "Forms of Water,"
etc. (Eng., 19th cent.)</p></div>

<p><span class="pagenum"><a id="Page_46">[46]</a></span></p><div class="footnote"><p><a id="Footnote_117_113"></a><a href="#FNanchor_117_113"><span class="label">[117]</span></a> "On Sound." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_118_114"></a><a href="#FNanchor_118_114"><span class="label">[118]</span></a> "Scientific Researches." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_119_115"></a><a href="#FNanchor_119_115"><span class="label">[119]</span></a> "Conservation of Energy." In a book on this subject
edited by E. L. Youmans. (Ger., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_120_116"></a><a href="#FNanchor_120_116"><span class="label">[120]</span></a> "Man's Place in Nature." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_121_117"></a><a href="#FNanchor_121_117"><span class="label">[121]</span></a> Botany. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_122_118"></a><a href="#FNanchor_122_118"><span class="label">[122]</span></a> "Methods of Study in Natural History." (U. S.
19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_123_119"></a><a href="#FNanchor_123_119"><span class="label">[123]</span></a> Physics. (U. S., 19th cent.)</p></div>

<hr class="chapter" />

<h2 id="BIOGRAPHY">BIOGRAPHY.</h2>

<p>Biography carefully read will cast a flood of light
before us on the path of life. Read Longfellow's
"Psalm of Life," and try to find the teachings he refers
to in the lives of great men. The world still
lacks what it very much needs,&mdash;a book of <i>brief</i>
biographies of the greatest and noblest men and
women of every age and country, by a master hand.
The aim should be to extract from the past what it
can teach us of value for the future; and to do this
biography must become a comparative science, events
and lives must be grouped over the whole range of
the years, that by similarities and contrasts the truth
may appear. Smiles's "Self-Help" is a partial realization
of this plan.</p>

<p>The manner of reading should be: R. D.</p>

<p><span class="pagenum"><a id="Page_47">[47]</a></span></p><div class="footnote"><p><a id="Footnote_124_120"></a><a href="#FNanchor_124_120"><span class="label">[124]</span></a> Plutarch's "Lives" comes nearer to a comparative
biography than any other book we have. He contrasts his
characters in pairs, a Greek and a Roman in each couplet.
It is one of the most delightful of books, and among those
most universally read by cultured people of all nations.
Dryden's translation revised by Clough is the best. (Rome,
1st cent.)</p></div>

<div class="footnote"><p><a id="Footnote_125_121"></a><a href="#FNanchor_125_121"><span class="label">[125]</span></a> In Wendell Phillips's oration on "Toussaint L'Ouverture,"
there is a fascinating comparison of the noble negro
warrior with Napoleon. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_126_122"></a><a href="#FNanchor_126_122"><span class="label">[126]</span></a> Boswell's "Johnson" is admittedly the greatest life
of a single person yet written. (Eng., 18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_127_123"></a><a href="#FNanchor_127_123"><span class="label">[127]</span></a> Lockhart's "Life of Scott" is a favorite with all who
read it. Wilkie Collins especially recommends it as finely
picturing genius and nobility of character. (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_128_124"></a><a href="#FNanchor_128_124"><span class="label">[128]</span></a> Marshall's "Life of Washington" is an inspiring
book. Gladstone said to Mr. Depew: "Sixty years ago I
read Chief-Justice Marshall's 'Life of Washington,' and I
was forced to the conclusion that he was quite the greatest
man that ever lived. The sixty years that have passed have
not changed that impression; and to any Englishman who
seeks my advice in the line of his development and equipment
I invariably say, 'Begin by reading the Life of George
Washington.'" (U. S., 19th cent.)
</p><p>
Franklin's "Autobiography" is brief, philosophic, and delightfully
frank and clear. (U. S., 18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_129_125"></a><a href="#FNanchor_129_125"><span class="label">[129]</span></a> "The Life of Lincoln," by Nicolay and Hay, is a
book that has very strong claims to the attention of every
American, and every lover of liberty, greatness, nobility, and
kindliness. (U. S., 19th cent.)
</p><p>
Grant's "Memoirs" deserves reading for similar reasons.
The great General lived an epic, and wrote a classic. (U. S.
19th cent.)</p></div>

<p><span class="pagenum"><a id="Page_48">[48]</a></span></p><div class="footnote"><p><a id="Footnote_130_126"></a><a href="#FNanchor_130_126"><span class="label">[130]</span></a> Read Carlyle's "Life of John Sterling," "Oliver
Cromwell's Letters and Speeches," and "Heroes and Hero
Worship." (Eng., 19th cent.)
</p><p>
Renan's "Life of Christ." (France, 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_131_127"></a><a href="#FNanchor_131_127"><span class="label">[131]</span></a> Canon Farrar's little "Life of Dante" is, considering
its brevity, one of the best things in this department.
(Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_132_128"></a><a href="#FNanchor_132_128"><span class="label">[132]</span></a> Emerson's "Representative Men" most strongly
stirs thought and inspires the resolution. (U. S., 19th
cent.)</p></div>

<div class="footnote"><p><a id="Footnote_133_129"></a><a href="#FNanchor_133_129"><span class="label">[133]</span></a> "The Portrait Collection of the Hundred Greatest
Men," published by Sampson, Low, &amp; Co., 1879.</p></div>

<div class="footnote"><p><a id="Footnote_134_130"></a><a href="#FNanchor_134_130"><span class="label">[134]</span></a> Read Parton's "Sketches of Men of Progress."
(U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_135_131"></a><a href="#FNanchor_135_131"><span class="label">[135]</span></a> "Lights of Two Centuries." (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_136_132"></a><a href="#FNanchor_136_132"><span class="label">[136]</span></a> "Our Great Benefactors." (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_137_133"></a><a href="#FNanchor_137_133"><span class="label">[137]</span></a> "Book of Martyrs." (Eng., early 16th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_138_134"></a><a href="#FNanchor_138_134"><span class="label">[138]</span></a> "The Life and Times of Goethe," and "Michaelangelo."
Most interesting books. (Germany, 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_139_135"></a><a href="#FNanchor_139_135"><span class="label">[139]</span></a> "English Statesmen." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_140_136"></a><a href="#FNanchor_140_136"><span class="label">[140]</span></a> "Life of Napoleon." (France, 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_141_137"></a><a href="#FNanchor_141_137"><span class="label">[141]</span></a> "Lives of the Poets." (Eng., 18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_142_138"></a><a href="#FNanchor_142_138"><span class="label">[142]</span></a> Walton's "Lives." (Eng., 17th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_143_139"></a><a href="#FNanchor_143_139"><span class="label">[143]</span></a> "Life of Dr. Arnold." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_144_140"></a><a href="#FNanchor_144_140"><span class="label">[144]</span></a> "Life of Washington." (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_145_141"></a><a href="#FNanchor_145_141"><span class="label">[145]</span></a> "Life of Nelson." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_146_142"></a><a href="#FNanchor_146_142"><span class="label">[146]</span></a> "Life of Pitt." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_147_143"></a><a href="#FNanchor_147_143"><span class="label">[147]</span></a> "Life of Byron." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_148_144"></a><a href="#FNanchor_148_144"><span class="label">[148]</span></a> "Lives of Female Sovereigns and Illustrious Women."
(Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_149_145"></a><a href="#FNanchor_149_145"><span class="label">[149]</span></a> "Lives of the Saints." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_150_146"></a><a href="#FNanchor_150_146"><span class="label">[150]</span></a> "Memories of many Men." (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_151_147"></a><a href="#FNanchor_151_147"><span class="label">[151]</span></a> "Reminiscences." (U. S., 18th cent.)
</p><p>
The Life and Letters of Darwin, Talleyrand, and Macaulay;
the Journals of Miss Alcott, Marie Bashkirtseff,
and Eug&eacute;nie de Guerin; the Autobiography of Joseph<span class="pagenum"><a id="Page_49">[49]</a></span>
Jefferson; the "American Statesmen" series, edited by
John T. Morse, Jr., and the "English Men of Letters" series
are all valuable books. The Journals of Miss Alcott and
Marie Bashkirtseff are stories of heart struggles, longings,
failures, and triumphs, and are of exceeding interest and great
popularity. The Journal of Eug&eacute;nie de Guerin deserves
to be better known than it is, for the delicate sweetness of
feeling that fills its pages.</p></div>

<hr class="chapter" />

<h2 id="HISTORY">HISTORY.</h2>

<p>Remarks may be made about History very similar
to those in the special remarks concerning Biography.
The field is too vast for an ordinary life, and there is
no book that will give in brief compass the net results
and profits of man's investment in experience
and life,&mdash;the dividends have not been declared.
Guizot and Buckle come nearer to doing this than
any other writers; but <i>the</i> book that shall reduce the
past to principles that will guide the future has not
yet been written. The student will be greatly assisted
by the "Manual of Historical Literature," by C. K.
Adams. It is an admirable guide. Putnam's series,
"The Stories of the Nations," and Scribner's "Epoch"
series are very useful, especially for young people.</p>

<p>The manner of reading the best history should be:
R. D. G.</p>

<p><span class="pagenum"><a id="Page_50">[50]</a></span></p><div class="footnote"><p><a id="Footnote_152_148"></a><a href="#FNanchor_152_148"><span class="label">[152]</span></a> Green's "History of the English People" has probably
the first claims on the general reader. (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_153_149"></a><a href="#FNanchor_153_149"><span class="label">[153]</span></a> Bancroft's "History of the United States" should
be read by every American citizen, along with Dr. Strong's
"Our Country." (U. S., 19th cent.) The only trouble with
Bancroft is that he does not bring the history down to recent
times. Hildreth for the student, and Ridpath for practical
business men supply this defect. Doyle's "History of the
United States" is perhaps the best small book, and his
"American Colonies" is also good. McMaster's "History
of the People of the United States" is a brilliant work, given
largely to an account of the social life of the people.</p></div>

<div class="footnote"><p><a id="Footnote_154_150"></a><a href="#FNanchor_154_150"><span class="label">[154]</span></a> Guizot's "History of Civilization" and "History of
France" (France, 19th cent.) are among the greatest books
of the world; and with Buckle's "History of Civilization"
(Eng., 19th cent.) will give a careful reader an intellectual
breadth and training far above what is attained by the majority
even of reading men.</p></div>

<div class="footnote"><p><a id="Footnote_155_151"></a><a href="#FNanchor_155_151"><span class="label">[155]</span></a> Parkman is the Macaulay of the New World. He
invests the truths of sober history with all the charms of
poetic imagination and graceful style. His literary work
must take its place by the side of Scott and Irving. Read
his "France and England in North America," "Conspiracy
of Pontiac," and "The Oregon Trail."
</p><p>
Freeman, Fiske, and Fyffe are also great historians, who
require notice here. Freeman's "Comparative Politics,"
"History of the Saracens," "Growth of the English Constitution,"
"History of Federal Government," and "General
Sketch of History" are all great works,&mdash;the last being the
best brief account of general history that we possess. (Eng.,
19th cent.)
</p><p>
Fiske's "Civil Government," "War of Independence," and
"Critical Period of American History" are standard books.
(U. S., 19th cent.)<span class="pagenum"><a id="Page_51">[51]</a></span>
</p><p>
Fyffe's "Modern Europe" is called the most brilliant picture
of the Revolutionary Period in existence. It is certainly
one of the best of histories.</p></div>

<div class="footnote"><p><a id="Footnote_155A_152"></a><a href="#FNanchor_155A_152"><span class="label">[155a]</span></a> "Fifteen Decisive Battles of the World." (Eng.,
19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_156_153"></a><a href="#FNanchor_156_153"><span class="label">[156]</span></a> "History of England in the 18th Century," "History
of European Morals." These books take very high
rank in respect to style, accuracy, and completeness. (Eng.,
19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_157_154"></a><a href="#FNanchor_157_154"><span class="label">[157]</span></a> "Ten Great Religions," by James Freeman Clarke.
(U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_158_155"></a><a href="#FNanchor_158_155"><span class="label">[158]</span></a> "Comparative History of Religion."</p></div>

<div class="footnote"><p><a id="Footnote_159_156"></a><a href="#FNanchor_159_156"><span class="label">[159]</span></a> "Intellectual Development of Europe." A work of
great power. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_160_157"></a><a href="#FNanchor_160_157"><span class="label">[160]</span></a> "Middle Ages." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_161_158"></a><a href="#FNanchor_161_158"><span class="label">[161]</span></a> "Constitutional History of England." Bagehot's
"English Constitution" should be read with the works of
Hallam, Freeman, and May on this topic, because of its
brilliant generalizations and ingenious suggestions. (Eng.,
19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_162_159"></a><a href="#FNanchor_162_159"><span class="label">[162]</span></a> "History of England." (Eng., 18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_163_160"></a><a href="#FNanchor_163_160"><span class="label">[163]</span></a> "History of England." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_164_161"></a><a href="#FNanchor_164_161"><span class="label">[164]</span></a> "History of England." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_165_162"></a><a href="#FNanchor_165_162"><span class="label">[165]</span></a> "Decline and Fall of the Roman Empire." (Eng.,
18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_166_163"></a><a href="#FNanchor_166_163"><span class="label">[166]</span></a> "History of Greece." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_167_164"></a><a href="#FNanchor_167_164"><span class="label">[167]</span></a> "History of New England." (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_168_165"></a><a href="#FNanchor_168_165"><span class="label">[168]</span></a> "Conquest of Mexico," "Peru," "Ferdinand and
Isabella," etc. Prescott's style is of the very best, clear,
graphic, and ever interesting. (U. S., 19th cent.)</p></div>

<p><span class="pagenum"><a id="Page_52">[52]</a></span></p><div class="footnote"><p><a id="Footnote_169_166"></a><a href="#FNanchor_169_166"><span class="label">[169]</span></a> "Rise of the Dutch Republic." (U. S., 19th
cent.)</p></div>

<div class="footnote"><p><a id="Footnote_169A_167"></a><a href="#FNanchor_169A_167"><span class="label">[169a]</span></a> "Rise of the Republic of the United States."
(U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_170_168"></a><a href="#FNanchor_170_168"><span class="label">[170]</span></a> "Ancient Egyptians." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_171_169"></a><a href="#FNanchor_171_169"><span class="label">[171]</span></a> "History of Rome." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_172_170"></a><a href="#FNanchor_172_170"><span class="label">[172]</span></a> "History of the Germans." (Ger., 1798.)</p></div>

<div class="footnote"><p><a id="Footnote_173_171"></a><a href="#FNanchor_173_171"><span class="label">[173]</span></a> "Latin Christianity." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_174_172"></a><a href="#FNanchor_174_172"><span class="label">[174]</span></a> "History of the Papacy in the 16th and 17th Centuries."
Ranke is one of the strongest names in history.
(Ger., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_175_173"></a><a href="#FNanchor_175_173"><span class="label">[175]</span></a> "Italian Republics." (France, 1773-1842.)</p></div>

<div class="footnote"><p><a id="Footnote_176_174"></a><a href="#FNanchor_176_174"><span class="label">[176]</span></a> "History of France." (France, 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_177_175"></a><a href="#FNanchor_177_175"><span class="label">[177]</span></a> "French Revolution." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_178_176"></a><a href="#FNanchor_178_176"><span class="label">[178]</span></a> "History of France," "Norman Conquest of England."
(France, 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_179_177"></a><a href="#FNanchor_179_177"><span class="label">[179]</span></a> "Germania." His "Life of Agricola" is also worthy
of note for the insight into character, the pathos, vigor, and
affection manifested in its flattering pages. (Rome, 1st cent.)</p></div>

<div class="footnote"><p><a id="Footnote_180_178"></a><a href="#FNanchor_180_178"><span class="label">[180]</span></a> "History of Rome." (Rome, 1st cent. <span class="smcap">b. c.</span>)</p></div>

<div class="footnote"><p><a id="Footnote_181_179"></a><a href="#FNanchor_181_179"><span class="label">[181]</span></a> "The War of Catiline." (Rome, 1st cent. <span class="smcap">b. c.</span>)</p></div>

<div class="footnote"><p><a id="Footnote_182_180"></a><a href="#FNanchor_182_180"><span class="label">[182]</span></a> History of nearly all the nations known at the time
he wrote. (Greece, 5th cent. <span class="smcap">b. c.</span>)</p></div>

<div class="footnote"><p><a id="Footnote_183_181"></a><a href="#FNanchor_183_181"><span class="label">[183]</span></a> "Anabasis, the Retreat of the Greek Mercenaries of
the Persian King." (Greece, 5th cent. <span class="smcap">b. c.</span>)</p></div>

<div class="footnote"><p><a id="Footnote_184_182"></a><a href="#FNanchor_184_182"><span class="label">[184]</span></a> "History of the Athenian Domination of Greece."
(Greece, 5th cent. <span class="smcap">b. c.</span>)</p></div>

<div class="footnote"><p><a id="Footnote_185_183"></a><a href="#FNanchor_185_183"><span class="label">[185]</span></a> "History of the Jewish Wars." (Jerusalem, 1st
cent.)
</p><p>
Mackenzie's "History of the Nineteenth Century" is the
best English book on the subject.
</p><p>
Rawlinson's "Five Great Monarchies" is strongly
recommended.<span class="pagenum"><a id="Page_53">[53]</a></span></p></div>

<hr class="chapter" />

<h2 id="PHILOSOPHY">PHILOSOPHY.</h2>

<p>There have been, since the waters of thought began
to flow, two great streams running side by side,&mdash;Rationalism
and Mysticism. Those who sail upon
the former recognize Reason as king; those upon
the latter enthrone some vague and shadowy power,
in general known as Intuition. The tendency of the
one is to begin with sense impressions, and out of
these to build up a universe in the brain corresponding
to the outer world, and to arrive at a belief in
God by climbing the stairway of induction and analogy.
The tendency of the other is to start with the
affirmed nature of God, arrived at, the thinker knows
not how, and deduce the universe from the conception
of the Divine Nature. If this matter is kept in
mind, the earnest student will be able to see through
the mists sufficiently to discover what the philosophers
are talking about whenever it chances that they themselves
knew. Spencer, Plato, Berkeley, Kant, Locke,
are all worthy of a thorough reading; and Comte's
philosophy of Mathematics is of great importance.</p>

<p>The manner of reading good philosophic works
should be: R. D. G.</p>

<p><span class="pagenum"><a id="Page_54">[54]</a></span></p><div class="footnote"><p><a id="Footnote_186_184"></a><a href="#FNanchor_186_184"><span class="label">[186]</span></a> Spencer's Philosophy is the grandest body of thought
that any one man has ever given to the world. No one who
wishes to move with the tide can afford to be unfamiliar with
his books, from "First Principles" to his Essays. He believes
that all ideas, or their materials, have come through
the avenues of the senses. (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_187_185"></a><a href="#FNanchor_187_185"><span class="label">[187]</span></a> Plato and Socrates are a double star in the sky of
Philosophy that the strongest telescopes have failed to resolve.
Socrates wrote nothing, but talked much. Plato was
a pupil of his, and makes Socrates the chief character in his
writings. Ten schools of philosophy claimed Socrates as
their head, but Plato alone represented the master with fulness.
Considering the times in which he lived, the grandeur
of his thought, the power of his imagination, and the nobility,
elegance, originality, and beauty of his writings, Plato
has no superior in the whole range of literature. With Plato,
ideas are the only realities, things are imperfect expressions of
them, and all knowledge is reminiscence of what the soul
learned when it was in the land of spirit, face to face with
ideas unveiled. Read his dialogues, especially "Ph&aelig;do"
and the "Republic." (Greece, 429-348 <span class="smcap">b. c.</span>)</p></div>

<div class="footnote"><p><a id="Footnote_188_186"></a><a href="#FNanchor_188_186"><span class="label">[188]</span></a> A most acute idealist, whose argument against the
existence of matter is one of the great passages of literature.
(Eng., 18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_189_187"></a><a href="#FNanchor_189_187"><span class="label">[189]</span></a> Kant argues that the <i>forms</i> of <i>thought</i>, <i>time</i>, and <i>space</i>
are necessarily intuitive, and not derived from sensation,
since they are prerequisites to sensation. Read the "Critique
of Pure Reason," "Critique of Practical Reason," in
which he treats moral philosophy, and "Observations on the
Sublime and Beautiful." (Germany, 18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_190_188"></a><a href="#FNanchor_190_188"><span class="label">[190]</span></a> Locke bases knowledge on sensation. His "Essay
on the Conduct of the Understanding" is one of the most
valuable books in the language. Spencer, Mill, and Locke
have so fully imbibed all that was good in Hobbes that it is
scarcely necessary to read him. (Eng., 17th cent.)</p></div>

<p><span class="pagenum"><a id="Page_55">[55]</a></span></p><div class="footnote"><p><a id="Footnote_191_189"></a><a href="#FNanchor_191_189"><span class="label">[191]</span></a> Comte's "Positive Philosophy" rejects intuitive
knowledge. It is characterized by force of logic, immense
research, great power of generalization (which is frequently
carried beyond the warrant of facts), and immense bulk.
(France, 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_192_190"></a><a href="#FNanchor_192_190"><span class="label">[192]</span></a> Sensationalist. A very strong writer. (Eng., 19th
cent.)</p></div>

<div class="footnote"><p><a id="Footnote_193_191"></a><a href="#FNanchor_193_191"><span class="label">[193]</span></a> "Limits of Religious Thought." A very powerful
exposure of the weakness of human imagination. (Eng.,
19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_194_192"></a><a href="#FNanchor_194_192"><span class="label">[194]</span></a> "Matter and Force." A powerful presentation of
Materialism. (Ger., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_195_193"></a><a href="#FNanchor_195_193"><span class="label">[195]</span></a> "Freedom of the Will." A demonstration of the
impossibility of free will. (Amer., 18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_196_194"></a><a href="#FNanchor_196_194"><span class="label">[196]</span></a> A very acute English philosopher. (Eng., 1748-1832.)</p></div>

<div class="footnote"><p><a id="Footnote_197_195"></a><a href="#FNanchor_197_195"><span class="label">[197]</span></a> Moral and Metaphysical Philosophy. (Eng., 19th
cent.)</p></div>

<div class="footnote"><p><a id="Footnote_198_196"></a><a href="#FNanchor_198_196"><span class="label">[198]</span></a> A deep, clear thinker, of sceptical character, who
laid bare the flaws in the old philosophies. (Eng., 1711-1776.)</p></div>

<div class="footnote"><p><a id="Footnote_199_197"></a><a href="#FNanchor_199_197"><span class="label">[199]</span></a> One of the most profound metaphysicians the world
can boast, and inventor of quaternions, the latest addition to
Mathematics. (Scot., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_200_198"></a><a href="#FNanchor_200_198"><span class="label">[200]</span></a> Aristotle was the Bacon of the Old World. His
method was the very opposite of Plato's. He sought knowledge
chiefly by carefully looking out upon the world, instead
of by introspection. No one has exerted a greater influence
on the thought of the world than this deep and earnest
thinker. (Greece, 4th cent. <span class="smcap">b. c.</span>)</p></div>

<p><span class="pagenum"><a id="Page_56">[56]</a></span></p><div class="footnote"><p><a id="Footnote_201_199"></a><a href="#FNanchor_201_199"><span class="label">[201]</span></a> A very beautiful writer of the idealist school, though
he claims to be eclectic. (France, 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_202_200"></a><a href="#FNanchor_202_200"><span class="label">[202]</span></a> Hegel endeavored, by the method set forth in his
"Absolute Logic," to reduce all knowledge to one science.
(Ger., 1770-1831.) Schelling, in his "Philosophy of Identity,"
tries to prove that the same laws hold in the world of
spirit as in the world of matter. Schelling bases his system
on an <i>intuition</i> superior to reason, and admitting neither
doubt nor explanation. (Ger., 1775-1854.)</p></div>

<div class="footnote"><p><a id="Footnote_203_201"></a><a href="#FNanchor_203_201"><span class="label">[203]</span></a> Fichte carries the doctrines of Kant to their limit:
to him all except the life of the mind is a delusion. (Ger.,
18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_204_202"></a><a href="#FNanchor_204_202"><span class="label">[204]</span></a> A great German philosopher of the time of Luther
(16th cent.), very learned, refined, and witty. Read his
"Familiar Colloquies."</p></div>

<div class="footnote"><p><a id="Footnote_205_203"></a><a href="#FNanchor_205_203"><span class="label">[205]</span></a> "Cosmic Philosophy." (Amer. 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_206_204"></a><a href="#FNanchor_206_204"><span class="label">[206]</span></a> "Rational Cosmology, or the Eternal Principles and
Necessary Laws of the Universe." (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_207_205"></a><a href="#FNanchor_207_205"><span class="label">[207]</span></a> Scottish Philosophy. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_208_206"></a><a href="#FNanchor_208_206"><span class="label">[208]</span></a> Theologico-politico-moral, voluminous dissertations.
(Amsterdam, 17th cent.)</p></div>

<hr class="chapter" />

<h2 id="ESSAYS">ESSAYS.</h2>

<p>Next to Shakspeare's Plays, Emerson's Essays
and Lectures are to me the richest inspiration. At
every turn new and delightful paths open before the
mind; and the poetic feeling and imagery are often
of the best. Only the music and the power of discriminating
the wheat from the chaff were lacking to
have made one of the world's greatest poets. To
pour into the life the spirit of Emerson, Bacon, and
Montaigne is a liberal education in itself. Addison's<span class="pagenum"><a id="Page_57">[57]</a></span>
"Spectator" is inimitable in its union of humor, sense,
and imagination. A number of eminent men, Franklin
among them, have referred to it as the source of
their literary power.</p>

<p>Read these essays: R. D. C. G.</p>

<div class="footnote"><p><a id="Footnote_209_207"></a><a href="#FNanchor_209_207"><span class="label">[209]</span></a> Emerson's Essays and Lectures certainly deserve
our first attention in this department, because of their poetic
beauty and stimulating effect upon the imagination and all
that is pure and strong and noble in the character. (Amer.,
19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_210_208"></a><a href="#FNanchor_210_208"><span class="label">[210]</span></a> Nowhere can be found so much wit and wisdom to
the square inch as in Bacon's Essays. (Eng., 1600.)</p></div>

<div class="footnote"><p><a id="Footnote_211_209"></a><a href="#FNanchor_211_209"><span class="label">[211]</span></a> Montaigne is the most popular of all the world's
essayists, because of his common-sense, keen insight, and
perfect frankness. The only author we certainly know to
have been in Shakspeare's own library. (France, 1580.)</p></div>

<p><span class="pagenum"><a id="Page_58">[58]</a></span></p><div class="footnote"><p><a id="Footnote_212_210"></a><a href="#FNanchor_212_210"><span class="label">[212]</span></a> Ruskin's "Ethics of the Dust," "Crown of Wild
Olives," "Sesame and Lilies," while somewhat wild in substance
as well as in title, are well worthy of reading for the
intellectual stimulus afforded by their breadth of view, novelty
of expression and illustration, and the intense force&mdash;almost
fanaticism&mdash;which characterizes all that Ruskin says.
Ruskin is one of three living writers whom Farrar says he
would first save from a conflagration of the world's library.
Carlyle is another of the same sort. Read his "Past and
Present," a grand essay on Justice. (Eng., 19th cent.)
</p><p>
So far as style is concerned, Addison's Essays in the
"Spectator" are probably the best in the world.</p></div>

<hr class="chapter" />

<h2 id="FICTION">FICTION.</h2>

<p>In modern times much that is best in literature has
gone into the pages of the novel. The men and
women of genius who would in other days have been
great poets, philosophers, dramatists, essayists, and
humorists have concentrated their powers, and poured
out all their wealth to set in gold a story of human
life. Don't neglect the novels; but be sure to read
<i>good</i> ones, and don't read too many.</p>

<p>In fiction, England, America, and France are far
ahead of the rest of the world. Scott may well be
held to lead the list, considering the quantity and
quality of what he wrote; and Dickens, I presume,
by many would be written next, though I prefer the
philosophic novelists, like George Eliot, Macdonald,
Kingsley, Hugo, etc. Fielding, Richardson, Goldsmith,
Sterne, and Defoe, Jane Austen, Cooper, and
Marryat all claim our attention on one account or
another.</p>

<p>The United States can boast of Hawthorne, Tourg&eacute;e,
Wallace, Hearn, Aldrich, Warner, Curtis, Jewett,
Craddock, and many others.</p>

<p>France has a glorious army, led by Victor Hugo,
George Sand, Balzac, Dumas, Gautier, M&eacute;rim&eacute;e, etc.
But the magnificent powers of these artists are combined
with sad defects. Hugo is the greatest literary
force since Goethe and Scott; but his digressions are
sometimes terribly tedious, his profundity darkness,<span class="pagenum"><a id="Page_59">[59]</a></span>
and his "unities," his plot, and reasons for lugging in
certain things hard to find. Balzac gives us a monotony
of wickedness. George Sand is prone to
idealize lust. "Notre Dame" and "Les Mis&eacute;rables,"
"Le P&egrave;re Goriot" and "Eug&eacute;nie Grandet," "Consuelo"
and "La Mare au Diable," "Capitaine Fracasse"
and "Vingt Ans Apr&egrave;s," are great books; but they
will not rank with "Tom Jones" artistically, nor with
the "Vicar of Wakefield," "Ivanhoe," "Adam Bede,"
"Romola," or "The Scarlet Letter," considering all
the elements that go to make a great novel.</p>

<p>Germany, Italy, and Spain have no fiction that
compares with ours.</p>

<p>No doubt many will be surprised to find Fielding,
Balzac, Tolsto&iuml;, and others placed so low in the list
as they are. The reason is that the moral tone of a
book is, with us, a weightier test of its claims on the
attention of the general reader, than the style of the
author or the merit of his work from an artistic point
of view. There might be some doubt whether or no
we ought not to exclude from our tables entirely all
books that are not noble enough in character to
admit of their being read aloud in the family. The
trouble is that much of the finest literature of the
world would have to be excluded. So there seems
to be no course but to admit these men, with a note
as to their character.</p>

<p>One who wishes to make a study of the novel will
be interested in Dunlop's "History of Fiction," Tuckerman's
"History of English Prose Fiction," Hazlitt's<span class="pagenum"><a id="Page_60">[60]</a></span>
"English Novelists," Lanier's "Novel," Masson's
"British Novelists and their Styles," and Jeaffreson's
"Novels and Novelists."</p>

<p>The best fiction should be read: R. D. G.</p>

<div class="footnote"><p><a id="Footnote_213_211"></a><a href="#FNanchor_213_211"><span class="label">[213]</span></a> "Heart of Midlothian," "Waverley," "Ivanhoe,"
"Kenilworth," "Guy Mannering," "The Antiquary," "Rob
Roy," "Old Mortality," "Red Gauntlet," etc. Scott is by
very many&mdash;and among them some of the greatest&mdash;loved
more than any other novelist. The purity, beauty, breadth,
and power of his works will ever place them among the most
desirable reading. (Eng., 19th cent.) Hutton's "Sir Walter
Scott," Carlyle's "Essay on Scott," Hazlitt's Essay in "The
Spirit of the Age," and other books referred to in the head
notes to Poetry and Fiction will be useful to the student of
Scott.</p></div>

<div class="footnote"><p><a id="Footnote_214_212"></a><a href="#FNanchor_214_212"><span class="label">[214]</span></a> "Adam Bede," "Mill on the Floss," "Romola,"
"Silas Marner," etc. Deep philosophy and insight into
character mark all George Eliot's writings. (Eng., 19th cent.)
Lanier's "Development of the Novel" is practically only an
enthusiastic study of George Eliot.</p></div>

<div class="footnote"><p><a id="Footnote_215_213"></a><a href="#FNanchor_215_213"><span class="label">[215]</span></a> "Pickwick," "David Copperfield," "Bleak House,"
"Martin Chuzzlewit," "Old Curiosity Shop," etc. Dickens
needs no comment. His fame is in every house. (Eng.,
19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_216_214"></a><a href="#FNanchor_216_214"><span class="label">[216]</span></a> Hawthorne's "Scarlet Letter," "Marble Faun,"
"Great Stone Face," etc., are by universal consent accorded
the first place in the lists of American novels, and are among
the best to be found anywhere. (U. S., 19th cent.)</p></div>

<p><span class="pagenum"><a id="Page_61">[61]</a></span></p><div class="footnote"><p><a id="Footnote_217_215"></a><a href="#FNanchor_217_215"><span class="label">[217]</span></a> "Vicar of Wakefield." One of Goethe's earliest
favorites. (Eng., 18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_218_216"></a><a href="#FNanchor_218_216"><span class="label">[218]</span></a> "Rienzi," "Last Days of Pompeii," "Last of the
Barons," etc. Most powerful, delightful, and broadening
books. (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_219_217"></a><a href="#FNanchor_219_217"><span class="label">[219]</span></a> "Malcolm," "Marquis o' Lossie," "David Elginbrod,"
etc. Books of marvellous spiritual helpfulness. (Eng.,
19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_220_218"></a><a href="#FNanchor_220_218"><span class="label">[220]</span></a> "Esmond," "Vanity Fair," etc. Very famous books.
(Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_221_219"></a><a href="#FNanchor_221_219"><span class="label">[221]</span></a> "Westward, Ho!" "Two Years Ago," etc. Among
the best and most famous pictures of true English character.
(Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_222_220"></a><a href="#FNanchor_222_220"><span class="label">[222]</span></a> "Ben Hur." This book has been placed close to
the Bible and Bunyan. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_223_221"></a><a href="#FNanchor_223_221"><span class="label">[223]</span></a> "Hot Plowshares," "The Fool's Errand," "The Invisible
Empire," "Appeal to C&aelig;sar," etc. Books widely
known, but whose great merit is not fully recognized. Tourg&eacute;e,
though uneven, seems to us a writer of very great power.
His "Hot Plowshares" is a powerful historical novel; and
few books in the whole range of literature are so intensely
interesting, and so free from all that is objectionable in subject
or execution. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_224_222"></a><a href="#FNanchor_224_222"><span class="label">[224]</span></a> "Les Mis&eacute;rables," "Notre Dame de Paris," "Les
Travailleurs de la Mer," etc. Wraxall's translations of these
great French novels are most excellent. (France, 19th cent.)
</p><p>
Some critics think that no characters in Shakspeare are
better drawn than those of Dumas. "Monte Cristo," "The
Vicomte de Bragelonne" (Stevenson's favorite), "The Three
Musketeers," "Twenty Years After," "The Marie Antoinette
Romances," etc., are powerful and intensely interesting
novels. (France, 19th cent.)</p></div>

<p><span class="pagenum"><a id="Page_62">[62]</a></span></p><div class="footnote"><p><a id="Footnote_225_223"></a><a href="#FNanchor_225_223"><span class="label">[225]</span></a> "Robinson Crusoe." There are few persons who do
not get delight and inspiration from Defoe's wonderful story.
(Eng., 1661-1731.)
</p><p>
"Tom Brown at Rugby" and "Tom Brown at Oxford," by
Thomas Hughes, are delightful books for boys. (Eng., 19th
cent.)</p></div>

<div class="footnote"><p><a id="Footnote_226_224"></a><a href="#FNanchor_226_224"><span class="label">[226]</span></a> Mrs. Stowe's "Uncle Tom's Cabin," was God's
bugle-call to the war against slavery. Her "Oldtown Folks"
and "Sam Lawson's Fireside Stories" are very humorous
sketches of New England life. (U. S., 19th cent.)
</p><p>
Cooper's "The Spy," "The Pilot," "Leather Stocking,"
"Deerslayer," "Pathfinder," etc., are books that interfere
with food and sleep, and chain us to their pages. (U. S.,
19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_227_225"></a><a href="#FNanchor_227_225"><span class="label">[227]</span></a> "Prue and I," by George William Curtis, is one of
the most suggestive stories in print, and is in every way a
delightful book. "Potiphar Papers," "Our Best Society,"
"Trumps," "Lotus Eaters,"&mdash;in fact, everything Mr. Curtis
writes, is of the highest interest, and worthy of the most careful
attention. (U. S., 19th cent.)
</p><p>
The same may be said of the works of Charles Dudley
Warner,&mdash;"Being a Boy," "A Hunting of the Deer," "In
the Wilderness," "Backlog Studies," "My Summer in a
Garden," etc. (U. S., 19th cent.)</p></div>

<p><span class="pagenum"><a id="Page_63">[63]</a></span></p><div class="footnote"><p><a id="Footnote_228_226"></a><a href="#FNanchor_228_226"><span class="label">[228]</span></a> T. B. Aldrich, while perhaps not destined to rank
with Scott, Eliot, and Hawthorne, is nevertheless one of the
most wholesome and interesting of living authors. "The Stillwater
Tragedy" is his strongest book. "Prudence Palfrey,"
"The Story of a Bad Boy," "Margery Daw," and "The
Queen of Sheba" will doubtless be read by those who
once become acquainted with the author. (U. S., 19th
cent.)
</p><p>
The first part of Hearn's "Chita" exceeds in beauty and
strength any other piece of descriptive writing with which
we are familiar. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_229_227"></a><a href="#FNanchor_229_227"><span class="label">[229]</span></a> Ebers' "Homo Sum," "Uarda," and "An Egyptian
Princess" are very powerful studies of Egyptian life and
history. (Ger., 19th cent.)
</p><p>
"With Fire and Sword," and its sequels, "The Deluge"
and "Pan Michael," by Henryk Sienkiewicz, are among the
greatest books of modern times. They are historical romances
of the conflict between Russia, Poland, and Sweden;
and their power may be guessed from the fact that critics have
compared the author favorably with Scott, Dumas, Schiller,
Cervantes, Thackeray, Turgenieff, Homer, and even Shakspeare.
(Poland, 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_230_228"></a><a href="#FNanchor_230_228"><span class="label">[230]</span></a> Miss Austen's "Emma," "Pride and Prejudice"
(Eng., 19th cent.), and Charlotte Bront&eacute;'s "Jane Eyre"
(Eng., 19th cent.), are all noble and renowned novels.</p></div>

<div class="footnote"><p><a id="Footnote_231_229"></a><a href="#FNanchor_231_229"><span class="label">[231]</span></a> Louisa Alcott's "Little Women" is a lovely story of
home life; and its exceeding popularity is one of the most
encouraging signs of the growth of a taste for pure, gentle,
natural literature. (U. S., 19th cent.)
</p><p>
Mrs. Burnett's "Little Lord Fauntleroy" deservedly met
at once a high reward of popularity, and was placed in the
front rank among stories of child-life. As a teacher of gentleness
and good manners it is invaluable. (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_232_230"></a><a href="#FNanchor_232_230"><span class="label">[232]</span></a> Cable's "Grande Pointe," "The Grandissimes," etc.,
should be read by all who wish to know the best living novelists.
(U. S., 19th cent.)
</p><p>
Craddock's "Where the Battle was Fought," "Despot of
Broomsedge Cove," "Prophet of Great Smoky Mountain,"
"Story of Keedon Bluffs," and "Down the Ravine" are
fascinating stories, the last two being fine books for children.
(U. S., 19th cent.)</p></div>

<p><span class="pagenum"><a id="Page_64">[64]</a></span></p><div class="footnote"><p><a id="Footnote_233_231"></a><a href="#FNanchor_233_231"><span class="label">[233]</span></a> Mrs. A. D. T. Whitney's "Sights and Insights,"
though somewhat too wordy for this busy world, is worthy
a place here, because of its spiritual beauty and its keen
common-sense in respect to marriage and courtship. (U. S.,
19th cent.)
</p><p>
Sarah Orne Jewett has won a good name by her excellent
stories, "Deephaven," "Betty Leicester," etc. Her "Play
Days" is a fine book for girls. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_234_232"></a><a href="#FNanchor_234_232"><span class="label">[234]</span></a> Fielding, Le Sage, and Balzac are writers of great
power, whose works are studied for their artistic merit, their
wit, and the intense excitement some of them yield; but the
general moral tone of their writings places them below the
purer writers above spoken of in respect to their value
to the general reader, one of whose deepest interests is
character-forming.
</p><p>
Fielding's "Tom Jones" is by many considered the finest
novel in existence; and it undoubtedly would be, if along
with its literary skill it possessed the high tone of Curtis or
Scott. "Jonathan Wild" is also a powerful story. (Eng.,
18th cent.)
</p><p>
"Gil Blas," by Le Sage, is one of the most famous and
widely read books in the world. (France, 1668&mdash;1747.)
</p><p>
Balzac's best are "Le P&egrave;re Goriot" (and especially the
magnificent preface to this book), "La Recherche de l'Absolu,"
"Eug&eacute;nie Grandet," "La Peau de Chagrin," etc.
(France, 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_235_233"></a><a href="#FNanchor_235_233"><span class="label">[235]</span></a> Rousseau's "Emile" has been called the greatest
book ever written; but we presume that bias and limitation of
knowledge on the part of critics (not rare accomplishments
of theirs) might procure a similar judgment in respect to
almost any strong and peculiar book. Rousseau's "Confessions"
are worth some attention. (France, 18th cent.)
</p><p>
Saintine's "Picciola" is a beautiful story. (France, 19th
cent.)</p></div>

<p><span class="pagenum"><a id="Page_65">[65]</a></span></p><div class="footnote"><p><a id="Footnote_236_234"></a><a href="#FNanchor_236_234"><span class="label">[236]</span></a> Coffin's "Boys of '76," "Boys of '61," "Story of
Liberty," etc., are splendid books for young people. The
last describes the march of the human race from slavery to
freedom. (U. S., 19th cent.)
</p><p>
Charles Reade's "Hard Cash," "Peg Woffington," "Cloister
and Hearth" are fascinating stories. (Eng., 19th cent.)
</p><p>
Warren's "Ten Thousand a Year."</p></div>

<div class="footnote"><p><a id="Footnote_237_235"></a><a href="#FNanchor_237_235"><span class="label">[237]</span></a> Landor's "Imaginary Conversations of Great Men."
(Eng., 18th cent.)
</p><p>
Turgenieff's "Liza," "Smoke," and "Fathers and Sons."
(Russia, 19th cent.)
</p><p>
Eugene Sue's "Wandering Jew."
</p><p>
Manzoni's "I promessi Sposi."</p></div>

<div class="footnote"><p><a id="Footnote_238_236"></a><a href="#FNanchor_238_236"><span class="label">[238]</span></a> Cottin's "Elizabeth."
</p><p>
Besant's "All Sorts and Conditions of Men." (Eng.,
19th cent.)
</p><p>
Stevenson's "The Strange Case of Dr. Jekyll and Mr.
Hyde." A book that teaches the danger of giving way to
the evil side of our nature.</p></div>

<div class="footnote"><p><a id="Footnote_239_237"></a><a href="#FNanchor_239_237"><span class="label">[239]</span></a> Mrs. Ward's "Robert Elsmere" is a famous picture
of the struggle in the religious mind to-day. (Eng., 19th cent.)
</p><p>
Margaret Deland's "John Ward, Preacher," is a book of
the same class as the last, but is not as interesting as her
"Florida Days" or her Poems. (U. S., 19th cent.)
</p><p>
Anna Sewell's "Black Beauty" is the autobiography of a
noble horse, and is tender and intelligent. A book that every
one who has anything to do with horses, or indeed with animals
of any sort, cannot afford to neglect. (Eng., 19th cent.)
</p><p>
Bret Harte's "Luck of Roaring Camp" is an interesting
picture of Western life, and opens a new vein of fiction.
(U. S., 19th cent.)</p></div>

<p><span class="pagenum"><a id="Page_66">[66]</a></span></p><div class="footnote"><p><a id="Footnote_240_238"></a><a href="#FNanchor_240_238"><span class="label">[240]</span></a> Green's "Hand and Ring," "Leavenworth Case,"
etc., are splendid examples of reasoning, without any of the
objectionable features usually found in detective stories.
(U. S., 19th cent.)
</p><p>
Miss Mulock's "John Halifax, Gentleman," is a great and
famous book. (Eng., 19th cent.)
</p><p>
Disraeli's "Lothair," "Endymion," etc., are strong books;
requiring the notice of one who reads widely in English
fiction. (Eng., 19th cent.)
</p><p>
Howells' "A Modern Instance," "The Undiscovered
Country," "A Hazard of New Fortunes," "A Chance Acquaintance,"
"Lady of the Aroostook," etc., are not objectionable.
(U. S., 19th cent.)
</p><p>
Tolsto&iuml;'s "Anna Kar&eacute;nina" deserves mention, though we
cannot by any means agree with Howells that Tolsto&iuml; is the
greatest of novelists. The motive and atmosphere of his
books are not lofty, and some of his work is positively disgraceful.
(Russia, 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_241_239"></a><a href="#FNanchor_241_239"><span class="label">[241]</span></a> George Sand's "Consuelo" is a great book in more
senses than one; and although it deserves a place in this
lower list, yet there are so many better books, that if one
follows the true order, life would be likely to depart before
he had time to read a four-volume novel by an author of the
tone of George Sand. (France, 19th cent.)
</p><p>
Black's "Strange Adventures of a Phaeton," "Princess of
Thule." (Eng., 19th cent.)
</p><p>
Blackmore's "Lorna Doone." (Eng., 19th cent.)
</p><p>
Olive Schreiner's "Story of an African Farm" is powerful,
but not altogether wholesome. (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_242_240"></a><a href="#FNanchor_242_240"><span class="label">[242]</span></a> Bremer's "The Neighbors." (Norway, 19th cent.)
</p><p>
Trollope's "Last Chronicles of Barsetshire."  (Eng.,
19th cent.)
</p><p>
Winthrop's "Cecil Dreeme," "John Brent." (U. S.,
19th cent.)<span class="pagenum"><a id="Page_67">[67]</a></span></p></div>

<div class="footnote"><p><a id="Footnote_243_241"></a><a href="#FNanchor_243_241"><span class="label">[243]</span></a> Richardson's "Pamela" and "Clarissa Harlowe"
are interesting, because they were the beginning of the English
novel; but they are not nice or natural, and have no
attractions except their historic position. (Eng., 1689-1761.)
</p><p>
Smollett's "Humphrey Clinker" is his strongest work.
"Peregrine Pickle" is very witty, and "Adventures of an
Atom" altogether a miserable book. Smollett possessed
power, but his work is on a very low plane. (Eng., 18th
cent.)
</p><p>
Boccaccio's "Decameron" is a series of splendidly told
tales, from which Chaucer drew much besides his inspiration.
The book is strong, but of very inferior moral tone.</p></div>

<hr class="chapter" />

<h2 id="ORATORY">ORATORY.</h2>

<p>Great and successful oratory requires deep knowledge
of the human mind and character, personal
force, vivid imagination, control of language and
temper, and a faculty of putting the greatest truths
in such clear and simple and forceful form, that they
may not only be grasped by untrained minds, but
will break down the barriers of prejudice and interest,
and fight their way to the throne of the will.
Oratory is religion, science, philosophy, biography,
history, wit, pathos, and poetry <i>in action</i>. This department
of literature is therefore of the greatest value
in the development of mind and heart, and of the
power to influence and control our fellows. Especially
read and study Demosthenes on the Crown,
Burke's "Warren Hastings' Oration," Webster's<span class="pagenum"><a id="Page_68">[68]</a></span>
"Reply to Hayne," Phillips' "Lovejoy" and "Toussaint
L'Ouverture," and Lincoln's "Gettysburg," his
debates with Douglas, and his great speeches in New
York and the East before the War, in which fun,
pathos, and logic were all welded together in such
masterly shape that professors of oratory followed
him about from city to city, studying him as a model
of eloquence. There is a book called "Great Orations
of Great Orators" that is very valuable, and
there is a series of three volumes containing the
best British orations (fifteen orators), and another
similar series of American speeches (thirty-two
orators).</p>

<hr class="chapter" />

<h2 id="WIT_AND_HUMOR">WIT AND HUMOR.</h2>

<p>In what wit consists, and why it is we laugh, are
questions hard to answer (read on that subject Spencer
and Hobbes, and Mathews' "Wit and Humor;
their Use and Abuse"); but certain it is that a little
seasoning of fun makes intellectual food very palatable,
and much better adapts it for universal and
permanent assimilation. Most men can keep what is
tied to their memories with a joke. Considering all
things, Lowell, Holmes, Dickens, and Cervantes are
the best humorists the world affords. See Table III. Group <a href="#g4">4</a>. They exhibit a union of power and purpose
that is not found elsewhere. They always subordinate
wit to wisdom, always aim at something far<span class="pagenum"><a id="Page_69">[69]</a></span>
higher than making fun for its own sake, never appear
to make any effort for their effects, and always polish
their work to perfection. A great deal of the keenest
wit will be found in books whose general character
puts them in some other column,&mdash;Poetry, Fiction,
Oratory, etc. The works of Shakspeare, Addison,
Eliot, Sheridan, Goldsmith, Irving, Higginson, Carleton,
Thackeray, Hood, Saxe, Fielding, Smollett, Aristophanes,
Moli&egrave;re, etc., abound in wit and humor.</p>

<p>The student of humor will be interested in Hazlitt's
"English Comic Writers," Thackeray's "English
Humorists," and Besant's "French Humorists."</p>

<div class="footnote"><p><a id="Footnote_244_242"></a><a href="#FNanchor_244_242"><span class="label">[244]</span></a> "Fable for Critics," "Biglow Papers." Considering
the keenness and variety of wit, the depth of sarcasm,
the breadth of view, and the importance of its subject, the
"Biglow Papers" is the greatest humorous work of all history.
(U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_245_243"></a><a href="#FNanchor_245_243"><span class="label">[245]</span></a> "Autocrat of the Breakfast-Table," "Professor at
the Breakfast-Table," etc. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_246_244"></a><a href="#FNanchor_246_244"><span class="label">[246]</span></a> "Pickwick Papers." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_247_245"></a><a href="#FNanchor_247_245"><span class="label">[247]</span></a> "Don Quixote." (Spain, 1547-1616.)</p></div>

<p><span class="pagenum"><a id="Page_70">[70]</a></span></p><div class="footnote"><p><a id="Footnote_248_246"></a><a href="#FNanchor_248_246"><span class="label">[248]</span></a> Along with much violent scoffing, and calling of his
betters by hard names, Ingersoll's speeches contain some of
the keenest wit in the language. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_249_247"></a><a href="#FNanchor_249_247"><span class="label">[249]</span></a> Marietta Holley's "Sweet Cicely," "Samantha at
the Centennial," "Betsey Bobbet," "My Wayward Pardner,"
"Samantha at Saratoga," "Samantha among the Brethren,"
etc., are full of quaint fun, keen insight, and common-sense.
They are somewhat more wordy than we wish they were,
but they are wholesome, and the author's purpose is always
a lofty one. Her fun is not mere fun, but is like the laughing
eye and smiling lip of one whose words are full of thought
and elevated feeling. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_250_248"></a><a href="#FNanchor_250_248"><span class="label">[250]</span></a> G. W. Curtis's "Potiphar Papers" is a good example
of quiet, refined humor. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_251_249"></a><a href="#FNanchor_251_249"><span class="label">[251]</span></a> Chauncey M. Depew's Orations and After-Dinner
Speeches are worthy of perusal by all lovers of wit and sense.
(U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_252_250"></a><a href="#FNanchor_252_250"><span class="label">[252]</span></a> Mark Twain is the greatest of those who make
humor the primary object. He does not, like Artemus
Ward, make it the sole object,&mdash;there is a large amount
of keen common-sense in his "A Yankee in King Arthur's
Court," and there is also in it an open-mindedness to the
newest currents of thought that proves the author to be one
of the most wide-awake men of the day. "Innocents
Abroad," "The Prince and the Pauper," "Roughing It,"
etc., are very amusing books, the only drawback being that
the reader is sometimes conscious of an effort to be funny.
(U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_253"></a><a href="#FNanchor_253"><span class="label">[253]</span></a>
Charles Dudley Warner's "In the Wilderness" gives
some exceedingly amusing sketches of backwoods life. See
also other books mentioned under the head of Fiction. (U. S.,
19th cent.)</p>
</div>

<div class="footnote"><p><a id="Footnote_254_251"></a><a href="#FNanchor_254_251"><span class="label">[254]</span></a> S. K. Edwards' "Two Runaways, and Other Stories"
is a book that no lover of humor can afford to be without.
(U. S., 19th cent.)</p></div>

<p><span class="pagenum"><a id="Page_71">[71]</a></span></p><div class="footnote"><p><a id="Footnote_255_252"></a><a href="#FNanchor_255_252"><span class="label">[255]</span></a> E. E. Hale's "My Double, and How He Undid
Me," and other stories contain much innocent recreation.
(U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_256_253"></a><a href="#FNanchor_256_253"><span class="label">[256]</span></a> Nasby's "Ekoes from Kentucky" and "Swingin'
round the Circle" are full of the keenest political sarcasm.
Lincoln was so impressed with Nasby's power, that he said
he had rather possess such gifts than be President of the
United States. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_257_254"></a><a href="#FNanchor_257_254"><span class="label">[257]</span></a> "Artemus Ward His Book," is funny, but lacks purpose
beyond the raising of a laugh. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_258_255"></a><a href="#FNanchor_258_255"><span class="label">[258]</span></a> "Caudle Lectures," "Catspaw," etc. Jerrold is one
of the sharpest of wits. (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_259_256"></a><a href="#FNanchor_259_256"><span class="label">[259]</span></a> Voltaire was the Ingersoll of France, only more so.
His "Dictionnaire" is full of stinging sarcasm and fierce
wit. (France, 18th cent.)
</p><p>
"English Bards and Scotch Reviewers." The sharpest
edge of Byron's keen mind. (Eng., 1788-1824.)</p></div>

<div class="footnote"><p><a id="Footnote_260_257"></a><a href="#FNanchor_260_257"><span class="label">[260]</span></a> "Hudibras." A tirade against the Puritans. (Eng.,
17th cent.)
</p><p>
"Gulliver's Travels," "Tale of a Tub," etc. Coarse raillery.
(Eng., 18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_261_258"></a><a href="#FNanchor_261_258"><span class="label">[261]</span></a> "Gargantua and Pantagruel." Immense coarse wit.
(France, 16th cent.)
</p><p>
"Tristram Shandy." Not delicate, but full of humor.
(Eng., 18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_262_259"></a><a href="#FNanchor_262_259"><span class="label">[262]</span></a> Juvenal is one of the world's greatest satirists.
(Rome, 1st cent.)
</p><p>
Lucian is the Voltaire of the Old World. In his "Dialogues
of the Gods" he covers with ridicule the religious
notions of the people. (Greek Lit, 2d cent. <span class="smcap">a. d.</span>)</p></div>

<hr class="chapter" />

<h2 id="FABLES_AND_FAIRY_TALES">FABLES AND FAIRY TALES.</h2>

<p>Fables and fairy tales are condensed dramas, and
some of them are crystal drops from the fountains of
poetic thought. Often they express in picture language
the deepest lessons that mankind have learned;<span class="pagenum"><a id="Page_72">[72]</a></span>
and one who wishes to gather to himself the intellectual
wealth of the nations must not neglect them. In
the section of the book devoted to remarks upon the
Guidance of Children, the literature of this subject
receives more extended attention. Among the books
that will most interest the student of this subject may
be mentioned the works of Fiske and Bulfinch, named
below, Baldwin's "Story of the Golden Age," Ragozin's
"Chaldea," Kingsley's "Greek Heroes," Cox's
"Tales of Ancient Greece," Hanson's "Stories of
Charlemagne," Church's "Story of the Iliad" and
"Story of the &AElig;neid," and the books mentioned in
connection with the "Morte D'Arthur," note 323
following:&mdash;</p>

<div class="footnote"><p><a id="Footnote_263_260"></a><a href="#FNanchor_263_260"><span class="label">[263]</span></a> "Fairy Tales," "Shoes of Fortune," etc. (Denmark,
19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_264_261"></a><a href="#FNanchor_264_261"><span class="label">[264]</span></a> The inimitable French poet of Fable. (France,
17th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_265_262"></a><a href="#FNanchor_265_262"><span class="label">[265]</span></a> The world-famous Greek fabulist. His popularity
in all ages has been unbounded. Socrates amused himself
with his stories. (Greece, 6th cent. <span class="smcap">b. c.</span>)</p></div>

<div class="footnote"><p><a id="Footnote_266_263"></a><a href="#FNanchor_266_263"><span class="label">[266]</span></a> "Household Tales." (Ger., early 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_267_264"></a><a href="#FNanchor_267_264"><span class="label">[267]</span></a> "Reineke Fox." (Bohn Lib.)  (Ger., early 19th
cent.)
</p><p>
Kipling's "Indian Tales." (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_268_265"></a><a href="#FNanchor_268_265"><span class="label">[268]</span></a> "Age of Fable," "Age of Chivalry," etc. (Eng.,
19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_269_266"></a><a href="#FNanchor_269_266"><span class="label">[269]</span></a> Fables in his poems. (U. S., 19th cent.)</p></div>

<p><span class="pagenum"><a id="Page_73">[73]</a></span></p><div class="footnote"><p><a id="Footnote_270_267"></a><a href="#FNanchor_270_267"><span class="label">[270]</span></a> A French fabulist, next in fame to La Fontaine.
(18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_271_268"></a><a href="#FNanchor_271_268"><span class="label">[271]</span></a> Greek Fables. (About com. Christ. era.)</p></div>

<div class="footnote"><p><a id="Footnote_272_269"></a><a href="#FNanchor_272_269"><span class="label">[272]</span></a> "Tales." (Ger., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_273_270"></a><a href="#FNanchor_273_270"><span class="label">[273]</span></a> "Metamorphoses." An account of the mythology
of the ancients. Ovid was one of Rome's greatest poets.
(Rome, 1st cent. <span class="smcap">b. c.</span>)
</p><p>
Curtin's "Myths and Folk-Lore of Ireland," "Myths and
Folk-Tales of the Russians," etc. (U. S., 19th cent.)
</p><p>
Fiske's "Myths and Myth Makers." (U. S., 19th cent.)</p></div>

<hr class="chapter" />

<h2 id="TRAVEL">TRAVEL.</h2>

<p>Nothing favors breadth more than travel and contact
with those of differing modes of life and variant
belief. The tolerance and sympathy that are folding
in the world in these modern days owe much to the
vast increase of travel that has resulted from growth
of commerce, the development of wealth, and the
cheapness and rapidity of steam transportation. Even
a wider view of the world comes to us through the literature
of travel than we could ever gain by personal
experience, however much of wealth and time we
had at our disposal; and though the vividness is less
in each particular picture of the written page than
if we saw the full original reality that is painted for
us, yet this is more than compensated by the breadth
and insight and perception of the meaning of the
scenes portrayed, which we can take at once from
the writer, to whom perhaps the gaining of what he
gives so easily has been a very costly, tedious process,
and would be so to us if we had to rely on<span class="pagenum"><a id="Page_74">[74]</a></span>
personal observation. Voyages and travels therefore
are of much importance in our studies, and
delightful reading too. Stanley's opinions have
been much relied on in selecting the following
books:&mdash;</p>

<div class="footnote"><p><a id="Footnote_274_271"></a><a href="#FNanchor_274_271"><span class="label">[274]</span></a> Voyages. (Eng., 18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_275_272"></a><a href="#FNanchor_275_272"><span class="label">[275]</span></a> Cosmos; Travels. (Ger., 1762-1832.)</p></div>

<div class="footnote"><p><a id="Footnote_276_273"></a><a href="#FNanchor_276_273"><span class="label">[276]</span></a> Naturalist on the Beagle. (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_277_274"></a><a href="#FNanchor_277_274"><span class="label">[277]</span></a> Travels. (Venice, 14th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_278_275"></a><a href="#FNanchor_278_275"><span class="label">[278]</span></a> Arctic Explorations. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_279_276"></a><a href="#FNanchor_279_276"><span class="label">[279]</span></a> South Africa. (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_280_277"></a><a href="#FNanchor_280_277"><span class="label">[280]</span></a> Through the Dark Continent; In Darkest Africa.
(U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_281_278"></a><a href="#FNanchor_281_278"><span class="label">[281]</span></a> Travels in Africa. (France, 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_282_279"></a><a href="#FNanchor_282_279"><span class="label">[282]</span></a> On Egypt. (Germany, 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_283_280"></a><a href="#FNanchor_283_280"><span class="label">[283]</span></a> Abyssinia. (Eng., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_284_281"></a><a href="#FNanchor_284_281"><span class="label">[284]</span></a> India.</p></div>

<div class="footnote"><p><a id="Footnote_285_282"></a><a href="#FNanchor_285_282"><span class="label">[285]</span></a> Niger.</p></div>

<div class="footnote"><p><a id="Footnote_286_283"></a><a href="#FNanchor_286_283"><span class="label">[286]</span></a> South America.</p></div>

<div class="footnote"><p><a id="Footnote_287_284"></a><a href="#FNanchor_287_284"><span class="label">[287]</span></a> Upper Niger.</p></div>

<div class="footnote"><p><a id="Footnote_288_285"></a><a href="#FNanchor_288_285"><span class="label">[288]</span></a> Persia.</p></div>

<div class="footnote"><p><a id="Footnote_289_286"></a><a href="#FNanchor_289_286"><span class="label">[289]</span></a> Central Africa.</p></div>

<div class="footnote"><p><a id="Footnote_290_287"></a><a href="#FNanchor_290_287"><span class="label">[290]</span></a> West Coast of Africa.</p></div>

<div class="footnote"><p><a id="Footnote_291_288"></a><a href="#FNanchor_291_288"><span class="label">[291]</span></a> Travelled for thirty years, then wrote the marvels he
had seen and heard; and his book became very popular in
the 14th and 15th centuries. (Eng., 14th cent.)</p></div>

<p><span class="pagenum"><a id="Page_75">[75]</a></span></p><div class="footnote"><p><a id="Footnote_292_289"></a><a href="#FNanchor_292_289"><span class="label">[292]</span></a> The Nile.</p></div>

<hr class="chapter" />

<h2 id="GUIDES">GUIDES.</h2>

<p>In this column of "Guides" are placed books that
will be useful in arriving at a fuller knowledge of literature
and authors, in determining what to read, and
in our own literary efforts.</p>

<div class="footnote"><p><a id="Footnote_293_290"></a><a href="#FNanchor_293_290"><span class="label">[293]</span></a> "What to Read on the Subject of Reading," by
William E. Foster, Librarian of the Providence Public Library.
Every one who is interested in books should keep an eye
on this thorough and enthusiastic worker, and take advantage
of the information he lavishes in his bulletins.</p></div>

<div class="footnote"><p><a id="Footnote_294_291"></a><a href="#FNanchor_294_291"><span class="label">[294]</span></a> The "Pall Mall Extra," containing Sir John Lubbock's
"List of the Best Hundred Books," and letters from
many distinguished men.</p></div>

<div class="footnote"><p><a id="Footnote_295_292"></a><a href="#FNanchor_295_292"><span class="label">[295]</span></a> English Literature.</p></div>

<div class="footnote"><p><a id="Footnote_296_293"></a><a href="#FNanchor_296_293"><span class="label">[296]</span></a> English Literature.</p></div>

<div class="footnote"><p><a id="Footnote_297_294"></a><a href="#FNanchor_297_294"><span class="label">[297]</span></a> "English Literature." The most philosophic work
on the subject; but it is difficult, and requires a previous
knowledge of the principal English authors.</p></div>

<div class="footnote"><p><a id="Footnote_298_295"></a><a href="#FNanchor_298_295"><span class="label">[298]</span></a> Handbook of Universal Literature.</p></div>

<div class="footnote"><p><a id="Footnote_299_296"></a><a href="#FNanchor_299_296"><span class="label">[299]</span></a> Dictionary of Authors.</p></div>

<div class="footnote"><p><a id="Footnote_300_297"></a><a href="#FNanchor_300_297"><span class="label">[300]</span></a> Bartlett's "Familiar Quotations" is one of the most
famous and valuable of books.</p></div>

<div class="footnote"><p><a id="Footnote_301_298"></a><a href="#FNanchor_301_298"><span class="label">[301]</span></a> "Edge-Tools of Speech." Brief quotations arranged
under heads such as Books, Government, Love, etc.</p></div>

<p><span class="pagenum"><a id="Page_76">[76]</a></span></p><div class="footnote"><p><a id="Footnote_302_299"></a><a href="#FNanchor_302_299"><span class="label">[302]</span></a> "Library of Poetry and Song;" but for the general
reader Palgrave's exquisite little "Golden Treasury" is
better.</p></div>

<div class="footnote"><p><a id="Footnote_303_300"></a><a href="#FNanchor_303_300"><span class="label">[303]</span></a> "Primer of English Literature." The best very
brief book on the subject.</p></div>

<div class="footnote"><p><a id="Footnote_304_301"></a><a href="#FNanchor_304_301"><span class="label">[304]</span></a> Bibliographical Aids.</p></div>

<div class="footnote"><p><a id="Footnote_305_302"></a><a href="#FNanchor_305_302"><span class="label">[305]</span></a> "Motive and Habit of Reading."</p></div>

<div class="footnote"><p><a id="Footnote_306_303"></a><a href="#FNanchor_306_303"><span class="label">[306]</span></a> "Choice of Books."</p></div>

<div class="footnote"><p><a id="Footnote_307_304"></a><a href="#FNanchor_307_304"><span class="label">[307]</span></a> "Sesame and Lilies."</p></div>

<div class="footnote"><p><a id="Footnote_308_305"></a><a href="#FNanchor_308_305"><span class="label">[308]</span></a> "The Love of Books."</p></div>

<div class="footnote"><p><a id="Footnote_309_306"></a><a href="#FNanchor_309_306"><span class="label">[309]</span></a> "History of Prose Fiction."
</p><p>
Baldwin's "Book Lover" is valuable for its lists of books
bearing on special topics.
</p><p>
C. K. Adams' "Manual of Historical Literature" is invaluable
to the student of history. There ought to be similar
books relating to Philosophy, Fiction, Science, etc.</p></div>

<hr class="chapter" />

<h2 id="MISCELLANEOUS">MISCELLANEOUS.</h2>

<p>In the column "Miscellaneous" are placed a
number of books which should be at least glanced
through to open the doors of thought on all sides
and to take such account of their riches as will place
them at command when needed.</p>

<div class="footnote"><p><a id="Footnote_310_307"></a><a href="#FNanchor_310_307"><span class="label">[310]</span></a> One of the noblest little books in existence; to read
it is to pour into the life and character the inspiration of
hundreds of the best and most successful lives. Every
page should be carefully read and digested. (U. S., 19th
cent.)</p></div>

<div class="footnote"><p><a id="Footnote_311_308"></a><a href="#FNanchor_311_308"><span class="label">[311]</span></a> An exquisite book; one of Robert Collyer's early
favorites. Put its beauty in your heart. (U. S., 19th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_312_309"></a><a href="#FNanchor_312_309"><span class="label">[312]</span></a> A book that should be read for its breadth. (Eng.,
early 17th cent.)</p></div>

<p><span class="pagenum"><a id="Page_77">[77]</a></span></p><div class="footnote"><p><a id="Footnote_313_310"></a><a href="#FNanchor_313_310"><span class="label">[313]</span></a> Edward Bellamy's "Looking Backward" is one of
the same class of books to which Bacon's "New Atlantis,"
More's "Utopia," etc., belong, and may be read with much
pleasure and profit along with them. It is really a looking
forward to an ideal commonwealth, in which the labor
troubles and despotisms of to-day shall be adjusted on the
same principle as the political troubles and despotisms of
the last century were settled; namely, the principle that each
citizen shall be industrially the equal of every other, as all
are now political equals. It is a very famous book, and has
been called the greatest book of the century, which, happily
for the immortality of Spencer and Darwin, Carlyle and Ruskin,
Parkman and Bancroft, Guizot and Bryce, Goethe and
Hugo, Byron and Burns, Scott and Tennyson, Whittier and
Lowell, Bulwer and Thackeray, Dickens and Eliot, is only
the judgment of personal friendship and blissful ignorance.
But while the book cannot feel at home in the society of the
great, it is nevertheless a very entertaining story, and one
vastly stimulative of thought. The idea of a coming <i>industrial
democracy</i>, bearing more or less analogy to the political
democracy, the triumph of which we have seen, is one that
has probably occurred to every thoughtful person; and in
Bellamy's book may be found an ingenious expansion of the
idea much preferable to the ordinary socialistic plans of the
day, though not wholly free from the injustice that inheres
in all social schemes that do not aim to secure to each man
the wealth or other advantage that his lawful efforts naturally
produce. (U. S., 19th cent.)</p></div>

<p><span class="pagenum"><a id="Page_78">[78]</a></span></p><div class="footnote"><p><a id="Footnote_314_311"></a><a href="#FNanchor_314_311"><span class="label">[314]</span></a> Everywhere a favorite. It opens up wide regions of
imagination. Ruskin says he read it many times when he
might have been better employed, and crosses it from his
list. But the very fact that he read the book so often shows
that even his deep mind found irresistible attraction in it.
(First introduced into Europe in 17th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_315_312"></a><a href="#FNanchor_315_312"><span class="label">[315]</span></a> The most colossal lies known to science. (Ger.,
18th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_316_313"></a><a href="#FNanchor_316_313"><span class="label">[316]</span></a> The poem of "Beowulf" should be looked into by all
who wish to know the character of the men from whom we
sprang, and therefore realize the basic elements of our own
character. (Eng., early Saxon times.)</p></div>

<div class="footnote"><p><a id="Footnote_317_314"></a><a href="#FNanchor_317_314"><span class="label">[317]</span></a> Should be glanced at for the light it throws on English
history and development. (9th-12th cents.)</p></div>

<div class="footnote"><p><a id="Footnote_318_315"></a><a href="#FNanchor_318_315"><span class="label">[318]</span></a> Froissart's "Chronicles" constitute a graphic story
of the States of Europe from 1322 to the end of the 14th
century. Scott said that Froissart was his master. Breadth
demands at least a glance at the old itinerant tale-gatherer.
Note especially the great rally of the rebels of Ghent.</p></div>

<div class="footnote"><p><a id="Footnote_319_316"></a><a href="#FNanchor_319_316"><span class="label">[319]</span></a> This masterpiece of Old German Minstrelsy is too
much neglected by us. Read it with the three preceding.
(Early German.)</p></div>

<div class="footnote"><p><a id="Footnote_320_317"></a><a href="#FNanchor_320_317"><span class="label">[320]</span></a> <i>Saga</i> means "tale" or "narrative," and is applied
in Iceland to every kind of tradition, true or fabulous. Read
the "Heimskringla," Njal's Saga, and Grettir's Saga, (9th-13th
cents.)</p></div>

<div class="footnote"><p><a id="Footnote_321_318"></a><a href="#FNanchor_321_318"><span class="label">[321]</span></a> Along with the last should be read the poems of
the elder Edda. (Compiled by Samund the Wise, 12th
cent.)</p></div>

<div class="footnote"><p><a id="Footnote_322_319"></a><a href="#FNanchor_322_319"><span class="label">[322]</span></a> The epic of Spain, containing a wonderful account
of the prowess of a great leader and chief. (Spain, before
the 13th cent.)</p></div>

<p><span class="pagenum"><a id="Page_79">[79]</a></span></p><div class="footnote"><p><a id="Footnote_323_320"></a><a href="#FNanchor_323_320"><span class="label">[323]</span></a> A collection of fragments about the famous King
Arthur and his Round Table. They crop out in every age of
English literature. Read the book with Tennyson's "Idylls
of the King,"&mdash;a poem inspired by Malory's "Morte
D'Arthur,"&mdash;Cervantes' "Don Quixote," and Twain's "Yankee
in the Court of King Arthur," Lanier's "Boy's King
Arthur," Ritson's "Ancient English Metrical Romances,"
Ellis' Introduction to the Study of the same, Preston's
"Troubadours and Trouv&egrave;res," Sismondi's "Literature of
Southern Europe," Chapon's "Troubadours," and Van
Laun's "History of French Literature" may be referred
to with advantage by the student of Malory.</p></div>

<div class="footnote"><p><a id="Footnote_324_321"></a><a href="#FNanchor_324_321"><span class="label">[324]</span></a> A collection of Chinese odes.</p></div>

<div class="footnote"><p><a id="Footnote_325_322"></a><a href="#FNanchor_325_322"><span class="label">[325]</span></a> This and the last are recommended, not for intrinsic
merit, but for breadth, and to open the way to an understanding
of and sympathy with four hundred millions of
mankind who hold these books in profound veneration.
(China, as early as 5th cent. <span class="smcap">b. c.</span>)</p></div>

<div class="footnote"><p><a id="Footnote_326_323"></a><a href="#FNanchor_326_323"><span class="label">[326]</span></a> This is the Bible of the Sufis of Persia, one of the
manifestations of that great spirit of mysticism which flows
like a great current through the world's history, side by side
with the stream of Rationalism. It found certain outlets
in Schelling, Swedenborg, Emerson, etc., and is bubbling
up even now through the strata of worldliness in the United
States in the shape of Theosophy. (7th cent.)</p></div>

<div class="footnote"><p><a id="Footnote_327_324"></a><a href="#FNanchor_327_324"><span class="label">[327]</span></a> Read Saint Hilaire's "Buddha" and Arnold's "Light
of Asia." They will open great regions of thought.</p></div>

<div class="footnote"><p><a id="Footnote_328_325"></a><a href="#FNanchor_328_325"><span class="label">[328, 329]</span></a> These are epitomized by Talboys Wheeler in
his "History of India." Very interesting and broadening.
(Very ancient.)</p></div>

<p><span class="pagenum"><a id="Page_80">[80]</a></span></p><div class="footnote"><p><a id="Footnote_330_326"></a><a href="#FNanchor_330_326"><span class="label">[330-332]</span></a> Not valuable reading intrinsically, but as opening
the doors of communication with the minds and hearts
of whole races of men, most useful. The Vedas are the
Bible of the Hindus, and contain the revelation of Brahma
(15th cent.). The Koran is the Mohammedan Bible (6th
cent.). The Talmud belongs to the Rabbinical literature
of the Jews, and is a collection of Jewish traditions (3d
cent.).</p></div>

<p><span class="pagenum"><a id="Page_81">[81]</a></span></p><div class="footnote"><p><a id="Footnote_333_327"></a><a href="#FNanchor_333_327"><span class="label">[333]</span></a> The works of Hooker, Swedenborg, Newton, Kepler,
Copernicus, Laplace, should be actually <i>handled</i> and <i>glanced
through</i> to form a nucleus of experience, around which
may gather a little knowledge of these famous men and
what they did. This remark applies with more or less of
force to all the names on the second shelf. Few can hope
to <i>read all</i> these books, but it is practicable by means of
general works, such as those mentioned in Column 13, to
gain an idea of each man, his character and work; and
there is no better way to put a hook in the memory on
which such knowledge of an author may be securely kept,
than to take his book in your hands, note its size and peculiarities
(visual and tactual impressions are more easily remembered
than others as a rule), glance through its contents,
and read a passage or two.</p></div>

<hr class="chapter" />

<h2 id="SHORT_COURSES">SHORT COURSES.</h2>

<p>When the reader has a special purpose in view, it is of
the greatest advantage to arrange in systematic order the
books that will be most helpful in the accomplishment of
his purpose, study them one after the other, mark them,
compare them, make cross references from one to another,
digest and assimilate the vital portions of each, and seek to
obtain a mastery of all that the best minds of the past have
given us in reference to the object of his effort. For example:
a person who has devoted himself exclusively to one
line of ideas will be greatly benefited by reading a short
course of books that will give him a glimpse of each of the
great fields of thought. One who is lacking in humor should
get a good list of fine humorous works and devote himself to
them, and to the society of fun-loving people, until he can
see and enjoy a good joke as keenly as they do,&mdash;not only to
quicken his perception of humor, but that the organ of fun
(the gland that secretes wit and humor) may be roused
into normal activity. Again, if a gentleman finds that he
does not appreciate Shakspeare, Dante, Irving, etc., as he
sees or is told that literary people do; if he prefers his
newspaper to the English classics as a source of pleasure
and profit; if he sees little difference between Tennyson
and Tupper, enjoys Bill Nye as much or more than Holmes,
and is able to compare the verses he writes to his sweetheart
with Milton without any very distinct feeling except perhaps
a disgust for Milton,&mdash;if any of these things are true, he has
need of a course to develop a literary taste.</p>

<p>In the three tables following will be found a suggestion of
several important short courses, and others will be found on
page 123 <i>et seq.</i></p>

<hr class="chapter" />

<h2 id="TABLE_II">TABLE II.</h2>

<p>A short special course, to gather <i>ideas</i> of practical
importance to every life, and to make a beginning in
the gaining of that <i>breadth of mind</i> which is of such
vital value by reason of its influence on morals and
the aid it gives in the attainment of truth.</p>

<p>1. Physiology and Hygiene. Read and digest the best
books. See <a href="#TABLE_I">Table I</a>. Col. 3.</p>

<p>2. "Our Country," by Strong; the Constitution of the
United States; the Declaration of Independence, and Washington's
Farewell. (All m. R. D.)</p>

<p>3. Mill's Logic; at any rate, the Canons of Induction and
the Chapter on Fallacies, (m. R. D. C. G.)</p>

<p>4. Smiles's "Self-Help." (m. R. D.)</p>

<p>5. Wood's books on Natural History; especially his anecdotes
of animals, and evidences of mind, etc., in animals
(e. R. D.). Proctor's books on Astronomy, "Other Worlds
than Ours," etc. (e. R. G.). Lubbock's "Primitive Condition
of Man" (m. R.). Dawson's "Chain of Life" (m. R.). In
some good brief way, as by using the "Encyclop&aelig;dia Britannica,"
read <i>about</i> Copernicus, Galileo, Kepler, Newton,
Darwin, Herschel, Lyell, Harvey, and Torricelli.</p>

<p>6. Spencer's "First Principles." (d. R. D. G.)</p>

<p>7. Green's "Short History of the English People" (m. R.
D. G.). Bancroft's "History of the United States" (m. R.
D. G). Guizot's "History of Civilization" (m. R. D. G.).</p>
<p><span class="pagenum"><a id="Page_83">[83]</a></span></p><p><span class="pagenum"><a id="Page_82">[82]</a></span></p>
<p>8. Max M&uuml;ller's philological works, or some of them
(m. R.). Taylor's "Words and Places" (m. R.).</p>

<p>9. In some public library, if the books are not accessible
elsewhere, get into your hands the books named in Columns
12 and 13 of <a href="#TABLE_I">Table I</a>., and not already spoken of in this
table, and glance through each, reading a little here and
there to make a rapid survey of the ground, acquire some
idea of it, and note the places where it may seem to you
worth while to dig for gold.<span class="pagenum"><a id="Page_84">[84]</a></span></p>

<hr class="chapter" />

<h2 id="TABLE_III">TABLE III.</h2>

<p>A short course of the choicest selections from the
whole field of general literature. It may easily be
read through in a year, and will form a taste and
provide a standard that will enable the reader ever
after to judge for himself of the quality and value of
whatever books may come before the senate of his
soul to ask for an appropriation of his time in their
behalf.</p>

<p>Very few books are requisite for this course, but
it will awaken a desire that will demand a library of
standard literature. No. 1, No. 2, etc., refer to the
numbers of the "100 Choice Selections." Monroe's
"Sixth Reader" and Palgrave's "Golden Treasury"
are also referred to, because they contain a great
number of these gems, and are books likely to be in
the possession of the reader.</p>

<p>For the meaning of the other abbreviations, see the
last section of the Introductory Remarks.<span class="pagenum"><a id="Page_85">[85]</a></span></p>

<p class="h3"><span class="smcap">Group I.</span>&mdash;<i>Poetry.</i></p>

<p class="h4">[*] in headings denotes "Degree of Difficulty."</p>

<div>
<table border="1" cellpadding="4" cellspacing="0" summary="">
  <tr>
    <td>&nbsp;</td>
    <td class="tdc">[*]</td>
    <td class="tdc">Manner<br />of<br />Reading.</td>
    <td class="tdl">Where found.</td>
  </tr>
  <tr>
    <td class="tdlsc"><a id="table3_1"></a>1. Shakspeare.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Hamlet, especially noting Hamlet's
   conversations with the Ghost, with
   his mother and Ophelia, his advice
   to the players, his soliloquy, and his
   discourse on the nobleness of man</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.D.C.G.</td>
    <td>Shakspeare's
   Plays are published
   separately, and also together,
   Richard Grant White's edition
   being the best.</td>
  </tr>
  <tr>
    <td class="tdlin">Merchant of Venice, especially
   noting the scene in court, and
   the parts relating to Portia</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.C.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Julius C&aelig;sar, especially noting the
   speeches of Brutus and Antony,
   and the quarrel of Brutus and
   Cassius</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Taming of the Shrew</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Henry the Eighth</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Henry the Fourth, read for the wit
   of Falstaff</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Henry the Fifth, noting especially
   the wooing</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Coriolanus, noting especially the
   grand fire and force and
   frankness of Coriolanus</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Sonnets in Palgrave's Golden
   Treasury, Nos. 3, 6, 11, 12, 13,
   14, 18, 36, 46</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlsc"><a id="table3_2"></a>2. Milton.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Opening of the Gates of Hell,
   one of the sublimest conceptions
   in literature. It is in Paradise
   Lost, about six pages from the
   end of Book II. Read sixty lines
   beginning, "Thus saying, from her
   side the fatal key, Sad
   instrument of all our woe"</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.D.G.</td>
    <td>Milton's Poems.</td>
  </tr>
  <tr>
    <td class="tdlin">Satan's Throne, ten lines at the
   beginning of Book II.</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Opening of Paradise Lost, 26 lines
   at the beginning of Book I.</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Angels uprooting the Mountains
   and hurling them on the Rebels.
   Fifty lines beginning about the
   640th line of Book VI., "So they
   in pleasant vein," etc.</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">"Hail, Holy Light," fifty-five
   lines at the beginning of Book
   III.</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin"><span class="pagenum"><a id="Page_86">[86]</a></span>Comus, a masque, and one of the
   masterpieces of English
   literature</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.D.C.G.</td>
    <td>Milton's Poems. The last three of this list are in Palgrave.</td>
  </tr>
  <tr>
    <td class="tdlin">L' Allegro, a short poem on mirth</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.D.C.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Il Penseroso, a short poem
   on melancholy</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.D.C.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Lycidas, a celebrated elegy</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlsc"><a id="table3_3"></a>3. Homer.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>Homer has had many translators, Pope, Derby, Worsley, Chapman, Flaxman, Lang, Bryant, etc.</td>
  </tr>
  <tr>
    <td class="tdlin">Pope's translation. At least the
   first book of the Iliad. A
   simple, clear story of battles
   and quarrels, and counsels,
   charming in its sublimity,
   pathos, vigor, and naturalness.
   The world's greatest epic</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.C.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlsc"><a id="table3_4"></a>4. &AElig;schylus.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>Potter, Morshead, Swanwick, Milman, and Browning have translated &AElig;schylus. The
   first two are the best. Flaxman's designs add much.</td>
  </tr>
  <tr>
    <td class="tdlin">Prometheus Bound, the sublimest of
   the sublime. Be sure to reach and
   grasp the grand picture of the
   human race and its troubles which
   underlies this most magnificent
   poem</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.D.C.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Agamemnon, the grandest tragedy
   in the world</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlsc"><a id="table3_5"></a>5. Dante.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Divine Comedy. Read Farrar's little
   Life of Dante (John Alden,
   N. Y.), and then take the Comedy
   and read the thirty-third canto,
   the portions relating to the
   Hells of Incontinence and of
   Fraud, thepicture of Satan, and
   the whole of the Purgatorio</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.D.G.</td>
    <td>Translated by Longfellow, Carey, John Carlyle, Butler, and Dean Church.</td>
  </tr>
  <tr>
    <td class="tdlsc"><a id="table3_6"></a>6. Spenser.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Faerie Queen, noting specially the
   first book and the book of
   Britomart, endeavoring to grasp
   and apply to your own life the
   truths that underlie the rich and
   beautiful imagery</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.D.G.</td>
    <td>Spenser's Poems. The Calendar is published separately.</td>
  </tr>
  <tr>
    <td class="tdlin">Hymn in Honor of his own Wedding</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.D.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Fable of the Oak and the Briar, in
   Shepherd's Calendar, February</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlsc"><a id="table3_7"></a>7. Scott.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Lady of the Lake</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.</td>
    <td>Scott's Poems, or separate.</td>
  </tr>
  <tr>
    <td class="tdlin">Marmion</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.</td>
    <td>&nbsp;</td>
  </tr>
</table></div>

<div class="trnote">
Transcriber's note: Numbers 8 and 9 are missing in the original.
</div>

<p class="h3">Group II.&mdash;<i>Short Poetical Selections.</i></p>

<p><span class="pagenum"><a id="Page_87">[87]</a></span></p>

<div>
<table border="1" cellpadding="4" cellspacing="0" summary="">
  <tr>
    <td>&nbsp;</td>
    <td class="tdc">[*]</td>
    <td class="tdc">Manner<br />of<br />Reading.</td>
    <td class="tdl">Where found.</td>
  </tr>
  <tr>
    <td class="tdlsc"><a id="table3_10"></a>10. Payne.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Home, Sweet Home</td>
    <td class="tdc">e.</td>
    <td class="tdc">C.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlscin">Longfellow.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Psalm of Life. Paul Revere's Ride</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.C.</td>
    <td>Longfellow's Poems.</td>
  </tr>
  <tr>
    <td class="tdlin">The Building of the Ship
         (These may be found in most
         of the reading-books.)</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Suspiria, and the close of
         Morituri Salutamus</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlscin">Holmes.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Nautilus; the last stanza commit.</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>Autocrat of the Breakfast-Table.</td>
  </tr>
  <tr>
    <td class="tdlin">The Stars and Flowers, a
         lovely little poem,&mdash;the
         first verses in the
         Autocrat of the
         Breakfast-Table</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlscin">Hunt.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Abou Ben Adhem</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>Monroe.</td>
  </tr>
  <tr>
    <td class="tdlscin">Carew.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The True Beauty</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>Palgrave, 87.</td>
  </tr>
  <tr>
    <td class="tdlscin">Gray.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Elegy in a Country Churchyard</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Palgrave, 147.</td>
  </tr>
  <tr>
    <td class="tdlin">Hymn to Adversity</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.</td>
    <td>Palgrave, 159.</td>
  </tr>
  <tr>
    <td class="tdlin">Progress of Poesy</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.</td>
    <td>Palgrave, 140.</td>
  </tr>
  <tr>
    <td class="tdlin">The Bard</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.</td>
    <td>Palgrave, 123.</td>
  </tr>
  <tr>
    <td class="tdlscin">Saxe.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Blind Men and the Elephant</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>No. 4.</td>
  </tr>
  <tr>
    <td class="tdlscin">Jackson.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>Poems of H. H. Jackson.</td>
  </tr>
  <tr>
    <td class="tdlin">The Release</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlsc"><a id="table3_11"></a>11. Hood.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Bridge of Sighs</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.</td>
    <td>Palgrave, 231.</td>
  </tr>
  <tr>
    <td class="tdlin">Song of the Shirt</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>No. 2.</td>
  </tr>
  <tr>
    <td class="tdlscin">Burns.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Ye Banks and Braes o' Bonnie Doon</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>Palgrave, 139.</td>
  </tr>
  <tr>
    <td class="tdlin">To a Field-mouse</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>Palgrave, 144.</td>
  </tr>
  <tr>
    <td class="tdlin">Mary Morrison</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>Palgrave, 148.</td>
  </tr>
  <tr>
    <td class="tdlin">Bonnie Lesley</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>Palgrave, 149.</td>
  </tr>
  <tr>
    <td class="tdlin">Jean</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>Palgrave, 155.</td>
  </tr>
  <tr>
    <td class="tdlin">John Anderson</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>Palgrave, 156.</td>
  </tr>
  <tr>
    <td class="tdlin">A Man's a Man for a' that</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>Burns's Poems.</td>
  </tr>
  <tr>
    <td class="tdlin">Auld Lang Syne</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Robert Bruce's Address to his
         Army</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlscin">Moore.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Come rest in this Bosom</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>Irish Melodies</td>
  </tr>
  <tr>
    <td class="tdlin"><span class="pagenum"><a id="Page_88">[88]</a></span>At the Mid Hour of Night</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>Irish Melodies</td>
  </tr>
  <tr>
    <td class="tdlin">Those Evening Bells</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>Monroe.</td>
  </tr>
  <tr>
    <td class="tdlscin">Coleridge.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Rime of the Ancient Mariner</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.D.G.</td>
    <td>Coleridge's Poems.</td>
  </tr>
  <tr>
    <td class="tdlin">Vale of Chamouni</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.</td>
    <td>Monroe.</td>
  </tr>
  <tr>
    <td class="tdlscin">Whittier.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Farmer's Wooing, in Among
         the Hills</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Whittier's Poems.</td>
  </tr>
  <tr>
    <td class="tdlin">The Harp at Nature's Advent
         Strung, etc., in Tent on
         the Beach</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Snow Bound, Centennial Hymn
         (No. 13), and at least
         glance at his Voices of
         Freedom</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Barefoot Boy</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.C.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlscin">Tennyson.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">"Break, break, break, on thy
         cold gray Stones, O Sea"</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Tennyson's Poems.</td>
  </tr>
  <tr>
    <td class="tdlin">"Ring out, wild Bells," in
         the In Memoriam</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Bugle Song, in The Princess</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>No. 2.</td>
  </tr>
  <tr>
    <td class="tdlin">Charge of the Light Brigade</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.C.</td>
    <td>No. 2.</td>
  </tr>
  <tr>
    <td class="tdlin">The Brook</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.C.</td>
    <td>Monroe.</td>
  </tr>
  <tr>
    <td class="tdlscin">Chaucer.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Clerk's Tale, or the
       Story of Grisilde, in the
       Canterbury Tales</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>Chaucer's Poems.</td>
  </tr>
  <tr>
    <td class="tdlsc"><a id="table3_12"></a>12. Key.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Star-Spangled Banner</td>
    <td class="tdc">e.</td>
    <td class="tdc">C.</td>
    <td>No. 4.</td>
  </tr>
  <tr>
    <td class="tdlscin">Drake.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The American Flag</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.</td>
    <td>No. 1.</td>
  </tr>
  <tr>
    <td class="tdlscin">Smith.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">"My Country, 'tis of thee"</td>
    <td class="tdc">e.</td>
    <td class="tdc">C.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlscin">Boker.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Black Regiment</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.</td>
    <td>No. 1.</td>
  </tr>
  <tr>
    <td class="tdlscin">Campbell, <span class="toc-norm">full of fire
         and martial music.</span></td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Ye Mariners of England</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Palgrave, 206.</td>
  </tr>
  <tr>
    <td class="tdlin">Battle of the Baltic</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Palgrave, 207.</td>
  </tr>
  <tr>
    <td class="tdlin">Soldier's Dream</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Palgrave, 267.</td>
  </tr>
  <tr>
    <td class="tdlin">Hohenlinden</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Palgrave, 215.</td>
  </tr>
  <tr>
    <td class="tdlin">Lord Ullin's Daughter</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Palgrave, 181.</td>
  </tr>
  <tr>
    <td class="tdlin">Love's Beginning</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Palgrave, 183.</td>
  </tr>
  <tr>
    <td class="tdlin">Ode to Winter</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Palgrave, 256.</td>
  </tr>
  <tr>
    <td class="tdlscin"><span class="pagenum"><a id="Page_89">[89]</a></span>Thomson.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Rule Britannia</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.C.</td>
    <td>Palgrave, 122.</td>
  </tr>
  <tr>
    <td class="tdlscin">Lowell.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Crisis</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.D.C.G.</td>
    <td>Lowell's Poems.</td>
  </tr>
  <tr>
    <td class="tdlin">Harvard Commemoration Ode</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.D.C.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Fountain</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.C.G.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlscin">Halleck.</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Marco Bozzaris</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.</td>
    <td>No. 1.</td>
  </tr>
  <tr>
   <td class="tdlscin">Macaulay.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Lays of Ancient Rome,
       especially Horatius, and
       Virginia, also the Battle of Ivry</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>No. 2.</td>
  </tr>
  <tr>
   <td class="tdlscin">O'Hara.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Bivouac of the Dead</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.</td>
    <td>No. 5.</td>
  </tr>
  <tr>
   <td class="tdlscin">Mitford.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Rienzi's Address</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>No. 1.</td>
  </tr>
  <tr>
   <td class="tdlscin">Croly.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Belshazzar</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>No. 4.</td>
  </tr>
  <tr>
   <td class="tdlsc"><a id="table3_13"></a>13. Shelley.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>Shelley's Poems.</td>
  </tr>
  <tr>
    <td class="tdlin">Ode to the West Wind</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Palgrave, 275.</td>
  </tr>
  <tr>
    <td class="tdlin">Ode to a Skylark</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Palgrave, 241.</td>
  </tr>
  <tr>
    <td class="tdlin">To a Lady with a Guitar</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Palgrave, 252.</td>
  </tr>
  <tr>
    <td class="tdlin">Italy</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Palgrave, 274.</td>
  </tr>
  <tr>
    <td class="tdlin">Naples</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Palgrave, 227.</td>
  </tr>
  <tr>
    <td class="tdlin">The Poet's Dream</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.D.C.</td>
    <td>Palgrave, 277.</td>
  </tr>
  <tr>
    <td class="tdlin">The Cloud, Sensitive Plant,
         etc.</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
   <td class="tdlscin">Byron.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>Byron's Poems.</td>
  </tr>
  <tr>
    <td class="tdlin">All for Love</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.</td>
    <td>Palgrave, 169.</td>
  </tr>
  <tr>
    <td class="tdlin">Beauty</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.</td>
    <td>Palgrave, 171.</td>
  </tr>
  <tr>
    <td class="tdlin">Apostrophe to the Ocean, and
       The Eve of Waterloo</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Monroe.</td>
  </tr>
  <tr>
    <td class="tdlin">The Field of Waterloo
         (These are among the most
         magnificent poems in any
         language.)</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>No. 1.</td>
  </tr>
  <tr>
   <td class="tdlscin">Bryant.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
 <tr>
    <td class="tdlin">Thanatopsis</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.C.G.</td>
    <td>No. 1.</td>
  </tr>
  <tr>
   <td class="tdlscin">Prentice.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Closing Year</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.C.G.</td>
    <td>No. 1.</td>
  </tr>
  <tr>
   <td class="tdlscin">Poe.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Bells; The Raven</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.C.G.</td>
    <td>No. 1.</td>
  </tr>
  <tr>
    <td class="tdlin">Annabel Lee</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>No. 5.</td>
  </tr>
  <tr>
   <td class="tdlscin">Keats.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>Keats's Poems.</td>
  </tr>
  <tr>
    <td class="tdlin">The Star</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>Palgrave, 198.</td>
  </tr>
  <tr>
    <td class="tdlin">Ode to a Nightingale</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>Palgrave, 244.</td>
  </tr>
  <tr>
    <td class="tdlin">Ode to Autumn</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>Palgrave, 255.</td>
  </tr>
  <tr>
    <td class="tdlin">Ode on the Poets</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>Palgrave, 167.</td>
  </tr>
  <tr>
   <td class="tdlscin"><span class="pagenum"><a id="Page_90">[90]</a></span>Wordsworth.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">A Beautiful Woman</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.C.</td>
    <td>Palgrave, 174.</td>
  </tr>
  <tr>
    <td class="tdlin">The Reaper</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>Palgrave, 250.</td>
  </tr>
  <tr>
    <td class="tdlin">Simon Lee</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>Palgrave, 219.</td>
  </tr>
  <tr>
    <td class="tdlin">Intimations of Immortality</td>
    <td class="tdc"></td>
    <td class="tdc"></td>
    <td>Palgrave, 367.</td>
  </tr>
  <tr>
   <td class="tdlscin">Herbert.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Gifts of God</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.C.</td>
    <td>Palgrave, 74.</td>
  </tr>
  <tr>
   <td class="tdlscin">Read.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Drifting</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>No. 1.</td>
  </tr>
  <tr>
    <td class="tdlin">Sheridan's Ride</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.</td>
    <td>No. 1.</td>
  </tr>
  <tr>
   <td class="tdlscin">Fletcher.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Melancholy</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.</td>
    <td>Palgrave, 104.</td>
  </tr>
  <tr>
   <td class="tdlscin">Pope.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Rape of the Lock</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>Pope's Poems.</td>
  </tr>
  <tr>
   <td class="tdlsc"><a id="table3_14"></a>14. Ingelow.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Brides of Enderby
       High Tide, etc.</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>No. 2.</td>
  </tr>
  <tr>
   <td class="tdlscin">Cowper.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Loss of the Royal George</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.</td>
    <td>Palgrave, 129.</td>
  </tr>
  <tr>
    <td class="tdlin">Solitude of Selkirk</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>Palgrave, 160.</td>
  </tr>
  <tr>
   <td class="tdlscin">Dryden.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Alexander's Feast</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.</td>
    <td>Palgrave, 116.</td>
  </tr>
  <tr>
   <td class="tdlscin">Collins.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Passions</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.</td>
    <td>Palgrave, 141.</td>
  </tr>
  <tr>
   <td class="tdlscin">Jonson.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Hymn to Diana</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>Palgrave, 78.</td>
  </tr>
  <tr>
   <td class="tdlscin">Addison.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Cato's Soliloquy</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>No. 1.</td>
  </tr>
  <tr>
   <td class="tdlscin">Lodge.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Rosaline</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>Palgrave,  16.</td>
  </tr>
  <tr>
   <td class="tdlscin">Herrick.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Counsel to Girls</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.</td>
    <td>Palgrave, 82.</td>
  </tr>
  <tr>
    <td class="tdlin">The Poetry of Dress</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.</td>
    <td>Palgrave, 92.</td>
  </tr>
  <tr>
   <td class="tdlsc"><a id="table3_15"></a>15. Goethe.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Raphael Chorus,&mdash;a wonderful
         chorus of three stanzas in
         Faust. Read Shelley's
         translations, both literal
         and free, in his Fragments</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.C.G.</td>
    <td>Shelley's Poems.</td>
  </tr>
  <tr>
   <td class="tdlscin">Omar Khayy&aacute;m.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Rub&aacute;iy&aacute;t, especially the
       "moving shadow-shape" and the
       "phantom caravan" stanzas,
       for their magnificent imagery</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.C.G.</td>
    <td>Fitzgerald's Translation.</td>
  </tr>
  <tr>
   <td class="tdlscin">Euripides.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Chorus in Medea&mdash;Campbell's
         translation</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.C.G.</td>
    <td>Campbell's Poems.</td>
  </tr>
  <tr>
   <td class="tdlscin"><span class="pagenum"><a id="Page_91">[91]</a></span>Calderon.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Read Shelley's Fragments</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.C.G.</td>
    <td>Shelley's Poems.</td>
  </tr>
  <tr>
   <td class="tdlscin">Schiller.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>Schiller's  Poems.</td>
  </tr>
  <tr>
    <td class="tdlin">The Battle</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>No. 4.</td>
  </tr>
  <tr>
    <td class="tdlin">The Song of the Bell</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>Publ. separately.</td>
  </tr>
  <tr>
   <td class="tdlscin">Moli&egrave;re.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Tartuffe, or The Hypocrite</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>Moli&egrave;re's Plays.</td>
  </tr>
  <tr>
    <td class="tdlin">Le Misanthrope, or The Man-Hater</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>&nbsp;</td>
  </tr>
</table>
</div>

<p><br /></p>

<p class="h3">Group III.&mdash;<i>Short Prose Selections.</i></p>

<p><br /></p>

<div>
<table border="1" cellpadding="4" cellspacing="0" summary="">
  <tr>
    <td>&nbsp;</td>
    <td class="tdc">[*]</td>
    <td class="tdc">Manner<br />of<br />Reading.</td>
    <td class="tdl">Where found.</td>
  </tr>
  <tr>
   <td class="tdlsc"><a id="table3_16"></a>16. Lincoln.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Gettysburg Oration. Famous
         for its calm, clear, simple
         beauty, breadth, and power</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.C.</td>
    <td>No. 2.</td>
  </tr>
  <tr>
   <td class="tdlscin">Irving, <span class="toc-norm">our greatest
        master of style;
        his prose is poetry.</span></td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Rip Van Winkle</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.C.</td>
    <td>Sketch Book.</td>
  </tr>
  <tr>
    <td class="tdlin">The Spectre Bridegroom</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.C.</td>
    <td>Sketch Book.</td>
  </tr>
  <tr>
    <td class="tdlin">The Art of Book-Making</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.C.</td>
    <td>Sketch Book.</td>
  </tr>
  <tr>
    <td class="tdlin">The Legend of Sleepy Hollow</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.C.</td>
    <td>Sketch Book.</td>
  </tr>
  <tr>
   <td class="tdlsc"><a id="table3_17"></a>17. Bacon.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Essay on Studies. Note the
         clearness and completeness
         of Bacon, and his tremendous
         condensation of thought</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Bacon's Essays.</td>
  </tr>
  <tr>
   <td class="tdlscin">Carlyle.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Apostrophe to Columbus, p.
         193 of Past and Present,&mdash;
         Carlyle's finest passage</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Await the Issue</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Monroe.</td>
  </tr>
  <tr>
    <td class="tdlin">The account of the
         conversational powers of
         Coleridge, given in
         Carlyle's Life of Sterling</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.C.</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
   <td class="tdlsc"><a id="table3_18"></a>18. Webster.<span class="pagenum"><a id="Page_92">[92]</a></span></td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Liberty and Union,&mdash;a
         selection from the answer to
         Hayne in the United States
         Senate, on the question of
         the power of a State to
         nullify the acts of
         Congress, and to withdraw
         from the Union,&mdash;the
         greatest of American
         orations, and worthy to
         rank side by side with the
         world's best</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>No. 1.</td>
  </tr>
  <tr>
   <td class="tdlscin">Phillips.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Comparison of Toussaint
         L'Ouverture with Napoleon,
         in his oration on Toussaint</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.C.</td>
    <td>Phillips's Speeches.</td>
  </tr>
  <tr>
   <td class="tdlsc"><a id="table3_19"></a>19. Everett.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Discoveries of Galileo</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>No. 1.</td>
  </tr>
  <tr>
   <td class="tdlscin">Burritt.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">One Niche the Highest</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.</td>
    <td>No. 7.</td>
  </tr>
  <tr>
   <td class="tdlsc"><a id="table3_20"></a>20. Hugo.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Monster Cannon, one of
         the great Frenchman's master
         strokes,&mdash;a very thrilling
         scene, splendidly painted</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.</td>
    <td>No. 11.</td>
  </tr>
  <tr>
    <td class="tdlin">Rome and Carthage</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>No. 6.</td>
  </tr>
  <tr>
   <td class="tdlscin">De Quincey.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Noble Revenge</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>No. 7.</td>
  </tr>
  <tr>
   <td class="tdlsc"><a id="table3_21"></a>21. Poe.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Murders in the Rue Morgue</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.</td>
    <td>Little Classics.</td>
  </tr>
  <tr>
   <td class="tdlscin">Ingersoll.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Oration at the funeral of his
         brother</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>Ingersoll's Prose Poems.</td>
  </tr>
  <tr>
   <td class="tdlsc"><a id="table3_22"></a>22. Scott.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Thirty-sixth chapter of the
         Heart of Midlothian</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
   <td class="tdlscin">Curtis.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Nations and Humanity</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.</td>
    <td>No. 11.</td>
  </tr>
  <tr>
   <td class="tdlsc"><a id="table3_23"></a>23. Taylor.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The sections on Temperance
         and Chastity in the Holy
         Living and Dying</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
   <td class="tdlsc">Brooks.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Pamphlet on Tolerance,&mdash;the
         best book in the world on a
         most vital subject</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.</td>
    <td>&nbsp;</td>
  </tr>
</table>
</div>

<p><br /></p>

<p class="h3"><a id="g4"></a>Group IV.&mdash;<i>Wit and Humor</i>&mdash;<i>Short List.</i></p>

<p><span class="pagenum"><a id="Page_93">[93]</a></span></p>

<p><br /></p>

<div>
<table border="1" cellpadding="4" cellspacing="0" summary="">
  <tr>
    <td>&nbsp;</td>
    <td class="tdc">[*]</td>
    <td class="tdc">Manner<br />of<br />Reading.</td>
    <td class="tdl">Where found.</td>
  </tr>
  <tr>
   <td class="tdlsc"><a id="table3_24"></a>24. Lowell.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Biglow Papers</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>Lowell's Poems.</td>
  </tr>
  <tr>
    <td class="tdlin">Fable for Critics</td>
    <td class="tdc">d.</td>
    <td class="tdc">R.D.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Courtin'</td>
    <td class="tdc">e.</td>
    <td class="tdc">R.D.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
   <td class="tdlscin">Holmes.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Autocrat of the
         Breakfast-Table</td>
    <td class="tdc">m.</td>
    <td class="tdc">R.D.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
   <td class="tdlsc"><a id="table3_25"></a>25. Carleton.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Farm Ballads, especially the
         Visit of the School
         Committee, and The Rivals</td>
    <td class="tdc">e.</td>
    <td class="tdc">S.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
   <td class="tdlscin">Stowe.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Laughin' in Meetin'</td>
    <td class="tdc">e.</td>
    <td class="tdc">S.</td>
    <td>No. 11.</td>
  </tr>
  <tr>
   <td class="tdlscin">Twain.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">On New England Weather</td>
    <td class="tdc">e.</td>
    <td class="tdc">S.</td>
    <td>No. 13.</td>
  </tr>
  <tr>
    <td class="tdlin">European Guides, and
         Turkish Baths</td>
    <td class="tdc">e.</td>
    <td class="tdc">S.</td>
    <td>Innocents Abroad.</td>
  </tr>
  <tr>
   <td class="tdlsc"><a id="table3_26"></a>26. Dickens.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Pickwick Papers</td>
    <td class="tdc">e.</td>
    <td class="tdc">S.</td>
    <td>&nbsp;</td>
  </tr>
  <tr>
   <td class="tdlscin">James De Mille.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>Cumnock's Choice Readings.</td>
  </tr>
  <tr>
    <td class="tdlin">A Senator Entangled</td>
    <td class="tdc">e.</td>
    <td class="tdc">S.</td>
    <td></td>
  </tr>
  <tr>
   <td class="tdlscin">Lover.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">The Gridiron</td>
    <td class="tdc">e.</td>
    <td class="tdc">S.</td>
    <td>Cumnock's Choice Readings.</td>
  </tr>
  <tr>
   <td class="tdlscin">Whately.</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="tdlin">Historic Doubts regarding
         Napoleon</td>
    <td class="tdc">e.</td>
    <td class="tdc">S.</td>
    <td>Publ. separately.</td>
  </tr>
</table>
</div>

<hr class="chapter" />

<p><span class="pagenum"><a id="Page_94">[94]</a></span></p>

<h2 id="TABLE_IV">TABLE IV.</h2>

<p>SUPPLEMENTARY GENERAL READING.</p>

<p>In addition to the short courses set forth in Tables
II. and III., at the same time, if the reader has a
sufficiency of spare hours, but always in subordination
to the above courses, it is recommended that attention
be given to the following books:&mdash;</p>

<p>
Bunyan's Pilgrim's Progress. (e. R. D.)<br />
<br />
Defoe's Robinson Crusoe. (e. S.)<br />
<br />
Dickens' Christmas Carol (m. R. D.); Cricket on the<br />
Hearth. (m. R. D.)<br />
<br />
Ruskin's Crown of Wild Olive (m. R. D.); Ethics of<br />
the Dust (m. R. D.); Sesame and Lilies. (m. R. D.)<br />
<br />
Emerson's Essays (d. R. D. C.); especially those on<br />
Manners, Gifts, Love, Friendship, The Poet, and on Representative<br />
Men.<br />
<br />
Demosthenes on the Crown. (m. R. D. C. G.)<br />
<br />
Burke's Warren Hastings Oration. (m. R. D. C. G.)<br />
<br />
Phillips' Speeches on Lovejoy and Garrison. (m. R.<br />
D. C. G.)<br />
<br />
La Fontaine's Fables. (m. R. D.)<br />
<br />
Short Biographies of the World's Hundred Greatest Men.<br />
(m. R. D.)<br />
<br />
Marshall's Life of Washington. (m. R. D. G.)<br />
<br />
Carlyle's Cromwell. (m. R. D. G.)<br />
<br />
<span class="pagenum"><a id="Page_95">[95]</a></span>Tennyson's In Memoriam. (d. R. D. C.)<br />
<br />
Byron's Childe Harold. (m. R. D. C.)<br />
<br />
Burns' Cotter's Saturday Night. (m. R. D.)<br />
<br />
Keats' Endymion. (d. R. D. C.)<br />
<br />
Shelley's Prometheus Unbound. (d. R. D. C. G.)<br />
<br />
Campbell's Pleasures of Hope. (m. R. D. C.)<br />
<br />
Goldsmith's Deserted Village. (m. R. D. C.)<br />
<br />
Pope's Essay on Man. (m. R. D. C.)<br />
<br />
Thomson's Seasons. (m. R. D. C.)<br />
</p>

<hr class="chapter" />

<p><span class="pagenum"><a id="Page_96">[96]</a></span></p>

<h2 id="CHILDREN">CHILDREN.</h2>

<p>So far we have spoken of reading for grown
people. Now we must deal with the reading of
young folks,&mdash;a subject of the utmost importance.
For to give a child good habits of reading, to make
him like to read and master strong, pure books,&mdash;books
filled with wisdom and beauty,&mdash;and equally
eager to shun bad books, is to do for him and the
world a service of the highest possible character; and
to neglect the right care of a child in this matter is
to do him an injury far greater than to mutilate his
face or cut off his arm.<span class="pagenum"><a id="Page_97">[97]</a></span></p>

<hr class="chapter" />

<h2 id="WHAT_TO_GIVE_THE_CHILDREN">WHAT TO GIVE THE CHILDREN.</h2>

<p>Parents, teachers, and others interested in the
welfare of young people have not only to solve the
problem of selecting books for their own nourishment,
but also the more difficult problem of providing
the young folks with appropriate literary food.
As literature may be made one of the most powerful
influences in the development of a child, the greatest
care should be taken to make the influence true,
pure, and tender, and give it in every respect the
highest possible character, which requires as much
care to see that bad books do not come into the
child's possession and use, as to see that good books
do. The ability to read adds to life a wonderful
power, but it is a power for evil as well as good. As
Lowell says, "It is the key which admits us to the
whole world of thought and fancy and imagination,&mdash;to
the company of saint and sage, of the wisest and
wittiest at their wisest and wittiest moments. It
enables us to see with the keenest eyes, hear with
the finest ears, and listen to the sweetest voices of
all time. More than that, it annihilates time and
space for us,&mdash;reviving without a miracle the Age
of Wonder, and endowing us with the shoes of swiftness
and the cap of darkness." Yes, but it opens<span class="pagenum"><a id="Page_98">[98]</a></span>
our minds to the thoughts of the vile as well as to
those of the virtuous; it unlocks the prisons and
haunts of vice as well as the school and the church; it
drags us through the sewer as well as gives us admission
to the palace; it feeds us on filth as well as the
finest food; it pours upon our souls the deepest degradation
as well as the spirit of divinity. Parents will
do well to keep from their children such books as Richardson's
"Pamela" and "Clarissa Harlowe;" Fielding's
"Joseph Andrews," "Jonathan Wild," and "Tom
Jones;" Smollett's "Humphrey Clinker," "Peregrine
Pickle," and "Adventures of an Atom;" Sterne's
"Tristram Shandy;" Swift's "Gulliver," and their
modern relatives. Many of these coarse pictures of
depravity and microscopic analyses of filth I cannot
read without feeling insulted by their vulgarity, as I
do when some one tells an indecent story in my
presence. Whatever the power or wit of a book, if
its motive is not high and its expression lofty, it
should not come into contact with any life, at least
until its character is fixed and hardened in the mould
of virtue beyond the period of plasticity that might
receive the imprint of the badness in the book.
There are plenty of splendid books that are pure and
ennobling as well as strong and humorous,&mdash;more
of them than any one person can ever read,&mdash;so that
there is no necessity of contact with imperfect literature.
If a boy comes into possession of a book that
he would not like to read aloud to his mother or
sister, he has something that is not good for him to<span class="pagenum"><a id="Page_99">[99]</a></span>
read,&mdash;something that is not altogether the very
best for anybody to read. Some liberty of choice,
however, ought to be allowed the children. It will
add much to the vigor and enthusiasm of a boy's
reading if, instead of prescribing the precise volume
he is to have at each step, he is permitted to make
his own selection from a list of three or four chosen by
the person who is guiding him. What these three or
four should be, is the problem. I cannot agree with
Lowell, when he says that young people ought to
"confine themselves to the supreme books in whatever
literature, or, still better, choose some one great
author and make themselves thoroughly familiar with
him." It is possible to know something of people
in general about me without neglecting my best
friends. It is possible to enjoy the society of Shakspeare,
Goethe, &AElig;schylus, Dante, Homer, Plato,
Spencer, Scott, Eliot, Marcus Aurelius, and Irving,
without remaining in ignorance of the power and
beauty to be found in Chaucer, Spenser, Milton, Byron,
Burns, Goldsmith, Keats, Shelley, Tennyson, Longfellow,
Whittier, Holmes, and Lowell, Ingersoll, Omar,
Arnold, Brooks, and Robertson, Curtis, Aldrich,
Warner, Jewett, Burroughs, Bulwer, Tourg&eacute;e, Hearn,
Kingsley, MacDonald, Hawthorne, Dickens, Thackeray,
Carlyle, Ruskin, Hugo, Bront&eacute;, Sienkiewicz, and
a host of others. Scarcely a day passes that I do not
spend a little time with Shakspeare, Goethe, &AElig;schylus,
Spencer, and Irving; but I should be sorry to have
any one of those I have named beyond call at any<span class="pagenum"><a id="Page_100">[100]</a></span>
time. There are parts of Holmes, Lowell, Brooks,
Emerson, Omar, Arnold, Tourg&eacute;e, and Hearn that
are as dear to me as any passages of equal size in
Goethe or Irving. So it does not seem best to me to
<i>confine</i> the attention to the supreme books; a just
<i>proportion</i> is the true rule. Let the supreme books
have the supreme attention, absorb them, print them
on the brain, carry them about in the heart, but give
a due share of time to other books. I like the
suggestion of Marietta Holley: "I would feed children
with little sweet crumbs of the best of books,
and teach them that a whole rich feast awaited them
in the full pages," only taking care in each instance
that the crumb is well rounded, the picture not torn
or distorted. There are paragraphs and pages in
many works of the second rank that are equal to
almost anything in the supreme books, and superior
to much the latter contain. These passages should
be sought and cherished; and the work of condensing
the thought and beauty of literature&mdash;making a
sort of literary prayer-book&mdash;is an undertaking that
ought not to be much longer delayed. Until it is
done, however, there is no way but to read widely,
adapting the speed and care to the value of the volume.
Some things may be best read by deputy, as
Mark Twain climbed the Alps by agent; newspapers,
for example, and many of the novels that flame up
like a haystack on fire, and fade like a meteor in its
fall, striking the earth never to rise again. The time
that many a young man spends upon newspapers<span class="pagenum"><a id="Page_101">[101]</a></span>
would be sufficient to make him familiar with a dozen
undying books every year. Newspapers are not to
be despised, but they should not be allowed to crowd
out more important things. I keep track of the
progress of events by reading the "Outlook" in the
"Christian Union" every week, and glancing at
the head-lines of the "Herald" or "Journal," reading
a little of anything specially important, or getting
an abstract from a friend who always reads the paper.
A good way to economize time is for a number of
friends to take the same paper, the first page being
allotted to one, the second to another, and so on,
each vocally informing the others of the substance of
his page. If time cannot be found for both the newspaper
and the classic, the former, not the latter,
should receive the neglect.</p>

<p>This matter of the use of time is one concerning
which parents should strive to give their children
good habits from the first. If you teach a child to
economize time, and fill him with a love of good
books, you ensure him an education far beyond anything
he can get in the university,&mdash;an education
that will cease only with his life. The creation of a
habit of industrious study of books that will improve
the character, develop the powers, and store the mind
with force and beauty,&mdash;that is the great object.</p>

<p>A good example is the best teacher. It is well for
parents to keep close to the child until he grows old
enough to learn how to determine for himself what
he should read (which usually is not before fifteen or<span class="pagenum"><a id="Page_102">[102]</a></span>
twenty, and in many cases never); for children, and
grown folks too for that matter, crave intellectual
as much as they do physical companionship.</p>

<p>The methods of guiding the young in the paths
of literature fall naturally into two groups,&mdash;the first
being adapted to childhood not yet arrived at the
power of reading alone, the second adapted to later
years. There is no sharp line of division or exclusion,
but only a general separation; for the methods
peculiarly appropriate to each period apply to some
extent in the other. Some children are able to read
weighty books at three or four years of age, but most
boys and girls have to plod along till they are eight
or ten before they can read much alone. I will consider
the periods of child life I have referred to, each
by itself.</p>

<p><b>The Age of Stories.</b>&mdash;It is not necessary or proper
to wait until a child can read, before introducing it to
the best literature. Most of the books written for
children have no permanent value, and most of the
reading books used in primary and grammar schools
contain little or no genuine literature, and what they
do contain is in fragments. Portions of good books
are useful, if the story of each part is complete, but
children do not like the middle of a story without the
beginning and end; they have the sense of entirety,
and it should be satisfied. And it is not difficult to
do this. Literature affords a multitude of beautiful
stories of exceeding interest to children, and of permanent
attractiveness through all the after years of<span class="pagenum"><a id="Page_103">[103]</a></span>
their lives. Such literature is as available, as a means
of teaching the art of reading, as is the trash in dreary
droning over which the precious years of childhood
are spent in our public schools. The development
of the child mind follows the same course as the
development of the mind of the race. The little boy
loves the wonderful and the strong, and nearly everything
is wonderful to him except himself. Living
things especially interest him. Every child is a born
naturalist; his heart turns to birds and beasts, flowers
and stars. He is hungry for stories of animals,
giants, fairies, etc. Myths and fairy tales are his
natural food. His power of absorbing and retaining
them is marvellous. One evening a few weeks ago
a little boy who is as yet scarcely able to read words
of two and three letters asked me for a story. I
made an agreement with him that whatever I told
him, he should afterward repeat to me, and then
gave him the story of the elephant who squirted
muddy water over the cruel tailor that pricked his
trunk with a needle. No sooner had I finished than
he threw his arms around my neck and begged for
another story. I told him eight in rapid succession,
some of them occupying three or four minutes, and
then asked him to tell me about the elephants, dogs,
bears, etc., that I had spoken of. He recited every
story with astonishing accuracy and readiness, and
apparently without effort, and would have been
ready for eight more bits of Wood or Andersen,
if his bedtime had not intervened. If parents would<span class="pagenum"><a id="Page_104">[104]</a></span>
take as much pains to satisfy the mind hunger of
their children as they do to fulfil their physical wants,
and give them the best literature as well as the
best beef and potatoes, the boys and girls would
have digested the greater part of mythology, natural
science, and the best fiction by the time they are
able to read. Children should be fed with the literature
that represents the childhood of the race.
Out of that literature has grown all literature. Give a
child the contents of the great books of the dawn, and
you give him the best foundation for subsequent literary
growth, and in after life he will be able to follow
the intricate interweaving of the old threads throughout
all modern thought. He has an immense affinity
for those old books, for they are full of music and
picturesqueness, teeming with vigorous life, bursting
with the strange and wonderful. In the following
list parents and teachers will find abundant materials
for the culture of the little ones, either by reading
aloud to them, or still better by telling them the
substance of what they have gathered by their own
reading of these famous stories and ditties. Pictures
are always of the utmost value in connection with
books and stories, as they impart a vividness of conception
that words alone are powerless to produce.
One plea for sincerity I must make,&mdash;truth and
frankness from the cradle to the grave. Do not
delude the children. Do not persuade them that a
fairy tale is history. I have a sad memory of my
disgust and loss of confidence in human probity when<span class="pagenum"><a id="Page_105">[105]</a></span>
I discovered the mythical character of Kriss Kringle,
and I believe many children are needlessly shocked
in this way.</p>

<p class="h3"><i>List of Materials for Story-telling and for the
Instruction and Amusement of Childhood.</i></p>

<blockquote><p>"Mother Goose," "Jack and the Bean-Stalk," "Jack the
Giant-Killer," "Three Bears," "Red Riding-Hood,"
"The Ark," "Hop o' my Thumb," "Puss in Boots,"
"Samson," "Ugly Duckling," "The Horse of Troy"
(Virgil), "Daniel in the Lion's Den," etc.</p>

<p>Andersen's "Fairy Tales." Delightful to all children.</p>

<p>Grimm's "Fairy Tales."</p>

<p>De Garmo's "Fairy Tales."</p>

<p>Craik's "Adventures of a Brownie."</p>

<p>"Parents' Assistant," by Maria Edgeworth, recommended
by George William Curtis, Mary Mapes Dodge, Charles
Dudley Warner, etc.</p>

<p>"Zigzag Journeys," a series of twelve books, written by
Hezekiah Butterworth, one of the editors of the "Youth's
Companion." As might be supposed, they are among
the very best and most enduringly popular books ever
written for young people.</p>

<p>Wood's books of Anecdotes about Animals, and many
other works of similar character, that may be obtained
from the American Society for the Prevention of Cruelty
to Animals, 19 Milk Street, Boston. The literature distributed
by this Society is filled with the spirit of love
and tenderness for all living things, and is one of the
best influences that can come into a child's life.</p>

<p>Mary Treat's "Home Book of Nature." One of the best
books of science for young people.<span class="pagenum"><a id="Page_106">[106]</a></span></p>

<p>Bulfinch's "Age of Fable." A book that is exhaustive of
Greek and Roman mythology, but meant for grown folks.</p>

<p>Bulfinch's "Age of Chivalry."</p>

<p>Fiske's "Myths and Myth Makers." Brief, deep, and suggestive.</p>

<p>Hawthorne's "Wonder Book" and "Tanglewood Tales."
Books that no house containing children should lack.</p>

<p>Cox's "Tales of Ancient Greece."</p>

<p>Baldwin's "Stories of the Golden Age."</p>

<p>Forestier's "Echoes from Mist Land." An interesting study
of the Nibelungenlied.</p>

<p>Lucian's "Dialogues of the Gods." Written to ridicule ancient
superstitions.</p>

<p>Curtin's "Folk Lore of Ireland."</p>

<p>Stories of Greek Heroes, Kingsley.</p>

<p>Stories from Bryant's Odyssey.</p>

<p>Stories from Church's "Story of the Iliad."</p>

<p>Stories from Church's "Story of the &AElig;neid."</p>

<p>Stories from Herodotus, Church.</p>

<p>Stories from the Greek Tragedians, Church.</p>

<p>Stories of Charlemagne, Hanson.</p>

<p>Stories from "Arabian Nights," Bulfinch.</p>

<p>Stories from "Munchausen," and Maundeville.</p>

<p>Stories from Chaucer, especially "Griselda." (From Chaucer,
or from Mrs. Haweis' book.)</p>

<p>Stories told to a Child, by Jean Ingelow.</p>

<p>Stories from the "Morte D'Arthur," Malory or Lanier.</p>

<p>Stories from Lanier's "Froissart."</p>

<p>Stories from Shakspeare.</p>

<p>Stories of the Revolution, Riedesel.</p>

<p>Stories from American and English History about the
Magna Charta, Henry VIII., Queen Elizabeth, Cromwell,<span class="pagenum"><a id="Page_107">[107]</a></span>
Pitt, Gladstone, Boston Tea Party, Declaration of Independence,
Washington, Rebellion, Lincoln, etc.</p>

<p>Stories of American life, from "Oldtown Folks," "Sam Lawson's
Fireside Stories," and from the best novels.</p>

<p>Stories from the "Book of Golden Deeds," Miss Yonge.</p>

<p>Stories from Bolton's "Poor Boys who became Famous,"
and "Girls who became Famous."</p>

<p>Stories from Smiles's "Self-Help." Full of brief, inspiring
stories of great men.</p>

<p>Stones from Todd's "Students' Manual."</p>

<p>Stories from Irving's "Sketch Book," Rip Van Winkle, etc.</p>

<p>Stories from Green's "Short History of the English People."</p>

<p>Stories from Doyle's "History of the United States." One of
the very best brief histories.</p>

<p>Stories from Mackenzie's "History of the Nineteenth
Century."</p>

<p>Stories from Coffin's "Story of Liberty."</p>

<p>Stories from Freeman's "General Sketch of History."</p>

<p>Stories from the "Stories of the Nations." (Putnam's Series.)</p>

<p>Stories from the books of Columns 2, 3, 4, 5, 8, 12, and 14
of <a href="#TABLE_I">Table I</a>.</p>

<p>The story of Christ and his Apostles. (It is scarcely needful
to mention Bible stories in general. Every child born
into a civilized family is saturated with them; but the
simple story of Christ's life as an entirety is too seldom
told them.)</p>

<p>The story of Buddha, from the "Light of Asia."</p>

<p>The story of Mahomet, Irving.</p>

<p>The story of Confucius.</p>

<p>The story of Socrates drinking the hemlock, from Plato, or
from F&eacute;nelon's "Lives of the Philosophers," which contains
many splendid Greek stories.<span class="pagenum"><a id="Page_108">[108]</a></span></p>

<p>The story of Prometheus, from &AElig;schylus.</p>

<p>The story of Diogenes in his Tub.</p>

<p>The story of Thermopyl&aelig; and other battles, from Cressy.</p>

<p>The story of Carthage, from Putnam's series of the "Stories
of the Nations." (Nine to eleven years.)</p>

<p>The story of Roland, Baldwin.</p>

<p>The story of the Cid, Southey.</p>

<p>The story of the Nibelungenlied. (See Baldwin's "Story
of Siegfried.")</p>

<p>The story of Faust, from "Zigzag Journeys."</p>

<p>The story of "Reynard the Fox," Goethe.</p>

<p>The story of Pythagoras and the transmigration of souls.</p>

<p>The story of Astronomy, from Herschel, Proctor, etc.</p>

<p>The story of Geology, from Lyell, Dawson, Miller, etc., or
from Dana's "The Geological Story, Briefly Told."</p>

<p>The story of Athena, Pluto, Neptune, Apollo, Juno, Mars,
Jupiter, Mercury, Charon, Vulcan, Zeus, Io, Orpheus,
and Eurydice, Phaeton, Arachne, Ariadne, Iphigenia,
Ceres, Vesta, Herakles, Minerva, Venus, Scylla and Charybdis,
Hercules, Ulysses, Helen, Achilles, &AElig;neas, etc.,
from Bulfinch's "Age of Fable," "Zigzag Journeys," etc.</p>

<p>The story of William Tell, the Man in the Moon, etc., from
S. Baring Gould's "Curious Myths."</p>

<p>The story of the Courtship of Miles Standish.</p>

<p>The story of the N&uuml;rnburg Stove, from Ouida's "Bimbi."</p>

<p>The story of Robert Bruce.</p>

<p>The story of Circe's Palace, from "Tanglewood Tales."</p>

<p>The story of Pandora's Box, from the "Wonder Book."</p>

<p>The story of Little Nell, from "The Old Curiosity Shop."</p>

<p>The story of the Boy in "Vanity Fair."</p>

<p>Many other books might be placed on the list of parent-helpers.
Indeed, the perfect guidance of youth would re<span class="pagenum"><a id="Page_109">[109]</a></span>quire
a perfect knowledge of literature throughout its breadth
and depth; but the above suggestions, if followed in any
large degree, will result in a far better training than most
children now receive.</p></blockquote>

<hr class="chapter" />

<h2 id="THE_FORMATION_OF_A_GOOD_READING_HABIT">THE FORMATION OF A GOOD READING HABIT.</h2>

<p>As the child learns to read by itself, the books
from which were drawn the stones it has heard may
be given to it, care being taken that every gift shall
be adapted to the ability of the little one. The fact
that the boy has heard the story of Horatius at the
Bridge does not diminish, but vastly increases, his desire
to read the "Lays of Ancient Rome." When he
comes to the possession of the book, it seems to him
like a discovery of the face of a dear friend with
whose voice he has long been familiar. I well remember
with what delight I adopted the "Sketch Book"
as one of my favorites on finding Rip Van Winkle
in it.</p>

<p>Below will be found a list of books intended as a
suggestion of what should be given to children of
various ages. The larger the number of good books
the child can be induced to read each year, the better
of course, so long as his powers are not overtaxed,
and the reading is done with due thoroughness. But
if only four or five are selected from each year's list,
the boy will know more of standard literature by the
time he is sixteen, than most of his elders do. Each<span class="pagenum"><a id="Page_110">[110]</a></span>
book enters the list at the earliest age an ordinary
child would be able to read it with ease, and it may
be used then or at any subsequent age; for no books
are mentioned which are not of everlasting interest
and profit to childhood, manhood, and age. Many
of the volumes named below may also be used by
parents and teachers as story-mines. There is no
sharp line between the periods of story-telling and of
reading. Most children read simple English readily
at eight or ten years of age; many do a large amount
of reading long before that, and nearly all do some
individual work in the earlier period. The change
should be gradual. For the stimulus that comparison
gives, story-telling and reading aloud should be continued
long after the child is able to read alone; in
truth, it ought never to cease. Story-telling ought to
be a universal practice. Stories should be told to
and <i>by</i> everybody. One of the best things grown
folks can do is to tell each other the substance of
their experience from day to day; and probably no
finer means of education exists than to have the
children give an account at supper or in the hour or
two following, of what they have seen, heard, read,
thought, and felt during the day. In the same way
reading <i>solus</i> should lap over into the early period
as far as possible. One of the greatest needs of the
day is a class of books that shall put <i>solid sense</i> into
<i>very</i> simple words. A child can grasp the wonderful,
strong, loving, pathetic, and even the humorous
and critical, long before it can overcome the mechanical<span class="pagenum"><a id="Page_111">[111]</a></span>
difficulties of reading. By so much as we diminish
these, we push education nearer to the cradle.
Charles Dudley Warner says, "As a general thing, I
do not believe in books written for children;" and
Phillips Brooks, Marietta Holley, Brooke Herford,
and others express a similar feeling. But the trouble
is not with the <i>plan</i> of writing for children, but with
the execution. If the highest <i>thoughts</i> and feelings
were written in the simplest words,&mdash;written as a wise
parent <i>tells</i> them to his little ones,&mdash;then we should
have a juvenile literature that could be recommended.
As it is, most writers for babies seem to have far less
sense than the babies. Their books are filled with
unnatural, make-believe emotions, and egregious nonsense
in the place of ideas. The best prose for young
people will be found in the works of Hawthorne,
Curtis, Warner, Holmes, Irving, Addison, Goldsmith,
Burroughs, and Poe; and the best poets for them are
Longfellow, Lowell, Whittier, Burns, and Homer.
Books that flavor sense with fun, as do those of Curtis,
Holmes, Lowell, Holley, Stowe, Irving, Goldsmith,
Warner, Addison, and Burroughs, are among the
best means of creating in any heart, young or old,
a love for fine, pure writing. P. T. Barnum, a man
whose great success is largely due to his attainment
of that serenity of mind which Lowell calls the highest
result of culture, says: "I should, above almost everything
else, try to cultivate in the child a kindly sense of
humor. Wherever a pure, hearty laugh rings through
literature, he should be permitted and taught to enjoy<span class="pagenum"><a id="Page_112">[112]</a></span>
it." This judgment comes from a knowledge of
the sustaining power a love of humor gives a man
immersed in mental cares and worriments. Lincoln
is, perhaps, the best example of its power.</p>

<p>It is often an inspiration to a boy to know that a
book he is reading has helped and been beloved by
some one whose name is to him a synonym of greatness,&mdash;to
know, for example, that Franklin got his
style from the "Spectator," which he studied diligently
when a boy; that Francis Parkman from fifteen
to twenty-one obtained more pleasure and profit from
Scott than from any other writer; that Darwin was
very fond of Mark Twain's "Treatise on the Frog;"
that Marietta Holley places Emerson, Tennyson, and
Eliot next to the Bible in her list of favorites; that
Senator Hoar writes Emerson, Wordsworth, and Scott
next after the Bible and Shakspeare; that Robert
Collyer took great delight in Irving's "Sketch Book,"
when a youth; that the great historian Lecky is said
to be in the habit of taking Irving with him when he
goes to bed; that Phillips Brooks read Jonson many
times when a boy, and that Lockhart's Scott was
a great favorite with him, though the Doctor attaches
no special significance to either of these facts;
that Susan Coolidge thinks "Hans Brinker" is the
best of all American books for children, etc. Similar
facts may be found in relation to very many of the
best books, and will aid much in arousing an interest
in them.</p>

<p>Plato, Bacon, Goethe, Spencer, Emerson, and many<span class="pagenum"><a id="Page_113">[113]</a></span>
others of the best are for the most part too difficult
to be properly grasped until the mind is more mature
than it usually is at sixteen. No precise rules, however,
can be laid down on this subject, I have known
a boy read Spencer's "First Principles" and Goethe's
"Faust" and "Wilhelm Meister" at sixteen, and gain
a mastery of them. All I have attempted to do is to
make broad suggestions; experiment in each case
must do the rest.</p>

<p class="h3"><i>Literature adapted to a Child Six or Eight Years
of Age and upward.</i></p>

<blockquote><p>Little Lord Fauntleroy. A book that cannot fail to delight
and improve every reader.</p>

<p>King of the Golden River, Ruskin.</p>

<p>"Rosebud," from "Harvard Sophomore Stories."</p>

<p>Christmas all the Year round, Howells.</p>

<p>Mrs. Stowe's "Laughin' in Meetin'." An exceedingly funny
story.</p>

<p>"Each and All" and "Seven Little Sisters," by Jane Andrews.
Used in the Boston Public Schools as supplementary
reading.</p>

<p>Classics in Babyland, Bates.</p>

<p>Scudder's "Fables and Folk Stories." Fine books for little
ones.</p>

<p>&AElig;sop.</p>

<p>Rainbows for Children, Lydia Maria Child.</p>

<p>Black Beauty, by Anna Sewell. The autobiography of a
splendid horse, and the best teacher of kindness to animals
we know of.<span class="pagenum"><a id="Page_114">[114]</a></span></p>

<p>Burroughs' "Birds and Bees." In fact, all his beautiful and
simple stories of Nature&mdash;"Pepacton," "Fresh Fields,"
"Wake Robin," "Winter Sunshine," "Signs and Seasons,"
etc.&mdash;are the delight of children as soon as they
can read.</p>

<p>Winslow's "Fairy Geography."</p>

<p>By Sea-side and Wayside, Wright.</p></blockquote>

<p class="h3"><i>Literature adapted to a Child Eight to Nine Years of
Age and upward.</i></p>

<blockquote><p>Sandford and Merton, Day. One of the very best of
children's books.</p>

<p>Play Days, Sarah Orne Jewett.</p>

<p>Andersen's "Fairy Tales." Cannot be too highly praised.</p>

<p>Stories from King Arthur, Hanson. A good foundation for
the study of Malory, Tennyson, etc.</p>

<p>"Winners in Life's Race," and "Life and her Children,"
by Miss Arabella Buckley. Books that charm many children
of eight or nine.</p>

<p>Fairy Frisket; or, Peeps at Insect Life. Nelson &amp; Sons.</p>

<p>Physiology, with pictures.</p>

<p>Queer Little People, Mrs. Stowe.</p>

<p>Kingsley's "Water Babies." A beautiful book, as indeed are
all of Kingsley's.</p>

<p>Longfellow's "Building of the Ship."</p>

<p>The Fountain, Lowell.</p>

<p>Ye Mariners of England, Campbell.</p>

<p>Carleton's "Farm Ballads and Farm Legends." Humorous,
pathetic, sensible.</p></blockquote><p><span class="pagenum"><a id="Page_115">[115]</a></span></p>

<p class="h3"><i>Literature adapted to a Child Nine to Ten Years of
Age and upward.</i></p>

<blockquote><p>Story of a Bad Boy, Aldrich. A splendid book for boys.</p>

<p>Boys of '76, Coffin. An eight-year-old boy read it five times,
he was so pleased with it.</p>

<p>New Year's Bargain, Coolidge.</p>

<p>Pussy Willow, Stowe.</p>

<p>Hanson's "Homer and Virgil." Brief, clear, simple, clean.</p>

<p>Stories from Homer, Hanson.</p>

<p>Stories from Pliny, White.</p>

<p>Grimm's "Fairy Tales."</p>

<p>Legend of Sleeping Beauty.</p>

<p>Clodd's "The Childhood of the World." A splendid book
to teach children the development of the world.</p>

<p>"Friends in Feathers and Fur," "Wings and Fins," "Paws
and Claws," by Johonnot. Books much liked by the
little ones.</p>

<p>First Book of Zo&ouml;logy, Morse.</p>

<p>Halleck's "Marco Bozzaris."</p>

<p>Wordsworth's "Peter Bell."</p>

<p>Mary, Queen of Scots, Strickland.</p>

<p>The Prince and the Pauper, Twain. A book that mingles
no small amount of sense with its abounding fun and
occasional tragedy.</p></blockquote>

<p class="h3"><i>Literature adapted to a Child Ten or Eleven Years of
Age and upward.</i></p>

<blockquote><p>Being a Boy, Warner.</p>

<p>Little Women, Alcott. One of the most popular books of
the day.</p>

<p>A Dog's Mission, Stowe.<span class="pagenum"><a id="Page_116">[116]</a></span></p>

<p>Two Years before the Mast, Dana. Recommended by Sarah
Orne Jewett, George William Curtis, and others.</p>

<p>Ten Boys on the Road, Andrews. A great favorite with
the boys.</p>

<p>Jan of the Windmill, Ewing. The story of a poor boy who
becomes a famous painter.</p>

<p>Hawthorne's "Celestial Railroad."</p>

<p>Little People of Asia, Miller.</p>

<p>Hawthorne's "Tanglewood Tales" and "Wonder Book"
should belong to every child old enough to read ordinary
English.</p>

<p>Adventures of a Brownie, Craik.</p>

<p>Stories from Chaucer, Seymour.</p>

<p>Stories from Livy, Church.</p>

<p>Lives of the Philosophers, F&eacute;nelon. An excellent book.</p>

<p>What Darwin saw in his Trip round the World in the Ship
Beagle.</p>

<p>Fairy Land of Science, Miss Buckley. An author who writes
for children to perfection.</p>

<p>Animal Life in the Sea and on the Land, Cooper. Very fine
indeed.</p>

<p>Darwin's chapter on the "Habits of Ants" (in the "Origin of
Species") is very interesting and amusing to little ones,
and together with Burroughs' books prepares them to
read such works as Lubbock's "Ants, Bees, and Wasps."</p>

<p>Ragozin's "Chaldea." One of the indispensable books for
children.</p>

<p>Longfellow's "Psalm of Life."</p>

<p>Longfellow's "Hiawatha."</p>

<p>Lowell's "Under the Old Elm."</p>

<p>Wordsworth's "White Doe of Rylstone."</p>

<p>Lamb's Essay on Roast Pig. A piece of fun always enjoyed
by boys and girls.</p></blockquote><p><span class="pagenum"><a id="Page_117">[117]</a></span></p>

<p class="h3"><i>Literature adapted to a Child Eleven to Twelve Years
of Age and upward.</i></p>

<blockquote><p>Shakspeare's "Merchant of Venice."</p>

<p>Marcus Aurelius. In a school where the book was at their
call children from ten to thirteen carried it to and from
school, charmed with its beautiful thoughts.</p>

<p>Hans Brinker, Mary Mapes Dodge. One of the very best
stories for children.</p>

<p>Dickens' "Christmas Carol."</p>

<p>Hawthorne's "Great Stone Face." Highly appreciated by
the young folks.</p>

<p>Uncle Tom's Cabin, Mrs. Stowe. A book that every child
should have as soon as he is able to read it.</p>

<p>Another Flock of Girls, Nora Perry.</p>

<p>At the Back of the North Wind, Macdonald. A beautiful
story, with a high motive.</p>

<p>A Hunting of the Deer, Warner.</p>

<p>Crusade of the Children, Gray. A thrilling story.</p>

<p>Bryant's translation of the Odyssey.</p>

<p>Story of the Iliad, Church.</p>

<p>Stories from Herodotus, Church.</p>

<p>Mary Treat's "Home Book of Nature."</p>

<p>Half Hours with the Stars, Proctor.</p>

<p>Guyot's "Earth and Man." A most excellent book.</p>

<p>First Book in Geology, Shaler.</p>

<p>First Steps in Chemistry, Brewster.</p>

<p>First Steps in Scientific Knowledge, Best.</p>

<p>Abou Ben Adhem, Hunt.</p>

<p>Scott's "Lady of the Lake."</p>

<p>Macaulay's "Lays of Ancient Rome."<span class="pagenum"><a id="Page_118">[118]</a></span></p>

<p>Longfellow's "Tales of a Wayside Inn."</p>

<p>Whittier's "Snow Bound."</p>

<p>How they Brought the Good News to Aix, Browning.</p>

<p>Wordsworth's "We are Seven."</p>

<p>Franklin's Autobiography.</p>

<p>Lincoln's Gettysburg Speech.</p>

<p>Samantha at the Centennial.</p></blockquote>

<p class="h3"><i>Literature adapted to a Child Twelve to Thirteen Years
of Age and upward.</i></p>

<blockquote><p>Shakspeare's "Julius C&aelig;sar."</p>

<p>Pilgrim's Progress, Bunyan. Indispensable.</p>

<p>Meditation of Thomas &agrave; Kempis. A strong influence for
sweetness and purity.</p>

<p>Vicar of Wakefield, Goldsmith. Full of fun and good feeling;
one of the most indispensable of books.</p>

<p>Cooper's novels, especially "The Spy" and the "Last of the
Mohicans." Books that are fascinating and yet wholesome.</p>

<p>"My Summer in a Garden," and "In the Wilderness,"
Warner. Very humorous.</p>

<p>"The Dog of Flanders," from "Little Classics."</p>

<p>Picciola, Saintine. A great favorite.</p>

<p>The Story of Arnon, Am&eacute;lie Rives.</p>

<p>Drake's "Culprit Fay."</p>

<p>Dr. Brown's "Rab and his Friends."</p>

<p>"The Man without a Country," "My Double and How He
Undid Me," etc., by E. E. Hale. The cast is extremely
funny.</p>

<p>The Hoosier Schoolmaster, Eggleston.</p>

<p>Boots and Saddles, Mrs. Custer.</p>

<p>Story of the &AElig;neid, Church.<span class="pagenum"><a id="Page_119">[119]</a></span></p>

<p>Stories from Greek Tragedians, Church.</p>

<p>Plumptre's "Sophocles."</p>

<p>Ruskin's "Athena."</p>

<p>Boys and Girls in Biology, Stevenson.</p>

<p>Other Worlds than Ours, Proctor.</p>

<p>Captains of Industry, Parton.</p>

<p>Lowell's "Vision of Sir Launfal." One of the great poet's
finest productions.</p>

<p>Byron's "Eve of Waterloo."</p>

<p>Longfellow's "Evangeline."</p>

<p>Scott's "Marmion."</p>

<p>Milton's "Comus."</p>

<p>"The Two Runaways," "The Born Inventor," "Idyl of Sinkin'
Mountain," etc., by Edwards. Very funny.</p></blockquote>

<p class="h3"><i>Literature adapted to a Child Thirteen to Fourteen
Years of Age and upward.</i></p>

<blockquote><p>Shakspeare's "Coriolanus" and "Taming of the Shrew."</p>

<p>Scott's "Ivanhoe," "Heart of Midlothian," "Guy Mannering,"
etc. It is the making of a boy if he learns to love
Scott. He will make a gentleman of him, and give him
an undying love of good literature.</p>

<p>Journal of Eug&eacute;nie de Guerin. Full of delicacy and quiet
strength.</p>

<p>Tom Brown, Hughes. An universal favorite.</p>

<p>Curtis' "Prue and I." One of the very choicest books,
both in substance and expression,&mdash;especially remarkable
for its moral suggestiveness.</p>

<p>Craddock's "Floating down Lost Creek." Most excellent.</p>

<p>Dr. Jekyll and Mr. Hyde, Stevenson. A story with a<span class="pagenum"><a id="Page_120">[120]</a></span>
powerful moral,&mdash;if we give scope to our evil nature, it
will master us.</p>

<p>Goldsmith's "Good-Natured Man."</p>

<p>Carlyle's "Heroes and Hero Worship."</p>

<p>Ben Hur, Wallace.</p>

<p>The Fool's Errand, Tourg&eacute;e.</p>

<p>The Boys' King Arthur, Lanier.</p>

<p>Epictetus.</p>

<p>Physiology for Girls, Shepard.</p>

<p>Physiology for Boys, Shepard.</p>

<p>What Young People should Know, Wilder. A book that
no boy or girl should be without.</p>

<p>How Plants Behave, Gray.</p>

<p>Goethe's "Erl King."</p>

<p>Browning's "Ivan Ivanovitch." A favorite.</p>

<p>The Forsaken Merman, Matthew Arnold. An exquisite
poem.</p>

<p>Longfellow's "Miles Standish."</p>

<p>Scott's "Lay of the Last Minstrel."</p>

<p>The Veiled Statue of Truth, Schiller.</p>

<p>G&uuml;tenburg, and the Art of Printing.</p>

<p>Doyle's "United States History."</p>

<p>John Bright's "Speeches on the American Question."</p>

<p>Backlog Studies, Warner.</p>

<p>"Encyclop&aelig;dia of Persons and Places," and "Encyclop&aelig;dia
of Common Things," by Champlin, should be within the
reach of every child over twelve or thirteen years of
age.</p></blockquote><p><span class="pagenum"><a id="Page_121">[121]</a></span></p>

<p class="h3"><i>Literature adapted to a Child Fourteen to Fifteen
Years of Age.</i></p>

<blockquote><p>Shakespeare's "Henry Fourth" and "Henry Fifth."</p>

<p>Autocrat of the Breakfast-Table, Holmes; and Irving's
"Sketch Book." Two of the best books in all the world.</p>

<p>George Eliot's novels, especially "Silas Marner," "The Mill
on the Floss," "Romola," and "Adam Bede."</p>

<p>The Wit and Wisdom of George Eliot.</p>

<p>Our Best Society, Curtis.</p>

<p>Bulwer's "Rienzi."</p>

<p>The Marble Faun, Hawthorne.</p>

<p>Sad Little Prince, Fawcett.</p>

<p>Chita, or Youma, by Hearn, a master of English style.</p>

<p>Grande Pointe, Cable.</p>

<p>La Fontaine's Fables.</p>

<p>Plutarch's "Morals."</p>

<p>Ethics of the Dust, Ruskin.</p>

<p>Lady How and Madam Why, Kingsley.</p>

<p>Sketches of Creation, Winchell. Very interesting to children
of fourteen or fifteen.</p>

<p>The Geological Story, Briefly Told, Dana.</p>

<p>Ready for Business, or Choosing an Occupation, Fowler and
Wells.</p>

<p>Ode to a Skylark, Shelley.</p>

<p>Birds of Aristophanes, Frere.</p>

<p>Alfred the Great, Hughes.</p>

<p>Plutarch's "Lives."</p>

<p>Green's "Short History of the English People."</p>

<p>Demosthenes on the Crown. The finest of all orations.</p>

<p>The Biglow Papers, Lowell. The best of fun and sense.</p>

<p>Sweet Cicely, Holley. Quiet humor and unfailing wisdom.</p>

<p>Higginson's "Vacations for Saints." A splendid example of
humorous writing.</p></blockquote><p><span class="pagenum"><a id="Page_122">[122]</a></span></p>

<p class="h3"><i>Literature adapted to a Child Fifteen to Sixteen
Years of Age and upward.</i></p>

<blockquote><p>Shakspeare's "Hamlet" and "The Tempest."</p>

<p>Dante's "Inferno."</p>

<p>Dickens' "Pickwick Papers," "David Copperfield," "Old
Curiosity Shop," etc.</p>

<p>Thackeray's "Vanity Fair."</p>

<p>Tourg&eacute;e's "Hot Plowshares," and "With Fire and Sword,"
by Sienkiewicz. Two of the greatest historical novels.</p>

<p>Carlyle's "Past and Present."</p>

<p>Arnold's "Sweetness and Light."</p>

<p>Ruskin's "Crown of Wild Olive."</p>

<p>Emerson's Essays on "Manners," "Self-Reliance," "Eloquence,"
"Friendship," "Representative Men," etc.</p>

<p>Mrs. Whitney's "Sights and Insights."  A book that is
filled with beautiful thoughts and unselfish actions.</p>

<p>Spencer's "Data of Ethics." Indispensable to a complete
understanding of ethical subjects.</p>

<p>"The Light of Asia." A book that cannot fail to broaden
and deepen every life it touches.</p>

<p>Ten Great Religions, Clarke.</p>

<p>Omar. Superb poetry.</p>

<p>Bryant's "Thanatopsis."</p>

<p>Coleridge's "Ancient Mariner." A lesson of the awfulness
of cruelty.</p>

<p>Auld Lang Syne, Burns.</p>

<p>Toilers of the Sea, Hugo.</p>

<p>Huxley's "Man's Place in Nature."</p>

<p>Tyndall's "Forms of Water."</p>

<p>Our Country, Strong. A book that ought to be in the
hands of every young person.<span class="pagenum"><a id="Page_123">[123]</a></span></p>

<p>Bryce's "American Commonwealth."</p>

<p>Guizot's "History of Civilization."</p>

<p>Mill's "Logic." No young man can afford to remain unacquainted
with this book.</p>

<p>The Hand and Ring, Green. One of the finest examples
of reasoning in the language.</p>

<p>Poe's "Murders in the Rue Morgue" is another such example,
and his "Gold Bug" is another.</p>

<p>Phillips' Speeches</p>

<p>Webster's "Liberty and Union."</p>

<p>Golden Treasury, Palgrave.</p>

<p>The Spectator. One of the very best books to study, in
order to form a good style. Franklin and others attribute
their success largely to reading it carefully in boyhood.</p>

<p>The Fable for Critics, Lowell.</p>

<p>The Yankee at the Court of King Arthur, Twain. Fun and
sense welded together to make the most delightful book
the author has written.</p></blockquote>

<hr class="chapter" />

<h2 id="SPECIAL_STUDIES">SPECIAL STUDIES.</h2>

<p>Next in value to a love of good reading is a habit of
concentrating the attention upon one subject through
a long course of reading. In this way only can any
thorough mastery be obtained. The child should be
taught not to be satisfied with the thought of any
one writer, but to investigate the ideas of all upon
the topic in hand, and then form his own opinion.
Thus he will gain breadth, depth, tolerance, independence,
and scientific method in the search for truth.
Of course it is impossible in a work of this kind to<span class="pagenum"><a id="Page_124">[124]</a></span>
map out lines of study for the multitudinous needs of
young people. The universities and the libraries
provide the means of gaining full information as to
the literature of any subject that may be selected.
A few topic-clusters may, however, be of use here in
the way of illustration. Many examples will be found
in Baldwin's "The Book Lover."</p>

<p><b>The Industrial Question.</b>&mdash;Suppose a young man desired
to study the industrial question, which is one of
the most important subjects of to-day, the proper
method would be to go to one of the great libraries,
or examine the catalogues of the large publishing-houses,
to discover the names of recent books on
the given topic, or on such subjects as Labor and
Capital, Socialism, Co-operation, etc. Such books
usually refer to others, and name many kindred
works on the last pages. Thus the student's list will
swell. I have myself investigated more than two
hundred books on this topic and those it led me to.
A few of the more important I will name as a starting-point
for any one wishing to follow this research.</p>

<p>
Labor, Thornton.<br />
<br />
Conflict of Labor and Capital, Bolles; also, Howell.<br />
<br />
Political Economy, Mill.<br />
<br />
Progress and Poverty, George.<br />
<br />
Profit-Sharing, Gilman.<br />
<br />
In Darkest England, Booth.<br />
<br />
Wages and the Wages Class, Walker.<br />
<br />
Book of the New Moral World, Owen.<br />
<br />
Communistic Societies of the United States, Nordhoff.<br />
<br />
<span class="pagenum"><a id="Page_125">[125]</a></span>Dynamic Sociology, Ward.<br />
<br />
Looking Backward, Bellamy.<br />
<br />
Destin&eacute;e Sociale, Consid&eacute;rant.<br />
<br />
More's "Utopia."<br />
<br />
Co-operative Societies, Watts.<br />
<br />
History of Co-operation, Holyoake.<br />
<br />
The Margin of Profits, Atkinson.<br />
<br />
Gronlund's "Co-operative Commonwealth."<br />
<br />
Capital, Karl Marx.<br />
<br />
The State in relation to Labor, Jevons.<br />
<br />
Organisation du Travail, Louis Blanc.<br />
<br />
Co-operative Stores, Morrison.<br />
<br />
Labor and Capital, Jervis.<br />
<br />
Newton's "Co-operative Production and Co-operative<br />
Distribution in the United States."<br />
<br />
Property and Progress, Mallock.<br />
<br />
Principles of Sociology, Spencer.<br />
<br />
Mill on Socialism.<br />
<br />
The Progress of the Working Classes, Giffen.<br />
<br />
Ely's "French and German Socialism," "Problems of To-day,"<br />
and "Labor Movement in America."<br />
<br />
Dilke's "Problems of Greater Britain."<br />
<br />
Contemporary Socialism, Rae.<br />
<br />
Outlines of an Industrial Science, Symes.<br />
<br />
Early History of Land-holding among the Germans,<br />
Ross; etc.<br />
</p>

<p><b>Malthusianism.</b>&mdash;To take a smaller example. Suppose
the student wishes to make a thorough study of
the doctrine of Malthusius in regard to population,
he will have to refer to Macaulay's "Essay on Sadler,"
and the works on Political Economy of Ricardo,
Chalmers, Roscher, etc., in support of Malthus, and<span class="pagenum"><a id="Page_126">[126]</a></span>
to George's "Progress and Poverty," Spencer's "Biology"
(Vol. II.), Sadler's "Law of Population," and
the works of Godwin, Greg, Rickards, Doubleday,
Carey, Alison, etc., against him.</p>

<p>For an example of a very different kind, cluster
about the myth of Cupid the poems "Cupid and
my Campaspe," by Lilly; "The Threat of Cupid,"
translated by Herrick; "Cupid Drowned," by Leigh
Hunt; and "Cupid Stung," by Moore.</p>

<p>A great deal depends on selecting some department
of thought and exhausting it. To know something
of everything and everything of something is
the true aim. If a child displays fine musical or
artistic ability, among the books given it ought to
be many that bear upon music and art,&mdash;the "Autobiography
of Rubenstein;" the Lives of Beethoven,
Mozart, Schubert, Chopin, Mendelssohn; and Rocksho's
"History of Music," Upton's "Woman in Music,"
Clayton's "Queens of Song," Lillie's "Music and
the Musician," Haweis' "Music and Morals," Jameson's
"Lives of the Painters," Crowest's "Tone Poets,"
Clement's "Painting and Sculpture," Mereweather's
"Semele, or the Spirit of Beauty," etc.</p>

<p>Probably these examples, with those to be found
in the <a href="#n_T_I">notes to Table I</a>., are amply sufficient to show
what is meant by grouping the lights of literature
about a single point so as to illuminate it intensely;
but one more specimen will be given, because of the
interest the subject has for us now and is likely to
have for many years.<span class="pagenum"><a id="Page_127">[127]</a></span></p>

<p><b>The Tariff Question</b> may be studied in Ely's "Problems
of To-day," Greeley's "Political Economy,"
Carey's "Principles of Social Science," E. P. Smith's
"Manual of Political Economy," Byles's "Sophisms
of Free Trade," Thompson's "Social Science and
National Economy," Bastiat's "Sophisms of Protection,"
Mill's "Political Economy," Sumner's "Lectures
on the History of Protection in the United
States," Fawcett's "Free Trade and Protection," Mongredien's
"History of the Free Trade Movement,"
Butt's "Protection Free Trade," Walters' "What is
Free Trade," "The Gladstone-Blaine Debate," etc.<span class="pagenum"><a id="Page_128">[128]</a></span></p>

<hr class="chapter" />

<h2 id="TABLE_V">TABLE V.</h2>

<p><i>Showing the Distribution of the Best Literature in Time and Space, with a
Parallel Reference to some of the World's Great Events.</i></p>

<blockquote><p>[It was impossible to get the writers of the eighteenth and nineteenth centuries into
the unit space. The former fills a space twice the unit width, and the latter, when
it is complete, will require five units.]</p></blockquote>

<div>
<table border="1" cellpadding="4" cellspacing="0" summary="">
  <tr>
   <td class="tdlsc">Greece</td>
   <td class="tdc">B.C.<br />1000</td>
   <td class="tdlsc">Israel<br /><span class="in1 toc-norm">David, The Psalms</span></td>
   <td>&nbsp;</td>
  </tr>
  <tr>
   <td>&nbsp;</td>
   <td class="tdc">900</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
   <td>&nbsp;</td>
   <td class="tdc">800</td>
   <td>&nbsp;</td>
   <td class="tdl">Rome founded</td>
  </tr>
  <tr>
   <td class="tdl">&AElig;sop</td>
   <td class="tdc">700</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
  <tr>
   <td>&nbsp;</td>
   <td class="tdc">B.C.<br />600</td>
   <td class="tdlsc">India<br /><span class="in1 toc-norm">Budha</span></td>
   <td>Nebuchadnezzar, king of Babylon<br />Republic established at Rome</td>
  </tr>
  <tr>
   <td class="tdl">
      <div>
      <table border="0" cellpadding="0" cellspacing="0" summary="">
        <tr>
         <td class="tdl" colspan="3"><span class="smcap">The Golden Age of Grecian Literature</span></td>
        </tr>
        <tr>
         <td class="tdl">Pindar</td>
         <td class="tdl">&AElig;schylus</td>
         <td class="tdl">Herodotus</td>
        </tr>
        <tr>
         <td>&nbsp;</td>
         <td class="tdl">Sophocles</td>
         <td class="tdl">Thucydides</td>
        </tr>
        <tr>
         <td class="tdl">Pericles</td>
         <td class="tdl">Euripides</td>
         <td class="tdl">Xenophon</td>
        </tr>
        <tr>
         <td>&nbsp;</td>
         <td class="tdl">Aristophanes</td>
         <td>&nbsp;</td>
        </tr>
        <tr>
         <td>&nbsp;</td>
         <td>&nbsp;</td>
         <td class="tdl">Socrates</td>
        </tr>
      </table>
      </div>
     </td>
     <td class="tdc">500</td>
     <td class="tdl">Mahabharata<br />Ramayana<br />(Epics of India)</td>
     <td>Darius, king of Persia<br />
         <span class="smcap">Greece</span><br />
         Battle of Marathon<br />
         Battle of Thermopyl&aelig;<br />
         Battle of Salamis<br />
         Cincinnatus at Rome<br />
         Ezra at Jerusalem<span class="pagenum"><a id="Page_129">[129]</a></span></td>
    </tr>
  <tr>
   <td class="tdl">
      <div>
      <table border="0" cellpadding="0" cellspacing="0" summary="">
        <tr>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td class="tdl">Plato</td>
        </tr>
        <tr>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td class="tdl">Aristotle</td>
        </tr>
        <tr>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td class="tdl">Demosthenes</td>
        </tr>
      </table>
      </div>
   </td>
   <td class="tdc">400</td>
   <td>&nbsp;</td>
   <td>Alexander<br />
       The Gauls burn Rome</td>
  </tr>
  <tr>
   <td>&nbsp;</td>
   <td class="tdc">300</td>
   <td>&nbsp;</td>
   <td class="tdl">Wars of Rome against Carthage<br /> Hannibal in Italy</td>
  </tr>
  <tr>
   <td>&nbsp;</td>
   <td class="tdc">200</td>
   <td>&nbsp;</td>
   <td class="tdl">Greece becomes a Roman Province<br /><br />
     <span class="smcap">Rome</span><br />
     The Gracchi, Marius, and Sylla</td>
  </tr>
  <tr>
   <td class="tdl">
      <div>
      <table border="0" cellpadding="0" cellspacing="0" summary="">
        <tr>
         <td colspan="3"><span class="smcap">Rome. Augustan Age, 31 b. c. to a. d. 14.</span></td>
        </tr>
        <tr>
         <td>Reatinus&nbsp;&nbsp;</td>
         <td class="tdl">Ovid</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Sallust</td>
         <td class="tdl">Livy</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Cicero</td>
         <td class="tdl">Lucretius</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Virgil</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
      </table>
      </div>
   </td>
   <td class="tdc">100</td>
   <td>&nbsp;</td>
   <td><span class="smcap">Rome</span><br />
       Julius C&aelig;sar<br />
       Pompey<br />
       Civil War, Empire established</td>
  </tr>
  <tr>
   <td class="tdl">
      <div>
      <table border="0" cellpadding="0" cellspacing="0" summary="">
        <tr>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td class="tdl">Tacitus</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Plutarch</td>
         <td class="tdl">Juvenal</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td class="tdl">Pliny</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
      </table>
      </div>
   </td>
   <td class="tdc">A.D.</td>
   <td>Josephus</td>
   <td>Jerusalem taken by Titus<br />
       Pompeii overwhelmed<br />
       Romans conquer Britain</td>
  </tr>
  <tr>
   <td class="tdl">
      <div>
      <table border="0" cellpadding="0" cellspacing="0" summary="">
        <tr>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>Epictetus</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>Marcus Aurelius</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
      </table>
      </div>
   </td>
   <td class="tdc">100</td>
   <td>&nbsp;</td>
   <td>Church Fathers</td>
  </tr>
  <tr>
   <td>&nbsp;</td>
   <td class="tdc">200</td>
   <td>&nbsp;</td>
   <td>Aurelian conquers Zenobia</td>
  </tr>
  <tr>
   <td><span class="pagenum"><a id="Page_130">[130]</a></span>&nbsp;</td>
   <td class="tdc">300</td>
   <td>&nbsp;</td>
   <td>Under Constantine Christianity becomes the State religion<br />
       Roman Empire divided</td>
  </tr>
  <tr>
   <td>&nbsp;</td>
   <td class="tdc">400</td>
   <td>&nbsp;</td>
   <td>Angles and Saxons drive out the Britons<br />
       Huns under Attila invade the Roman Empire</td>
  </tr>
  <tr>
   <td>&nbsp;</td>
   <td class="tdc">500</td>
   <td>&nbsp;</td>
   <td>Christianity carried to England by Augustine</td>
  </tr>
  <tr>
   <td class="tdl">
      <div>
      <table border="0" cellpadding="0" cellspacing="0" summary="">
        <tr>
         <td class="tdl" colspan="2"><span class="smcap">English Literature</span></td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>C&aelig;dmon</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
      </table>
      </div>
   </td>
   <td class="tdc">600</td>
   <td><span class="smcap">Arabia</span><br />
       <span class="in1">Mahomet</span></td>
   <td>&nbsp;</td>
  </tr>
  <tr>
   <td class="tdl">
      <div>
      <table border="0" cellpadding="0" cellspacing="0" summary="">
        <tr>
         <td>B&aelig;da</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Cynewulfda</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
      </table>
      </div>
   </td>
   <td class="tdc">700</td>
   <td>&nbsp;</td>
   <td><span class="smcap">France</span><br />
       <span class="in1">Charlemagne founds the Empire of the West</span></td>
  </tr>
  <tr>
   <td class="tdl">
      <div>
      <table border="0" cellpadding="0" cellspacing="0" summary="">
        <tr>
         <td colspan="2">&AElig;lfred, 850-900</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
      </table>
      </div>
   </td>
   <td class="tdc">800</td>
   <td>&nbsp;</td>
   <td>Danes overrun England<br />
       <i>&AElig;lfred's glorious reign</i></td>
  </tr>
  <tr>
   <td>&nbsp;</td>
   <td class="tdc">900</td>
   <td>&nbsp;</td>
   <td>Chivalry begins<br />
       Capetian kings in France<br />
       <br />
       <span class="smcap">England</span><br />
       <span class="in1">Saint Dunstan</span><br />
       <span class="in1">Papal supremacy</span><br /></td>
  </tr>
  <tr>
   <td><span class="pagenum"><a id="Page_131">[131]</a></span>&nbsp;</td>
   <td class="tdc">1000</td>
   <td><span class="smcap">Persia</span><br />
       <span class="in1">Firdusi's Shah Nameh</span></td>
   <td>Chivalry begins<br />
       Capetian kings in France<br />
       <br />
       <span class="smcap">England</span><br />
       <span class="in1">Canute the Great</span><br />
       <span class="in1">1066. <i>Norman</i> <i>Conquest</i></span><br /><br />
       Peter the Hermit<br />
       First Crusade</td>
  </tr>
  <tr>
   <td class="tdl">
      <div>
      <table border="0" cellpadding="0" cellspacing="0" summary="">
        <tr>
         <td colspan="3">Geoffrey of Monmouth</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
      </table>
      </div>
   </td>
   <td class="tdc">1100</td>
   <td><span class="smcap">Persia</span><br />
       <span class="in1">Omar Khayy&aacute;m</span><br />
       <span class="smcap">Germany</span><br />
       <span class="in1">Nibelungenlied</span><br />
       <span class="smcap">Spain</span><br />
       <span class="in1">Chronicle of the Cid</span></td>
   <td><span class="smcap">England</span><br />
       <span class="in1">Plantagenets</span><br />
       <span class="in1">Richard I.</span><br /><br />
       <span class="smcap">France</span><br />
       <span class="in1">Second and Third Crusades</span><br />
       <span class="in1">Saint Bernard</span></td>
  </tr>
  <tr>
   <td class="tdl">
      <div>
      <table border="0" cellpadding="0" cellspacing="0" summary="">
        <tr>
         <td>Layamon</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Roger Bacon</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
      </table>
      </div>
   </td>
   <td class="tdc">1200</td>
   <td><span class="smcap">Persia</span><br />
       <span class="in1">Saadi</span></td>
   <td><span class="smcap">England</span><br />
       <span class="in1">1215. Runnymede, Magna Charta</span><br />
       <span class="in1">Edward I.</span></td>
  </tr>
  <tr>
   <td class="tdl">
      <div>
      <table border="0" cellpadding="0" cellspacing="0" summary="">
        <tr>
         <td>Mandeville</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Langland</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Wycliffe</td>
         <td>Chaucer</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Gower</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
      </table>
      </div>
   </td>
   <td class="tdc">1300</td>
   <td><span class="smcap">Italy</span><br />
       <span class="in1">Dante</span><br />
       <span class="in1">Petrarch</span><br />
       <span class="in1">Boccaccio</span><br /><br />
       <span class="smcap">Persia</span><br />
       <span class="in1">Hafiz</span></td>
   <td><span class="smcap">England</span><br />
       <span class="in1">Chivalry at its height</span><br />
       <span class="in1">The Black Prince</span><br />
       <span class="in1"><i>Gunpowder</i></span><br /><br />
       <span class="smcap">France</span><br />
       Battles of Crecy, Poictiers, and Agincourt</td>
  </tr>
  <tr>
   <td class="tdl">
      <div>
      <table border="0" cellpadding="0" cellspacing="0" summary="">
        <tr>
         <td>Lydgate</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Fortescue</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Malory</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
      </table>
      </div>
   </td>
   <td class="tdc">1400</td>
   <td><span class="smcap">Germany</span><br />
       <span class="in1">Thomas &agrave; Kempis</span><br />
       Arabian Nights (probably)<br />
       <span class="smcap">Persia</span><br />
       <span class="in1">Jami</span></td>
   <td><span class="smcap">England</span><br />
       <span class="in1">Henry VIII. shook off the Pope</span><br />
       <i>Movable Type</i><br />
       <i>Discovery of America</i><br />
       Joan of Arc<br />
       Wars of the Roses</td>
  </tr>
  <tr>
   <td class="tdl">
      <div>
      <table border="0" cellpadding="0" cellspacing="0" summary="">
        <tr>
         <td>More</td>
         <td>Ascham</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Lyly</td>
         <td>Sackville</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Sidney</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Marlowe&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>Fox</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Spenser</td>
         <td>Hooker</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
      </table>
      </div>
   </td>
   <td class="tdc">1500</td>
   <td>
       <span class="smcap">Italy</span><br />
       <span class="in1">Ariosto</span><br />
       <span class="in1">Tasso</span><br />
       <span class="in1">Galileo</span><br />
       <br />
       <span class="smcap">France</span><br />
       <span class="in1">Montaigne</span></td>
   <td>
       <i>Copernicus</i><br />
       <i>Kepler</i><br />
       <i>The Armada</i><br />
       <span class="smcap">England</span><br />
       <span class="in1">Henry VIII., Elizabeth</span><br />
       <span class="smcap">Germany</span><br />
       <span class="in1">1515. <i>Luther's Reformation</i></span><br />
       <span class="smcap">France</span><br />
       <span class="in1">Massacre of St. Bartholomew</span></td>
  </tr>
  <tr>
   <td class="tdl">
      <div>
      <table border="0" cellpadding="0" cellspacing="0" summary="">
        <tr>
         <td>Jonson      </td>
         <td>Bacon    </td>
         <td>Herbert</td>
        </tr>
        <tr>
         <td>Shakspeare  </td>
         <td>Newton   </td>
         <td>J.Taylor</td>
        </tr>
        <tr>
         <td>Chapman              </td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>Hobbes</td>
        </tr>
        <tr>
         <td>Beaumont &amp; Fletcher           </td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>Walton</td>
        </tr>
        <tr>
         <td>Milton      </td>
         <td>Locke </td>
         <td>S. Butler</td>
        </tr>
        <tr>
         <td>Bunyan      </td>
         <td>Pepys</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Dryden</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
      </table>
      </div>
   </td>
   <td class="tdc">1600</td>
   <td>
       <span class="smcap">Spain.</span><br />
       <span class="in1">Cervantes</span><br />
       <span class="in1">Calderon</span><br />
       <span class="smcap">Germany</span><br />
       <span class="in1">Kepler</span><br />
       <span class="smcap">France</span><br />
       <span class="in1">Descartes</span><br />
       <span class="in1">Corneille</span><br />
       <span class="in1">Racine</span><br />
       <span class="in1">Moli&egrave;re</span><br />
       <span class="in1">La Fontain</span></td>
   <td>
       1620. Plymouth Rock and the "Mayflower"<br />
       1649 <i>Cromwell</i><br />
       1660 Restoration<br />
       1688 Revolution<br />
       <span class="in1">William and Mary</span><br />
       <span class="smcap">France.</span><br />
       <span class="in1">Louis XIV.</span></td>
  </tr>
  <tr>
   <td class="tdl">
      <div>
      <table border="0" cellpadding="0" cellspacing="0" summary="">
        <tr>
         <td>Addison&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>Cowper&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>Otis</td>
        </tr>
        <tr>
         <td>Steele    </td>
         <td>Burns    </td>
         <td>Jay</td>
        </tr>
        <tr>
         <td>Pope      </td>
         <td>Rogers   </td>
         <td>Adams</td>
        </tr>
        <tr>
         <td>Defoe     </td>
         <td>Hume     </td>
         <td>Hamilton</td>
        </tr>
        <tr>
         <td>Swift     </td>
         <td>Edwards  </td>
         <td>Madison</td>
        </tr>
        <tr>
         <td>Berkeley  </td>
         <td>A. Smith </td>
         <td>Jefferson</td>
        </tr>
        <tr>
         <td>J. Butler </td>
         <td>Bentham  </td>
         <td>Pitt   </td>
        </tr>
        <tr>
         <td>Moore     </td>
         <td>Gibbon   </td>
         <td>Burke   </td>
        </tr>
        <tr>
         <td>Thomson   </td>
         <td>Johnson  </td>
         <td>Fox</td>
        </tr>
        <tr>
         <td>Young     </td>
         <td>Boswell  </td>
         <td>Erskine</td>
        </tr>
        <tr>
         <td>Gray&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>Malthus&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
         <td>P. Henry.</td>
        </tr>
        <tr>
         <td>Goldsmith </td>
         <td>Mackintosh</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
        <tr>
         <td>Sterne    </td>
         <td>Paine</td>
         <td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
             &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
        </tr>
      </table>
      </div>
   </td>
   <td class="tdc">1700</td>
   <td>
       <span class="smcap">France</span><br />
       <span class="in1">Montesquieu</span><br />
       <span class="in1">Le Sage</span><br />
       <span class="smcap">Rousseau</span><br />
       <span class="in1">Voltaire</span><br />
       <br />
       <span class="smcap">Germany</span><br />
       <span class="in1">Munchausen</span><br />
       <span class="in1">Lessing</span></td>
   <td>
       1776. American Revolution<br />
       1789-94. French Revolution<br />
       <br />
       <span class="smcap">England</span><br />
       <span class="in1">Marlborough</span></td>
  </tr>
  <tr>
   <td class="tdl">
      <div>
      <table border="0" cellpadding="0" cellspacing="0" summary="">
<tr>
 <td>Scott</td>
 <td>Herschel</td>
 <td>DeQuincey</td>
</tr>
<tr>
 <td>Byron</td>
 <td>Whewell</td>
 <td>Whately</td>
</tr>
<tr>
 <td>Bryant</td>
 <td>Ricardo</td>
 <td>Jeffrey</td>
</tr>
<tr>
 <td>Drake</td>
 <td>Carey</td>
 <td>Brougham</td>
</tr>
<tr>
 <td>Wordsworth&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
 <td>Faraday</td>
 <td>S.&nbsp;Smith</td>
</tr>
<tr>
 <td>Keats</td>
 <td>Lyell</td>
 <td>C.&nbsp;North</td>
</tr>
<tr>
 <td>Shelley</td>
 <td>Agassiz</td>
 <td>N.&nbsp;Webster</td>
</tr>
<tr>
 <td>Payne</td>
 <td>Whitney</td>
 <td>H.&nbsp;H.&nbsp;White</td>
</tr>
<tr>
 <td>Keble</td>
 <td>A.&nbsp;Gray</td>
 <td>D.&nbsp;Webster</td>
</tr>
<tr>
 <td>Halleck</td>
 <td>Hallam</td>
 <td>Sparks</td>
</tr>
<tr>
 <td>Key</td>
 <td>Prescott</td>
 <td>Story</td>
</tr>
<tr>
 <td>Macaulay</td>
 <td>Lewes</td>
 <td>Gould</td>
</tr>
<tr>
 <td>Hood</td>
 <td>Milman</td>
 <td>Cooper</td>
</tr>
<tr>
 <td>Poe</td>
 <td>Buckle</td>
 <td>Disraeli</td>
</tr>
<tr>
 <td>Read</td>
 <td>Merivale</td>
 <td>Dickens</td>
</tr>
<tr>
 <td>Tennyson</td>
 <td>Hildreth</td>
 <td>Thackeray</td>
</tr>
<tr>
 <td>Browning</td>
 <td>Freeman</td>
 <td>Bront&eacute;</td>
</tr>
<tr>
 <td>Lowell</td>
 <td>Draper</td>
 <td>Hawthorne</td>
</tr>
<tr>
 <td>Longfellow</td>
 <td>Froude</td>
 <td>Irving</td>
</tr>
<tr>
 <td>Carleton</td>
 <td>Walpole</td>
 <td>Hughes</td>
</tr>
<tr>
 <td>Ingelow</td>
 <td>Lecky</td>
 <td>Kingsley</td>
</tr>
<tr>
 <td>Whittier</td>
 <td>Parkman</td>
 <td>Eliot</td>
</tr>
<tr>
 <td>Mill</td>
 <td>Bancroft</td>
 <td>Collins</td>
</tr>
<tr>
 <td>Spencer</td>
 <td>Whipple</td>
 <td>Macdonald</td>
</tr>
<tr>
 <td>Ruskin</td>
 <td>Twain</td>
 <td>Hunt</td>
</tr>
<tr>
 <td>Arnold</td>
 <td>Jerrold</td>
 <td>Wallace</td>
</tr>
<tr>
 <td>Curtis</td>
 <td>Choate</td>
 <td>Clarke</td>
</tr>
<tr>
 <td>Holmes</td>
 <td>Lincoln</td>
 <td>Landor</td>
</tr>
<tr>
 <td>Mansel</td>
 <td>Phillips</td>
 <td>Tourg&eacute;e</td>
</tr>
<tr>
 <td>Carlyle</td>
 <td>Everett</td>
 <td>Holland</td>
</tr>
<tr>
 <td>Emerson</td>
 <td>Sumner</td>
 <td>Howells</td>
</tr>
<tr>
 <td>Darwin</td>
 <td>Garfield</td>
 <td>Mrs.&nbsp;Whitney</td>
</tr>
<tr>
 <td>Huxley</td>
 <td>Gladstone</td>
 <td>Miss&nbsp;Alcott</td>
</tr>
<tr>
 <td>Dana</td>
 <td>A.&nbsp;D.&nbsp;White&nbsp;&nbsp;&nbsp;</td>
 <td>Bellamy</td>
</tr>
<tr>
 <td>Tyndall</td>
 <td>Beecher</td>
 <td>Gronlund</td>
</tr>
<tr>
 <td>Lubbock</td>
 <td>P.&nbsp;Brooks</td>
 <td>Gilman</td>
</tr>
<tr>
 <td>Proctor</td>
 <td>Lamb</td>
 <td>Holley</td>
</tr>
<tr>
 <td>Davy</td>
 <td>Hazlitt</td>
 <td>Dodge</td>
</tr>
<tr>
 <td>Proctor</td>
 <td>Lamb</td>
 <td>Jewett</td>
</tr>
<tr>
 <td>Davy</td>
 <td>Hazlitt</td>
 <td>Burroughs</td>
</tr>
<tr>
 <td>Bright</td>
 <td>Rives</td>
 <td>Stowe</td>
</tr>
<tr>
 <td>Fiske</td>
 <td>Aldrich</td>
 <td>Hearn</td>
</tr>
<tr>
 <td>Curtin</td>
 <td>Warner</td>
 <td>Burnett</td>
</tr>
<tr>
 <td>Hale</td>
 <td>Curtis</td>
 <td>&nbsp;</td>
</tr>
<tr>
 <td>Edwards</td>
 <td>Higginson</td>
 <td>&nbsp;</td>
</tr>
      </table>
      </div>
   </td>
   <td class="tdc">1800</td>
   <td>
       <span class="smcap">Germany</span><br />
       <span class="in1">Schiller</span><br />
       <span class="in1">Goethe</span><br />
       <span class="in1">Kant</span><br />
       <span class="in1">Fichte</span><br />
       <span class="in1">Hegel</span><br />
       <span class="in1">Schelling</span><br />
       <span class="in1">Niebuhr</span><br />
       <span class="in1">Schlosser</span><br />
       <span class="in1">Heine</span><br />
       <span class="in1">Haeckel</span><br />
       <span class="in1">Helmholtz</span><br />
       <span class="in1">Grimm</span><br />
       <span class="in1">Froebel</span><br />
       <br />
       <span class="smcap">France</span><br />
       <span class="in1">La Place</span><br />
       <span class="in1">Guizot</span><br />
       <span class="in1">De Tocqueville</span><br />
       <span class="in1">Comte</span><br />
       <span class="in1">Hugo</span><br />
       <span class="in1">Dumas</span><br />
       <span class="in1">Balzac</span><br />
       <span class="in1">Renan</span><br />
       <span class="in1">Taine</span><br />
       <br />
       <span class="smcap">Russia</span><br />
       <span class="in1">Pushkin</span><br />
       <span class="in1">Lermontoff</span><br />
       <span class="in1">Bashkirtseff</span><br />
       <span class="in1">Tolstoi</span><br />
       <br />
       <span class="smcap">Denmark</span><br />
       <span class="in1">Andersen</span><br />
       <br />
       <span class="smcap">Poland</span><br />
       <span class="in1">Sienkiewicz</span></td>
   <td>
       1807. Fulton's Steamboat<br />
       <span class="in1">Wellington</span><br />
       1815. Waterloo<br />
       1815. White wives sold in England<br />
       1830. Passenger railway<br />
       1833. Matches<br />
       <br />
       <br />
       <br />
       <br />
       1844. Telegraph<br />
       1845. Mexican War<br />
       <br />
       <br />
       <br />
       <br />
       <br />
       <br />
       1860. Rebellion<br />
       1863. Emancipation<br />
       <br />
       <br />
       <br />
       <br />
       <br />
       <br />
       1870. Franco-German War<br />
       1874. The Telephone<br />
       Emancipation of serfs in Russia</td>
  </tr>
  <tr>
   <td>&nbsp;</td>
   <td class="tdc">1900</td>
   <td>&nbsp;</td>
   <td>&nbsp;</td>
  </tr>
</table>
</div>

<hr class="chapter" />

<p><span class="pagenum"><a id="Page_133">[133]</a></span></p>

<h2 id="REMARKS_ON_TABLE_V">REMARKS ON TABLE V.</h2>

<p><b>Definitions and Divisions.</b>&mdash;Literature is life pulsing
through life upon life; but only when the middle
life imparts new beauty to the first is literature produced
in any true and proper sense. The last life
is that of the reader; the middle one that of the
author; the first that of the person or age he pictures.
Literature is the past pouring itself into the
present. Every great man consumes and digests his
own times. Shakspeare gives us the England of
the 16th century, with the added qualities of beauty,
ideality, and order. When we read Gibbon's "Rome,"
it is really the life of all those turbulent times of
which he writes that is pouring upon us through the
channels of genius. Dante paints with his own sublime
skill the portraits of Italy in the 14th century,
of his own rich, inner life, and of the universal human
soul in one composite masterpiece of art. In one
of Munchausen's stories, a bugler on the stage-top
in St. Petersburg was surprised to find that the bugle
stopped in the middle of the song. Afterward, in
Italy, sweet music was heard, and upon investigation
it was found that a part of the song had been frozen
in the instrument in Russia, and thawed in the warmer
air of Italy. So the music of river and breeze, of
battle and banquet, was frozen in the verse of Homer<span class="pagenum"><a id="Page_134">[134]</a></span>
nearly three thousand years ago, and is ready at any
time, under the heat of our earnest study, to pour its
harmony into our lives.</p>

<p>It is the fact that beauty is added by the author
which distinguishes <i>Literature</i> from the pictures of life
that are given to us by newspaper reporters, tables
of statistics, etc. Literature is not merely life,&mdash;it
is life <i>crystallized in art</i>. This is the first great line
dividing the Literary from the Non-Literary. The
first class is again divided into Poetry and Prose.
In the first the form is measured, and the substance
imagery and imagination. In the latter the form is
unmeasured, and the substance direct. Imagery is
the heart of poetry, and rhythm its body. The
thought must be expressed not in words merely, but
in words that convey other thoughts through which
the first shines. The inner life is pictured in the
language of external Nature, and Nature is painted
in the colors of the heart. The poet must dip his
brush in that eternal paint-pot from which the forests
and fields, the mountains, the sky, and the stars
were painted. He must throw human life out upon
the world, and draw the world into the stream of his
own thought. Sometimes we find the substance of
the poetic in the dress of prose, as in Emerson's and
in Ingersoll's lectures, and then we have the prose
poem; and sometimes we find the form of poetry
with only the direct expression, which is the substance
of prose, or perhaps without even the substance
of <i>literary</i> prose, as in parts of Wordsworth,<span class="pagenum"><a id="Page_135">[135]</a></span>
Pope, Longfellow, Homer, Tennyson, and even sometimes
in Shakspeare; see, for example, Tennyson's
"Dirge."</p>

<p><b>Tests for the Choice of Books.</b>&mdash;In deciding which of
those glorious ships that sail the ages, bringing their
precious freight of genius to every time and people,
we shall invite into our ports, we must consider the
nature of the crew, the beauty, strength, and size of
the vessel, the depth of our harbor, the character of
the cargo, and our own wants. In estimating the
value of a book, we have to note (1) the kind of
life that forms its material; (2) the qualities of the
author,&mdash;that is, of the life through which the stream
comes to us, and whose spirit is caught by the current,
as the breezes that come through the garden
bear with them the perfume of flowers that they
touch; (3) the form of the book, its music, simplicity,
size, and artistic shape; (4) its merits, compared
with the rest of the books in its own sphere of
thought; (5) its fame; (6) our abilities; and (7)
our needs. There result several tests of the claims
of any book upon our attention.</p>

<p>I. What effect will it have upon character? Will
it make me more careful, earnest, sincere, placid,
sympathetic, gay, enthusiastic, loving, generous, pure,
and brave by exercising these emotions in me, and
more abhorrent of evil by showing me its loathsomeness;
or more sorrowful, fretful, cruel, envious, vindictive,
cowardly, and false, less reverent of right
and more attracted by evil, by picturing good as<span class="pagenum"><a id="Page_136">[136]</a></span>
coming from contemptible sources, and evil as
clothed with beauty? Is the author such a man as
I would wish to be the companion of my heart, or
such as I must study to avoid?</p>

<p>II. What effect will the book produce upon the
mind? Will it exercise and strengthen my fancy,
imagination, memory, invention, originality, insight,
breadth, common-sense, and philosophic power?
Will it make me bright, witty, reasonable, and tolerant?
Will it give me the quality of intellectual
beauty? Will it give me a deeper knowledge of
human life, of Nature, and of my business, or open
the doorways of any great temple of science where I
am as yet a stranger? Will it help to build a standard
of taste in literature for the guidance of myself and
others? Will it give me a knowledge of what other
people are thinking and feeling, thus opening the avenues
of communication between my life and theirs?</p>

<p>III. What will be the effect on my skills and accomplishments?
Will it store my mind full of beautiful
thoughts and images that will make my conversation
a delight and profit to my friends? Will it teach
me how to write with power, give me the art of
thinking clearly and expressing my thought with
force and attractiveness? Will it supply a knowledge
of the best means of attaining any other desired
art or accomplishment?</p>

<p>IV. Is the book simple enough for me? Is it within
my grasp? If not, I must wait till I have come upon
a level with it.<span class="pagenum"><a id="Page_137">[137]</a></span></p>

<p>V. Will the book impart a pleasure in the very
reading? This test alone is not reliable; for till our
taste is formed, the trouble may not be in it but in
ourselves.</p>

<p>VI. Has it been superseded by a later book, or has
its truth passed into the every-day life of the race?
If so, I do not need to read it. Other things equal,
the authors nearest to us in time and space have the
greatest claims on our attention. Especially is this
true in science, in which each succeeding great book
sucks the life out of all its predecessors. In poetry
there is a principle that operates in the opposite
direction; for what comes last is often but an imitation,
that lacks the fire and force of the original. Nature
is best painted, not from books, but from her
own sweet face.</p>

<p>VII. What is the relation of the book to the completeness
of my development? Will it fill a gap in
the walls of my building? Other things equal, I had
better read about something I know nothing of than
about something I am familiar with; for the aim is to
get a picture of the universe in my brain, and a full
development of my whole nature. It is a good plan
to read everything of something and something of
everything. A too general reader seems vague and
hazy, as if he were fed on fog; and a too special reader
is narrow and hard, as if fed on needles.</p>

<p>VIII. Is the matter inviting my attention of permanent
value? The profits of reading what is merely of
the moment are not so great as those accruing from<span class="pagenum"><a id="Page_138">[138]</a></span>
the reading of literature that is of all time. To
hear the gossip of the street is not as valuable as
to hear the lectures of Joseph Cook, or the sermons
of Beecher and Brooks. On this principle, most of
our time should be spent on classics, and very little
upon transient matter. There is a vast amount of
energy wasted in this country in the reading of newspapers
and periodicals. The newspaper is a wonderful
thing. It brings the whole huge earth to me in a
little brown wrapper every morning. The editor is
a sort of travelling stage-manager, who sets up his
booth on my desk every day, bringing with him the
greatest performers from all the countries of the
world, to play their parts before my eyes. Yonder
is an immense mass-meeting; and that mite, brandishing
his mandibles in an excited manner, is the great
Mr. So-and-So, explaining his position amid the tumultuous
explosions of an appreciative multitude.
That puffet of smoke and dust to the right is a revolution.
There in the shadow of the wood comes an
old man who lays down a scythe and glass while he
shifts the scenes, and we see a bony hand reaching
out to snatch back a player in the midst of his part,
and even trying to clutch the showman himself. For
three dollars a year I can buy a season ticket to
this great Globe theatre, for which God writes the
dramas, whose scene-shifter is Time, and whose curtain
is rung down by Death.<a id="FNanchor_1_328"></a><a href="#Footnote_1_328" class="fnanchor">[1]</a> But theatre-going,
if kept up continuously, is very enervating. 'T is
<span class="pagenum"><a id="Page_139">[139]</a></span>better far to read the hand-bills and placards at the
door, and only when the play is great go in. Glance
at the head-lines of the paper always; read the mighty
pages seldom. The editors could save the nation
millions of rich hours by a daily column of <i>brief but
complete</i> statements of the paper's contents, instead
of those flaring head-lines that allure but do not satisfy,
and only lead us on to read that Mr. Windbag
nominated Mr. Darkhorse amid great applause, and
that Mr. Darkhorse accepted in a three-column
speech skilfully constructed so as to commit himself
to nothing; or that Mr. Bondholder's daughter
was married, and that Mrs. So-and-So wore cream
satin and point lace, with roses, etc.</p>

<div class="footnote"><p><a id="Footnote_1_328"></a><a href="#FNanchor_1_328"><span class="label">[1]</span></a> Adapted from Lowell.</p></div>

<p><b>Intrinsic Merit.</b>&mdash;It must be noted that the tests of
intrinsic merit are not precisely the same as the tests
for the choice of books. The latter include the
former and more. Intrinsic merit depends on the
character impressed upon the book by its subject-matter
and the author; but in determining the claims
of a book upon the attention of the ordinary English
reader, it is necessary not only to look at the book itself,
but also to consider the needs and abilities of the
reader. One may not be able to read the book that
is intrinsically the best, because of the want of time
or lack of sufficient mental development. Green's
"Short History of England" and Dickens' "Child's
History of England" may not be the greatest works
in their department, but they may have the <i>greatest
claims on the attention</i> of one whose time or ability is<span class="pagenum"><a id="Page_140">[140]</a></span>
limited. A chief need of every one is to know what
others are thinking and feeling. To open up avenues
of communication between mind and mind is one of
the great objects of reading. Now it often happens
that a book of no very high merit artistically considered&mdash;a
book that can never take rank as a classic&mdash;becomes
very famous, and is for a time the subject
of much comment and conversation. In such cases
all who would remain in thorough sympathy with
their fellows must give the book at least a hasty
reading, or in some way gain a knowledge of its contents.
Intrinsically "Robert Elsmere" and "Looking
Backward" may not be worthy of high rank
(though I am by no means so sure of this as many
of the critics seem to be); but their fame, joined as
it is with high motive, entitles them to a reading.</p>

<p>It is always a good plan, however, to endeavor to
ascertain the absolute or intrinsic merit of a book
first, and afterward arrive at the relative value or
claim upon the attention by making the correction
required by the time and place, later publications
in the same department, the peculiar needs and abilities
of readers, etc.</p>

<p>In testing intrinsic worth we must consider&mdash;</p>

<p>
Motive.<br />
Magnitude.<br />
Unity.<br />
Universality.<br />
Suggestiveness.<br />
Expression.<br />
<span class="pagenum"><a id="Page_141">[141]</a></span></p>

<p><b>Motive.</b>&mdash;The purpose of the author and the emotional
character of the subject matter are of great
importance. A noble subject nobly handled begets
nobility in the reader, and a spirit of meanness
brought into a book by its subject or author also
impresses itself upon those who come in contact
with it. Kind, loving books make the world more
tender-hearted; coarse and lustful books degrade
mankind. The nobility of the sentiment in and
underlying a work is therefore a test of prime
importance.</p>

<p>
Whittier's "Voices of Freedom,"<br />
Lowell's "Vision of Sir Launfal,"<br />
Tennyson's "Locksley Hall,"<br />
Warner's "A-Hunting of the Deer,"<br />
Shakspeare's "Coriolanus,"<br />
Macaulay's "Horatius" and "Virginia,"<br />
&AElig;schylus' "Prometheus,"<br />
Dickens' "Christmas Carol,"<br />
Sewell's "Black Beauty,"<br />
Chaucer's "Griselda,"<br />
Browning's "Ivan Ivanovitch,"<br />
Arnold's "Forsaken Merman," and "The Light of Asia,"<br />
</p>

<p>are fine examples of high motive.</p>

<p><b>Magnitude.</b>&mdash;The grander the subject, the deeper
the impression upon us. In reading a book like
"The Light of Asia," that reveals the heart of a great
religion, or Guizot's "Civilization in Europe," that
deals with the life of a continent, or Darwin's "Origin
of Species," or Spencer's "Nebular Hypothesis,"<span class="pagenum"><a id="Page_142">[142]</a></span>
that grapples with problems as wide as the world
and as deep as the starry spaces,&mdash;in reading such
books we receive into ourselves a larger part of the
universe than when we devote ourselves to the history
of the town we live in, or the account of the
latest game of base ball.</p>

<p><b>Unity.</b>&mdash;A book, picture, statue, play, or oratorio
is an artistic unity when no part of it could be
removed without injury to the whole effect. True
art masses many forces to a single central purpose.
The more complex a book is in its substance (not its
expression),&mdash;that is to say, the greater the variety
of thoughts and feelings compressed within its lids,&mdash;the
higher it will rank, if the parts are good in themselves
and are so related as to produce one tremendous
effect. But no intrusion of anything not
essentially related to the supreme purpose can be
tolerated. A good book is like a soldier who will
not burden himself with anything that will not increase
his fighting power, because, if he did, its
weight would <i>diminish</i> his fighting force. In the
same way, if a book contains unnecessary matter, a
portion of the attention that should be concentrated
upon the real purpose of the volume, is absorbed
by the superfluous pages, rendering the effect less
powerful than it would otherwise be. Most of the
examples of high motive named above, would be in
place here, especially,&mdash;</p>

<p>
Prometheus.<br />
The Forsaken Merman.<br />
The Light of Asia.<br />
<span class="pagenum"><a id="Page_143">[143]</a></span></p>

<p>Other fine specimens of unity are,&mdash;</p>

<p>
Holmes's "Nautilus."<br />
Hood's "Bridge of Sighs."<br />
Gray's "Elegy."<br />
Hunt's "Abou Ben Adhem."<br />
Longfellow's "Psalm of Life."<br />
Whittier's "Barefoot Boy."<br />
Shelley's "Ode to a Skylark."<br />
Shelley's "Ode to the West Wind."<br />
Byron's "Eve of Waterloo."<br />
Bryant's "Thanatopsis."<br />
Reed's "Drifting."<br />
Drake's "Culprit Fay."<br />
Irving's "Art of Bookmaking," etc. (in "Sketch Book").<br />
Rives' "Story of Arnon."<br />
Dante's "Divine Comedy."<br />
Schiller's "Veiled Statue of Truth."<br />
Goethe's "Erl King."<br />
</p>

<p>Humor alone has a right to violate unity even apparently;
and although wit and humor produce their
effects by displaying incongruities, yet underlying
all high art, in this department as in others, there is
always a deep unity,&mdash;a truth revealed and enforced
by the destruction of its contradictories accomplished
by the sallies of wit and humor.</p>

<p><b>Universality.</b>&mdash;Other things equal, the more people
interested in the subject the more important the
book. A matter which affects a million people is
of more consequence than one which affects only a
single person. National affairs, and all matters of
magnitude, of course possess this quality; but magnitude<span class="pagenum"><a id="Page_144">[144]</a></span>
is not necessary to universality,&mdash;the thoughts,
feelings, and actions of an unpretentious person in
a little village may be types of what passes in the
life of every human being, and by their representativeness
attain a more universal interest for mankind
than the business and politics of a state.</p>

<p>The rules of tennis are not of so wide importance
as an English grammar, nor is the latter so universal
as Dante's "Inferno" or "The Meditations of
Marcus Aurelius,"&mdash;these being among the books
that in the highest degree possess the quality under
discussion. Other fine examples are&mdash;</p>

<p>
Goethe's "Faust."<br />
Shakespeare's Plays and Sonnets.<br />
Bunyan's "Pilgrim's Progress."<br />
Arnold's "Light of Asia."<br />
Bacon's and Emerson's Essays.<br />
"Uncle Tom's Cabin."<br />
Sewell's "Black Beauty."<br />
Eliot's "Romola."<br />
Curtis' "Prue and I."<br />
Cooper's "Last of the Mohicans."<br />
Tourg&eacute;e's "Hot Plowshares."<br />
Irving's "Sketch Book."<br />
Plato, Spencer, etc.<br />
</p>

<p>In fact, all books that express love, longing, admiration,
tenderness, sorrow, laughter, joy, victory
over nature or man, or any other thought or feeling
common to men, have the attribute of universality in
greater or less degree.<span class="pagenum"><a id="Page_145">[145]</a></span></p>

<p><b>Suggestiveness.</b>&mdash;Every great work of art suggests
far more than it expresses. This truth is illustrated by
paintings like Bierstadt's "Yosemite" or his "Drummer
Boy," Millet's "Angelus," or Turner's "Slave
Ship." Statues like the "Greek Slave" or "The
Forced Prayer;" speeches like those of Phillips, Fox,
Clay, Pitt, Bright, Webster, and Brooks; songs like
"Home, Sweet Home," "My Country," "Douglas,"
"Annie Laurie;" and books like</p>

<p>
Emerson's Essays.<br />
&AElig;schylus' "Prometheus."<br />
Goethe's "Faust" and "Wilhelm Meister."<br />
Dante's "Divine Comedy."<br />
"Hamlet" and many other of Shakspeare's Plays.<br />
Curtis' "Prue and I."<br />
The Meditations of Marcus Aurelius.<br />
The Sermons of Phillips Brooks and Robertson.<br />
"My Summer in a Garden," by Warner; etc.<br />
</p>

<p>A single sentence in Emerson often suggests a
train of thought that would fill a volume; and a single
inflection of Patti's voice in singing "Home, Sweet
Home" will fill the heart to overflowing.</p>

<p><b>Expression.</b>&mdash;Like a musician, an author must study
technique. A book may possess high motive, artistic
unity, universality, suggestiveness, magnitude of
thought, and yet be lacking in clearness, purity,
music, smoothness, force, finish, tone-color, or even
in proper grammatical construction. The style ought
to be carefully adapted to the subject and to the<span class="pagenum"><a id="Page_146">[146]</a></span>
readers likely to be interested in it. <i>Force</i> and <i>beauty</i>
may be imparted to the subject by a good style. In
poetry beauty is the supreme object, the projection of
truth upon the <i>mind</i> being subordinate. Poetry expresses
the truths of the soul. In prose, on the other
hand, truth is the main purpose, and beauty is used
as a helper. As a soldier studies his guns, and a
dentist his tools, so a writer must study the laws of
rhythm, accent, phrasing, alliteration, phonetic syzygy,
run-on and double-ending lines, rhyme, and, last but
not least, the melodies of common speech. The
first three and the last are the most important, and
should be thoroughly studied in Shakspeare, Addison,
Irving, and other masters of style by every one
who wishes to write or to judge the work of others.
Except as to rhyme, the arts of writing prose and
poetry are substantially the same. Theoretically there
is a fundamental difference in respect to rhythm,&mdash;that
of a poem being limited to the repetition of
some chosen type, that of prose being unlimited.
A little study makes it clear, however, that the
highest poetry, as that of Shakspeare's later plays,
crowds the type with the forms of common speech;
while the highest efforts of prose, as that of Addison,
Irving, Phillips, Ingersoll's oration over his dead
brother, etc., display rhythms that approach the order
and precision of poetry. In practice the best
prose and the best poetry approach each other very
closely, moving from different directions toward the
same point.<span class="pagenum"><a id="Page_147">[147]</a></span></p>

<p>It is of great advantage to form the habit of
noticing the <i>tunes</i> of speech used by those around
us; the study will soon become very pleasurable,
and will be highly profitable by teaching the observer
what mode of expression is appropriate to
each variety of thought and feeling. There is a
rhythm that of itself produces a comic effect, no
matter how sober the words may be; and it is the
same that we find in "Pinafore," in the "Mariner's
Duet" in the opera of "Paul Jones," and in the minstrel
dance. For fifteen centuries all the great battle-songs
have been written in the same rhythm; they
fall into it naturally, because it expresses the movement
of mighty conflict. See Lanier's "Science of
English Verse," pages 151 <i>et seq.</i>, 231 <i>et seq.</i> This is
the best book upon technique; but Spencer's Essay on
the Philosophy of Style, and Poe's Essay on his composition
of "The Raven" should not be overlooked.
Franklin and many others have discovered the laws of
style simply by careful study of the "Spectator."</p>

<p>Of course it is not easy to decide the true rank of
a book, even when we have tested it in respect to
all the elements we have named. One book may be
superior in expression, another in suggestiveness, and
so on. Then we have to take note of the relative
importance of these various elements of greatness.
A little superiority in motive or suggestiveness is
worth far more than the same degree of superiority
as to unity or magnitude. A book filled with noble
sentiment, though lacking unity, should rank far<span class="pagenum"><a id="Page_148">[148]</a></span>
above "Don Juan," or any other volume that expresses
the ignoble part of human nature, however
perfect the work may be from an artistic point of
view. Having now examined the tests of intrinsic
merit, let me revert for a moment to my remark, a
few pages back, to the effect that "Looking Backward"
and "Robert Elsmere" deserve a high rank.
They are books of <i>lofty aim</i>, great magnitude of subject
and thought, fine unity, <i>wide universality</i>, <i>exhaustless
suggestiveness</i>, and more than ordinary
power of expression. Doubtless they are not <i>absolute</i>
classics,&mdash;not books of all time,&mdash;for their
subjects are transitional, not eternal. They deal with
<i>doubts</i>, religious and industrial; when these have
passed away, the mission of the books will be fulfilled,
and their importance will be less. But they
are <i>relative</i> classics,&mdash;books that are of great value
to their age, and will be great as long as their subjects
are prominent.<span class="pagenum"><a id="Page_149">[149]</a></span></p>

<hr class="chapter" />

<h2 id="SUPREME_BOOKS">SUPREME BOOKS</h2>

<p class="smcap h3">in the<br />Literatures of England, America, Greece,
Rome, Italy, France, Spain, Germany, Persia,
Portugal, Denmark, Russia.</p>

<p><span class="pagenum"><a id="Page_150">[150]</a></span></p>

<hr class="chapter" />

<h2 id="PERIODS_OF_ENGLISH_LITERATURE">PERIODS OF ENGLISH LITERATURE.</h2>

<p>The highest summit of our literature&mdash;and indeed
of the literature of the world&mdash;is Shakspeare. He
brings us life in the greatest force and volume, of the
highest quality, and clothed in the richest beauty.
His age, which was practically identical with the
reign of Elizabeth, is the golden age of English letters;
and taking it for a basis of division, we have
the Pre-Shakspearian Age from 600 to 1559, the
Shakspearian Age from 1559 to 1620, and the Post-Shakspearian
Age from 1620 to the present.</p>

<p><b>The first age</b> is divided into three periods.</p>

<p><i>First</i>, the Early Period, from 600 to the Norman
Conquest in 1066, which holds the names of Beowulf,<a id="FNanchor_2_329"></a><a href="#Footnote_2_329" class="fnanchor">[2]</a>
C&aelig;dmon,<a id="FNanchor_3_330"></a><a href="#Footnote_3_330" class="fnanchor">[3]</a> B&aelig;da,<a id="FNanchor_4_331"></a><a href="#Footnote_4_331" class="fnanchor">[4]</a> Cynewulf, and &AElig;lfred, the
great king who did so much for the learning of his
country, bringing many great scholars into England
from all over the world, and himself writing the best
prose that had been produced in English, and changing
the "Anglo-Saxon Chronicle"&mdash;till his time a
<span class="pagenum"><a id="Page_151">[151]</a></span>mere record of noble births and deaths&mdash;into a valuable
periodical, the progenitor of the vast horde
that threatens to expel the classics in our day. The
literature of this period has little claim upon us except
on the ground of breadth. The <i>Anglo-Saxon
Chronicle</i>, and the poems of <i>Beowulf</i>, <i>C&aelig;dmon</i>, and
<i>Cynewulf</i>, should be glanced at to see what sort
of people our ancestors were.</p>

<div class="footnote"><p><a id="Footnote_2_329"></a><a href="#FNanchor_2_329"><span class="label">[2]</span></a> An epic poem, full of the life, in peace and war, of our
Saxon fathers before they came to England.</p></div>

<div class="footnote"><p><a id="Footnote_3_330"></a><a href="#FNanchor_3_330"><span class="label">[3]</span></a> The writer of a paraphrase on the Bible; a feeble Milton.</p></div>

<div class="footnote"><p><a id="Footnote_4_331"></a><a href="#FNanchor_4_331"><span class="label">[4]</span></a> A very learned man, who gathered many scholars about
him, and who finished translating the Gospel of John on his
death-bed and with his latest breath.</p></div>

<p><i>Second</i>, the Period of Chaucer, from 1066 to the
death of Chaucer in 1400. The great books of
this period were <i>Mandeville's Travels</i>, Langland's
"Piers the Ploughman." Wycliffe's translation of the
Bible (these two books, with Wycliffe's tracts, went
all over England among the common people, rousing
them against the Catholic Church, and starting
the reformation that afterward grew into Puritanism,
and gained control of the nation under Cromwell),
Gower's Poems, and <i>Chaucer's Canterbury Tales</i>.
Those in italics are the only books that claim our
reading. Mandeville travelled thirty years, and then
wrote all he saw and all he heard from the mouth of
rumor. Chaucer is half French and two-thirds Italian.
He drank in the spirit of the Golden Age of
Italy, which was in the early part of his own century.
Probably he met Petrarch and Boccaccio, and certainly
he drew largely from their works as well as
from Dante's, and he dug into poor Gower as into a
stone quarry. He is still our best story-teller in
verse, and one of our most musical poets; and every
one should know something of this "morning star of<span class="pagenum"><a id="Page_152">[152]</a></span>
English poetry," by far the greatest light before the
Elizabethan age, and still easily among the first five
or six of our poets.</p>

<p><i>Third</i>, the Later Period, from 1400 to 1559, in
which <i>Malory's Morte D'Arthur</i>, containing fragments
of the stories about King Arthur and the
knights of his round table, which like a bed-rock
crop out so often in English Literature, should be
read while reading Tennyson's "Idylls of the King,"
which is based upon Malory; and <i>Sir Thomas More's
Utopia</i> also claims some attention on the plea of
breadth, as it is the work of a great mind, thoroughly
and practically versed in government, and sets forth
his idea of a perfect commonwealth.</p>

<p>In this age of nine and a half centuries there were,
then, ten noteworthy books and one great book; eight
only of the eleven, however, have any claim upon
our attention, the last three being all that are entitled
to more than a rapid reading by the general
student; and only Chaucer for continuous companionship
can rank high, and even he cannot be put
on the first shelf.</p>

<hr class="chapter" />

<p><b>In the Shakspearian Age</b> the great books were
(1) <i>Roger Ascham's Schoolmaster</i>, which was a
fine argument for kindness in teaching and nobility
in the teacher, but has been superseded by Spencer's
"Education." (2) <i>Sackville's Induction</i> to a series
of political tragedies, called "A Mirror for Magistrates."
The poet goes down into hell like Dante,<span class="pagenum"><a id="Page_153">[153]</a></span>
and meets Remorse, Famine, War, Misery, Care,
Sleep, Death, etc., and talks with noted Englishmen
who had fallen. This "Mirror" was of great fame
and influence in its day; and the "Induction," though
far inferior to both Chaucer and Spenser, is yet the best
poetic work done in the time between those masters.
(3) <i>John Lyly's Euphues</i>, a book that expressed
the thought of Ascham's "Schoolmaster" in a style
peculiar for its puns, antitheses, and floweriness,&mdash;a
style which made a witty handling of language the
chief aim of writing. Lyly was a master of the art,
and the ladies of the court committed his sentences
in great numbers, that they might shine in society.
The book has given a word to the language; that
affected word-placing style is known as <i>euphuistic</i>.
The book has no claims upon our reading. (4) <i>Sir
Philip Sidney's Arcadia</i>, a romance in the same
conceited style as the "Euphues," and only valuable
as a mine for poetic images. (5) <i>Hooker's Ecclesiastical
Polity</i>, which was a defence of the church
system against the Puritans. The latter said that no
such system of church government could be found in
the Bible, and therefore should not exist. Hooker
answered that Nature was a revelation from God as
well as the Bible; and if in Nature and society there
were good reasons for the existence of an institution,
that was enough. The book is not of importance to
the general reader to-day, for the truth of its principles
is universally admitted. (6) <i>The Plays of
Marlowe</i>, a very powerful but gross writer. His<span class="pagenum"><a id="Page_154">[154]</a></span>
"Dr. Faustus" may very properly receive attention,
but only after the best plays of Shakspeare, Jonson,
Calderon, Racine, Moli&egrave;re, Corneille, &AElig;schylus, Sophocles,
Euripides, and Aristophanes have been carefully
read. (7) <i>The Plays of Beaumont and Fletcher</i>,
which are filled with beauty and imagination, mingled
with the immodesty and vulgarity that were
natural to this age. The remark just made about
Marlowe applies here. (8) <i>Fox's Book of Martyrs</i>,
which for the sake of breadth should be
glanced at by every one. The marvellous heroism
and devotion to faith on one side, and cruelty on
the other that come to us through the pages of this
history, open a new world to the modern mind. (9)
<i>Edmund Spenser's Faerie Queene</i>, which combines
the poetry of a Homer with the allegory of a Bunyan.
It presents moral truth under vast and beautiful
imagery. In English poetry it claims our attention
next to Shakspeare and Milton. (10) <i>Ben Jonson's
Plays</i>, which stand next to those of Shakspeare in
English drama. (11) <i>The Plays of Shakspeare</i>,
which need no comment, as they have already been
placed at the summit of all literature; and (12) <i>Bacon's
Works</i>, including the <i>Novum Organum</i>, the
<i>New Atlantis</i>, and the <i>Essays</i>, the first of which,
though one of the greatest books of the world, setting
forth the true methods of arriving at truth by
experiment and observation and the collation of
facts, we do not need to read, because the substance
of it may be found in better form in Mill's Logic.<span class="pagenum"><a id="Page_155">[155]</a></span>
The "Essays," however, are world-famed for their condensed
wit and wisdom on topics of never-dying interest,
and stand among the very best books on the
upper shelf. The "New Atlantis" also should be
read for breadth, with More's "Utopia;" the subject
being the same, namely, an ideal commonwealth.</p>

<p>From this sixty-one years of prolific writing, in
which no less than two hundred and thirty authors
gathered their poems together and published them,
to say nothing of all the scattered writings, twelve
volumes have come down to us with a large measure
of fame. Only the last seven call for our reading;
but two of them, Shakspeare and Bacon, are among
the very most important books on the first shelf of
the world's library.</p>

<hr class="chapter" />

<p><b>The Post-Shakspearian Age</b> is divided into four times,
or periods,&mdash;the Time of Milton; the Time of Dryden;
the Time of Pope; and the Time of the Novelists,
Historians, and Scientists.</p>

<p><span class="smcap">The Time of Milton</span>, from 1620 to 1674, was
contemporary with the Golden Age of literature in
France. The great English books of this time were
(1) <i>Chapman's Translation of Homer</i>, which is superseded
by Pope's. (2) <i>Hobbes's Leviathan</i>, a
discourse on government. Hobbes taught that government
exists for the people, and rests not on the
divine right of kings, but on a compact or agreement
of all the citizens to give up a portion of their
liberties in order by social co-operation the better<span class="pagenum"><a id="Page_156">[156]</a></span>
to secure the remainder. He is one of our greatest
philosophers; but the general reader will find the
substance of Hobbes's whole philosophy better put
in Locke, Mill, and Herbert Spencer. (3) <i>Walton's
Complete Angler</i>, the work of a retired merchant
who combined a love of fishing with a poetic perception
of the beauties of Nature. It will repay
a glance. (4) <i>S. Butler's Hudibras</i>, a keen satire
on the Puritans who went too far in their effort to
compel all men to conform their lives to the Puritan
standard of abstinence from worldly pleasures. In
spite of its vulgarity, the book stands very high
in the literature of humor. (5) <i>George Herbert's
Poems</i>, many of which are as sweet and holy as a
flower upon a grave, and are beloved by all spiritually
minded people. (6) <i>Jeremy Taylor's Holy
Living and Dying</i>, a book that in the strength
of its claim upon us must rank close after the
Bible, Shakspeare, and the Science of Physiology
and Hygiene. (7) <i>Milton's Poems</i>, of which the
"Paradise Lost" and "Comus," for their sublimity
and beauty, rank next after Shakspeare in English
poetry. &AElig;schylus, Dante, and Milton are the three
sublimest souls in history.</p>

<p>From this time of fifty-four years seven great books
have come to us, Milton and Taylor being among our
most precious possessions.</p>

<p><span class="smcap">The Time of Dryden.</span>&mdash;From the death of Milton,
in 1674, to the death of Dryden, in 1700, the latter
held undisputed kingship in the realm of letters.<span class="pagenum"><a id="Page_157">[157]</a></span>
This and the succeeding time of Pope were marked
by the development of a classic style and a fine literary
and critical taste, but were lacking in great creative
power. The great books were (1) <i>Newton's
Principia</i>, the highest summit in the region of astronomy,
unless the "M&eacute;canique C&eacute;leste" of Laplace
must be excepted. Newton's discovery of the law of
gravitation, and his theory of fluxions place him at
the head of the mathematical thinkers of the world.
His books, however, need not be read by the general
student, for in these sciences the later books are
better. (2) <i>Locke's Works</i> upon Government and
the Understanding are among the best in the world,
but their results will all be found in the later works
of Spencer, Mill, and Bryce; and the only part of
the writings of Locke that claims our reading to-day
is the little book upon the <i>Conduct of the Understanding</i>,
which tells us how to watch the processes
of our thought, to keep clear of prejudice, careless
observation, etc., and should be in the hands of every
one who ever presumes to do any thinking. (3)
<i>Dryden's Translation of Virgil</i> is the best we have,
and contains the finest writing of our great John.
(4) <i>Bunyan's Pilgrim's Progress</i> picturing in magnificent
allegory the journey of a Christian soul toward
heaven, and his "Holy War," telling of the
conflict between good and evil, and the devil's efforts
to capture and hold the town of "Mansoul," should
be among the first books we read. The "Progress"
holds a place in the affections of all English-speaking<span class="pagenum"><a id="Page_158">[158]</a></span>
peoples second only to the Bible. (5) <i>Sam Pepys's
Diary</i> is the greatest book of its kind in the world,
and is much read for its vividness and interesting detail.
It has, however, no claims to be read until all
the books on the first shelf of <a href="#TABLE_I">Table I</a>. have been
mastered, and a large portion of the second shelf
pretty thoroughly looked into.</p>

<p>Of the five great works of these twenty-six years,
Bunyan and Locke are far the most important for us.</p>

<p><span class="smcap">The Time of Pope</span>, or the <i>Time of the Essayists
and Satirists</i>, covers a period of forty years, from
1700 to 1740, during which the great translator of
Homer held the sceptre of literary power by unanimous
assent. The great works of this time were
(1) <i>The Essays of Addison and Steele</i> in the "Tatler"
and "Spectator," which, though of great merit,
must rank below those of Emerson, Bacon, and
Montaigne. (2) <i>Defoe's Robinson Crusoe</i>, the boy's
own book. (3) <i>Swift's Satires</i>,&mdash;the "Tale of a
Tub," "Gulliver's Travels," and the "Battle of the
Books,"&mdash;all full of the strongest mixture of grossness,
fierceness, and intense wit that the world has
seen. The "Battle of the Books" may be read with
great advantage by the general reader as well as
by the student of humor. (4) <i>Berkeley's Human
Knowledge</i>, exceedingly interesting for the keenness
of its confutation of any knowledge of the existence
of matter. (5) <i>Pope's Poems</i>&mdash;the "Rape of
the Lock" (which means the theft of a lock of hair),
the "Essay on Man," and his translation of Homer<span class="pagenum"><a id="Page_159">[159]</a></span>&mdash;must
form a part of every wide course of reading.
Their mechanical execution, especially, is of the very
finest. (6) <i>Thomson's Seasons</i>, a beautiful poem of
the second class. (7) <i>Butler's Analogy</i>, chiefly noted
for its proof of the existence of God from the fact
that there is evidence of design in Nature.</p>

<p>Of these writers, Pope and Defoe are far the most
important for us.</p>

<p>We have, down to this time of 1740, out of a literature
covering eleven and a half centuries, recommended
to the chief attention of the reader ten great
authors,&mdash;Chaucer and Spenser, Shakspeare and Bacon,
Milton and Taylor, Bunyan and Locke, Pope
and Defoe. We now come to the <span class="smcap">Time of Novelists,
Historians, and Scientists</span>, a period in the
history of our literature that is so prolific of great
writers in all the vastly multiplied departments of
thought, that it is no longer possible to particularize
in the manner we have done in regard to the preceding
ages. A sufficient illustration has been given of
the methods of judging books and the results of their
application. With the ample materials of <a href="#TABLE_I">Table I</a>.
before him, the reader must now be left to make his
own judgments in regard to the relative merits of the
books of the modern period. We shall confine our
remarks on this last time of English literature to the
recommendation of ten great authors to match the
ten great names of former times. In history, we shall
name <i>Parkman</i>, the greatest of American historians;
in philosophy, <i>Herbert Spencer</i>, the greatest name<span class="pagenum"><a id="Page_160">[160]</a></span>
in the whole list of philosophers; in poetry, <i>Byron</i>
and <i>Tennyson</i>, neither of them equal to Shakspeare
and Milton, but standing in the next file behind
them; in fiction, <i>Scott</i>, <i>Eliot</i>, and <i>Dickens</i>; in poetic
humor, <i>Lowell</i>, the greatest of all names in this department;
and in general literature, <i>Carlyle</i> and
<i>Ruskin</i>, two of the purest, wisest, and most forcible
writers of all the past, and, curiously enough, both
of them very eccentric and very wordy,&mdash;a sort of
English double star, which will be counted in this
list as a unit, in order to crowd in <i>Emerson</i>, who
belongs in this great company, and is not by any
means the least worthy member of it. One more
writer there is in this time greater than any we have
named, except Spencer and Scott; namely, the author
of "The Origin of Species." <i>Darwin</i> stands by the
side of Newton in the history of scientific thought;
but, like his great compeer, the essence of his book
has come to be a part of modern thought that floats
in the air we breathe; and so his claims to being
read are less than those of authors who cannot be
called so great when speaking of intrinsic merit.</p>

<p>Having introduced the greatest ten of old, and ten
that may be deemed the greatest of the new, in English
letters, we shall pass to take a bird's-eye view
of what is best in Greece and Rome, France, Italy,
and Spain, and say a word of Persia, Germany, and
Portugal.<span class="pagenum"><a id="Page_161">[161]</a></span></p>

<hr class="chapter" />

<h2 id="THE_GREATEST_NAMES_OF_OTHER_LITERATURES">THE GREATEST NAMES OF OTHER LITERATURES.</h2>

<p><b>Greece</b>, in her thirteen centuries of almost continuous
literary productiveness from Homer to Longus,
gave the world its greatest epic poet, <i>Homer</i>; the
finest of lyric poets, <i>Pindar</i>; the prince of orators,
<i>Demosthenes</i>; aside from our own Bacon and Spencer,
the greatest philosophers of all the ages, <i>Plato</i> and
<i>Aristotle</i>; the most noted of fabulists, <i>&AElig;sop</i>; the most
powerful writer of comedy, <i>Aristophanes</i> (Moli&egrave;re,
however, is much to be preferred for modern reading,
because of his fuller applicability to our life);
and the three greatest writers of pure tragedy, <i>&AElig;schylus</i>,
<i>Sophocles</i>, and <i>Euripides</i>,&mdash;the first remarkable
for his gloomy grandeur and gigantic, dark, and
terrible sublimity; the second for his sweet majesty
and pathos; and third for the power with which he
paints men as they are in real life. Euripides was a
great favorite with Milton and Fox.</p>

<p>To one who is not acquainted with these ten great
Greeks, much of the sweetest and grandest of life remains
untasted and unknown. Begin with Homer,
Plato's "Ph&aelig;do" and "Republic," &AElig;schylus' "Prometheus
Bound," Sophocles' "&OElig;dipus," and Demosthenes'
"On the Crown."<span class="pagenum"><a id="Page_162">[162]</a></span></p>

<p>A liberal reading must also include the Greek historians
Herodotus, Thucydides, and Xenophon.</p>

<p><b>Rome</b> taught the world the art of war, but was herself
a pupil in the halls of Grecian letters. Only three
writers&mdash;<i>Plutarch</i>, <i>Marcus Aurelius</i> (who both wrote
in Greek), and <i>Epictetus</i>&mdash;can claim our attention in
anything like an equal degree with the authors of
Athens named just above. Its literature as a whole
is on a far lower plane than that of Greece or England.
A liberal education must include Virgil's
"&AElig;neid," the national epic of Rome (which, however,
must take its place in our lives and hearts far
after Homer, Shakspeare, Milton, Dante, and Goethe),
for its elegance and imagination; Horace, for his
wit, grace, sense, and inimitable witchery of phrase;
Lucretius, for his depth of meditation; Tacitus, for
knowledge of our ancestors; Ovid and Catullus, for
their beauty of expression; Juvenal, for the keenness
of his satire; and Plautus and Terence, for their insight
into the characters of men. But these books
should wait until at least the three first named in
this paragraph, with the ten Greek and twenty English
writers spoken of in the preceding paragraphs,
have come to be familiar friends.</p>

<p><b>Italy</b>, in Chaucer's century, produced a noble literature.
<i>Dante</i> is the Shakspeare of the Latin races.
He stands among the first creators of sublimity. &AElig;schylus
and Milton only can claim a place beside him.
<i>Petrarch</i> takes lofty rank as a lyric poet, breathing
the heart of love. Boccaccio may be put with Chaucer.<span class="pagenum"><a id="Page_163">[163]</a></span>
Ariosto and Tasso wrote the finest epics of
Italian poetry. A liberal education must neglect no
one of these. Every life should hold communion
with the soul of Dante, and get a taste at least of
Petrarch.</p>

<p><b>France</b> has a glorious literature; in science, the
best in the world. In history, <i>Guizot</i>; in jurisprudence,
in its widest sense, <i>Montesquieu</i>; and in
picturing the literary history of a nation, <i>Taine</i>,
stand unrivalled anywhere. Among essayists, <i>Montaigne</i>;
among writers of fiction, <i>Le Sage</i>, <i>Victor
Hugo</i>, and <i>Balzac</i>; among the dramatists, <i>Corneille</i>
the grand, <i>Racine</i> the graceful and tender, and <i>Moli&egrave;re</i>
the creator of modern comedy; and among
fabulists, the inimitable poet of fable, <i>La Fontaine</i>,
demand a share of our time with the best. Descartes,
Pascal, Rousseau, Voltaire, and Comte belong in
every liberal scheme of culture and to every student
of philosophy.</p>

<p><b>Spain</b> gives us two most glorious names, <i>Cervantes</i>
and <i>Pedro Calderon de la Barca</i>,&mdash;the former one of
the world's very greatest humorists, the brother spirit
of Lowell; the latter, a princely dramatist, the brother
of Shakspeare.</p>

<p><b>Germany</b> boasts one summit on which the shadow
of no other falls. <i>Goethe's</i> "Faust" and "Wilhelm
Meister" and his minor poems cannot be neglected
if we want the best the world affords; <i>Schiller</i>, too,
and <i>Humboldt</i>, <i>Kant</i> and <i>Heine</i>, <i>Helmholtz</i> and
<i>Haeckel</i> must be read. In science and history, the<span class="pagenum"><a id="Page_164">[164]</a></span>
list of German greatness is a very long and bright
one.</p>

<p><b>Persia</b> calls us to read her magnificent astronomer-poet,
<i>Omar Khayy&aacute;m</i>; her splendid epic, the <i>Shah
Nameh of Firdusi</i>, the story of whose labors, successes,
and misfortunes is one of the most interesting
passages in the history of poetry; and taste at least
of her extravagant singer of the troubles and ecstasies
of love, Hafiz.</p>

<p><b>Portugal</b> has given us <i>Camoens</i>, with his great poem
the "Luciad." <b>Denmark</b> brings us her charming <i>Andersen</i>;
and <b>Russia</b> comes to us with her Byronic
Pushkin and her Schiller-hearted poet, Lermontoff,
at least for a glance.</p>

<p>We have thus named as the chiefs, twenty authors
in English, ten in Greek, three of Rome, two of Italy,
ten of France, two of Spain, seven of Germany, three
of Persia, one of Portugal, one of Denmark, and two
of Russia,&mdash;sixty-one in all,&mdash;which, if read in the
manner indicated, will impart a pretty thorough knowledge
of the literary treasures of the world.<span class="pagenum"><a id="Page_165">[165]</a></span></p>

<hr class="chapter" />

<h2 id="THE_FOUNTAINS_OF_NATIONAL_LITERATURES">THE FOUNTAINS OF NATIONAL LITERATURES.</h2>

<p>In the early history of every great people there
has grown up a body of songs celebrating the heroism
of their valiant warriors and the charms of their
beautiful women. These have, generation after generation,
been passed by word of mouth from one
group of singers to their successors,&mdash;by each new
set of artists somewhat polished and improved,&mdash;until
they come to us as Homer's Iliad, the "Nibelungenlied"
of the Germans, the "Chronicle of the Cid"
of the Spanish, the "Chansons de Gestes," the "Romans,"
and the "Fabliaux" of the French, and "Beowulf"
and the "Morte D'Arthur" of English literature.
These great poems are the sources of a vast portion of
what is best in subsequent art. From them Virgil, Boccaccio,
Chaucer, Rabelais, Moli&egrave;re, Shakspeare, Calderon,
and a host of others have drawn their inspiration.
Malory has wrought the Arthurian songs into a mould
of the purest English. The closing books, in their
quiet pathos and reserved strength,&mdash;in their melody,
winged words, and inimitable turns of phrase,&mdash;rank
with the best poetry of Europe. Southey called the
"Cid" the finest poem in the Spanish language, and
Prescott said it was "the most remarkable performance<span class="pagenum"><a id="Page_166">[166]</a></span>
of the Middle Ages." This may be going rather
too far; but it certainly stands in the very front rank
of national poems. It has been translated by Lockhart
in verse, by Southey in prose, and there is a splendid
fragment by Frere. Of the French early epics, the
"Chanson de Roland" and the "Roman du Renart"
are the best. The "Nibelungenlied" is the embodiment
of the wild and tragic,&mdash;the highest note of the
barbaric drama of the North. That last terrific scene
in the Hall of Etzel will rest forever in the memory of
every reader of the book. Carlyle has given a sketch
of the poem in his "Miscellanies," vol. iii., and there
exists a complete but prolix and altogether miserable
translation of the great epic, but we sadly need a
condensed version of the myth of "Siegfried" the
brave, and "Chriemhild" the beautiful, in the stirring
prose of Malory or Southey. No reader will regret
a perusal of these songs of the people; it is a journey
to the head-waters of the literary Nile.</p>

<p>The reader of this little book we hope has gained
an inspiration&mdash;if it were not his before&mdash;that, with a
strong and steady step, will lead him into all the paths
of beauty and of truth. Each glorious emotion and
each glowing thought that comes to us, becomes a
centre of new growth. Each wave of pathos, humor,
or sublimity that pulses through the heart or passes
to the brain, sets up vibrations that will never die,
but beautify the hours and years that follow to the
end of life. These waves that pass into the soul
do not conceal their music in the heart, but echo<span class="pagenum"><a id="Page_167">[167]</a></span>
back upon the world in waves of kindred power; and
these return forever from the world into the heart
that gave them forth. It is as on the evening river,
where the boatman bends his homeward oar. Each
lusty call that leaves his lips, or song, or bugle blast
that slips the tensioned bars, and wings the breeze,
to teach its rhythm to the trees that crown the rocky
twilight steep o'er which the lengthening shadows
creep, returns and enters, softened, sweet, and clear,
the waiting portal of the sender's ear. The man who
fills his being with the noblest books, and pours their
beauty out in word and deed, is like the merry singers
on the placid moonlit lake. Backward the ripples
o'er the silver sheet come on the echoes' winged feet;
the hills and valleys all around gather the gentle
shower of sound, and pour the stream upon the boat
in which the happy singers float, chanting the hymns
they loved of yore, shipping the glistening wave-washed
oar, to hear reflected from the shore their
every charm&egrave;d note. Oh, loosen from <i>thy</i> lip, my
friend, no tone thine ear would with remorseful sorrow
hear, hurling it back from far and near, the listening
landscape oft repeat! Rather a melody send to
greet the mountains beyond the silver sheet. Life's
the soul's song; sing sweetly, then, that when the silence
comes again, and ere it comes, from every glen
the echoes shall be sweet.<span class="pagenum"><a id="Page_169">[169]</a></span><span class="pagenum"><a id="Page_168">[168]</a></span></p>

<hr class="chapter" />

<h2 id="APPENDIX">APPENDIX.</h2>

<hr class="short" />

<p class="h3">THE BEST THOUGHTS OF GREAT MEN<br />
ABOUT BOOKS AND READING.<span class="pagenum"><a id="Page_171">[171]</a></span><span class="pagenum"><a id="Page_170">[170]</a></span></p>

<hr class="chapter" />

<h2 id="APPENDIX_I">APPENDIX I.</h2>

<p class="h3">THE BEST THOUGHTS OF GREAT MEN ABOUT BOOKS AND READING.</p>

<p><b>Addison.</b> "Books are the legacies that genius leaves to
mankind."</p>

<p>"Knowledge of books is a torch in the hands of one who
is willing and able to show those who are bewildered the way
which leads to prosperity and welfare."</p>

<p><b>Alcott, A. B.</b> "My favorite books have a personality and
complexion as distinctly drawn as if the author's portrait
were framed into the paragraphs, and smiled upon me as I
read his illustrated pages."</p>

<p>"Next to a friend's discourse, no morsel is more delicious
than a ripe book,&mdash;a book whose flavor is as refreshing at
the thousandth tasting as at the first."</p>

<p>"Next to a personal introduction, a list of one's favorite
authors were the best admittance to his character and
manners."</p>

<p>"A good book perpetuates its fame from age to age, and
makes eras in the lives of its readers."</p>

<p><b>Atkinson, W. P.</b> "Who can over-estimate the value of
good books,&mdash;those ships of thought, as Bacon so finely calls
them, voyaging through the sea of time, and carrying their
precious freight so safely from generation to generation?"<span class="pagenum"><a id="Page_172">[172]</a></span></p>

<p><b>Arnott, Dr.</b> "Books,&mdash;the miracle of all possessions,
more wonderful than the wishing-cap of the Arabian tales;
for they transport instantly, not only to all places, but to all
times."</p>

<p><b>Bacon.</b> "Studies serve for pastimes, for ornaments, for
abilities. Their chief use for pastimes is in privateness and
retiring; for ornaments, in discourse; and for ability, in
judgment.... To spend too much time in them is sloth;
to use them too much for ornament is affectation; to make
judgment wholly by their rules is the humor of a scholar.
They perfect nature, and are themselves perfected by experience.
Crafty men contemn them, wise men use them,
simple men admire them; for they teach not their own use,
but that there is a wisdom without them and above them
won by observation. Read not to contradict, nor to believe,
but to weigh and consider.... Reading maketh a full man,
conference a ready, and writing an exact man. Therefore,
if a man write little, he had need of a great memory; if he
confer little, he hath need of a present wit; and if he read
little, he had need have much cunning to seem to know that
he doth not know. Histories make men wise, poets witty,
the mathematicians subtile, natural philosophy deep, moral
grave, logic and rhetoric able to contend."</p>

<p><b>Barrow.</b> "He who loveth a book will never want a faithful
friend, a wholesome counsellor, a cheerful companion, or
an effectual comforter."</p>

<p><b>Bartholin.</b> "Without books God is silent, justice dormant,
natural science at a stand, philosophy lame, letters
dumb, and all things involved in Cimmerian darkness."</p>

<p><b>Beaconsfield, Lord.</b> "The idea that human happiness is
dependent on the cultivation of the mind and on the discovery
of truth is, next to the conviction of our immortality,<span class="pagenum"><a id="Page_173">[173]</a></span>
the idea the most full of consolation to man; for the cultivation
of the mind has no limits, and truth is the only thing
that is eternal."</p>

<p>"Knowledge is like the mystic ladder in the patriarch's
dream. Its base rests on the primeval earth, its crest is lost
in the shadowy splendor of the empyrean; while the great
authors, who for traditionary ages have held the chain of
science and philosophy, of poesy and erudition, are the angels
ascending and descending the sacred scale, and maintaining,
as it were, the communication between man and heaven."</p>

<p><b>Beecher, Henry Ward.</b> "A book is good company. It
seems to enter the memory, and to hover in a silvery transformation
there until the outward book is but a body, and
its soul and spirit are flown to you, and possess your memory
like a spirit."</p>

<p>"Books are the windows through which the soul looks out.
A home without books is like a room without windows...."</p>

<p><b>Bright, John.</b> "What is a great love of books? It is
something like a personal introduction to the great and good
men of all past time."</p>

<p><b>Brooks, Phillips.</b> "Is it not a new England for a child
to be born in since Shakspeare gathered up the centuries
and told the story of humanity up to his time? Will not
Carlyle and Tennyson make the man who begins to live
from them the 'heir of all ages' which have distilled their
richness into the books of the sage and the singer of the
nineteenth century?"</p>

<p><b>Browning, Elizabeth Barrett.</b></p>

<div class="poem"><div class="stanza">
<span class="i0">"When we gloriously forget ourselves and plunge<br /></span>
<span class="i0">Soul forward, headlong into a book's profound,<br /></span>
<span class="i0">Impassioned for its beauty, and salt of truth&mdash;<br /></span>
<span class="i0">'Tis then we get the right good from a book."<br /></span>
<span class="pagenum"><a id="Page_174">[174]</a></span></div></div>

<p><b>Bruy&egrave;re.</b> "When a book raises your spirit, and inspires
you with noble and courageous feelings, seek for no other
rule to judge the event by; it is good, and made by a good
workman."</p>

<p><b>Bury, Richard de.</b> "You, O Books! are golden urns in
which manna is laid up; rocks flowing with honey, or rather,
indeed, honeycombs; udders most copiously yielding the
milk of life, store-rooms ever full; the four-streamed river
of Paradise, where the human mind is fed, and the arid
intellect moistened and watered; fruitful olives, vines of
Engaddi, fig-trees knowing no sterility; burning lamps to
be ever held in the hand."</p>

<p>"In books we find the dead, as it were, living.... The
truth written in a book ... enters the chamber of intellect,
reposes itself upon the couch of memory, and there congenerates
the eternal truth of the mind."</p>

<p><b>Carlyle.</b> "Evermore is <i>Wisdom</i> the highest of conquests
to every son of Adam,&mdash;nay, in a large sense, the one conquest;
and the precept to every one of us is ever, 'Above
all thy gettings get understanding.'"</p>

<p>"Of all the things which man can do or make here below,
by far the most momentous, wonderful, and worthy are the
things we call books."</p>

<p>"All that mankind has done, thought, gained, and been,
is lying as in magic preservation in the pages of books."</p>

<p><b>Channing, Dr. Wm. E.</b> "God be thanked for books!
They are the voices of the distant and the dead, and make
us heirs of the spiritual life of past ages. Books are the true
levellers. They give to all who will faithfully use them the
society, the spiritual presence, of the best and greatest of our
race. No matter how poor I am; no matter though the
prosperous of my own time will not enter my obscure dwelling:<span class="pagenum"><a id="Page_175">[175]</a></span>
if the sacred writers will enter and take up their abode
under my roof,&mdash;if Milton will cross my threshold to sing to
me of Paradise; and Shakspeare, to open to me the worlds
of imagination and the workings of the human heart; and
Franklin, to enrich me with his practical wisdom,&mdash;I shall
not pine for want of intellectual companionship, and I may
become a cultivated man, though excluded from what is
called the best society in the place where I live."</p>

<p><b>Chaucer.</b></p>

<div class="poem"><div class="stanza">
<span class="i0">"And as for me, though that I know but lyte<a id="FNanchor_5_332"></a><a href="#Footnote_5_332" class="fnanchor">[5]</a><br /></span>
<span class="i0">On bok&egrave;s for to rede I me delyte,<br /></span>
<span class="i0">And to them give I (feyth<a id="FNanchor_6_333"></a><a href="#Footnote_6_333" class="fnanchor">[6]</a>) and ful credence,<br /></span>
<span class="i0">And in myn herte have them in reverence<br /></span>
<span class="i0">So hertily that there is pastime noon,<a id="FNanchor_7_334"></a><a href="#Footnote_7_334" class="fnanchor">[7]</a><br /></span>
<span class="i0">That from my bok&egrave;s maketh me to goon<br /></span>
<span class="i0">But yt be seldom on the holy day,<br /></span>
<span class="i0">Save, certeynly, whan that the monethe of May<br /></span>
<span class="i0">Is comen, and I here the foul&egrave;s synge,<br /></span>
<span class="i0">And that the flour&egrave;s gynnen for to sprynge;<br /></span>
<span class="i0">Farewell my boke, and my devocioun."<br /></span>
</div></div>

<div class="footnote"><p><a id="Footnote_5_332"></a><a href="#FNanchor_5_332"><span class="label">[5]</span></a> Little.</p></div>

<div class="footnote"><p><a id="Footnote_6_333"></a><a href="#FNanchor_6_333"><span class="label">[6]</span></a> Faith.</p></div>

<div class="footnote"><p><a id="Footnote_7_334"></a><a href="#FNanchor_7_334"><span class="label">[7]</span></a> None.</p></div>

<p><b>Cicero.</b> "Studies are the aliment of youth, the comfort
of old age, an adornment of prosperity, a refuge and a solace
in adversity, and a delight in our home."</p>

<p><b>Clarke, James Freeman.</b> "When I consider what some
books have done for the world, and what they are doing,&mdash;how
they keep up our hope, awaken new courage and faith,
give an ideal life to those whose homes are hard and cold,
bind together distant ages and foreign lands, create new
worlds of beauty, bring down truths from Heaven,&mdash;I give
eternal blessings for this gift, and pray that we may use it
aright, and abuse it not."</p>

<p><span class="pagenum"><a id="Page_176">[176]</a></span></p><p><b>Coleridge.</b> "Some readers are like the hour-glass. Their
reading is as the sand; it runs in and runs out, but leaves
not a vestige behind. Some, like a sponge, which imbibes
everything, and returns it in the same state, only a little
dirtier. Some, like a jelly-bag, which allows all that is pure
to pass away, and retains only the refuse and dregs. The
fourth class may be compared to the slave of Golconda,
who, casting away all that is worthless, preserves only the
pure gems."</p>

<p><b>Collyer, Robert.</b> "Do you want to know how I manage
to talk to you in this simple Saxon? I will tell you. I read
Bunyan, Crusoe, and Goldsmith when I was a boy, morning,
noon, and night; all the rest was task work. These were
my delight, with the stories in the Bible, and with Shakspeare,
when at last the mighty master came within our
doors. These were like a well of pure water; and this is
the first step I seem to have taken of my own free will toward
the pulpit. From the days when we used to spell out
Crusoe and old Bunyan, there had grown up in me a devouring
hunger to read books.... I could not go home
for the Christmas of 1839, and was feeling very sad about it
all, for I was only a boy; and sitting by the fire, an old
farmer came in and said, 'I notice thou's fond o' reading,
so I brought thee summat to read.' It was Irving's 'Sketch
Book.' I had never heard of the work. I went at it, and
was 'as them that dream.' No such delight had touched
me since the old days of Crusoe."</p>

<p><b>Curtis, G. W.</b> "Books are the ever-burning lamps of accumulated
wisdom."</p>

<p><b>De Quincey.</b> "Every one owes to the impassioned books
he has read many a thousand more of emotions than he can
consciously trace back to them.... A great scholar depends<span class="pagenum"><a id="Page_177">[177]</a></span>
not simply on an infinite memory, but also on an infinite
and electrical power of combination,&mdash;bringing together
from the four winds, like the Angel of the Resurrection, what
else were dust from dead men's bones into the unity of
breathing life."</p>

<p><b>Diodorus.</b> "Books are the medicine of the mind."</p>

<p><b>Emerson.</b> "The profit of books is according to the sensibility
of the reader."</p>

<p><b>Erasmus.</b> "A little before you go to sleep read something
that is exquisite and worth remembering, and contemplate
upon it till you fall asleep; and when you awake in the
morning call yourself to an account for it."</p>

<p><b>Farrar, Canon.</b> "If all the books of the world were in a
blaze, the first twelve which I should snatch out of the flames
would be the Bible, the Imitation of Christ, Homer, &AElig;schylus,
Thucydides, Tacitus, Virgil, Marcus Aurelius, Dante,
Shakspeare, Milton, Wordsworth. Of living writers I would
save, first, the works of Tennyson, Browning, and Ruskin."</p>

<p><b>F&eacute;nelon.</b> "If the crowns of all the kingdoms of the empire
were laid down at my feet in exchange for my books
and my love of reading, I would spurn them all."</p>

<p><b>Freeman, E. A.</b> (the historian). "I feel myself quite unable
to draw up a list (of the best books), as I could not
trust my own judgment on any matters not bearing on my
special studies, and I should be doubtless tempted to give
too great prominence to them."</p>

<p><b>Fuller, Thomas.</b> "It is thought and digestion which
make books serviceable, and give health and vigor to the
mind."</p>

<p><b>Gibbon.</b> "A taste for books is the pleasure and glory
of my life. I would not exchange it for the glory of the
Indies."<span class="pagenum"><a id="Page_178">[178]</a></span></p>

<p><b>Gladstone.</b> "When I was a boy I used to be fond of
looking into a bookseller's shop; but there was nothing to
be seen there that was accessible to the working-man of that
day. Take a Shakspeare, for example. I remember very
well that I gave &pound;2 16<i>s.</i> 0<i>d.</i> for my first copy; but you can
get any one of Shakspeare's Plays for seven cents. Those
books are accessible now which were formerly quite inaccessible.
We may be told that you want amusement, but that
does not include improvement. There are a set of worthless
books written now and at times which you should avoid,
which profess to give amusement; but in reading the works
of such authors as Shakspeare and Scott there is the greatest
possible amusement in its best form. Do you suppose when
you see men engaged in study that they dislike it? No!...
I want you to understand that multitudes of books are constantly
being prepared and placed within reach of the population
at large, for the most part executed by writers of a
high stamp, having subjects of the greatest interest, and
which enable you, at a moderate price, not to get cheap
literature which is secondary in its quality, but to go straight
into the very heart,&mdash;if I may so say, into the sanctuary
of the temple of literature,&mdash;and become acquainted with
the greatest and best works that men of our country have
produced."</p>

<p><b>Godwin, William.</b> "It is impossible that we can be
much accustomed to such companions without attaining some
resemblance to them."</p>

<p><b>Goldsmith.</b> "An author may be considered as a merciful
substitute to the legislature. He acts not by punishing
crimes, but by preventing them."</p>

<p><b>Hale, Sir Matthew.</b> "Read the Bible reverently and attentively,
set your heart upon it, and lay it up in your memory,<span class="pagenum"><a id="Page_179">[179]</a></span>
and make it the direction of your life; it will make you
a wise and good man."</p>

<p><b>Hamerton, P. H.</b> "The art of reading is to skip judiciously."</p>

<p><b>Harrison, Frederic.</b> "The best authors are never dark
horses. The world has long ago closed the great assize of
letters, and judged the first places everywhere."</p>

<p>"The reading of great books is usually an acquired faculty,
not a natural gift. If you have not got the faculty, seek for
it with all your might."</p>

<p>"Of Walter Scott one need as little speak as of Shakspeare.
He belongs to mankind,&mdash;to every age and race;
and he certainly must be counted as in the first line of the
great creative minds of the world. His unique glory is to
have definitely succeeded in the ideal reproduction of historical
types, so as to preserve at once beauty, life, and
truth,&mdash;a task which neither Ariosto and Tasso, nor Corneille
and Racine, nor Alfieri, nor Goethe, nor Schiller,&mdash;no,
nor even Shakspeare himself, entirely achieved.... In
brilliancy of conception, in wealth of character, in dramatic
art, in glow and harmony of color, Scott put forth all the
powers of a master poet.... The genius of Scott has
raised up a school of historical romance; and though the
best work of Chateaubriand, Manzoni, and Bulwer may take
rank as true art, the endless crowd of inferior imitations are
nothing but a weariness to the flesh.... Scott is a perfect
library in himself.... The poetic beauty of Scott's creations
is almost the least of his great qualities. It is the
universality of his sympathy that is so truly great, the justice
of his estimates, the insight into the spirit of each age,
his intense absorption of self in the vast epic of human
civilization."<span class="pagenum"><a id="Page_180">[180]</a></span></p>

<p><b>Hazlitt, William.</b> "Books let us into the souls of men,
and lay open to us the secrets of our own."</p>

<p><b>Heinsius.</b> "I no sooner come into the library but I bolt
the door to me, excluding Lust, Ambition, Avarice, and all
such vices, whose nurse is Idleness, the Mother of Ignorance
and Melancholy. In the very lap of eternity, among so many
divine souls, I take my seat with so lofty a spirit and sweet
content, that I pity all that know not this happiness."</p>

<p><b>Herbert, George.</b> "This <i>book of stars</i> [the Bible] lights
to eternal bliss."</p>

<p><b>Herschel, Sir J.</b> "Give a man this taste [for good
books] and the means of gratifying it, and you can hardly
fail of making a happy man. You place him in contact with
the best society in every period of history,&mdash;with the wisest,
the wittiest, the tenderest, the bravest, and the purest characters
who have adorned humanity. You make him a denizen
of all nations, a contemporary of all ages."</p>

<p><b>Hillard, George S.</b> "Here we have immortal flowers of
poetry, wet with Castilian dew, and the golden fruit of Wisdom
that had long ripened on the bough.... We should
any of us esteem it a great privilege to pass an evening with
Shakspeare or Bacon.... We may be sure that Shakspeare
never out-talked his 'Hamlet,' nor Bacon his 'Essays.'...
To the gentle hearted youth, far from his home, in the midst
of a pitiless city, 'homeless among a thousand homes,' the approach
of evening brings with it an aching sense of loneliness
and desolation. In this mood his best impulses become a snare
to him; and he is led astray because he is social, affectionate,
sympathetic, and warm-hearted. The hours from sunset to
bedtime are his hours of peril. Let me say to such young
men that books are the friends of the friendless, and that a
library is the home of the homeless."<span class="pagenum"><a id="Page_181">[181]</a></span></p>

<p><b>Holmes, O. W.</b> "Books are the 'negative' pictures of
thought; and the more sensitive the mind that receives the
images, the more nicely the finest lines are reproduced."</p>

<p><b>Houghton, Lord.</b> "It [a book] is a portion of the eternal
mind, caught in its process through the world, stamped
in an instant, and preserved for eternity."</p>

<p><b>Irving.</b> "The scholar only knows how dear these silent
yet eloquent companions of pure thoughts and innocent hours
become in the season of adversity."</p>

<p><b>Johnson, Dr.</b> "No man should consider so highly of
himself as to think he can receive but little light from books,
nor so meanly as to believe he can discover nothing but what
is to be learned from them."</p>

<p><b>Jonson, Ben.</b> "A prince without letters is a pilot without
eyes."</p>

<p><b>King, Thomas Starr.</b> "By cultivating an interest in a
few good books, which contain the result of the toil or the
quintessence of the genius of some of the most gifted thinkers
of the world, we need not live on the marsh and in the
mists; the slopes and the summits invite us."</p>

<p><b>Kingsley, Charles.</b> "Except a living man, there is nothing
more wonderful than a book!&mdash;a message to us from
the dead, from human souls whom we never saw, who lived,
perhaps, thousands of miles away; and yet these, on those
little sheets of paper, speak to us, amuse us, vivify us, teach
us, comfort us, open their hearts to us as to brothers."</p>

<p><b>Lamb, Charles.</b> "Milton almost requires a solemn service
of music to be played before you enter upon him. But
he brings his music, to which who listens had need bring
docile thoughts and purged ears."</p>

<p><b>Landor, Walter Savage.</b> "The writings of the wise are
the only riches our posterity cannot squander."<span class="pagenum"><a id="Page_182">[182]</a></span></p>

<p><b>Langford.</b> "Strong as man and tender as woman, they
welcome you in every mood, and never turn from you in
distress."</p>

<p><b>Lowell.</b> "Have you ever rightly considered what the
mere ability to read means? That it is the key that admits
us to the whole world of thought and fancy and imagination,
to the company of saint and sage, of the wisest and the wittiest
at their wisest and wittiest moments? That it enables
us to see with the keenest eyes, hear with the finest ears,
and listen to the sweetest voices of all time?... One is
sometimes asked by young people to recommend a course
of reading. My advice would be that they should confine
themselves to the supreme books in whatever literature, or,
still better, to choose some one great author, and make themselves
thoroughly familiar with him."</p>

<p><b>Luther.</b> "To read many books produceth confusion,
rather than learning, like as those who dwell everywhere are
not anywhere at home."</p>

<p><b>Lyly, John.</b> "Far more seemly were it ... to have thy
study full of books than thy purse full of money."</p>

<p><b>Lytton, Lord.</b></p>

<div class="poem"><div class="stanza">
<span class="i0">"Laws die, books never."<br /></span>
</div><div class="stanza">
<span class="i0">"Beneath the rule of men entirely great<br /></span>
<span class="i0">The pen is mightier than the sword."<br /></span>
</div><div class="stanza">
<span class="i0">"Ye ever-living and imperial Souls,<br /></span>
<span class="i0">Who rule us from the page in which ye breathe."<br /></span>
</div><div class="stanza">
<span class="i10">"The Wise<br /></span>
<span class="i0">(Minstrel or Sage) <i>out</i> of their books are clay;<br /></span>
<span class="i0">But <i>in</i> their books, as from their graves, they rise,<br /></span>
<span class="i0">Angels&mdash;that, side by side, upon our way,<br /></span>
<span class="i0">Walk with and warn us!"<br /></span>
<span class="pagenum"><a id="Page_183">[183]</a></span></div><div class="stanza">
<span class="i0">"We call some books immortal! <i>Do they live?</i><br /></span>
<span class="i0">If so, believe me, <span class="smcap">Time</span> hath made them pure.<br /></span>
<span class="i0">In Books the veriest wicked rest in peace,&mdash;<br /></span>
<span class="i0">God wills that nothing evil should endure;<br /></span>
<span class="i0">The grosser parts fly off and leave the whole,<br /></span>
<span class="i0">As the dust leaves the disembodied soul!"<br /></span>
</div></div>

<p><b>Macaulay.</b> "A great writer is the friend and benefactor
of his readers."</p>

<p><b>Milton.</b> "As good almost kill a man as kill a good book.
Who kills a man kills a reasonable creature, God's image;
but he who destroys a good book kills reason itself,&mdash;kills
the image of God, as it were, in the eye. Many a man lives
a burden to the earth; but a good book is the precious
life-blood of a master spirit, embalmed and treasured up
on purpose to a life beyond."</p>

<p><b>Montaigne.</b> "To divert myself from a troublesome fancy,
'tis but to run to my books."</p>

<p>"As to what concerns my other reading, that mixes a little
more profit with the pleasure, and from whence I learn how
to marshal my opinions and qualities, the books that serve
me to this purpose are Plutarch and Seneca,&mdash;both of which
have this great convenience suited to my humor, that the
knowledge I seek is discoursed in loose pieces that do not
engage me in any great trouble of reading long, of which I
am impatient.... Plutarch is frank throughout. Seneca
abounds with brisk touches and sallies. Plutarch, with things
that heat and move you more; this contents and pays you
better. As to Cicero, those of his works that are most useful
to my design are they that treat of philosophy, especially
moral; but boldly to confess the truth, his way of writing,
and that of all other long-winded authors, appears to me
very tedious."<span class="pagenum"><a id="Page_184">[184]</a></span></p>

<p><b>Morley, John.</b> "The consolation of reading is not futile
nor imaginary. It is no chimera of the recluse or the bookworm,
but a potent reality. As a stimulus to flagging energies,
as an inspirer of lofty aim, literature stands unrivalled."</p>

<p><b>Morris, William.</b> "The greater part of the Latins I should
call <i>sham</i> classics. I suppose that they have some good literary
qualities; but I cannot help thinking that it is difficult
to find out how much. I suspect superstition and authority
have influenced our estimate of them till it has become
a mere matter of convention. Of modern fiction, I should
like to say here that I yield to no one, not even Ruskin, in
my love and admiration for Scott; also that, to my mind, of
the novelists of our generation, Dickens is immeasurably
ahead."</p>

<p><b>M&uuml;ller, Max.</b> "I know few books, if any, which I should
call good from beginning to end. Take the greatest poet of
antiquity, and if I am to speak the truth, the whole truth,
and nothing but the truth, I must say that there are long passages,
even in Homer, which seem to me extremely tedious."</p>

<p><b>Parker, Theodore.</b> "What a joy is there in a good book,
writ by some great master of thought, who breaks into beauty,
as in summer the meadow into grass and dandelions and
violets, with geraniums and manifold sweetness.... The
books which help you most are those which make you think
most.... A great book ... is a ship of thought deep
freighted with thought, with beauty too. It sails the ocean,
driven by the winds of heaven, breaking the level sea of life
into beauty where it goes, leaving behind it a train of sparkling
loveliness, widening as the ship goes on. And what
treasures it brings to every land, scattering the seeds of
truth, justice, love, and piety, to bless the world in ages yet
to come."<span class="pagenum"><a id="Page_185">[185]</a></span></p>

<p><b>Peacham, Henry.</b> "To desire to have many books and
never to use them, is like a child that will have a candle
burning by him all the while he is sleeping."</p>

<p><b>Petrarch.</b> "I have friends whose society is extremely
agreeable to me; they are of all ages and of every country.
They have distinguished themselves both in the cabinet and
in the field, and obtained high honors for their knowledge of
the sciences. It is easy to gain access to them, for they are
always at my service; and I admit them to my company
and dismiss them from it whenever I please. They are
never troublesome, but immediately answer every question I
ask them. Some relate to me the events of past ages,
while others reveal to me the secrets of Nature. Some teach
me how to live, and others how to die. Some, by their
vivacity, drive away my cares and exhilarate my spirits; while
others give fortitude to my mind, and teach me the important
lesson how to restrain my desires and to depend wholly
on myself. They open to me, in short, the various avenues
of all the arts and sciences, and upon their information I
safely rely in all emergencies."</p>

<p><b>Phelps, E. J.</b> (United States Minister to the Court of St.
James). "I cannot think the <i>finis et fructus</i> of liberal reading
is reached by him who has not obtained in the best writings
of our English tongue the generous acquaintance that
ripens into affection. If he must stint himself, let him save
elsewhere."</p>

<p><b>Plato.</b> "Books are the immortal sons deifying their sires."</p>

<p><b>Plutarch.</b> "We ought to regard books as we do sweetmeats,&mdash;not
wholly to aim at the pleasantest, but chiefly to
respect the wholesomest."</p>

<p><b>Potter, Dr.</b> "It is nearly an axiom that people will not
be better than the books they read."<span class="pagenum"><a id="Page_186">[186]</a></span></p>

<p><b>Raleigh, Walter.</b> "We may gather out of history a policy
no less wise than eternal, by the comparison and application
of other men's fore-passed miseries with our own like errors
and ill-deservings."</p>

<p><b>Richardson, C. F.</b> "No book, indeed, is of universal
value and appropriateness.... Here, as in every other
question involved in the choice of books, the golden key
to knowledge, a key that will only fit its own proper doors, is
<i>purpose</i>."</p>

<p><b>Ruskin.</b> "All books are divisible into two classes,&mdash;the
books of the hour and the books of all time." Books of the
hour, though useful, are, "strictly speaking, not books at all,
but merely letters or newspapers in good print," and should
not be allowed "to usurp the place of true books."</p>

<p>"Of all the plagues that afflict mortality, the venom of a
bad book to weak people, and the charms of a foolish one to
simple people, are without question the deadliest; and they
are so far from being redeemed by the too imperfect work of
the best writers, that I never would wish to see a child taught
to read at all, unless the other conditions of its education
were alike gentle and judicious."</p>

<p>Ruskin says a well-trained man should know the literature
of his own country and half a dozen classics thoroughly; but
unless he wishes to travel, the language and literature of
modern Europe and of the East are unnecessary. To read
fast any book worth reading is folly. Ruskin would not have
us read Grote's "History of Greece," for any one could
write it if "he had the vanity to waste his time;" "Confessions
of Saint Augustine," for it is not good to think so much
about ourselves; John Stuart Mill, for his day is over;
Charles Kingsley, for his sentiment is false, his tragedy
frightful. Hypatia is the most ghastly story in Christian tradition,<span class="pagenum"><a id="Page_187">[187]</a></span>
and should forever have been left in silence; Darwin,
for we should know what <i>we are</i>, not what <i>our embryo was</i>,
or <i>our skeleton will be</i>; Gibbon, for we should study the
growth and standing of things, not the Decline and Fall
(moreover, he wrote the worst English ever written by an
educated Englishmen); Voltaire, for his work is to good
literature what nitric acid is to wine, and sulphuretted hydrogen
to air.</p>

<p>Ruskin also crosses out Marcus Aurelius, Confucius, Aristotle
(except his "Politics"), Mahomet, Saint Augustine,
Thomas &agrave; Kempis, Pascal, Spinoza, Butler, Keble, Lucretius,
the Nibelungenlied, Malory's Morte D'Arthur, Firdusi, the
Mahabharata, and Ramayana, the Sheking, Sophocles, and
Euripides, Hume, Adam Smith, Locke, Descartes, Berkeley,
Lewes, Southey, Longfellow, Swift, Macaulay, Emerson,
Goethe, Thackeray, Kingsley, George Eliot, and
Bulwer.</p>

<p>His especial favorites are Scott, Carlyle, Plato, and Dickens.
&AElig;schylus, Taylor, Bunyan, Bacon, Shakspeare, Milton, Dante,
Spenser, Wordsworth, Pope, Goldsmith, Defoe, Boswell,
Burke, Addison, Montaigne, Moli&egrave;re, Sheridan, &AElig;sop, Demosthenes,
Plutarch, Horace, Cicero, Homer, Hesiod, Virgil,
Aristophanes, Herodotus, Xenophon, Thucydides, and Tacitus,
he condescends to admit as proper to be read.</p>

<p><b>Schopenhauer.</b> "Recollect that he who writes for fools
finds an enormous audience."</p>

<p><b>Seneca.</b> "If you devote your time to study, you will
avoid all the irksomeness of this life."</p>

<p>"It does not matter how many, but how good, books you
have."</p>

<p>"Leisure without study is death, and the grave of a living
man."<span class="pagenum"><a id="Page_188">[188]</a></span></p>

<p><b>Shakspeare.</b> "A book! oh, rare one! be not, as in this
fangled world, a garment nobler than it covers."</p>

<p>"My library was dukedom large enough."</p>

<p><b>Sidney, Sir Philip.</b> "Nature never set forth the earth
in so rich tapestry as divers poets have done."</p>

<p><b>Smiles, Sam.</b> "Men often discover their affinity to each
other by the mutual love they have for a book."</p>

<p><b>Smith, Alexander.</b> "We read books not so much for
what they say as for what they suggest."</p>

<p><b>Socrates.</b> "Employ your time in improving yourselves
by other men's documents; so shall you come easily by what
others have labored hard to win."</p>

<p><b>Solomon.</b> "He that walketh with wise men shall be
wise."</p>

<p><b>Spencer, Herbert.</b> "My reading has been much more in
the direction of science than in the direction of general literature;
and of such works in general literature as I have
looked into, I know comparatively little, being an impatient
reader, and usually soon satisfied."</p>

<p><b>Stanley, Henry M.</b> "I carried [across Africa] a great
many books,&mdash;three loads, or about one hundred and eighty
pounds' weight; but as my men lessened in numbers,&mdash;stricken
by famine, fighting, and sickness,&mdash;one by one they
were reluctantly thrown away, until finally, when less than
three hundred miles from the Atlantic, I possessed only the
Bible, Shakspeare, Carlyle's Sartor Resartus, Norie's Navigation,
and the Nautical Almanac for 1877. Poor Shakspeare
was afterwards burned by demand of the foolish people
of Zinga. At Bonea, Carlyle and Norie and the Nautical
Almanac were pitched away, and I had only the old Bible
left."</p>

<p><b>Swinburne, A. C.</b> "It would be superfluous for any educated<span class="pagenum"><a id="Page_189">[189]</a></span>
Englishman to say that he does not question the pre-eminence
of such names as Bacon and Darwin."</p>

<p><b>Taylor, Bayard.</b> "Not many, but good books."</p>

<p><b>Thoreau.</b> "Books that are books are all that you want,
and there are but half a dozen in any thousand."</p>

<p><b>Trollope, Anthony.</b> "The habit of reading is the only
enjoyment I know in which there is no alloy; it lasts when
all other pleasures fade."</p>

<p><b>Waller, Sir William.</b> "In my study I am sure to converse
with none but wise men; but abroad, it is impossible
for me to avoid the society of fools."</p>

<p><b>Whateley, Richard.</b> "If, in reading books, a man does
not choose wisely, at any rate he has the chance offered him
of doing so."</p>

<p><b>Whipple, Edwin P.</b> "Books,&mdash;lighthouses erected in
the sea of time."</p>

<p><b>White, Andrew D.</b>, President of Cornell, speaking of
Scott, says: "Never was there a more healthful and health-ministering
literature than that which he gave to the world.
To go back to it from Flaubert and Daudet and Tolstoi is
like listening to the song of the lark after the shrieking passion
of the midnight pianoforte; nay, it is like coming out
of the glare and heat and reeking vapor of a palace ball into
a grove in the first light and music and breezes of the morning....
So far from stimulating an unhealthy taste, the enjoyment
of this fiction created distinctly a taste for what is
usually called 'solid reading,' and especially a love for that
historical reading and study which has been a leading inspiration
and solace of a busy life."</p>

<p><b>Whitman, Walt.</b> "For us, along the great highways of
time, those monuments stand,&mdash;those forms of majesty and
beauty. For us those beacons burn through all the night."<span class="pagenum"><a id="Page_190">[190]</a></span></p>

<p><b>Wolseley, Gen. Lord.</b> "During the mutiny and China war
I carried a Testament, two volumes of Shakspeare that contained
his best plays; and since then, when in the field, I have
always carried a Book of Common Prayer, Thomas &agrave; Kempis,
Soldier's Pocket Book, depending on a well-organized postal
service to supply me weekly with plenty of newspapers."</p>

<p><b>Wordsworth.</b> "These hoards of wealth you can unlock
at will."<span class="pagenum"><a id="Page_191">[191]</a></span></p>

<hr class="chapter" />

<h2 id="APPENDIX_II">APPENDIX II.</h2>

<p class="h3">BOOKS FOR SUPPLEMENTARY READING.</p>

<p class="h4">BOYS' LATIN SCHOOL.</p>

<p>Moss' First Greek Reader. Tomlinson's Latin for Sight
Reading. Walford's Extracts from Cicero (Part I.). Jackson's
Manual of Astronomical Geography. Ritchie's Fabulae
Faciles.</p>

<p class="h4">GIRLS' LATIN SCHOOL.</p>

<p>Sheldon's Greek and Roman History. Ritchie's Fabulae
Faciles.</p>

<p class="h4">LATIN AND HIGH SCHOOLS.</p>

<p>Books required for admission to Harvard College.</p>

<p>A list of suitable books, carefully prepared under the direction
of the Committee on Text-Books, is presented to
the Board for adoption. After this list has been adopted, a
master may make requisition on the Committee on Supplies
for one set (of not more than thirty-five copies) of a
book. This committee, after the approval of the Committee
on Text-Books has been obtained, will purchase the books
and send them to the school for permanent use. No book
will be purchased until called for in the manner described.<span class="pagenum"><a id="Page_192">[192]</a></span></p>

<p><i>English.</i>&mdash;Barnes's History of Ancient Peoples; Church's
Stories from the East, from Herodotus; Church's Story of
the Persian War, from Herodotus; Church's Stories from
the Greek Tragedians; Kingsley's Greek Heroes; Abbott's
Lives of Cyrus and Alexander; Froude's C&aelig;sar; Forsythe's
Life of Cicero; Ware's Aurelian; Cox's Crusades; Masson's
Abridgment of Guizot's History of France; Scott's Abbot;
Scott's Monastery; Scott's Talisman; Scott's Quentin Durward;
Scott's Marmion (Rolfe's Student series); Scott's Lay
of the Last Minstrel (Rolfe's Student series); Kingsley's
Hereward; Kingsley's Westward Ho; Melville's Holmby
House; Macaulay's Essay on Frederic; Macaulay's Essay
on Clive; Macaulay's Essay on Dr. Johnson; Motley's
Essay on Peter the Great; Thackeray's Henry Esmond;
Thackeray's The Virginians; Thackeray's The Four Georges;
Dickens' Tale of Two Cities; George Eliot's Silas Marner;
Irving's Alhambra; Irving's Bracebridge Hall; Miss
Buckley's Life and her Children; Miss Buckley's Winners
in Life's Race; Bulfinch's Age of Fable (revised edition);
The Boy's Froissart; Ballads and Lyrics; Vicar of Wakefield;
Essays of Elia; Tennyson's Selected Poems (Rolfe's
Student series); Tennyson's Elaine; Tennyson's In Memoriam;
Byron's Prisoner of Chillon; Goldsmith's Deserted
Village; Goldsmith's Traveller; Coleridge's Ancient Mariner;
Wordsworth's Excursion; Monroe's Sixth Reader;
Webster&mdash;Section 2 [Annotated English Classics, Ginn &amp;
Co.]; Wordsworth's Poems&mdash;Section 2 [Annotated English
Classics, Ginn &amp; Co.]; Sheldon's Greek and Roman
History; Monroe's Fifth Reader (old edition).</p>

<p><i>French.</i>&mdash;St. German's Pour une &Eacute;pingle; Achard's Le
Clos Pommier; Feuillet's Roman d'un Homme Pauvre;
Dumas's La Tulipe Noire; Vigny's Cinq Mars; Lacombe's
La Petite Histoire du Peuple Fran&ccedil;ais.<span class="pagenum"><a id="Page_193">[193]</a></span></p>

<p><i>German.</i>&mdash;Andersen's M&auml;rchen; Simmondson's Balladenbuch;
Krurnmacher's Parabeln; Goethe's Iphigenie auf
Tauris; Goethe's Prose; Schiller's Jungfrau von Orleans;
Schiller's Prose; Boisen's German Prose; Bernhardt's Novellen
Bibliothek.</p>

<p class="h4">GRAMMAR SCHOOLS.</p>

<p class="h4"><span class="smcap">Class VI.</span> (<i>about Ten Years old</i>).</p>

<p>Seven Little Sisters, first half-year. Each and All, second
half-year. This is simple, interesting class-reading, which
will aid the geography, and furnish material for both oral and
written language lessons. Hooker's Child's Book of Nature;
those chapters of Parts I. and II., which will supplement
properly the observational studies of plants and animals, and
those chapters of Part III., on air, water, and heat, which
will aid the instruction in Geography. Our World Reader,
<span class="smcap">No. 1.</span> Our World, <span class="smcap">No. 1</span>; the reading to be kept parallel
with the instruction in Geography through the year. Poetry for
Children; selections appropriate for reading and recitation.</p>

<p class="h4"><span class="smcap">Class V.</span> (<i>about Eleven Years old</i>).</p>

<p>Stories of American History; for practice in reading at
sight, and for material for language lessons. Guyot's Introduction
to Geography; the reading to be kept parallel with
the instruction in Geography through the year. Hooker's
Child's Book of Nature, and Poetry for Children; as in Class
VI. Robinson Crusoe.</p>

<p class="h4"><span class="smcap">Class IV.</span> (<i>about Twelve Years old</i>).</p>

<p>The Wonder Book and Tanglewood Tales, as collateral to
the oral instruction in Stories in Mythology. Hooker's<span class="pagenum"><a id="Page_194">[194]</a></span>
Child's Book of Nature, and Poetry for Children; as in
Classes VI. and V. Readings from Nature's Book (revised
edition). Robinson Crusoe.</p>

<p class="h4"><span class="smcap">Class III.</span> (<i>about Thirteen Years old</i>).</p>

<p>Hooker's Child's Book of Nature; as supplementary to
oral lessons. American Poems, with Biographical Sketches
and Notes; appropriate selections therefrom.</p>

<p class="h4"><span class="smcap">Class II.</span> (<i>about Fourteen Years old</i>).</p>

<p>Selections from American authors; as in part collateral
to the United States History. American Poems; appropriate
selections therefrom.</p>

<p class="h4"><span class="smcap">Class I.</span> (<i>about Fifteen Years old</i>).</p>

<p>Selections from American authors. Early England&mdash;Harper's
Half-Hour Series, Nos. 6 and 14. American Poems;
selections therefrom. Green's Readings from English History.
Phillips's Historical Readers, Nos. 1, 2, 3, 4.</p>

<p class="h4"><span class="smcap">Any Class.</span></p>

<p>Six Stories from the Arabian Nights. Holmes' and Longfellow
Leaflets, published by Houghton, Mifflin, &amp; Co. Book
of Golden Deeds. Jackson's Manual of Astronomical Geography.
Parkman Leaflets, published by Little, Brown, &amp; Co.</p>

<p class="h4"><span class="smcap">Circulating Library for Grammar Schools.</span></p>

<p>Zigzag Journeys in Europe (revised edition); Zigzag Journeys
in the Orient (revised edition); Scudder's Boston
Town; Drake's The Making of New England; Towle's
Pizarro; Towle's Vasco da Gama; Towle's Magellan; Fairy
Land of Science; Hawthorne's True Stories; Higginson's<span class="pagenum"><a id="Page_195">[195]</a></span>
Young Folks' Book of Explorers; Scott's Ivanhoe; Longfellow's
Evangeline; Little Folks in Feathers and Fur;
What Mr. Darwin saw in his Voyage around the World in
the Ship Beagle; Muloch's A Noble Life; M. E. Dodge's
Hans Brinker; Lambert's Robinson Crusoe; Lamb's Tales
from Shakspeare (revised edition, Houghton, Mifflin, &amp; Co.);
Abbott's Jonas on a Farm in Summer; Smiles' Robert
Dick, Geologist and Botanist; Eyes Right; Alcott's Little
Men; Alcott's Little Women; Stoddard's Dab Kinzer;
Scott's Kenilworth; Tom Brown's School-Days at
Rugby; Abbott's Mary Queen of Scots; Abbott's Charles I.;
Taylor's Boys of Other Countries; How Marjory Helped;
Little People in Asia; Gilman's Magna Charta Stories;
Overhead; Yonge's Lances of Linwood; Memory Gems;
Geographical Plays; Ten Boys Who Lived on the Road
from Long Ago till Now; Scott's Tales of a Grandfather;
Hayes' Cast Away in the Cold; Sharp Eyes and other
Papers; Lessons on Practical Subjects; Stories of Mother
Nature; Play Days; Jackanapes; Children's Stories of American
Progress; Little Lord Fauntleroy; Gilman's Historical
Readers (three volumes); Pilgrims and Puritans; The Patriotic
Reader; Ballou's Footprints of Travel.</p>

<p class="h4">PRIMARY SCHOOLS.</p>

<p class="h4"><span class="smcap">Permanent Supplementary Reading.</span></p>

<p>Easy Steps for Little Feet. Popular Tales (first and second
series.) Parker &amp; Marvel's Supplementary Reading
(first book). Tweed's Graded Supplementary Reading.
Modern Series Primary Reading, Part I. An Illustrated
Primer (D. C. Heath &amp; Co.).<span class="pagenum"><a id="Page_196">[196]</a></span></p>

<p class="h4"><span class="smcap">Circulating Supplementary Reading.</span></p>

<p><i>First Readers.</i>&mdash;Monroe's, Monroe's Advanced First,
Appleton's, Harvey's, Eclectic, Sheldon's, Barnes' New National,
Sheldon &amp; Co.'s, Harper's, The Nursery Primer,
Parker &amp; Marvel's Supplementary Reading (second book),
Wood's First Natural History Reader, Stickney's First
Reader, Stickney's First Reader (new edition), McGuffey's
Alternate First Reader.</p>

<p><i>Second Readers.</i>&mdash;Monroe's, Monroe's Advanced Second,
Appleton's, Harvey's, Lippincott's, Sheldon &amp; Co.'s,
Barnes' New National, Analytical, Macmillan's, Swinton's,
New Normal, Stickney's Second Reader (new edition),
Harper's Easy Book (published by Shorey), Turner's Stories
for Young Children, Our Little Ones, Golden Book of
Choice Reading, When I was a Little Girl, Johonnot's
Friends in Feathers and Fur, Woodward's Number Stories,
Wood's Second Natural History Reader, Young Folks' Library,
Nos. 5 and 6 (Silver, Burdett, &amp; Co.).</p>

<hr class="chapter" />

<h2 id="SUPPLEMENTARY_READING_IN_ONE_BUILDING_NOVEMBER_1890">SUPPLEMENTARY READING IN ONE BUILDING, NOVEMBER, 1890.</h2>

<p class="h3">GRAMMAR SCHOOL.</p>

<p class="h4"><span class="smcap">Class I.</span> (<i>about Fifteen Years old</i>).</p>

<p>Longfellow's Poems.</p>

<p class="h4"><span class="smcap">Class II.</span> (<i>about Fourteen Years old</i>).</p>

<p>Hans Brinker. Mary Mapes Dodge.</p>

<p>How Marjory Helped. M. Caroll.</p>

<p>Magellan's Voyages.</p>

<p>Ivanhoe. Scott.<span class="pagenum"><a id="Page_197">[197]</a></span></p>

<p class="h4"><span class="smcap">Class III.</span> (<i>about Thirteen Years old</i>).</p>

<p>American Explorers. Higginson.</p>

<p class="h4"><span class="smcap">Class IV.</span> (<i>about Twelve Years old</i>).</p>

<p>Playdays. Sarah O. Jewett.</p>

<p>Water Babies. Kingsley.</p>

<p>Physiology.</p>

<p>A Child's Book of Nature. W. Hooker.</p>

<p class="h4"><span class="smcap">Class V.</span> (<i>about Eleven Years old</i>).</p>

<p>Stories of American History. N. S. Dodge.</p>

<p>Guyot's Geography.</p>

<p class="h4"><span class="smcap">Class VI.</span> (<i>about Ten Years old</i>).</p>

<p>The Arabian Nights' Entertainments. Six stories by
Samuel Eliot.</p>

<p>Our World. Mary L. Hall.</p>

<p>The Seven Little Sisters. Jane Andrews.</p>

<p>Each and All. Jane Andrews.</p>

<p>Poetry for Children. Samuel Eliot.</p>

<hr class="chapter" />

<h2 id="TEXT-BOOKS">TEXT-BOOKS.</h2>

<p class="h4">PRIMARY SCHOOLS.</p>

<p><i>Third Class.</i>&mdash;Franklin Primer and Advanced First
Reader. Munroe's Primary Reading Charts.</p>

<p><i>Second Class.</i>&mdash;Franklin Second Reader. Franklin Advanced
Second Reader. First Music Reader.<span class="pagenum"><a id="Page_198">[198]</a></span></p>

<p><i>First Class.</i>&mdash;Franklin Third Reader. <a id="FNanchor_8_335"></a><a href="#Footnote_8_335" class="fnanchor">[8]</a>New Franklin
Third Reader. First Music Reader.</p>

<div class="footnote"><p><a id="Footnote_8_335"></a><a href="#FNanchor_8_335"><span class="label">[8]</span></a> To be furnished at the discretion of the Committee on Supplies.</p></div>

<p><i>Upper Classes.</i>&mdash;<a id="FNanchor_9_336"></a><a href="#Footnote_9_336" class="fnanchor">[9]</a>Franklin Primary Arithmetic. First
Lessons in Natural History and Language, Parts I. and II.
Child's Book of Language, Nos. 1, 2, 3. [By J. H.
Stickney.]</p>

<div class="footnote"><p><a id="Footnote_9_336"></a><a href="#FNanchor_9_336"><span class="label">[9]</span></a> Each Primary-School building occupied by a first or second class to be
supplied with one set of the Franklin Primary Arithmetic; the number in a
set to be sixty, or, if less be needed, less than sixty; the Committee on Supplies
are authorized to supply additional copies of the book at their discretion,
if needed.</p></div>

<p><i>All the Classes.</i>&mdash;American Text-books of Art Education.
First Primary Music Chart. Prang's Natural History Series,
one set for each building.</p>

<p>Magnus &amp; Jeffries's Color Chart; "Color Blindness," by
Dr. B. Joy Jeffries.&mdash;One copy of the Chart and one copy
of the book for use in each Primary-School building.</p>

<p>Normal Music Course in the Rice Training School and in
the schools of the third and sixth divisions. National Music
Course (revised edition) in the schools of the first and second
divisions.</p>

<p class="h4">GRAMMAR SCHOOLS.</p>

<p><i>Sixth Class.</i>&mdash;Franklin Advanced Third Reader. <a id="FNanchor_10_337"></a><a href="#Footnote_10_337" class="fnanchor">[10]</a>Warren's
Primary Geography. Intermediate Music Reader.
Franklin Elementary Arithmetic. <a id="FNanchor_11_338"></a><a href="#Footnote_11_338" class="fnanchor">[11]</a>Greenleaf's Manual of
Mental Arithmetic. Worcester's Spelling-Book.</p>

<div class="footnote"><p><a id="Footnote_10_337"></a><a href="#FNanchor_10_337"><span class="label">[10]</span></a> Swinton's Introductory Geography allowed in Charlestown Schools.</p></div>

<div class="footnote"><p><a id="Footnote_11_338"></a><a href="#FNanchor_11_338"><span class="label">[11]</span></a> To be used in the manner recommended by the Board of Supervisors in
School Document No. 14, 1883; one set of sixty copies to be supplied for the
classes on each floor of a Grammar-School building occupied by pupils in either
of the four lower classes, and for each colony of a Grammar School.</p></div>

<p><i>Fifth Class.</i>&mdash;Franklin Intermediate Reader. <a id="FNanchor_12_339"></a><a href="#Footnote_12_339" class="fnanchor">[12]</a> New
Franklin Fourth Reader. Franklin Elementary Arithmetic.
<a id="FNanchor_13_340"></a><a href="#Footnote_13_340" class="fnanchor">[13]</a>Greenleaf's Manual of Mental Arithmetic. <a id="FNanchor_14_341"></a><a href="#Footnote_14_341" class="fnanchor">[14]</a>Warren's Primary
Geography. Intermediate Music Reader. Worcester's
Spelling-Book.</p>

<p><span class="pagenum"><a id="Page_199">[199]</a></span></p><div class="footnote"><p><a id="Footnote_12_339"></a><a href="#FNanchor_12_339"><span class="label">[12]</span></a> To be furnished at the discretion of the Committee on Supplies.</p></div>

<div class="footnote"><p><a id="Footnote_13_340"></a><a href="#FNanchor_13_340"><span class="label">[13]</span></a> To be used in the manner recommended by the Board of Supervisors in
School Document No. 14, 1883; one set of sixty copies to be supplied for the
classes on each floor of a Grammar-School building occupied by pupils in either
of the four lower classes, and for each colony of a Grammar School.</p></div>

<div class="footnote"><p><a id="Footnote_14_341"></a><a href="#FNanchor_14_341"><span class="label">[14]</span></a> The revised edition to be furnished at the discretion of the Committee on
Supplies to schools where this book is used. Swinton's Grammar-School
Geography allowed in Charlestown Schools.</p></div>

<p><i>Fourth Class.</i>&mdash;Franklin Fourth Reader. <a id="FNanchor_15_342"></a><a href="#Footnote_15_342" class="fnanchor">[15]</a>New Franklin
Fourth Reader. Worcester's Comprehensive Dictionary.
Franklin Written Arithmetic. <a id="FNanchor_16_343"></a><a href="#Footnote_16_343" class="fnanchor">[16]</a>Greenleaf's Manual of Mental
Arithmetic. <a id="FNanchor_17_344"></a><a href="#Footnote_17_344" class="fnanchor">[17]</a>Warren's Common-School Geography. Intermediate
Music Reader. Worcester's Spelling-Book. <a id="FNanchor_18_345"></a><a href="#Footnote_18_345" class="fnanchor">[18]</a>Blaisdell's
How to Keep Well.</p>

<div class="footnote"><p><a id="Footnote_15_342"></a><a href="#FNanchor_15_342"><span class="label">[15]</span></a> To be furnished at the discretion of the Committee on Supplies.</p></div>

<div class="footnote"><p><a id="Footnote_16_343"></a><a href="#FNanchor_16_343"><span class="label">[16]</span></a> To be used in the manner recommended by the Board of Supervisors in
School Document No. 14, 1883; one set of sixty copies to be supplied for the
classes on each floor of a Grammar-School building occupied by pupils in either
of the four lower classes, and for each colony of a Grammar School.</p></div>

<div class="footnote"><p><a id="Footnote_17_344"></a><a href="#FNanchor_17_344"><span class="label">[17]</span></a> The revised edition to be furnished at the discretion of the Committee on
Supplies to schools where this book is used. Swinton's Grammar-School
Geography allowed in Charlestown Schools.</p></div>

<div class="footnote"><p><a id="Footnote_18_345"></a><a href="#FNanchor_18_345"><span class="label">[18]</span></a> One set of not more than sixty copies, or, if determined by the Committee
on Supplies to be necessary, more than one set, be placed in each Grammar
School, for use as collateral reading in the third and fourth classes.</p></div>

<p><i>Third Class.</i>&mdash;Franklin Fifth Reader. <a id="FNanchor_19_346"></a><a href="#Footnote_19_346" class="fnanchor">[19]</a>New Franklin
Fifth Reader. Franklin Written Arithmetic. <a id="FNanchor_20_347"></a><a href="#Footnote_20_347" class="fnanchor">[20]</a>Greenleaf's
Manual of Mental Arithmetic. <a id="FNanchor_21_348"></a><a href="#Footnote_21_348" class="fnanchor">[21]</a>Warren's Common-School
Geography. Swinton's New Language Lessons. Worcester's
Comprehensive Dictionary. Higginson's History of the
United States. <a id="FNanchor_22_349"></a><a href="#Footnote_22_349" class="fnanchor">[22]</a>Fourth Music Reader. [Revised edition.]
<a id="FNanchor_23_350"></a><a href="#Footnote_23_350" class="fnanchor">[23]</a>Blaisdell's How to Keep Well.</p>

<div class="footnote"><p><a id="Footnote_19_346"></a><a href="#FNanchor_19_346"><span class="label">[19]</span></a> To be furnished at the discretion of the Committee on Supplies.</p></div>

<div class="footnote"><p><a id="Footnote_20_347"></a><a href="#FNanchor_20_347"><span class="label">[20]</span></a> To be used in the manner recommended by the Board of Supervisors in
School Document No. 14, 1883; one set of sixty copies to be supplied for the
classes on each floor of a Grammar-School building occupied by pupils in either
of the four lower classes, and for each colony of a Grammar School.</p></div>

<div class="footnote"><p><a id="Footnote_21_348"></a><a href="#FNanchor_21_348"><span class="label">[21]</span></a> The revised edition to be furnished at the discretion of the Committee on
Supplies to schools where this book is used. Swinton's Grammar-School
Geography allowed in Charlestown Schools.</p></div>

<div class="footnote"><p><a id="Footnote_22_349"></a><a href="#FNanchor_22_349"><span class="label">[22]</span></a> The revised edition to be supplied as new books are needed.</p></div>

<div class="footnote"><p><a id="Footnote_23_350"></a><a href="#FNanchor_23_350"><span class="label">[23]</span></a> One set of not more than sixty copies, or, if determined by the Committee
on Supplies to be necessary, more than one set, be placed in each Grammar
School, for use as collateral reading in the third and fourth classes.</p></div>

<p><i>Second Class.</i>&mdash;Franklin Fifth Reader. <a id="FNanchor_24_351"></a><a href="#Footnote_24_351" class="fnanchor">[24]</a>New Franklin
Fifth Reader. Franklin Written Arithmetic. <a id="FNanchor_25_352"></a><a href="#Footnote_25_352" class="fnanchor">[25]</a>Warren's
Common-School Geography. Tweed's Grammar for Common
Schools. Worcester's Comprehensive Dictionary.
Higginson's History of the United States. <a id="FNanchor_26_353"></a><a href="#Footnote_26_353" class="fnanchor">[26]</a>Fourth Music
Reader. [Revised edition.] Smith's Elementary Physiology
and Hygiene.</p>

<div class="footnote"><p><a id="Footnote_24_351"></a><a href="#FNanchor_24_351"><span class="label">[24]</span></a> To be furnished at the discretion of the Committee on Supplies.</p></div>

<p><span class="pagenum"><a id="Page_200">[200]</a></span></p><div class="footnote"><p><a id="Footnote_25_352"></a><a href="#FNanchor_25_352"><span class="label">[25]</span></a> The revised edition to be furnished at the discretion of the Committee on
Supplies to schools where this book is used. Swinton's Grammar-School
Geography allowed in Charlestown Schools.</p></div>

<div class="footnote"><p><a id="Footnote_26_353"></a><a href="#FNanchor_26_353"><span class="label">[26]</span></a> The revised edition to be supplied as new books are needed.</p></div>

<p><i>First Class.</i>&mdash;Franklin Sixth Reader. Franklin Written
Arithmetic. Meservey's Book-keeping, Single Entry.
<a id="FNanchor_27_354"></a><a href="#Footnote_27_354" class="fnanchor">[27]</a>Warren's Common School Geography. Tweed's Grammar
for Common Schools. Worcester's Comprehensive Dictionary.
Stone's History of England. Cooley's Elements
of Philosophy. <a id="FNanchor_28_355"></a><a href="#Footnote_28_355" class="fnanchor">[28]</a>Fourth Music Reader. [Revised edition.]</p>

<div class="footnote"><p><a id="Footnote_27_354"></a><a href="#FNanchor_27_354"><span class="label">[27]</span></a> The revised edition to be furnished at the discretion of the Committee on
Supplies to schools where this book is used. Swinton's Grammar-School
Geography allowed in Charlestown Schools.</p></div>

<div class="footnote"><p><a id="Footnote_28_355"></a><a href="#FNanchor_28_355"><span class="label">[28]</span></a> The revised edition to be supplied as new books are needed.</p></div>

<p><i>Fifth and Sixth Classes.</i>&mdash;First Lessons in Natural History
and Language. Parts III. and IV.</p>

<p><i>All Classes.</i>&mdash;American Text-books of Art Education.
Writing-Books: Duntonian Series; Payson, Dunton, and
Scribner's; Harper's Copy-books; Appleton's Writing-Books.
Child's Book of Language; and Letters and Lessons
in Language, Nos. 1, 2, 3, 4. [By J. H. Stickney.]
Prang's Aids for Object Teaching, "Trades," one set for
each building.</p>

<p>Normal Music Course in the Rice Training School and
the schools of the third and sixth divisions. National Music
Course (revised edition) in the schools of the first and second
divisions.</p>

<p class="h4">HIGH SCHOOLS.</p>

<p><i>English.</i>&mdash;Abbott's How to Write Clearly. Hill's <i>or</i>
Kellogg's Rhetoric. Meiklejohn's English Language. Scott's
Lady of the Lake. Selections from Addison's Papers in
the Spectator, with Macaulay's Essay on Addison. Irving's
Sketch-Book. Trevelyan's Selections from Macaulay.
Hales' Longer English Poems. Shakspeare,&mdash;Rolfe's <i>or</i>
Hudson's Selections. Selections from Chaucer. Selections
from Milton. [Clarendon Press Edition. Vol. I.] Worcester's
Comprehensive Dictionary.</p>

<p><span class="pagenum"><a id="Page_201">[201]</a></span></p><p><i>Latin.</i>&mdash;Allen &amp; Greenough's Latin Grammar. [Roxbury,
W. Roxbury, and Brighton High Schools.] Harkness'
Latin Grammar. [English, Girls', Dorchester, Charlestown,
and East Boston High Schools.] Harkness' Complete
Course in Latin for the first year. Gildersleeve's Latin
Primer. Collar &amp; Daniell's Beginners' Latin Book. [Roxbury,
West Roxbury, and Brighton High Schools.] Harkness'
C&aelig;sar. Lindsey's Cornelius Nepos. Chase's, Frieze's,
<i>or</i> Greenough's Virgil, or any edition approved by the Committee
on Text-Books. Greenough's <i>or</i> Harkness' Cicero.
Chase's <i>or</i> Lincoln's Horace, or any edition approved by the
Committee on Text-books.</p>

<p><i>History.</i>&mdash;<a id="FNanchor_29_356"></a><a href="#Footnote_29_356" class="fnanchor">[29]</a>Anderson's New General History. Martin's
Civil Government.</p>

<div class="footnote"><p><a id="Footnote_29_356"></a><a href="#FNanchor_29_356"><span class="label">[29]</span></a> To be dropped from list of authorized text-books, July 1, 1890.</p></div>

<p><i>Mythology.</i>&mdash;Berens's Hand-book of Mythology.</p>

<p><i>Mathematics.</i>&mdash;Meservey's Book-keeping. Bradbury &amp;
Emery's Academic Algebra. <a id="FNanchor_30_357"></a><a href="#Footnote_30_357" class="fnanchor">[30]</a>Wentworth &amp; Hill's Exercises
in Algebra. Bradbury's Elementary Geometry, <i>or</i> Chauvenet's
Geometry, <i>or</i> Wells's Geometry. Greenleaf's Trigonometry.
<a id="FNanchor_31_358"></a><a href="#Footnote_31_358" class="fnanchor">[31]</a>Metric Apparatus.</p>

<div class="footnote"><p><a id="Footnote_30_357"></a><a href="#FNanchor_30_357"><span class="label">[30]</span></a> This book is not intended to, and does not in fact displace any text-book
now in use, but is intended merely to furnish additional problems in algebra.</p></div>

<div class="footnote"><p><a id="Footnote_31_358"></a><a href="#FNanchor_31_358"><span class="label">[31]</span></a> Not exceeding $15 for each school.</p></div>

<p><i>Physics.</i>&mdash;Cooley's New Text-book of Physics. Avery's
Physics, <i>or</i> Gage's Introduction to Physical Science.</p>

<p><i>Astronomy.</i>&mdash;Sharpless &amp; Phillips' Astronomy.</p>

<p><i>Chemistry.</i>&mdash;Williams's Chemistry. Williams's Laboratory
Manual. Eliot &amp; Storer's Elementary Manual of Chemistry,
edited by Nichols. Eliot &amp; Storer's Qualitative Analysis.
Hill's Lecture Notes on Qualitative Analysis. Tables for the
Determination of Common Minerals. [Girls' High School.]
White's Outlines of Chemical Theory.</p>

<p><span class="pagenum"><a id="Page_202">[202]</a></span></p><p><i>Botany.</i>&mdash;Gray's School and Field Book of Botany.</p>

<p><i>Zo&ouml;logy.</i>&mdash;Morse's Zo&ouml;logy and Packard's Zo&ouml;logy.</p>

<p><i>Physiology.</i>&mdash;Hutchinson's Physiology. Blaisdell's Our
Bodies and How We Live.</p>

<p><i>Drawing.</i>&mdash;American Text-books of Art Education.</p>

<p><i>Music.</i>&mdash;Eichberg's High-School Music Reader. Eichberg's
Girls' High-School Music Reader. [Girls' High
School.]</p>

<p class="h4">LATIN SCHOOLS.</p>

<p><i>Latin.</i>&mdash;White's Abridged Lexicon. Harkness' Grammar.
Harkness' Reader. Harkness' Complete Course in Latin
for the first year. Harkness' Prose Composition, <i>or</i> Allen's
Latin Composition. Harkness' C&aelig;sar. Lindsey's Cornelius
Nepos. Greenough's Catiline of Sallust. Lincoln's Ovid.
Greenough's Ovid. Greenough's Virgil. Greenough's <i>or</i>
Harkness' Orations of Cicero. Smith's Principia Latina,
Part II.</p>

<p><i>Greek.</i>&mdash;Liddell &amp; Scott's Abridged Lexicon. Goodwin's
Grammar. White's Lessons. Jones' Prose Composition.
Goodwin's Reader. The Anabasis of Xenophon.
Boise's Homer's Iliad. Beaumlein's Edition of Homer's
Iliad.</p>

<p><i>English.</i>&mdash;Soule's Hand-book of Pronunciation. Hill's
General Rules for Punctuation. Tweed's Grammar for
Common Schools (in fifth and sixth classes). Hawthorne's
Wonder Book. Hawthorne's Tanglewood Tales. Plutarch's
Lives of Famous Greeks and Romans. Macaulay's Lays of
Ancient Rome. Higginson's History of the United States.
Hughes' Tom Brown's School-Days at Rugby. Dana's
Two Years before the Mast. Charles and Mary Lamb's
Tales from Shakspeare. [Revised Edition, Houghton, Mifflin,
&amp; Co.] Scott's Ivanhoe. Hawthorne's True Stories.<span class="pagenum"><a id="Page_203">[203]</a></span>
Greene's Readings from English History. [32]Church's Stories
from Homer. <a id="FNanchor_32_359"></a><a href="#Footnote_32_359" class="fnanchor">[32]</a>Church's Stories of the Old World. Selections
from American Authors,&mdash;Franklin, Adams, Cooper, and
Longfellow. American Poems, with Biographical Sketches
and Notes. Irving's Sketch-Book. Selections from Addison's
Papers in the Spectator. Ballads and Lyrics. Hales'
Longer English Poems. Three plays of Shakspeare,&mdash;Rolfe's
<i>or</i> Hudson's Selections.</p>

<div class="footnote"><p><a id="Footnote_32_359"></a><a href="#FNanchor_32_359"><span class="label">[32]</span></a> No more copies of Church's Stories from Homer to be purchased, but
as books are worn out their place to be supplied with Church's Stories of the
Old World.</p></div>

<p><i>History.</i>&mdash;Leighton's History of Rome. Smith's Smaller
History of Greece. Long's <i>or</i> Ginn &amp; Heath's Classical
Atlas. Smith's Smaller Classical Dictionary,&mdash;Student's
Series.</p>

<p><i>Mythology.</i>&mdash;Bulfinch's Age of Fable.</p>

<p><i>Geography.</i>&mdash;Geikie's Primer of Physical Geography.
Warren's Common-School Geography.</p>

<p><i>Physiology.</i>&mdash;Mac&eacute;'s History of a Mouthful of Bread.
Foster's Physiology (Science Primer). Blaisdell's Our Bodies
and How We Live.</p>

<p><i>Botany.</i>&mdash;Gray's School and Field Book of Botany.</p>

<p><i>Zo&ouml;logy.</i>&mdash;Morse's Zo&ouml;logy and Packard's Zo&ouml;logy.</p>

<p><i>Mineralogy.</i>&mdash;Tables for the Determination of Common
Minerals. [Girls' Latin School.]</p>

<p><i>Mathematics.</i>&mdash;The Franklin Written Arithmetic. Bradbury's
Eaton's Algebra. <a id="FNanchor_33_360"></a><a href="#Footnote_33_360" class="fnanchor">[33]</a>Wentworth &amp; Hill's Exercises
in Algebra. Chauvenet's Geometry. Lodge's Elementary
Mechanics.</p>

<div class="footnote"><p><a id="Footnote_33_360"></a><a href="#FNanchor_33_360"><span class="label">[33]</span></a> This book is not intended to, and does not in fact, displace any text-book
now in use, but is intended merely to furnish additional problems in
algebra.</p></div>

<p><i>Physics.</i>&mdash;Arnott's <i>or</i> Avery's Physics, <i>or</i> Gage's Physics.</p>

<p><span class="pagenum"><a id="Page_204">[204]</a></span></p><p><i>Drawing.</i>&mdash;American Text-books of Art Education.</p>

<p><i>Music.</i>&mdash;Eichberg's High-School Music Reader. Eichberg's
Girls' High-School Music Reader. [Girls' Latin
School]</p>

<p class="h4">LATIN AND HIGH SCHOOLS.</p>

<p><i>French.</i>&mdash;Keetel's Elementary Grammar. Keetel's Analytical
French Reader. Super's French Reader. <a id="FNanchor_34_361"></a><a href="#Footnote_34_361" class="fnanchor">[34]</a>Sauveur's
Petites Causeries. Hennequin's Lessons in Idiomatic French.
Gasc's French Dictionary. Erckmann-Chatrian's Le Conscrit
de 1813. Erckmann-Chatrian's Madame Th&eacute;r&egrave;se.
B&ocirc;cher's College Series of French Plays. Nouvelles Genevoises.
Souvestre's Au Coin du Feu. Racine's Andromaque.
Racine's Iphig&eacute;nie. Racine's Athalie. Moli&egrave;re's
Bourgeois Gentilhomme. Moli&egrave;re's Precieuses Ridicules.
Corneille's Les Horaces. Corneille's Cid. Herrig's La
France Litt&eacute;raire. Roemer's French Course, Vol. II. Ventura's
Peppino. Hal&eacute;vy's L'Abb&eacute; Constantin. La Fontaine's
Fables. About's La M&egrave;re de la Marquise. Daudet's
Si&egrave;ge de Berlin. Daudet's Extraits. Daudet's La Belle
Nivarnaise.</p>

<div class="footnote"><p><a id="Footnote_34_361"></a><a href="#FNanchor_34_361"><span class="label">[34]</span></a> To be furnished as new French Readers are needed. The use of the book
confined for this year to the English, Charlestown, Roxbury, and West Roxbury
High Schools.</p></div>

<p><i>German.</i>&mdash;Whitney's German Dictionary. Whitney's
Grammar. Collar's Eysenbach. Otto's <i>or</i> Whitney's
Reader. Der Zerbrochene Krug. Schiller's Wilhelm Tell.
Schiller's Maria Stuart. Goethe's Hermann und Dorothea.
Putlitz's Das Herz Vergessen. Grimm's M&auml;rchen. Goethe's
Prose. Schiller's Prose. Stein's German Exercises. Heine's
Die Harzreise. Im Zwielicht. Vols. I. and II. Traumerein.
Buckheim's German Poetry for Repetition.</p>

<p><span class="pagenum"><a id="Page_205">[205]</a></span></p>
<p class="h4">NORMAL SCHOOL TEXT-BOOKS.</p>

<p>The text-books used in this school shall be such of the
text-books used in the other public schools of the city as are
needed for the course of study, and such others as shall be
authorized by the Board.</p>

<p>Normal Music Course.</p>

<p class="h4">HORACE MANN SCHOOL TEXT-BOOKS.</p>

<p>Such text-books shall be supplied to the Horace Mann
School as the committee on that school shall approve.</p>

<p class="h4">EVENING HIGH SCHOOL TEXT-BOOKS.</p>

<p>Benn Pitman's Manual of Phonography. Reporter's Companion.
The Phonographic Reader. The Reporter's First
Reader. Bradbury's Elementary Geometry.</p>

<p>The text-books used in this school shall be such of the
text-books authorized in the other public schools as are
approved by the Committee on Evening Schools and the
Committee on Supplies.</p>

<p><i>East Boston Branch.</i>&mdash;Graded Lessons in Shorthand.
Parts 1 and 2, by Mrs. Mary A. Chandler.</p>

<p class="h4">EVENING ELEMENTARY SCHOOL TEXT-BOOKS.</p>

<p>Munroe's Charts. Franklin Primer. Franklin Reader.
Stories of American History. Harper's Introductory Geography.
The Franklin Elementary Arithmetic. The Franklin
Written Arithmetic. <a id="FNanchor_35_362"></a><a href="#Footnote_35_362" class="fnanchor">[35]</a>Andersen's M&auml;rchen. Writing-books,
Plain Copy-books; and such of the text-books authorized in
the other public schools as are approved by the Committee
on Evening Schools and the Committee on Supplies.</p>

<div class="footnote"><p><a id="Footnote_35_362"></a><a href="#FNanchor_35_362"><span class="label">[35]</span></a> In schools in which the English language is taught to German pupils.</p></div>

<p class="h4">SCHOOLS OF COOKERY.</p>

<p>Boston School Kitchen Text-book, by Mrs. D. A. Lincoln.</p>

<p><span class="pagenum"><a id="Page_206">[206]</a></span></p>

<hr class="chapter" />

<h2 id="REFERENCE-BOOKS">REFERENCE-BOOKS.</h2>

<p class="h4">PRIMARY SCHOOLS.</p>

<p>Worcester's Comprehensive Dictionary. National Music
Teacher. Munroe's Vocal Gymnastics. Lessons in Color
(one copy for each Primary-School teacher's desk). White's
Oral Lessons in Number (one copy for each Primary-School
teacher's desk). Smith's Primer of Physiology and Hygiene
(one copy for each Primary-School teacher's desk).</p>

<p>Observation Lessons in the Primary Schools, by Mrs. L. P.
Hopkins (one copy for each Primary-School teacher's desk).</p>

<p>Simple Object Lessons (two series), by W. Hewitt Beck.
Natural History Object Lessons, by G. Ricks (one set of
books of each title for each Primary-School teacher's desk).</p>

<p class="h4">GRAMMAR SCHOOLS.</p>

<p>Appleton's American Encyclop&aelig;dia <i>or</i> Johnson's Encyclop&aelig;dia.
Chambers's Encyclop&aelig;dia. Anthon's Classical Dictionary.
Thomas's Dictionary of Biography and Mythology.</p>

<p>Worcester's Quarto Unabridged Dictionary. Webster's
Quarto Unabridged Dictionary. Webster's National Pictorial
Dictionary.</p>

<p>Lippincott's Gazetteer. Johnson's Atlas. Reclus' Earth.
Reclus' Ocean. Flammarion's Atmosphere. Weber's Universal
History. Bancroft's History of the United States.
Battle Maps of the Revolution. Palfrey's History of New
England. Martin's Civil Government. Frothingham's Rise
of the Republic. Lossing's Field-book of the Revolution.
Shurtleff's Topographical History of Boston. Frothingham's
Siege of Boston. Lingard's History of England. Smith's
Primer of Physiology and Hygiene (one copy for the desk
of each teacher of the fifth and sixth classes).<span class="pagenum"><a id="Page_207">[207]</a></span></p>

<p>Goold-Brown's Grammar of English Grammars. Wilson's
Punctuation. Philbrick's Union Speaker. Methods of Teaching
Geography (one copy for each teacher of Geography).</p>

<p><i>First Classes.</i>&mdash;Physiography (Longmans &amp; Co.). Copies
for teachers' desks.</p>

<p><i>Second Classes.</i>&mdash;Harper's Cyclop&aelig;dia of United States
History.</p>

<p><i>Maps and Globes.</i>&mdash;Cutter's Physiological Charts. Charts
of the Human Body (Milton Bradley &amp; Co.). White's Manikin.
Cornell's Series Maps, <i>or</i> Guyot's Series Maps, Nos.
1, 2, 3. (Not exceeding one set to each floor.) Hughes's
Series of Maps. Joslyn's fifteen-inch Terrestrial Globe, on
Tripod (one for each Grammar School). Nine-inch Hand
Globe, Loring's Magnetic (one for each Grammar School
room). Cosmograph. O. W. Gray &amp; Son's Atlas. (To be
furnished as new atlases are needed.)</p>

<p class="h4">LATIN AND HIGH SCHOOLS.</p>

<p>Lingard's History of England. Harper's Latin Lexicon.
Liddell &amp; Scott's Greek Lexicon, unabridged. Eug&egrave;ne's
French Grammar. Labberton's Historical Atlas and General
History (one book for the desk of each teacher). Guyot's
and Cameron's Maps of the Roman Empire, Greece,
and Italy. Strang's English Lessons (for use on teachers'
desks).</p>

<p class="h4">NORMAL SCHOOL.</p>

<p>Observation Lessons in Primary Schools, by Mrs. L. P.
Hopkins (one set).</p>

<p class="h4">NORMAL AND HIGH SCHOOLS.</p>

<p>Charts of Life. Wilson's Human Anatomical and Physiological
Charts. Hough's American Woods.</p>








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