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diff --git a/39154-h/39154-h.htm b/39154-h/39154-h.htm new file mode 100644 index 0000000..78e6b4c --- /dev/null +++ b/39154-h/39154-h.htm @@ -0,0 +1,10204 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of Special Method in the reading of complete English Classics, by Charles McMurry. + </title> + <style type="text/css"> + + p { margin-top: .75em; + text-align: justify; + text-indent: 1em; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + + .blockquot{margin-left: 15%; margin-right: 15%; font-size: 85%; line-height: 80%;} + + .pubblock {font-size: 85%; text-indent: -3em; margin-left: 3em;} + .expblock {font-size: 85%; text-indent: -1em; margin-left: 3em;} + .comblock {font-weight: bold; text-indent: -1em;} + .bb {border-bottom: solid 2px;} + .bl {border-left: solid 1px;} + .bt {border-top: solid 2px;} + .br {border-right: solid 2px;} + .bbox {border: solid 2px;} + .tdl {text-align: left; padding-bottom: 1em;} + + .noidt {text-indent: 0em;} + .center {text-align: center; text-indent: 0em;} + .smcap {font-variant: small-caps;} + .u {text-decoration: underline;} + + .caption {font-weight: bold;} + + .figcenter {margin: auto; text-align: center;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 1em; padding-left: 3em; text-indent: -3em;} + .poem span.i4 {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;} + .poem span.i28 {display: block; margin-left: 12em; padding-left: 3em; text-indent: -3em;} + + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Special Method in the Reading of Complete +English Classics, by Charles McMurry + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org/license + + +Title: Special Method in the Reading of Complete English Classics + In the Grades of the Common School + +Author: Charles McMurry + +Release Date: March 15, 2012 [EBook #39154] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK SPECIAL METHOD IN THE *** + + + + +Produced by David Edwards and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive) + + + + + + +</pre> + + + + +<h2>THE READING OF COMPLETE<br /> +ENGLISH CLASSICS<br /> +<br /> +IN THE COMMON SCHOOL</h2> + + + +<p> </p><p> </p> +<h1>SPECIAL METHOD</h1> + +<h5>IN THE</h5> + +<h1>READING OF COMPLETE<br /> +ENGLISH CLASSICS</h1> + +<p> </p> +<h2>IN THE GRADES OF THE<br /> +COMMON SCHOOL</h2> + +<p> </p> +<h5>BY</h5> + +<h2>CHARLES McMURRY, <span class="smcap">Ph.D.</span></h2> + +<p> </p> +<h4>New York<br /> +THE MACMILLAN COMPANY<br /> +<small>LONDON: MACMILLAN & CO., <span class="smcap">Ltd.</span></small><br /> +1903<br /> +<br /> +<small><i>All rights reserved</i></small></h4> + + + +<p> </p><p> </p> +<h4><span class="smcap">Copyright, 1903,<br /> +By</span> THE MACMILLAN COMPANY.<br /> +<br /> +Set up and electrotyped October, 1902.</h4> + +<p> </p> +<h5>Norwood Press<br /> +<small>J. S. Cushing & Co.—Berwick & Smith<br /> +Norwood Mass. U.S.A.</small></h5> + + + +<hr style="width: 65%;" /> +<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2> + + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr><td align='left'></td><td align='right'><small>PAGE</small></td></tr> +<tr><td align='center' colspan='2'>CHAPTER I</td></tr> +<tr><td class='tdl'><span class="smcap">Educational Value of Literature</span></td><td align='right'><a href="#Page_1">1</a></td></tr> +<tr><td align='center' colspan='2'>CHAPTER II</td></tr> +<tr><td class='tdl'><span class="smcap">The Use of Masterpieces as Wholes</span></td><td align='right'><a href="#Page_41">41</a></td></tr> +<tr><td align='center' colspan='2'>CHAPTER III</td></tr> +<tr><td class='tdl'><span class="smcap">Literary Materials for the Five Upper Grades</span></td><td align='right'><a href="#Page_67">67</a></td></tr> +<tr><td align='center' colspan='2'>CHAPTER IV</td></tr> +<tr><td class='tdl'><span class="smcap">Class-Room Method in Reading</span></td><td align='right'><a href="#Page_102">102</a></td></tr> +<tr><td align='center' colspan='2'>CHAPTER V</td></tr> +<tr><td class='tdl'><span class="smcap">Method further Discussed and Illustrated</span></td><td align='right'><a href="#Page_135">135</a></td></tr> +<tr><td align='center' colspan='2'>CHAPTER VI</td></tr> +<tr><td class='tdl'><span class="smcap">The Value of Classics to the Teacher</span></td><td align='right'><a href="#Page_176">176</a></td></tr> +<tr><td align='center' colspan='2'>CHAPTER VII</td></tr> +<tr><td class='tdl'><span class="smcap">List of Books</span></td><td align='right'><a href="#Page_205">205</a></td></tr> +</table></div> + +<hr style="width: 85%;" /> +<h1><a name="SPECIAL_METHOD_OF_CLASSICS" id="SPECIAL_METHOD_OF_CLASSICS"></a>SPECIAL METHOD OF CLASSICS</h1> + + + +<hr style="width: 85%;" /> +<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> +<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I</h2> + +<h3>EDUCATIONAL VALUE OF LITERATURE</h3> + + +<p>The gradual introduction of the choicer products +of literature into the grades of the common school +has been going on for several years. Bringing the +school children face to face with the thoughts of the +masters has had often a thrilling effect, and the feeling +has spread among teachers that a new door has +been opened into what Ruskin calls "The King's +Gardens." As we stand at this open portal to the +Elysian Fields of literature, there may fall upon us +something of the beauty, something even of the +solemn stillness, of the arched cathedral with its +golden windows. But how inadequate is the Gothic +cathedral, or the Greek temple, to symbolize the +temple of literature.</p> + +<p>Within less than a score of years there has been +such reading of varied literary masterpieces by children +as to bring us face to face with a problem of +prime significance in education, the place and importance +of literature in the education of American +children.<span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span></p> + +<p>Millions of children are introduced yearly to bookland, +and it is a matter of greater importance than +what Congress does, what provision is made for +these oncoming millions in the sunlit fields and +forest glades of literature, where the boys and girls +walk in happy companionship with the "wisest and +wittiest" of our race. We have now had enough +experience with these treasures of culture to get a +real foretaste of the feast prepared for the growing +youth. We know that their appetites are keen and +their digestive powers strong. It is incumbent upon +educators to get a comprehensive survey of this land +and to estimate its resources. Other fields of study, +like natural science, geography, music, etc., are +undergoing the same scrutiny as to their educative +value. Literature, certainly a peer in the hierarchy +of great studies, if not supreme in value above others, +is one of the most difficult to estimate. Tangible +proofs of the vital culture-force of good literature +upon growing minds can be given in many individual +cases. But to what degree it has general or universal +fitness to awaken, strengthen, and refine all +minds, is in dispute.</p> + +<p>It seems clear, at least, that only those who show +taste and enthusiasm for a choice piece of literature +can teach it with success. This requirement of appreciation +and enjoyment of the study is more imperative +in literature, because its appeal is not merely +to the intellect and the reason, as in other studies,<span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span> +but especially to the emotions and higher æsthetic +judgments, to moral and religious sentiment in ideal +representation.</p> + +<p>It has been often observed that discussions of the +superior educative value of literature before bodies +of teachers, while entertaining and delightful, fall far +short of lasting results because of the teachers' narrow +experience with literature. In the case of many +teachers, the primitive alphabet of literary appreciation +is lacking, and the most enthusiastic appeals to +the charm and exaltation of such studies fall harmless. +Yet literature in the schools is hopeless without teachers +who have felt at home in this delightsome land, +this most real world of ideal strength and beauty.</p> + +<p>The discussion of the subject for teachers is beset, +therefore, with peculiar and seemingly insurmountable +difficulties. The strength, charm, and refinement +of literature are known only to those who +have read the masters with delight, while even +people of cultured taste listen doubtfully to the +praise of authors they have never read. To one +enamoured of the music of Tennyson's songs, the +very suggestion of "In Memoriam" awakens enthusiasm. +To one who has not read Tennyson and +his like, silence on the subject is golden. To those +not much travelled in the fields of literature, there +is danger of speaking in an unknown tongue, while +they, of all others, need a plain and convincing word. +To speak this plain and convincing word to those<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span> +who may have acquired but little relish for literature, +and that little only in the fragmentary selections of +the school readers, is a high and difficult aim. But +teachers are willing to learn, and to discover new +sources of enthusiasm in their profession. It is +probable, also, that the original capacity to enjoy +great literature is much more common than is often +supposed, and that the great average of teachers is +quite capable of receiving this powerful stimulus. +The fact is, our common schools have done so +little, till of late, to cultivate this fine taste, that +we have faint reason to expect it in our teachers.</p> + +<p>Overwhelmed as we are with the folly of indulging +in the praise of literature before many whose +ears have been but poorly attuned to the sweet +melody or majestic rhythm of the masters, we still +make bold to grapple with this argument. There +is surely no subject to which the teachers need more +to open their eyes and ears and better nature, so as to +take in the enrichment it affords. There is encouragement +in the fact that many teachers fully appreciate +the worth of these writers, and have succeeded +in making their works beautiful and educative to +the children. Very many other teachers are capable +of the full refreshing enjoyment of classic works, +when their attention and labor are properly expended +upon them. The colleges, universities, high schools, +and normal schools have largely abandoned the dull +epitomizing of literature, the talk about authors, for<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span> +the study of the works themselves of the masters. +The consequence is, that the study of literature in +English is becoming an enthusiasm, and teachers +of this type are multiplying.</p> + +<p>The deeper causes for this widespread lack of +literary appreciation among the people, and even +among teachers and scholars, is found partly in the +practical, scientific, and utilitarian spirit of the age, +and partly in the corresponding unliterary courses +of study which have prevailed everywhere in our +common schools. The absence of literary standards +and taste among teachers is due largely to the +failure of the schools themselves, hitherto, to cultivate +this sort of proficiency. Those very qualities +which give to literature its supreme excellence, its +poetic beauty, its artistic finish and idealism, are +among the highest fruits of culture, and are far +more difficult of attainment than mere knowledge. +It is no small thing to introduce the rarest and +finest culture of the world into the common school, and +thus propagate, in the broadest democratic fashion, +that which is the peculiar, superior refinement of the +choicest spirits of the world. If progress in this +direction is slow, we may remember that the best +ideals are slow of attainment.</p> + +<p>There is also an intangible quality in all first-class +literature, which is not capable of exact description +or demonstration. George Willis Cooke, in "Poets +and Problems" (pp. 31-32), says:<span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span>—</p> + +<p>"Poetry enters into those higher regions of human +experience concerning which no definite account can +be given; where all words fail; about which all we +know is to be obtained by hints, symbols, poetic +figures, and imagings. Poetry is truer and more +helpful than prose, because it penetrates those +regions of feeling, beauty, and spiritual reality, +where definitions have no place or justification. +There would be no poetry if life were limited to +what we can understand; nor would there be any +religion. Indeed, the joy, the beauty, and the +promise of life would all be gone if there were +nothing which reaches beyond our powers of definition. +The mystery of existence makes the grandeur +and worth of man's nature, as it makes for him his +poetry and his religion. Poetry suggests, hints, +images forth, what is too wonderful, too transcendent, +too near primal reality, too full of life, beauty, +and joy, for explanation or comprehension. It +embodies man's longing after the Eternal One, +expresses his sense of the deep mystery of Being, +voices his soul sorrow, illumines his path with hope +and objects of beauty. Man's aspiration, his sense +of imperfection, his yearning for a sustaining truth +and reality, as the life within and over all things, +find expression in poetry; because it offers the +fittest medium of interpretation for these higher +movements of soul. Whenever the soul feels deeply, +or is stirred by a great thought, the poetic form of<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span> +utterance at once becomes the most natural and +desirable for its loving and faithful interpretation."</p> + +<p>This intangible excellence of superior literature, +which defies all exact measurement by the yardstick, +puzzles the practical man and the scientist. +There is no way of getting at it with their tools +and measurements. They are very apt to give it +up in disgust and dismiss it with some uncomplimentary +name. But Shakespeare's mild reign continues, +and old Homer sings his deathless song to +those who wish to hear.</p> + +<p>Teachers need both the exact methods of science +and the spiritual life of the poets, and we may well +spend some pains in finding out the life-giving properties +of good literature.</p> + +<p>Lowell, in his "Books and Libraries," says:—</p> + +<p>"To wash down the drier morsels that every +library must necessarily offer at its board, let there +be plenty of imaginative literature, and let its range +be not too narrow to stretch from Dante to the elder +Dumas. The world of the imagination is not the +world of abstraction and nonentity, as some conceive, +but a world formed out of chaos by a sense of the +beauty that is in man and the earth on which he +dwells. It is the realm of Might-be, our haven of +refuge from the shortcomings and disillusions of life. +It is, to quote Spenser, who knew it well,—</p> + +<p>"'The world's sweet inn from care and wearisome +turmoil.' Do we believe, then, that God gave us in<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span> +mockery this splendid faculty of sympathy with +things that are a joy forever? For my part, I +believe that the love and study of works of imagination +is of practical utility in a country so profoundly +material (or, as we like to call it, practical) in its +leading tendencies as ours. The hunger after purely +intellectual delights, the content with ideal possessions, +cannot but be good for us in maintaining a +wholesome balance of the character and of the faculties. +I for one shall never be persuaded that +Shakespeare left a less useful legacy to his countrymen +than Watt. We hold all the deepest, all the +highest, satisfactions of life as tenants of imagination. +Nature will keep up the supply of what are called +hard-headed people without our help, and, if it come +to that, there are other as good uses for heads as at +the end of battering-rams."</p> + +<p>"But have you ever rightly considered what the +mere ability to read means? That it is the key which +admits us to the whole world of thought and fancy +and imagination? to the company of saint and sage, +of the wisest and 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? More than that, it +annihilates time and space for us; it revives for us +without a miracle the Age of Wonder, endowing us +with the shoes of swiftness and the cap of darkness, +so that we walk invisible like fern-seed, and witness<span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span> +unharmed the plague at Athens or Florence or +London; accompany Cæsar on his marches, or look +in on Catiline in council with his fellow-conspirators, +or Guy Fawkes in the cellar of St. Stephen's. We +often hear of people who will descend to any servility, +submit to any insult, for the sake of getting themselves +or their children into what is euphemistically +called good society. Did it ever occur to them that +there is a select society of all the centuries to which +they and theirs can be admitted for the asking, a +society, too, which will not involve them in ruinous +expense, and still more ruinous waste of time and +health and faculties?</p> + +<p>"The riches of scholarship, the benignities of literature, +defy fortune and outlive calamity. They +are beyond the reach of thief or moth or rust. As +they cannot be inherited, so they cannot be alienated. +But they may be shared, they may be distributed."</p> + +<p>This notion of the select companionship of books +finds also happy expression in Ruskin's "Sesame +and Lilies":—</p> + +<p>"We may intrude ten minutes' talk on a cabinet +minister, answered probably with words worse than +silence, being deceptive; or snatch, once or twice in +our lives, the privilege of throwing a bouquet in the +path of a princess, or arresting the kind glance of +a queen. And yet these momentary chances we +covet; and spend our years, and passions, and +powers in pursuit of little more than these; while,<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span> +meantime, there is a society continually open to us, +of people who will talk to us as long as we like, +whatever our rank or occupation;—talk to us in +the best words they can choose, and with thanks +if we listen to them. And this society, because it is +so numerous and so gentle,—and can be kept waiting +round us all day long, not to grant audience, but +to gain it; kings and statesmen lingering patiently +in those plainly furnished and narrow anterooms, our +bookcase shelves,—we make no account of that +company,—perhaps never listen to a word they +would say, all day long!</p> + +<p>"This court of the past differs from all living +aristocracy in this: it is open to labor and to +merit, but to nothing else. No wealth will bribe, +no name overawe, no artifice deceive, the guardian +of those Elysian gates. In the deep sense, no vile +or vulgar person ever enters there. At the portières +of that silent Faubourg St.-Germain, there is but +brief question, 'Do you deserve to enter?' 'Pass. +Do you ask to be the companions of nobles? Make +yourself noble, and you shall be. Do you long for +the conversation of the wise? Learn to understand +it, and you shall hear it. But on other terms?—no. +If you will not rise to us, we cannot stoop to +you. The living lord may assume courtesy, the +living philosopher explain his thought to you with +considerable pain; but here we neither feign nor +interpret; you must rise to the level of our thoughts<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span> +if you would be gladdened by them, and share our +feelings, if you would recognize our presence.'"</p> + +<p>Wordsworth says:—</p> + +<div class="poem"><div class="stanza"> +<span class="i28">"Books, we know,<br /></span> +<span class="i0">Are a substantial world, both pure and good;<br /></span> +<span class="i0">Round these, with tendrils strong as flesh and blood,<br /></span> +<span class="i0">Our pastime and our happiness will grow."<br /></span> +</div></div> + +<p>Carlyle says:—</p> + +<p>"We learn to read, in various languages, in +various sciences; we learn the alphabet and letters +of all manner of Books. But the place where we +are to get knowledge, even theoretic knowledge, is +the Books themselves! It depends on what we read, +after all manner of Professors have done their best +for us. The true University of these days is a +Collection of Books."</p> + +<p>Were we willing to accept the testimony of great +writers and thinkers, we should but too quickly +acknowledge the supreme value of books. James +Baldwin, in the first chapter of his "Book Lover," +has collected more than a score of like utterances +of great writers "In Praise of Books." Such testimony +may at least suggest to some of us who +have drunk but sparingly of the refreshing springs +of literature, that there are better things in store +for us.</p> + +<p>We will first inquire into those vital elements of +strength which are peculiar to literature.</p> + +<p>One of the elements that goes into the make-up<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span> +of a masterpiece of literature is its underlying, permanent +truth. Whether written to-day or in earlier +centuries, it must contain lasting qualities that do +not fade away or bleach out or decay. Time and +weather do not stain or destroy its merit. Some +classics, as Gray's "Elegy," or "Thanatopsis," are +like cut diamonds. The quality that gives them +force and brilliancy is inherent, and the form in +which they appear has been wrought out by an +artist. The fundamental value of a classic is the +deep, significant truth which, like the grain in fine +woods, is wrought into its very structure. The artist +who moulds a masterpiece like "Enoch Arden" or +"The Scarlet Letter" is not a writer of temporary +fame. The truth to which he feels impelled to give +expression is strong, natural, human truth, which has +no beginning and no end. It is true forever. Schiller's +William Tell, though idealized, is a human +hero with the hearty thoughts of a real man. Shylock +is a Jew of flesh and blood, who will laugh if +he is tickled, and break into anger if he is thwarted. +The true poet builds upon eternal foundations. The +bookmaker or rhymer is satisfied with empty or fleeting +thoughts and with a passing notoriety. New +books are often caught up and blazoned as classics +which a few years reveal as patchwork and tinsel. +Time is a sure test. Showy tinsel rusts and dulls +its lustre, while simple poetic truth shines with growing +brightness.<span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> + +<p>Schlegel, in his "Dramatic Art and Literature," +thus contrasts the false and the true (pp. 18-19):—</p> + +<p>"Poetry, taken in its widest acceptation, as the +power of creating what is beautiful, and representing +it to the eye or the ear, is a universal gift of +Heaven, being shared to a certain extent even by +those whom we call barbarians and savages. Internal +excellence is alone decisive, and where this +exists we must not allow ourselves to be repelled by +the external appearance. Everything must be traced +up to the root of human nature: if it has sprung +from thence, it has an undoubted worth of its own; +but if, without possessing a living germ, it is merely +externally attached thereto, it will never thrive nor +acquire a proper growth. Many productions which +appear at first sight dazzling phenomena in the province +of the fine arts, and which as a whole have been +honored with the appellation of works of a golden +age, resemble the mimic gardens of children: impatient +to witness the work of their hands, they break +off here and there branches and flowers, and plant +them in the earth; everything at first assumes a noble +appearance: the childish gardener struts proudly up +and down among his showy beds, till the rootless +plants begin to droop, and hang their withered leaves +and blossoms, and nothing soon remains but the bare +twigs, while the dark forest, on which no art or care +was ever bestowed, and which towered up toward +heaven long before human remembrance, bears every<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span> +blast unshaken, and fills the solitary beholder with +religious awe."</p> + +<p>In his "Poets and Problems," George Willis +Cooke fitly portrays the poet's function (pp. 42, 32, +and 44):—</p> + +<p>"The poet must be either a teacher or an artist; +or, what is better, he may be both in one. Therefore, +he can never stop at form or at what delights +and charms merely. He must go on to the expression +of something of deep and real abidingness of +thought and beauty. This comes at last to be the +real thing for which he works, which he seeks to bring +into expression with such power and grandeur in it as +he can produce, and which he wills to send forth for +the sake of this higher impression on the world."</p> + +<p>"Man has within him a need for the food which +does not perish; he always is finding anew that he +cannot live by bread alone. His mind will crave +truth, his heart love, somewhat to satisfy the inward +needs of life. A heavenly homesickness will draw +him away from the material to those æsthetic and +spiritual realities which are at the source of the truest +poetry. Whenever these wants find fit interpretation, +the poet and the poetic method of expression +appear and give to them outward forms of beauty. +Consequently the poet is</p> + +<div class="poem"><div class="stanza"> +<span class="i0">'One in whom persuasion and belief<br /></span> +<span class="i0">Have ripened into faith, and faith become<br /></span> +<span class="i0">A passionate intuition.'<br /></span> +<span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span></div></div> + +<p>"The true poet is the man of his time who is most +alive, who feels, sees, and knows the most. In the +measure of his life he is the greatest man of his age +and country. His eye sees farther and more clearly; +his heart beats more warmly and with a more universal +sympathy; his thought runs deeper and with +a swifter current, than is the case with other men. +He is the oracle and guide, the inspirer and the +friend, of those to whom he sings. He creates life +under the ribs of dead tradition; he illumines the +present with heart flames of beaconing truth, and he +makes the future seem like home joys far off, but +drawing ever nigher. The poet is the world's +lover."</p> + +<p>Emerson found the Greeks standing as close +to nature and truth as himself ("Essay on History"):—</p> + +<p>"The costly charm of the ancient tragedy, and +indeed of all old literature, is, that the persons speak +simply,—speak as persons who have great good +sense without knowing it, before yet the reflective +habit has become the predominant habit of the mind. +Our admiration of the antique is not admiration of +the old, but of the natural. The Greeks are not +reflective, but perfect in their senses and in their +health, with the finest physical organization in the +world. Adults acted with the simplicity and grace +of children."</p> + +<p>In his "Defence of Poetry" Shelley says:<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span>—</p> + +<p>"Poetry thus makes immortal all that is best and +most beautiful in the world; it arrests the vanishing +apparitions which haunt the interlunations of life, +and, veiling them or in language or in form, sends +them forth among mankind, bearing sweet news +of kindred joy to those with whom their sisters +abide—abide, because there is no portal of expression +from the caverns of the spirit which they +inhabit into the universe of things. Poetry redeems +from decay the visitations of the divinity in man."</p> + +<p>Carlyle, in his "Heroes and Hero-worship," +portrays the deeper art and insight of the poet +thus:—</p> + +<p>"For my own part, I find considerable meaning in +the old vulgar distinction of Poetry being metrical, +having music in it, being a Song. Truly, if pressed +to give a definition, one might say this as soon as +anything else: If your delineation be authentically +musical, musical not in word only, but in heart and +substance, in all the thoughts and utterances of it, +in the whole conception of it, then it will be poetical; +if not, not. Musical: how much lies in that! A +musical thought is one spoken by a mind that has +penetrated into the inmost heart of the thing; detected +the inmost mystery of it, namely the melody +that lies hidden in it; the inward harmony of coherence +which is its soul, whereby it exists, and has a +right to be, here in this world. All inmost things, +we may say, are melodious; naturally utter them<span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span>selves +in Song. The meaning of Song goes deep. +Who is there that, in logical words, can express the +effect music has upon us? A kind of inarticulate +unfathomable speech, which leads us to the edge of +the Infinite, and lets us for moments gaze into that!</p> + +<p>"Nay all speech, even the commonest speech, has +something of song in it: not a parish in the world +but has its parish-accent;—the rhythm or tune to +which the people there sing what they have to say! +Accent is a kind of chanting; all men have accent +of their own,—though they only notice that of others. +Observe, too, how all passionate language does of +itself become musical,—with a finer music than the +mere accent; the speech of a man even in zealous +anger becomes a chant, a song. All deep things are +Song. It seems somehow the very central essence +of us, Song; as if all the rest were but wrappages +and hulls. The primal element of us; of us, and of +all things. The Greeks fabled of Sphere-Harmonies: +it was the feeling they had of the inner structure of +Nature; that the soul of all her voices and utterances +was perfect music. Poetry, therefore, we will call +musical Thought. The Poet is he who thinks in +that manner. At bottom, it turns still on power of +intellect; it is a man's sincerity and depth of vision +that makes him a Poet. See deep enough, and you +see musically; the heart of Nature being everywhere +music, if you can only reach it."</p> + +<p>"Or indeed we may say again, it is in what I<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span> +called Portrait-painting, delineating of men and +things, especially of men, that Shakespeare is great. +All the greatness of the man comes out decisively +here. It is unexampled, I think, that calm creative +perspicacity of Shakespeare. The thing he looks +at reveals not this or that face of it, but its inmost +heart, and generic secret: it dissolves itself as in +light before him, so that he discerns the perfect +structure of it. Creative, we said: poetic creation, +what is this, too, but seeing the thing sufficiently? +The word that will describe the thing, follows of +itself from such clear intense sight of the thing. +And is not Shakespeare's morality, his valor, candor, +tolerance, truthfulness; his whole victorious strength +and greatness, which can triumph over such obstructions, +visible there too? Great as the world! No +twisted, poor convex-concave mirror, reflecting all +objects with its own convexities and concavities; a +perfectly level mirror,—that is to say withal, if we +will understand it, a man justly related to all things +and men, a good man. It is truly a lordly spectacle +how this great soul takes in all kinds of men and +objects, a Falstaff, an Othello, a Juliet, a Coriolanus; +sets them all forth to us in their round completeness; +loving, just, the equal brother of all. 'Novum +Organum,' and all the intellect you will find in +Bacon, is of a quite secondary order; earthy, material, +poor in comparison with this. Among modern +men, one finds, in strictness, almost nothing of the<span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span> +same rank. Goethe alone, since the days of Shakespeare, +reminds me of it. Of him, too, you say that +he saw the object; you may say what he himself +says of Shakespeare, 'His characters are like watches +with dial-plates of transparent crystal; they show +you the hour like others, and the inward mechanism +also is all visible.'"</p> + +<p>"Dante, for depth of sincerity, is like an antique +Prophet, too; his words, like theirs, come from his +very heart. One need not wonder if it were predicted +that his Poem might be the most enduring +thing our Europe has yet made; for nothing so +endures as a truly spoken word. All cathedrals, +pontificalities, brass and stone, and outer arrangement +never so lasting, are brief in comparison to an +unfathomable heart-song like this: one feels as if +it might survive, still of importance to men, when +these had all sunk into new irrecognizable combinations, +and had ceased individually to be. Europe +has made much; great cities, great empires, encyclopædias, +creeds, bodies of opinion and practice: but +it has made little of the class of Dante's Thought. +Homer yet is, veritably present face to face with +every open soul of us; and Greece, where is it? +Desolate for thousands of years; away, vanished; +a bewildered heap of stones and rubbish, the life +and existence of it all gone. Like a dream; like +the dust of King Agamemnon! Greece was; Greece, +except in the words it spoke, is not."<span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span></p> + +<p>J. C. Shairp, in his "On Poetic Interpretation of +Nature" (p. 19), says:—</p> + +<p>"The real nature and intrinsic truth of Poetry will +be made more apparent, if we may turn aside for +a moment to reflect on the essence of that state of +mind which we call poetic, the genesis of that creation +which we call Poetry. Whenever any object of +sense, or spectacle of the outer world, any truth of +reason, or event of past history, any fact of human +experience, any moral or spiritual reality; whenever, +in short, any fact or object which the sense, or the +intellect, or the soul, or the spirit of man can apprehend, +comes home to one so as to touch him to the +quick, to pierce him with a more than usual vividness +and sense of reality, then is awakened that +stirring of the imagination, that glow of emotion, in +which Poetry is born. There is no truth cognizable +by man which may not shape itself into Poetry."</p> + +<p>The passages just quoted are but examples of +many that might be cited expressing the strength +and scope of the poetic spirit, its truth-revealing +quality, its penetrating yet comprehensive grasp of +the realities. Shelley says, "A poem is the very +image of life expressed in its eternal truth"; and +Wordsworth that poetry is "the breath and finer spirit +of all knowledge." These utterances will hardly be +deemed poetical extravagancies to one who has read +such things as the Ninetieth Psalm, "King Lear," or +"The Deserted Village," or "Elaine."<span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span></p> + +<p>There is no form of inspiring truth which does not +find expression in literature, but it is preëminently a +revelation of human life and experience, a proclamation +from the housetops of the supreme beauty and +excellence of truth and virtue. This brings us close +to the question of moral education, and the elements +in literature that contribute to this end. Literary +critics are quick to take alarm at the propensity of the +schoolmaster and the moralist to make literature the +vehicle of moral training. To saddle the poets with +a moral purpose would be like changing Pegasus into +a plough-horse. But the moral quality in the best +literature is not something saddled on, it is rather +like the frame and muscle which give strength to +the body, or, to use a more fitting figure, it is the +very pulse and heart-beat of the highest idealism. +The proneness toward moralizing, toward formal +didacticism, can be best of all corrected by the use +of choice literature. The best literature is free from +moral pedantry, but full of moral suggestion and +stimulus. Edmund Clarence Stedman says, in his +"Nature and Elements of Poetry" (p. 216):—</p> + +<p>"The highest wisdom—that of ethics—seems +closely affiliated with poetic truth. A prosaic moral +is injurious to virtue, by making it repulsive. The +moment goodness becomes tedious and unideal in a +work of art, it is not real goodness; the would-be +artist, though a very saint, has mistaken his form of +expression. On the other hand, extreme beauty and<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> +power in a poem or picture always carry a moral, +they are inseparable from a certain ethical standard; +while vice suggests a depravity.... An obtrusive +moral in poetic form is a fraud on its face, and outlawed +of art. But that all great poetry is essentially +ethical is plain from any consideration of Homer, +Dante, and the best dramatists and lyrists, old and +new."</p> + +<p>In literature, as in life, those persons make the +strongest moral impression who have the least express +discussion of morals. Their actions speak, and +the moral qualities appear, not in didactic formality +and isolation, but in their life setting. This is seen +in the great dramas, novels, and epic poems.</p> + +<p>These masterpieces are of strong and lasting value +to the schools because they bring out human conduct +and character in a rich variety of forms corresponding +to life. Against the background of scenery created +by the poet, men and women and children march +along to their varied performances. Theseus, Ulysses, +Crusoe, Aladdin, Alfred, Horatius, Cinderella, Portia, +Evangeline,—they speak and act before us with all +the realism and fidelity to human instincts peculiar to +the poet's art. These men and women, who are set +in action before us, stir up all our dormant thought-energy. +We observe and judge their motives and +approve or condemn their actions. We are stirred to +sympathy or pity or anger. Such an intense study +of motives and conduct, as offered in literature, is<span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span> +like a fresh spring from which well up strengthening +waters. The warmth and energy with which judgments +are passed upon the deeds of children and +adults is the original source of moral ideas. Literature +is especially rich in opportunities to register +these convictions. It is not the bare knowledge of +right and wrong developed, but the deep springs of +feeling and emotion are opened, which gush up into +volitions and acts.</p> + +<p>Just as we form opinions of people from their +individual acts, and draw inferences as to their character +and motives, so the overt act of Brutus or of +Miles Standish stands out so clear against the background +of passing events that an unerring judgment +falls upon the doer. A single act, seen in its relations, +always calls forth such a sentence of good or +ill. Whether it be a gentle deed of mercy, or the +hammer-stroke that fells a giant or routs an army, as +with Charles Martel or Alfred, the sense of right or +wrong is the deep underflow that gives meaning to all +events and stamps character.</p> + +<p>There is, however, a deeper and more intense moral +teaching in literature than that which flows from the +right or wrong of individual acts. The whole life +and evolution of character in a person, if graphically +drawn, reveal the principles of conduct and their +fruitage. Character is a growth. Deeds are only +the outward signs of the direction in which the soul +is moving. A dramatist like Shakespeare, or a novel<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span>ist +like George Eliot, gives us a biographical development. +Deeds are done which leave their traces. +Tendencies are formed which grow into habits, and +thus a character ripens steadily toward its reward. +We become conscious that certain deeper principles +control thought and action, whether good or bad. +There is a rule of law, a sort of fatalism, in human +life. "The mills of the gods grind slow, but they +grind exceeding small." It is the function of the +dramatist or novelist to reveal these working principles +in conduct. When the principle adopted by the +actor is a good one, it works out well-being in spite of +misfortunes; when evil, the furies are on the track of +the evil-doer. Men do not gather grapes of thorns +or figs of thistles. As we move on from step to step +in a life-history, the sympathy deepens. The fatal +influence of a false step, followed up, is keenly felt +by the reader; the upward tendency of a right act +inspires and lifts into freedom. But whether we love +or hate or pity, the character moves on in the course +which his deeds mark out. When finally he is overwhelmed +in shame and defeat, we see the early tendencies +and later forces which have led to this result. +If ethical triumph is achieved, we recognize the reward +of generous, unselfish impulses followed out.</p> + +<p>As the interest in such a life-history deepens, the +lessons it evolves come out with convincing and +overwhelming power. The effect of a great novel +or drama is more intense and lasting than any<span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span> +sermon. The elements of thought and feeling have +been accumulating energy and momentum through +all the scenes, and when contracted into a single +current at the close they sweep forward with the +strength of a river. A masterpiece works at the +foundations of our sympathies and moral judgments. +To bring ourselves under the spell of a great author +and to allow him, hour after hour and perhaps for +days in succession, to sway our feelings and rule +far up among the sources of our moral judgments, +is to give him great opportunity to stamp our character +with his convictions. We seldom spend so +many hours in close companionship with a living +friend as with some master of the art of character-delineation. +Children are susceptible to this strong +influence. Many of them take easily to books, and +many others need but wise direction to bring them +under the touch of their formative influence. A +book sometimes produces a more lasting effect upon +the character and conduct of a child than a close +companion. Nor is this true only in the case of +book-lovers. It is probable that the great majority +of children may feel the wholesome effect of such +books if wisely used at the right time. To select +a few of the best books as companions to a child, +and teach him to love their companionship, is one +of the most hopeful things in education. The boy +or girl who reads some of our choice epics, stories, +novels, dramas, and biographies, allowing the mind<span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span> +to ponder upon the problems of conduct involved, +will receive many deep and permanent moral lessons. +The realism with which the artist clothes his characters +only strengthens the effect and makes them +lasting food for thought in the coming years. Even +in early childhood we are able to detect what is +noble and debasing in conduct as thus graphically +and naturally revealed, and a child forms an unerring +judgment along moral lines. The best influence that +literature has to bestow, therefore, may produce its effect +early in tender years, where impressions are deep +and permanent. There are many other elements of +lasting culture-value in the study of literature, but +first of all the deep and permanent truths taught by +the classics are those of human life and conduct.</p> + +<p>George Willis Cooke gives clear and simple expression +to the ethical force in poetry ("Poets and +Problems," p. 46):—</p> + +<p>"True poetry is for instruction as much as for +pleasure, though it inculcate no formal lessons. +Right moral teaching is by example far more than +by precept; and the real poet teaches through the +higher purpose he arouses, by the stimulus he gives, +and by the purer motive he awakens. He gives +no precept to recite, no homilies to con over, no rules +for formal repetition; but he gives the spirit of life +and the impulse of true activity. An infallible test +of the great poet is that he inspires us with a sense +of the richness and grandeur of life."<span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span></p> + +<p>Rooted in the genuine realism of social life, moral +ideas are still more strongly energized by feeling and +even by passion. It is doubtful if moral ideas have +any roots that do not reach down into deep and +genuine feeling.</p> + +<p>Ruskin, in "Sesame and Lilies," speaks to the +point.</p> + +<p>"Having then faithfully listened to the great +teachers, that you may enter into their Thoughts, +you have yet this higher advance to make,—you +have to enter into their Hearts. As you go to them +first for clear sight, so you must stay with them that +you may share at last their just and mighty Passion. +Passion, or "sensation." I am not afraid of the +word; still less of the thing. You have heard many +outcries against sensation lately; but, I can tell you, +it is not less sensation we want, but more. The ennobling +difference between one man and another—between +one animal and another—is precisely in +this, that one feels more than another. If we were +sponges, perhaps sensation might not be easily got +for us; if we were earthworms, liable at every +instant to be cut in two by the spade, perhaps too +much sensation might not be good for us. But, +being human creatures, it is good for us; nay, we +are only human in so far as we are sensitive, and +our honor is precisely in proportion to our passion.</p> + +<p>"You know I said of that great and pure society +of the dead, that it would allow 'no vain or vulgar<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span> +person to enter there.' What do you think I meant +by a 'vulgar' person? What do you yourselves +mean by 'vulgarity'? You will find it a fruitful +subject of thought; but, briefly, the essence of all +vulgarity lies in want of sensation. Simple and innocent +vulgarity is merely an untrained and undeveloped +bluntness of body and mind; but in true +inbred vulgarity, there is a deathful callousness, +which, in extremity, becomes capable of every sort +of bestial habit and crime, without fear, without +pleasure, without horror, and without pity. It is in +the blunt hand and the dead heart, in the diseased +habit, in the hardened conscience, that men become +vulgar; they are forever vulgar, precisely in proportion +as they are incapable of sympathy,—of +quick understanding,—of all that, in deep insistence +on the common, but most accurate term, may +be called the 'tact' or touch-faculty of body and +soul; that tact which the Mimosa has in trees, which +the pure woman has above all creatures,—fineness +and fulness of sensation, beyond reason,—the guide +and sanctifier of reason itself. Reason can but determine +what is true: it is the God-given passion of +humanity which alone can recognize what God has +made good.</p> + +<p>"We come then to the great concourse of the Dead, +not merely to know from them what is True, but +chiefly to feel with them, what is Righteous. Now +to feel with them we must be like them; and none<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span> +of us can become that without pains. As the true +knowledge is disciplined and tested knowledge,—not +the first thought that comes,—so the true passion +is disciplined and tested passion,—not the first +passion that comes."</p> + +<p>When we add to this deep feeling and sympathy +the versatile poetic imagination which freely constructs +all phases of social life and conduct, we have +that union of the great powers of the mind and heart +which give such concentrated ethical energy to the +best literature.</p> + +<p>Shelley, in his "Defence of Poetry" (pp. 13-14, +20), says:—</p> + +<p>"The whole objection, however, of the immorality +of poetry rests upon a misconception of the +manner in which poetry acts to produce the moral +improvement of man. Ethical science arranges +the elements which poetry has created, and propounds +schemes and proposes examples of civil and +domestic life; nor is it for want of admirable doctrines +that men hate, and despise, and censure, +and deceive, and subjugate one another. But +poetry acts in another and diviner manner. It +awakens and enlarges the mind itself by rendering +it the receptacle of a thousand unapprehended combinations +of thought. Poetry lifts the veil from the +hidden beauty of the world, and makes familiar +objects be as if they were not familiar; it reproduces +all that it represents, and the impersonations clothed<span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span> +in its Elysian light stand thenceforward in the minds +of those who have once contemplated them, as +memorials of that gentle and exalted content which +extends itself over all thoughts and actions with +which it coexists. The great secret of morals is +love; or a going out of our own nature, and an +identification of ourselves with the beautiful which +exists in thought, action, or person, not our own. A +man, to be greatly good, must imagine intensely +and comprehensively; he must put himself in the +place of another and of many others; the pains +and pleasures of his species must become his own. +The great instrument of moral good is the imagination; +and poetry administers to the effect by acting +upon the cause."</p> + +<p>"The drama being that form under which a +greater number of modes of expression of poetry +are susceptible of being combined than any other, +the connection of poetry and social good is more +observable in the drama than in whatever other +form. And it is indisputable that the highest perfection +of human society has ever corresponded with +the highest dramatic excellence; and that the corruption +or the extinction of the drama in a nation where +it has once flourished, is a mark of corruption of +manners, and an extinction of the energies which +sustain the soul of social life."</p> + +<p>The inseparable union of the intellectual, moral, +and imaginative elements is well expressed by<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span> +Shairp in his "On Poetic Interpretation of +Nature" (pp. 23-24):—</p> + +<p>"Imagination in its essence seems to be, from the +first, intellect and feeling blended and interpenetrating +each other. Thus it would seem that purely +intellectual acts belong to the surface and outside +of our nature,—as you pass onward to the depths, +the more vital places of the soul, the intellectual, +the emotional, and the moral elements are all equally +at work,—and this in virtue of their greater reality, +their more essential truth, their nearer contact with +the centre of things. To this region belong all +acts of high imagination—the region intermediate +between pure understanding and moral affection, +partaking of both elements, looking equally both +ways."</p> + +<p>Besides the moral element or fundamental truth involved, +every classic masterpiece is infused therefore +with an element of imagination. Whether in prose or +verse, the artist reveals himself in the creative touch. +The rich coloring and imagery of his own mind give +a tint to every object. The literary artist is never +lacking in a certain, perhaps indefinable, charm. He +possesses a magic wand that transforms into beauty +every commonplace object that is met. We observe +this in Irving, Hawthorne, Warner, as well as in still +greater literary masters. Our poets, novelists, and +essayists must all dip their pens in this magic ink. +Even Webster and Burke, Lincoln and Sumner, must<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span> +rise to the region of fancy if they give their thought +sufficient strength of wing to carry it into the coming +years. The themes upon which they discoursed +kindled the imagination and caused them to break +forth into figures of speech and poetic license. The +creative fancy is that which gives beauty, picturesqueness, +and charm to all the work of poet or +novelist. This element of fancy diffuses itself as +a living glow through every classic product that +was made to endure. In the masters of style the +rhythmic flow and energy of language are enlivened +by poetic imagery. Figures of speech in architectural +simplicity and chasteness stand out to symbolize +thought. That keenness and originality which +astonishes us in master thinkers is due to the magic +vigor and picturesqueness of their images. Underneath +and permeating all this wealth of ideas is +the versatile and original mind which sees everything +in the glow of its own poetic temperament, kindling +the susceptible reader to like inspiration. +Among literary masters this creative power shows +itself in an infinite variety of forms, pours itself +through a hundred divergent channels, and links +itself so closely with the individuality of the writer +as to merge imperceptibly into his character and +style. But as we cannot secure wholesome bread +without yeast, so we shall fail of a classic without +imagination.</p> + +<p>Stedman says: "If anything great has been<span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span> +achieved without exercise of the imagination, I do +not know it. I am referring to striking productions +and achievements, not to acts of virtue. Nevertheless, +at the last analysis, it might be found that +imagination has impelled even the saints and +martyrs of humanity. Imagination is the creative +origin of what is fine, not in art and song alone, +but also in all forms of action—in campaigns, civil +triumphs, material conquest. I have mentioned its +indispensability to the scientists." He says further: +"Yet if there is one gift which sets Shakespeare at +a distance even from those who approach him on +one or another side, it is that of his imagination. +As he is the chief of poets, we infer that the faculty +in which he is supereminent must be the greatest of +poetic endowments. Yes: in his wonderland, as +elsewhere, imagination is king."</p> + +<p>Not only is it true that the vitality of poets and +prose writers, the conceptive power of scientists, +inventors, and business organizers, depend upon +the fertility and strength of the imagination, but +throughout the broader reaches of common humanity +this power is everywhere present—constructive +and creative. Max Müller has shown that the +root words of language are imbedded in metaphor, +that "Language is fossil poetry." Again, the +mythologies of the different races, grand and stately, +or fair and lovely, are the immediate product of +the folk mind.<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span></p> + +<p>It has been said that "The man of culture is +preëminently a man of imagination." But the +kind of mental alertness, freedom, and joy which is +suggested by the term <i>culture</i> may spring up in the +heart of every boy and girl endowed with a modicum +of human nature. Hamilton Wright Mabie, in his +"Books and Culture" (pp. 148-149), says:—</p> + +<p>"The development of the imagination, upon the +power of which both absorption of knowledge and +creative capacity depend, is, therefore, a matter of +supreme importance. To this necessity educators +will some day open their eyes, and educational systems +will some day conform; meantime, it must be +done mainly by individual work. Knowledge, discipline, +and technical training of the best sort are +accessible on every hand; but the development of +the faculty which unites all these in the highest form +of activity must be secured mainly by personal effort. +The richest and most accessible material for this +highest education is furnished by art; and the form +of art within reach of every civilized man, at all +times, in all places, is the book. To these masterpieces, +which have been called the books of life, all +men may turn with the assurance that as the supreme +achievements of the imagination they have the power +of awakening, stimulating, and enriching it in the +highest degree."</p> + +<p>Besides the strong thread of truth and the work +of the swift-glancing shuttle of imagination, the<span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span> +woven fabric of the literary master must show a +beauteous pattern or form. The melody and music +of poetry spring from a rhythmic form. Apparently +stiff and formal, it is yet the consensus of +critics that only through this channel can the soul +of truth and beauty escape from the poet, and manifest +itself to others. Says George Willis Cooke, +"The poet worships at the triple shrine of beauty, +love, and truth; and his mission is to teach men that +all other objects and places of veneration are but +faint imitations of this one form of faith." But the +spirit of this worship can best embody itself in the +poetic form.</p> + +<p>Schlegel, in his "Dramatic Art and Literature" +(p. 340), says:—</p> + +<p>"The works of genius cannot therefore be permitted +to be without form; but of this there is no +danger.... [Some] critics ... interpret it [form] +merely in a mechanical, and not in an organical +sense.... Organical form, again, is innate; it +unfolds itself from within, and acquires its determination +contemporaneously with the perfect development +of the germ. We everywhere discover such +forms in nature throughout the whole range of living +powers, from the crystallization of salts and minerals +to plants and flowers, and from these again to the +human body. In the fine arts, as well as in the +domain of nature,—the supreme artist,—all genuine +forms are organical, that is, determined by the qual<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span>ity +of the work. In a word, the form is nothing but +a significant exterior, the speaking physiognomy of +each thing, which, as long as it is not disfigured by +any destructive accident, gives a true evidence of its +hidden essence."</p> + +<p>Some products, like the "Paradise Lost," "Thanatopsis," +and "Hamlet," show such a perfect fitness of +form to thought that every effort to change or modify +is profanation. The classic form and thought go +together. As far as possible, therefore, it is desirable +to leave these creations in their native strength, +and not to mar the work of masters. The poet has +moulded his thought and feeling into these forms +and transfused them with his own imagery and individuality. +The power of the writer is in his peculiar +mingling of the poetic elements. Our English and +American classics, therefore, should be read in their +original form as far as possible.</p> + +<p>A fixed form is not always necessary. We need +many of the stories and epics that were written in +other languages. Fortunately some of the works of +the old poets are capable of taking on a new dress. +The story of Ulysses has been told in verse and +prose, in translation, paraphrase, and simple narrative +for children. Much, indeed of the old +beauty and original strength of the poem is lost in +all these renderings; but the central truths which +give the poetic work its persistent value are still +retained. Such a poem is like a person; the under<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span>lying +thought, though dressed up by different persons +with varying taste and skill, is yet the same; +the same heart beats beneath the kingly robes and +the peasant's frock. Robinson Crusoe has had many +renderings, but remains the same old story in spite of +variations. The Bible has been translated into all +modern tongues, but it is a classic in each. The Germans +claim they have as good a Shakespeare as we.</p> + +<p>But many of the best masterpieces were originally +written in other languages, and to be of use to us the +ancient form of thought must be broken. The spirit +of the old masters must be poured into new moulds. +In educating our children we need the stories of +Bellerophon, Perseus, Hercules, Rustum, Tell, Siegfried, +Virginius, Roland, Wallace, King Arthur. +Happily some of the best modern writers have come +to our help. Walter Scott, Macaulay, Dickens, +Kingsley, Hawthorne, Irving, and Arnold have +gathered up the old wine and poured it into new +bottles. They have told the old stories in simple +Anglo-Saxon for the boys and girls of our homes +and schools. Nor are these renderings of the old +masters lacking in that element of fancy and vigor +of expression which distinguishes fertile writers. +They have entered freely and fondly into the old +spirit, and have allowed it to pour itself copiously +through these modern channels. It takes a poet, in +fact, to modernize an ancient story. There are, +indeed, many renderings of the old stories which<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span> +are not ideal, which, however, we sometimes use for +lack of anything better.</p> + +<p>From the preceding discussion we may conclude +that a choice piece of literature must embody a lasting +truth, reveal the permeating glow of an artist's +imagination, and find expression in some form of +beauty. But these elements are so mingled and +interlaced, so organically grown into one living plant, +that even the critics have given up the effort to +dissect and isolate them.</p> + +<p>There are other strength-conferring qualities in +good literature which will be discussed more fully in +those chapters which deal with the particular literary +materials selected for use in the schools.</p> + +<p>Among the topics to be treated in connection with +materials which illustrate them, are the following: +the strong handling of essential historical ideas in +literature; the best novel and drama, as sources and +means of culture; religious ideals as embodied in the +choicest forms of literature; the powerful patriotic +and social influence of the best writers; the educative +quality of the humorous phases of literature; the +great writers as models of skill and enthusiasm in +teaching.</p> + +<p>In the foregoing pages the significance of literature +among great studies has been but briefly and inadequately +suggested by these few quotations and comments. +It would be easy to multiply similar testimony +from the most competent judges. But enough has<span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span> +been said to remind teachers of this rich treasure +house of educative materials. Those teachers who +wish to probe deeper into this subject will find that it +has been handled in a masterly way by some of the +great essayists and critics. We will suggest the following +for more elaborate study:—</p> + +<p>Ruskin's "Sesame and Lilies." The power and +charm of Ruskin's writing appears in full measure in +these essays.</p> + +<p>Carlyle's "Heroes and Hero Worship," especially +the chapters on "The Hero as Poet," and "The Hero +as Man of Letters."</p> + +<p>Shelley's "Defence of Poetry" (edited by Cook, +and published by Ginn & Co.) is a literary masterpiece +of rare beauty and charm.</p> + +<p>Emerson's "Essay on History."</p> + +<p>George Willis Cooke, "Poets and Problems" +(Houghton, Mifflin, & Co.). The first chapter, "The +Poet as Teacher," is very suggestive, while the chapters +on Tennyson, Ruskin, and Browning are fine +introductions for those who will study the authors +themselves.</p> + +<p>"The Book Lover," James Baldwin (McClurg & +Co.).</p> + +<p>Charles Kingsley's "Literary and General Essays" +(Macmillan & Co.). Chapter on "English Literature," +and others.</p> + +<p>Scudder's "Literature in Schools" (Houghton, +Mifflin, & Co.). Excellent for teachers.<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span></p> + +<p>J. C. Shairp, "On Poetic Interpretation of Nature" +(Houghton, Mifflin, & Co.).</p> + +<p>Matthew Arnold's "Sweetness and Light."</p> + +<p>Lowell's "Books and Libraries" (Houghton, +Mifflin, & Co.).</p> + +<p>Edmund Clarence Stedman's "The Nature and +Elements of Poetry" (Houghton, Mifflin, & Co.).</p> + +<p>It is not implied that even the essays of critics on +the merits of literature can take the place of a study +of the works of the best writers.</p> + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span></p> +<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II</h2> + +<h3>THE USE OF MASTERPIECES AS WHOLES</h3> + + +<p>With the increasing tendency to consider the +literary quality and fitness of the reading matter used +in our schools, longer poems and stories, like "Snow +Bound," "Rip Van Winkle," "Hiawatha," "Aladdin," +"The Courtship of Miles Standish," "The +Great Stone Face," and even "Lady of the Lake" +and "Julius Cæsar," are read and studied as complete +wholes. Many of the books now used as readers +are not collections of short selections and extracts, +as formerly, but editions of single poems, or kindred +groups, like "Sohrab and Rustum," or the "Arabian +Nights," or "Gulliver's Travels," or a collection +of a few complete stories or poems of a single author, +as Hawthorne's "Stories of the White Hills," or +Lowell's "Vision of Sir Launfal," and other poems. +Even the regular series of readers are often made up +largely of longer poems and prose masterpieces.</p> + +<p>The significance of this change is the deeper regard +which is being paid to good literature as a strong +agency of true culture. The real thought and the +whole thought of the best authors is sought for, presupposing, +of course, that they are within the range<span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span> +of the children's comprehension. The reading books +of a generation ago contained oftentimes just as +choice literary materials as now; but the chief purpose +of its selection was to give varied exercise in +oral reading, not to cultivate a taste for good literature +by furnishing complete poetic and prose specimens +for full and enthusiastic study. The teachers +who lay stress on elocutionary skill are not quite +satisfied with this drift toward literary study as such. +It remains to be seen how both aims, good oral rendering +and superior literary training, can be secured +at the same time.</p> + +<p>At the close of the last chapter of this volume we +give a carefully selected series of the literary materials +adapted to the different grades. This body +of selections, taken from a wide range of literature, +will constitute a basis for our whole treatise. +Having made plain by our previous discussion what +we understand by the quality of literary masterpieces, +we will next consider why these poems and stories +should be read and studied as complete wholes, not +by fragments or by extracts, but as whole works of +literary art.</p> + +<p>1. A stronger interest is developed by the study, +for several weeks, of a longer complete masterpiece. +The interest grows as we move into such a story +or poem as "Sohrab and Rustum." A longer and +closer acquaintance with the characters represented +produces a stronger personal sympathy, as in the<span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span> +case of Cordelia in "King Lear," or of Silas Marner. +The time usually spent in school upon some classic +fragment or selection is barely sufficient to start up +an interest. It does not bring us past the threshold +of a work of art. We drop it just at the point where +the momentum of interest begins to show itself. +Think of the full story of Aladdin or Crusoe or +Ulysses. Take an extract from "Lady of the +Lake," "Rip Van Winkle," "Evangeline." The +usual three or four pages given in the reader, even +if taken from the first part, would scarcely suffice to +bring the children into the movement of the story; +but oftentimes the fragment is extracted from the +body of the play without preliminary or sequence. +In reading a novel, story, or poem, we do not begin to +feel strongly this interest till two or three chapters are +passed. Then it begins to deepen, the plot thickens, +and a desire springs up to follow out the fortune of +the characters. We become interested in the persons, +and our thoughts are busy with them in the midst of +other employments or in leisure moments. The personality +of the hero takes hold of us as that of an +intimate friend. Such an interest, gradually awakened +and deepened as we move into the comprehension of +a work of art, is the open sesame to all the riches of +an author's storehouse of thought.</p> + +<p>This kind of interest presupposes in the children +the ability to appreciate and enjoy the thought, and +even the style, of the author. Interest in this sense<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span> +is a fundamental test of the suitableness of the story +or poem to lay hold of the inner life of the children. +In many cases there will be difficulties at the outset +in awakening this genuine form of interest, but +if the selection is appropriate, the preparation +and skill of the teacher will be equal to its +accomplishment.</p> + +<p>As we get deeper into the study of masterpieces, +we shall discover that there are stronger and deepening +sources of a genuine interest. Even the difficulties +and problems which are supposed to dampen +interest will be found, with proper study, to be the +source of a stronger appreciation and enthusiasm. +The refining and strengthening of these interests in +literature leads on steadily to the final goal of study, +a cultivated taste and habit of using the best books.</p> + +<p>2. A complete work of a master writer is a unit +of thought. It is almost as complete a whole as +a living organism. Its parts, like the branches of a +tree, have no vitality except in communication with +the living trunk. In the "Vision of Sir Launfal," +there is a single thought, like a golden thread, running +through the poem, which gives unity and perfection +to it. The separate parts of the poem have +very great intrinsic beauty and charm, but their +deeper and more vital relation is to this central +thought. The story of "The Great Stone Face" is +the grouping of a series of interesting episodes along +the path of a single developing motive in the life of<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span> +Ernest. A great writer would scarcely waste his +time in trying to produce a work of art without a +controlling motive, collecting his thought, as it were, +around a vacuum. This hub-thought must become +the centre of all intelligent study. The effort to +unravel the motive of the author is the deeper stimulus +of thoughtful work by both teacher and pupils.</p> + +<p>In other studies, like geography, history, and +natural science, we are gradually picking out the +important units of study, the centres of thought and +interest, the types. This effort to escape from the +wilderness of jumbled and fractional details into the +sunlit region of controlling ideas, is a substantial +sign of progress in the teacher's work. In literature +these units have been already wrought out into perfect +wholes by first-class thinkers.</p> + +<p>In the greatest of all studies, the works of the +literary masters, we have the surest models of inspiring +thought, organized and focussed upon essential +topics. Teachers, in some cases, are so little accustomed +to lift their heads above the tall grass and +weeds around them, that they are overtaken by surprise +and bewilderment when called upon to take +broad and liberal surveys of the topography of +school studies.</p> + +<p>It is fortunate that we have, within the fenced +boundaries of the commonly recognized school +course, these shining specimens of organized, and, +what we might call, intelligent thought.<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span></p> + +<p>We can set the children at work digging for the +root-thoughts of those who are the masters of strong +thinking. This digging process is not wholly out +of place with children. Their abundant energy can +be turned to digging if there is anything worth +digging for. Ruskin, in "Sesame and Lilies," +says:—</p> + +<p>"And it is just the same with men's best wisdom. +When you come to a good book, you must ask yourself: +'Am I inclined to work as an Australian miner +would? Are my pickaxes and shovels in good +order, and am I in good trim myself, my sleeves well +up to the elbow, and my breath good, and my temper?' +And, keeping the figure a little longer, even +at cost of tiresomeness, for it is a thoroughly useful +one, the metal you are in search of, being the +author's mind or meaning, his words are as the rock +which you have to crush and smelt in order to get +at it. And your pickaxes are your own care, wit +and learning; your smelting furnace is your own +thoughtful soul. Do not hope to get at any good +author's meaning without those tools and that fire; +often you will need sharpest, finest chiselling, and +patientest fusing, before you can gather one grain +of the metal."</p> + +<p>It is not the dreamy, hammock-soothing, vacation +idling with pleasant stories that we are now considering. +This happy lotus-land has also its fitting season, +in the sultry heats of summer, when tired people<span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span> +put their minds out to grass. Any study will grow +dull and sleepy that lacks energy.</p> + +<p>Teachers who shrink back with anxiety lest works +such as Irving's "Sketch Book," "Evangeline," +"Merchant of Venice," and "Marmion," are too +hard for children in sixth, seventh, and eighth +grades, should consider for a moment what classical +preparatory schools for centuries have required of +boys from ten to twelve years of age, the study of +"Cæsar," "Eutropius," and "Virgil," of "Herodotus" +and "Xenophon," in unknown languages extremely +difficult to master. Yet it has been claimed +for ages, by the best scholars, that this was the true +strength-producing discipline for boys. It would +hardly be extravagant to say that the masterpieces +of literature now used, in our intermediate and grammar +grades, are not a quarter so difficult and four +times as appropriate and interesting as the Latin +and Greek authors just cited. It seems obvious that +we are summoned to a more energetic study and +treatment of our masterpieces.</p> + +<p>This struggle to get at the deeper undercurrent +of thought in an author is the true stimulus and discipline +of such studies.</p> + +<p>A great author approaches his deeper thought step +by step. He has many side-lights, variety of episode +and preliminary. He provides for the proper scenery +and setting for his thought. He does not bring us +at once, point blank, upon his hero or upon the<span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span> +hero's fate. There is great variety of inference and +suggestion in the preparation and grouping of the +artist's work. As in climbing some mountain peak, +we wind through cañon, along rugged hillsides and +spurs, only now and then catching a glimpse of the +towering object of our climb, reaching, after many a +devious and toilsome march, the rugged backbone +of the giant; so the poet carries us along many a +winding road, through byways and thickets, over +hill and plain, before he brings us into full view of +the main object of search. But after awhile we do +stand face to face with a real character, and are conscious +of the framework upon which it is built. King +Saul has run his course and is about to reap the +reward of his doings, to lie down in the bed which +he has prepared. We see the author's deeper plan, +and realize that his characters act along the line of +the silent but invincible laws of social life and conduct. +These deep significant truths of human experience +do not lie upon the surface. If we are really +to get a deep insight into human character, as portrayed +by the masters, we must not be in haste. We +should be willing to follow our guide patiently and +await results.</p> + +<p>A complete masterpiece, studied as a whole, reveals +the author's power. It gives some adequate perception +of his style and compass. A play, a poem, a +novel, a biography, is a unit. No single part can +give a satisfactory idea of the whole. A single scene<span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span> +from "Crusoe" or from the "Merchant of Venice" +does not give us the author's meaning. An extract +from one of Burke's speeches supplies no adequate +notion of his statesmanlike grasp of thought. To +get some impression of what Daniel Webster was we +must read a whole speech. A literary product is like +a masterpiece of architecture. The whole must stand +out in the due proportion of its parts to reveal the +master's thought.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Walk about Zion, and go round about her:<br /></span> +<span class="i0">Tell the towers thereof.<br /></span> +<span class="i0">Mark ye well her bulwarks, consider her palaces;<br /></span> +<span class="i0">That ye may tell it to the generations following."<br /></span> +</div></div> + +<p>To have read through with care and thoughtful +appreciation a single literary masterpiece and to have +felt the full measure of a master's power, is a rare +and lasting stroke of culture. As children move up +through the grades they may receive the strong and +abiding impress of the masters of style. Let it come +to them in its undiminished strength. To feel the +powerful tonic effect of the best stories and poems +suited to their age will give them such an appreciation +of what is genuine and good in literature, that +frivolous and trashy reading is measured at its true +value.</p> + +<p>The fragments and extracts with which our higher +readers are filled are not without power and influence +upon culture. They have given many children their +first taste of the beauty and strength of literature.<span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span> +But it is a great mistake to tear these gems of +thought from their setting in literature and life, and +to jam them into the close and crowded quarters of a +text-book. Why satisfy ourselves with crumbs and +fragments when a full rich feast may be had for the +asking?</p> + +<p>In some cases it is said that the reading of fragments +of large poems or plays has excited curiosity +and led to the reading of the larger wholes. This is +doubtless true, but in the greater number of cases +we are inclined to think the habit of being satisfied +with fragments has checked the formation of any +appreciation of literary wholes. This tendency to +be satisfied with piecemeal performances illustrates +painfully the shallowness and incoherency of much +of our educational work. If teachers cannot think +beyond a broken page of Shakespeare, why should +children burden themselves with the labor of thought? +Charles Kingsley, in his essay on English literature, +says:—</p> + +<p>"But I must plead for whole works. 'Extracts' +and 'Select Beauties' are about as practical as the +worthy in the old story, who, wishing to sell his house, +brought one of the bricks to market as a specimen. +It is equally unfair on the author and on the pupil; +for it is impossible to show the merits or demerits +of a work of art, even to explain the truth or falsehood +of any particular passage, except by viewing +the book as an organic whole."<span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span></p> + +<p>What would the authors themselves say upon seeing +their work thus mutilated? There is even a +touch of the farcical in the effort to read naturally +and forcibly and discuss intelligently a fragment like +Antony's speech over Cæsar.</p> + +<p>3. The moral effect of a complete masterpiece is +deeper and more permanent. Not only do we see a +person acting in more situations, revealing thus his +motives and hidden springs of action, but the thread +of his thought and life is unravelled in a steady +sequence. Later acts are seen as the result of former +tendencies. The silent reign of moral law in +human actions is discovered. Slowly but surely conduct +works out its own reward along the line of these +deeper principles of action. Even in the books read +in the early grades these profound lessons of life +come out clear and strong. Robinson Crusoe, Theseus, +Siegfried, Hiawatha, Beauty and the Beast, +Jason, King Arthur, and Ulysses are not holiday +guests. They are face to face with the serious +problems of life. Each person is seen in the +present make-up and tendency of his character. +When the eventual wind-up comes, be it a collapse +or an ascension, we see how surely and +fatally such results spring from such motives and +tendencies. Washington is found to be the first in +the hearts of his countrymen; Arnold is execrated; +King Lear moves on blindly to the reward which +his own folly has prearranged; Macbeth entangles<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span> +himself in a network of fatal errors; Adam Bede +emerges from the bitter ordeal of disappointment +with his manly qualities subdued but stronger. Give +the novelist or poet time and opportunity, and he is +the true interpreter of conduct and destiny. He +reveals in real and yet ideal characters the working +out in life of the fundamental principles of moral +action.</p> + +<p>4. A classic work is often a picture of an age, a +panoramic survey of an historical epoch. Scott's +"Marmion" is such a graphic and dramatic portrayal +of feudalism in Scotland. The castle with its lord, +attendants, and household, the steep frowning walls +and turrets, the moat, drawbridge, and dungeon, the +chapel, halls, and feastings, the knight clad in armor, +on horseback with squire and troop,—these are the +details of the first picture. The cloister and nuns, +with their sequestered habits and dress, their devotion +and masses, supply the other characteristic picture of +that age, with Rome in the background. The court +scene and ball in King James's palace, before the +day of Flodden, the view of Scotland's army from +the mountain side, with the motley hordes from highland +and lowland and neighboring isles, and lastly, +the battle of Flodden itself, where wisdom is weighed +and valor put to the final test,—all these are but +the parts of a well-adjusted picture of life in feudal +times on the Scottish border. There is incidental +to the narrative much vivid description of Scotch<span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span> +scenery and geography, of mountain or valley, of +frowning castle or rocky coast, much of Scotch tradition, +custom, superstition, and clannishness. The +scenes in cloister and dungeon and on the battle-field +are more intensely real than historical narratives +can be. While not strict history, this is truer than +history because it brings us closer to the spirit of +that time. Marmion and Douglas stand out more +clear and lifelike than the men of history.</p> + +<p>Although feudalism underwent constant changes +and modifications in every country of Europe, it is +still true that "Marmion" is a type of feudal conditions, +not only in Scotland, but in other parts of Europe, +and a full perception of Scott's poem will make one +at home in any part of European history during +feudal times. As a historical picture of life, it is a +key to the spirit and animating ideas that swayed +the Western nations during several centuries. It is +fiction, not history, in the usual sense, and yet it gives +a more real and vivid consciousness of the forces at +work in that age than history proper.</p> + +<p>While the plot of the story covers a narrow field, +only a few days of time and a small area of country, +its roots go deep into the whole social, religious, and +political fabric of that time. It touches real history +at a critical point in the relations between England +and Scotland. It is stirred also by the spirit of the +Scotch bard and of minstrelsy. It shows what a +hold Rome had in those days, even in the highlands of<span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span> +Scotland. It is full of Scotch scenery and geography. +It rings with the clarion of war and of battle. It +reveals the contempt in which letters were held +even by the most powerful nobles. Oxen are described +as drawing cannon upon the field of Flodden, +and in time these guns broke down the walls of +feudalism. As a historical picture Marmion is many-sided, +and the roots of the story reach out through +the whole fabric of society, showing how all the parts +cohere. Such a piece of historical literature may +serve as a centre around which to gather much and +varied information through other school and home +readings. Children may find time to read "Ivanhoe," +"The Crusades," "Roland," "Don Quixote," "The +Golden Legend," "Macbeth," "Goetz von Berlichingen," +etc. They will have a nucleus upon which +to gather many related facts and ideas. It should +also be brought into proper connection with the +regular lessons in history and geography. History +reveals itself to the poet in these wonderfully vivid +and lifelike types. In many of these historical poems, +as "William Tell," "Evangeline," "Crusoe," "The +Nibelung Song," "Miles Standish," the "Odyssey," +"Sohrab and Rustum," some hero stands in the centre +of the narrative, and can be understood as a representative +figure of his times only as the whole series +of events in his life is unrolled.</p> + +<p>Where the study of larger literary wholes has +been taken up in good faith, it has brought a rich<span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span> +blessing of intelligent enthusiasm. Even in primary +schools, where literary wholes like "Hiawatha," +"Robinson Crusoe," and the "Golden Touch" are +handled with a view to exploit their whole content, +there has been a remarkable enrichment of the whole +life of the children. Such a treatment has gone so +deep into the problems and struggling conditions of +life delineated, that the children have become occupied +with the tent-making, boat-building, spinning, +and various constructions incident to the development +of the story.</p> + +<p>5. If it is true, as clearly expressed by strong thinkers +in the most various fields of deeper investigation, +that many of the chief literary products that have +come down to us from former ages are the only +means by which we can be brought into vital touch +and sympathy with the spirit and motives then ruling +among men; if it is equally true that children will +not grow up to the proper appreciation and interpretation +of our present life, except as they have experienced, +in thought and interest at least, the chief +struggles and motives of our fathers,—we may find +in these historic and literary materials the deep and +living springs of true education for children.</p> + +<p>The thought of the educative power of this ancestral +literature has been forcibly expressed by many +eminent writers.</p> + +<p>Scudder, in "Literature in School," says:—</p> + +<p>"There is the element of continuity. In the<span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span> +Roman household there stood the cinerary urns which +held the ashes of the ancestors of the family. Do +you think the young ever forgot the unbroken line of +descent by which they climbed to the heroic founders +of the state? In the Jewish family the child was +taught to think and speak of the God of Abraham, +and of Isaac, and of Jacob. In that great succession +he heard a voice which told him his nation was not +of a day. It is the business of the old to transmit +to the young the great traditions of the past of +the country; to feed anew the undying flame of +patriotism.</p> + +<p>"It is this concentration in poetry and the more +lofty prose which gives to literary art its preciousness +as a symbol of human endeavor, and renders it +the one essential and most serviceable means for +keeping alive the smouldering coals of patriotism. +It is the torch passed from one hand to another, signaling +hope and warning; and the one place above +all others where its light should be kindled is where +the young meet together, in those American temples +which the people have built in every town and village +in the country."</p> + +<p>Mabie, in "Books and Culture" (pp. 88, 89-113), +says:—</p> + +<p>"Now, it is upon this imperishable food which the +past has stored up through the genius of great artists +that later generations feed and nourish themselves. +It is through intimate contact with these fundamental<span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span> +conceptions, worked out with such infinite pain and +patience, that the individual experience is broadened +to include the experience of the race."</p> + +<p>"The student of literature, therefore, finds in its +noblest works not only the ultimate results of race +experience and the characteristic quality of race +genius, but the highest activity of the greatest minds +in their happiest and most expansive moments. In +this commingling of the best that is in the race and +the best that is in the individual, lies the mystery of +that double revelation which makes every work of art +a disclosure, not only of the nature of the man +behind it, but of all men behind him. In this commingling, +too, is preserved the most precious deposit +of what the race has been and done, and of what the +man has seen, felt, and known. In the nature of +things no educational material can be richer, none so +fundamentally expansive and illuminative."</p> + +<p>Emerson, in his "Essay on History," says:—</p> + +<p>"The advancing man discovers how deep a property +he has in literature,—in all fable as well as in +all history. He finds that the poet was no odd fellow +who described strange and impossible situations, but +that universal man wrote by his pen a confession true +for one and true for all. His own secret biography +he finds in lines wonderfully intelligible to him, dotted +down before he was born. One after another he +comes up in his private adventures with every fable +of Æsop, of Homer, of Hafiz, of Ariosto, of Chaucer,<span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span> +of Scott, and verifies them with his own head and +hands.</p> + +<p>"The beautiful fables of the Greeks, being proper +creations of the imagination and not of the fancy, are +universal verities. What a range of meanings and +what perpetual pertinence has the story of Prometheus! +Besides its primary value as the first chapter +of the history of Europe (the mythology thinly veiling +authentic facts, the invention of the mechanic +arts and the migration of colonies), it gives the history +of religion with some closeness to the faith of +later ages."</p> + +<p>"Thus in all ways does the soul concentrate and +reproduce its treasures for each pupil. He, too, shall +pass through the whole cycle of experience. He +shall collect into a focus the rays of nature. History +no longer shall be a dull book. It shall walk incarnate +in every just and wise man. You shall not tell +me by languages and titles a catalogue of the volumes +you have read. You shall make me feel what +periods you have lived. A man shall be the Temple +of Fame. He shall walk, as the poets have described +that goddess, in a robe painted all over with wonderful +events and experiences; his own form and features +by their exalted intelligence shall be that +variegated vest. I shall find in him the Foreworld; +in his childhood the Age of Gold; the Apples of +Knowledge; the Argonautic Expedition; the calling +of Abraham; the building of the Temple; the Ad<span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span>vent +of Christ; Dark Ages; the Revival of Letters; +the Reformation; the discovery of new lands; the +opening of new sciences, and new regions in man."</p> + +<p>6. It is not intended to limit the reading of the +schools to the longer classics, such as "Snow-Bound," +"The Vision of Sir Launfal," and Webster's Bunker +Hill speech, etc. There are also many shorter poems +and stories, ballads, and myths, that are equally good +and stand out as strong, complete expressions of +thought such as Tennyson's "Brook," Longfellow's +"Village Blacksmith," Whittier's "Barefoot Boy," +and many others. These shorter pieces should be interspersed +among the longer, and freely used to give +greater variety and zest to reading exercises. Many +of the finest literary products of the language are +found in these shorter poems and stories. They also +should be studied for the beauty and unity of thought +contained in each.</p> + +<p>7. But the <i>sustained power</i> gained from the full and +rich study of longer classics is the best fruitage of +the reading work. Every term of school should +lead the children into the full appreciation of one +or more of these masterly works. The value of +such study is well expressed by Scudder in his +"Literature in Schools" (pp. 54-56):—</p> + +<p>"The real point of practical reform, however, is +not in the preference of American authors to English, +but in the careful concentration of the minds +of boys and girls upon standard American literature,<span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span> +in opposition to a dissipation over a desultory and +mechanical acquaintance with scraps from a variety +of sources, good, bad, and indifferent. In my paper +on 'Nursery Classics in School,' I argued that there +is a true economy in substituting the great books +of that portion of the world's literature which represents +the childhood of the world's mind for the thin, +quickly forgotten, feeble imaginations of insignificant +bookmakers. There is an equally noble economy +in engaging the child's mind, when it is passing out +of an immature state into one of rational, intelligent +appropriation of literature, upon such carefully chosen +classic work as shall invigorate and deepen it. There +is plenty of vagrancy in reading; the public libraries +and cheap papers are abundantly able to satisfy the +truant: but it ought to be recognized once for all +that the schools are to train the mind into appreciation +of literature, not to amuse it with idle diversion; +to this end, the simplest and most direct method +is to place before boys and girls for their regular +task in reading, not scraps from this and that author, +duly paragraphed and numbered, but a wisely selected +series of works by men whom their country honors, +and who have made their country worth living in.</p> + +<p>"The continuous reading of a classic is in itself a +liberal education; the fragmentary reading of commonplace +lessons in minor morals, such as make up much +of our reading-books, is a pitiful waste of growing +mental powers. Even were our reading-books com<span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span>posed +of choice selections from the highest literature, +they would still miss the very great advantage which +follows upon the steady growth of acquaintance +with a sustained piece of literary art. I do not +insist, of course, that 'Evangeline' should be read at +one session of the school, though it would be exceedingly +helpful in training the powers of the mind if, +after this poem had been read day by day for a few +weeks, it were to be taken up first in its separate +thirds, and then in an entire reading. What I claim +is that the boy or girl who has read 'Evangeline' +through steadily has acquired a certain power in +appropriating literature which is not to be had by +reading a collection of minor poems,—the power +of long-sustained attention and interest."</p> + +<p>8. The study of literary wholes, whether longer or +shorter, in the common school is based upon the +notion that the full, rich thought of the author is +the absorbing purpose of our effort. Literature is +a reservoir of mental refinement and riches, for the +gaining of which we can afford to sacrifice many +things and make many even good things subordinate. +The words of the wise man in recommending +wisdom to the sons of men are not inappropriate: +"Hear; for I will speak of excellent things and the +opening of my lips shall be right things, and wickedness +is an abomination to my lips. Receive my +instruction and not silver; and knowledge rather +than choice gold. For wisdom is better than rubies;<span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span> +and all the things that may be desired are not to be +compared to it."</p> + +<p>To get at the wisdom of the best thinkers of the +world, so far as it is accessible to children, is the +straightforward aim of such study. The teachers of +reading, if they but realized it, are the guardians +of a temple more beautiful than the Parthenon in +the days of Pericles, more impressive than the sacred +towers and porticos at Jerusalem; they are the custodians +of a treasure far more rich and lasting than +that in any palace of a king. Such comparisons, +indeed, are almost belittling to the dignity of our +subject. How noble and vast is the temple of +literature! What single mind can grasp its proportions +or the boundless beauty of its decorations? +Moreover, it is a living temple, ever springing up +afresh, in all its pristine strength and beauty, whereever +minds are found reverent, studious, and thoughtful.</p> + +<p>9. The old proverb suggests that we "beware of +the man of one book," and is significant of a strong +practical truth. Our modern life demands a somewhat +broader basis of operations than one book can +furnish. But a few of the great books, well mastered, +give the main elements of strength.</p> + +<p>Mabie has a short chapter on the "Books of Life" +which "include the original, creative, first-hand books +in all literatures, and constitute in the last analysis +a comparatively small group, with which any student<span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span> +can thoroughly familiarize himself. The literary +impulse of the race has expressed itself in a great +variety of works of varying charm and power, but +the books which are fountain-heads of vitality, ideas, +and beauty are few in number."</p> + +<p>The effect upon the teacher of the study of a few +of the "Books of Life" is deserving of emphasis. +First, by limiting the choice to a few things, teachers +are able, without burdening themselves, to penetrate +into the deeper thought and meaning of standard +works which are good specimens and criteria of all +superior literature. Teachers are enabled thus to +become, in a limited way, real students of literature. +It has been observed, not seldom, that teachers of +usual capacity, when turned into a single rich field +like that of "Hiawatha" or the "Merchant of Venice" +or "The Lays of Ancient Rome" or the "Lady of the +Lake," receive an awakening which means much for +their general culture and teaching power. The scattering +of the attention over miscellaneous selections +and fragments can hardly produce this awakening.</p> + +<p>Certain difficulties are incident to the reading of +longer works as wholes which it is well to recognize.</p> + +<p>1. There is no such nice grading of verbal and +language difficulties as has been wrought out in +some of the standard readers. On this point +Scudder says (p. 41 of "Literature in Schools"):—</p> + +<p>"The drawback to the use of these nursery classics +in the schoolroom undoubtedly has been in the<span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span> +absence of versions which are intelligible to children +of the proper age, reading by themselves. The +makers of the graded reading-books have expended +all their ingenuity in grading the ascent. They have +been so concerned about the gradual enlargement of +their vocabularies that they have paid slight attention +to the ideas which the words were intended to +convey. But just this gradation may be secured +through the use of these stories, and it only needs +that they should be written out in a form as simple, +especially as regards the order of words, as that +which obtains in the reading-books of equivalent +grade."</p> + +<p>But in the longer classics for more advanced +grades there can be no such adaptation, and the +author's form should be retained. The authors of +"Rip Van Winkle" or "Snow-Bound" or "Horatius +at the Bridge" were not trying to phrase their +thought to meet the needs of children, but wrote as +the spirit moved them. The greater vigor and intensity +of the author's style will make up, however, in +large part, for this defect in easy grading. Children +are not so much afraid of big or new words, if there +is attractiveness and power of thought. The larger +richness and variety of language in a fruitful author +is a positive advantage as compared with the leanness +and dulness of many a smoothly graded reading lesson.</p> + +<p>2. It is claimed that there is, in some masterpieces, +like "Evangeline" or one of Webster's speeches, a<span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span> +monotony and tiresome sameness which grows burdensome +to pupils ere the conclusion is reached. At +least there is much less variety in style and thought +than in an equal number of pages in the usual reader.</p> + +<p>In some cases there is good ground for this criticism. +It may be a defect in the writer's style, or in +not finding a suitable selection for the class. In +some cases it is due to lack of power in the teacher +to bring the children properly into close contact with +the author's thought.</p> + +<p>But dulness and apathy are often found in reading +short selections as well as in longer ones. Generally +speaking, longer pieces are apt to kindle a deeper +and stronger interest. Many of the longer selections +have also great variety of rhetorical style. Dickens's +"Christmas Carol" is employed in one of the drill +books in reading to illustrate all phases of voice and +tone.</p> + +<p>3. It is not an unusual experience to find that a +longer story or poem seems too hard for a class, and +it may be impossible to interest them because of +verbal or thought difficulties. But the teacher should +not give up the struggle at once. Often, in a new +author, difficulties that seem at first insurmountable +give way before vigorous effort, and a lively interest +is awakened. This has been noticed in Macaulay's +"Lays of Ancient Rome," in Irving's "Rip Van +Winkle," in Scott's "Lady of the Lake," also in +Webster's "Speech in reply to Hayne." The teacher<span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span> +should not depend wholly upon the author's making +himself intelligible and interesting to the children. +His own enthusiasm, clear grasp of thought, suggestive +assignment of lesson, and skill in comment and +question should awaken insight and attention. It is +advisable at times to pass by specially difficult passages, +or leave them for later special study.</p> + +<p>4. In some schools it is not possible to secure +books containing the complete classics. But even +the regular readers often contain complete poems +and stories, and several of the large companies are +publishing many of the complete masterpieces in +good print and binding, no more expensive than +the regular readers.</p> + +<p>5. The greatest difficulty, after all, is the lack of +experience of many teachers with the longer classics. +In many cases their inability to select what would +suit their classes is a hindrance. But the experience +of many teachers with these materials is rapidly settling +the question as to the place and importance of +the leading masterpieces as well as of many shorter +selections.</p> + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span></p> +<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III</h2> + +<h3>LITERARY MATERIALS FOR THE FIVE UPPER GRADES</h3> + + +<p>There is great abundance and variety of choice +reading matter suitable for the grades from the fourth +to the eighth inclusive. The best sets of reading-books +have drawn from this rich material, but no +series of readers can compass adequately the field. +Some of the longer classical stories and poems have +been incorporated into readers, but a single set of +readers cannot be made large enough to contain a +quarter of the valuable reading matter which should be +furnished in these grades. The large publishing houses +now supply, at moderate expense, in small and convenient +book form, a great variety of the very best +complete masterpieces. In order to show more clearly +the richness and variety of this material, we will discuss +briefly the principal kinds of reading matter which +are distributed through these five grades. We assume +that during the first three years of school life children +have learned how to read, having mastered the +forms and symbols of printed language. At the +beginning of the fourth grade, therefore, they are +prepared to read some of those choice literary products +which constitute a part of the permanent lit<span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span>erature +of the world. After having collected and +arranged these products, we find that they fall into +several distinctly marked classes.</p> + + +<p>1. The Myths.</p> + +<p>These include such stories as Hawthorne's "Wonder +Book" and "Tanglewood Tales," Peabody's "Old +Greek Folk Stories," Kingsley's "Greek Heroes," +"The Story of Ulysses," Bryant's translation of +the "Iliad" and "Odyssey," Pope's "Homer," and +many other prose and poetic renderings of the Greek +myths.</p> + +<p>Another group of myths include Mabie's "Norse +Stories," "Heroes of Asgard," "Siegfried," "Myths +of Northern Lands," Skinner's "Readings in Folk +Lore," and many forms of the Norse myths. The +story of "Hiawatha" belongs also to this group, +while some of the earlier English and Roman myths +belong to the same class.</p> + +<p>The choicest of these mythical stories are distributed +as reading matter through the fourth and +fifth grades. They constitute a large share of the +most famous literature of the great civilized nations. +It is worth while to name over the virtues of these +stories and poems.</p> + +<p>They have sprung directly out of the people's +life, they are race products, worked over from age +to age by poetic spirits, and finally gathered into +enduring form by a Homer, Virgil, or Spenser. +The best of our later poets and prose masters have<span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span> +employed their finest skill in rendering them into +simple and poetic English, as Bryant, Kingsley, +Longfellow, Pope, Hawthorne, Palmer, Tennyson, +Church, and many more.</p> + +<p>They are the best descriptions we have of the +customs, ideas, and dress, the homes, habits, and motives, +of the ancestral races. Many other sources, +as temples, ruins, tombs, coins, etc., help to explain +this early history; but this literature calls it again +into life and puts meaning into all other sources of +knowledge.</p> + +<p>The influence which this early literature has had +upon later historical growth of the great races is +overwhelming, and is plain to the eyes of even unscholarly +persons. The root from which the marvellous +tree of Greek civilization grew is seen in Homer's +poems.</p> + +<p>In these myths we find those commanding characters +which typify the strength and virtues of the +race, as Achilles, Ulysses, Siegfried, Penelope, Thor, +Apollo, Theseus, Hiawatha, Orpheus, Diana, Vulcan, +Prometheus, and the Muses.</p> + +<p>A close acquaintance with these creative ideas of +the early world is necessary to an understanding +of all subsequent life and literature. And it is not +merely the names of Greek divinities and definitions +of their character and qualities which put meaning +into the numberless allusions of modern writers. One +reason why many modern thinkers smile at the trite<span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span>ness +and childishness of Greek fable is, that they +have not caught the spirit and meaning of the Greek +story. The great masters of thought, like Goethe, +Shakespeare, Emerson, Tennyson, and Bryant, have +seen deeper.</p> + +<p>It is, moreover, in childhood, during the early school +years especially, that we may best appreciate and +enjoy these poetic creations of an early world. It is +hardly to be expected that people whose youth has +been clamped into the mould of commonplace and +sensuous facts, and whose later years have been +crusted over with modern materialism and commercialism, +should listen with any patience to Orpheus +and the Muses, or even to the wood notes of Pan.</p> + +<p>We hardly need to dwell upon the idea that the +old heroic myths are the delight of boys and girls, +and that this sympathy for the myth is the foundation +of its educative power. Nor is it the purpose of +the school to warp the minds of children into this one +channel of growth. The historical and scientific +studies run parallel with the myth, and give strength +for realities.</p> + +<p>It is not difficult to see that music, the drama, and +the fine arts spring from these old myths as from +their chief source. They furnish motive to many of +the greatest works of dramatist, composer, painter, +and sculptor, in all the ages since. Æschylus and +the Greek dramatists, Goethe and Wagner, Fénelon +and Shakespeare, drew abundantly from these sources.<span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span></p> + +<p>A few of the striking characters of this great age +of heroic myths should be treated with such fulness +as to stand out clearly to the children and appeal to +the heart as well as to the head. Ulysses and Siegfried +stand in the centre of two of the chief stories, +and exemplify great qualities of character, strength, +wisdom, and nobleness of mind.</p> + +<p>In the third grade the children have had an oral +introduction to some of the old stories, and have had +a spirited entrance to Mythland. This oral treatment +of the stories is a fitting and necessary prelude +to the reading work of the fourth and fifth grades. +It is more fully discussed, together with the art of +the story-teller, in "The Special Method in Primary +Reading and Story."</p> + +<p>Closely related to the myths, and kindred in spirit, +are such choice reading materials as "The Arabian +Nights," "King of the Golden River," Stockton's +"Fanciful Tales," "The Pied Piper," and a number +of shorter poems and stories found in the collections +recommended for fourth and fifth grades. Some of +Hawthorne's and Irving's stories belong also to this +group.</p> + + +<p>2. Ballads and Traditional Stories.</p> + +<p>A somewhat distinct group of the best reading for +fourth and fifth grades is found in the historical +ballads and national legends from the early history +of England, Germany, Italy, and France. They include +such selections as "Sir Patrick Spens," "The<span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span> +Ballads of Robin Hood," "Horatius," "Bannock-burn," +"The Heart of the Bruce," "The Story of +Regulus," of "Cincinnatus," "Alfred the Harper," +and many more. In the list of books recommended +for children's reading are several ballad books, +Macaulay's "Lays of Ancient Rome," "The Book of +Golden Deeds," "Tales from English History," and +several others, with great variety of poem and story. +Many of these selections are short and spirited and +well suited to awaken the strongest enthusiasm of +children. They are sometimes in dialogue form, +both in prose and verse, have strong dramatic +action, and are thus helpful in variety and force of +expression. There is also much early history and +national spirit involved. The old historical ballads +and traditions have great educative value. They are +simple, crude, and powerful, and awaken the spirit to +receive the message of heroism. In her introduction +to the "Ballad Book," Katharine Lee Bates says, +"For these primitive folk-songs, which have done +so much to educate the poetic sense in the fine +peasantry of Scotland—that peasantry which has +produced an Ayreshire Ploughman and an Ettric +Shepherd—are assuredly,</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"'Thanks to the human heart by which it lives,'<br /></span> +</div></div> + +<p class="noidt">among the best educators that can be brought into +our schoolrooms."</p> + +<p>"The Lays of Ancient Rome," the "Ballads," and<span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span> +the "Tales from English History" belong to the +heroic series. Though far separated in time and +place, they breathe the same spirit of personal energy, +self-sacrifice, and love of country. They reveal +manly resistance to cruelty and tyranny. We may +begin this series with a term's work upon Macaulay's +"Lays" and a few other choice stories in prose and +verse. Thereafter we may insert other ballads, +where needed, in connection with history, and in +amplification of longer stories or masterpieces like +Scott's "Tales of a Grandfather," and "Marmion." +In the fifth grade, children are of an age when these +stories of heroism in olden days strike a responsive +chord. They delight in such tales, memorize them, +and enter into the full energy of their spirited reproduction. +The main purpose at first is to appreciate +their thought as an expression of history, +tradition, and national life. A complete and absorbing +study of a single series of these ballads, as of +Macaulay's, supplies also an excellent standard of +comparison for other more or less similar episodes +in the history of Switzerland, Greece, England, and +America.</p> + +<p>These historical legends merge almost imperceptibly +into the historical tales of early English, +Roman, and French or German history. The patriarchal +stories of the Old Testament furnish the +finest of early history stories and should be included +in these materials. "The Old Stories of the East,"<span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span> +and "Old Testament Stories in Scripture Language" +are among the best.</p> + + +<p>3. Stories of Chivalry.</p> + +<p>Tales of chivalry, beginning with "Arthur and his +Round Table Knights," "Roland and Oliver," and +other mediæval tales, have a great attraction for poets +and children. Such books are included in our lists as +"The Court of King Arthur," the "Story of Roland," +"Tales of Chivalry," "The Boys' King Arthur," the +"Age of Chivalry," and "The Coming of Arthur" and +"Passing of Arthur." There are also many shorter +poems touching this spirit of chivalry in the Ballad +literature. The character and spirit of King Arthur +as revealed in the matchless music of Tennyson +should find its way to the hearts of children before +they leave the school. Like Sir Galahad, he could +say,</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"My strength is as the strength of ten<br /></span> +<span class="i0">Because my heart is pure."<br /></span> +</div></div> + + +<p>4. Historical Stories and Poems.</p> + +<p>In the fifth and sixth grades children should begin +to read some of the best biographical and historical +stories of America and of European countries. Of +these we have excellent materials from many lands +and periods of time, such as Higginson's "American +Explorers," Morris's "Historical Tales" (both American +and English), "Stories of American Life and +Adventure," "Stories of Our Country," "Pioneer History +Stories," "Ten Boys on the Road from Long<span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span> +Ago," "The Story of the English," "Stories from +Herodotus," "Pilgrims and Puritans," Hawthorne's +"Biographical Stories," "Stories from American +Life," and others.</p> + +<p>In the oral history lessons given on alternate days +in fourth grade (see special method in history) we +have made a spirited entrance to American history +through the pioneer stories of the Mississippi Valley. +These should precede and pave the way for classic +readings in American history. In the fifth grade, +the stories of Columbus and of the chief navigators, +also the narratives of the Atlantic coast pioneers, are +told. The regular history work of the sixth grade +should be a study of the growth of the leading +colonies during the colonial period and the French +and Indian Wars.</p> + +<p>In the fifth grade we may begin to read some of +the hero narratives of our own pioneer epoch as +rendered by the best writers; for instance, Higginson's +"American Explorers," "Pilgrims and Puritans," +"Stories of Our Country," and "Grandfather's +Chair." They are lifelike and spirited, and introduce +us to the realism of our early history in its +rugged exposure and trials, while they bring out those +stern but high ideals of life which the Puritan and +the Cavalier, the navigator, the pioneer hunter, and +explorer illustrate. Higginson's collection of letters +and reports of the early explorers, with their quaint +language and eye-witness descriptions, is strikingly<span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span> +vivid in its portraiture of early scenes upon our +shores. Hawthorne, in "Grandfather's Chair," has +moulded the hardy biography of New England leaders +into literary form.</p> + + +<p>5. Great Biographies.</p> + +<p>In addition to the shorter biographical stories just +mentioned, as children advance into the sixth, seventh, +and eighth grades, they should make a close acquaintance +with a few of the great biographies. There is +an abundance of excellent American biographies, but +we should limit ourselves to those most important +and best suited to influence the character of young +people. It is necessary also to use those which have +been written in a style easily comprehended by the +children. Some of the best are as follows: Scudder's +"Life of Washington," Franklin's "Autobiography," +Hosmer's "Life of Samuel Adams," and the lives +of John Quincy Adams, Daniel Webster, and Lincoln +in the "Statesman Series." There are two +fairly good books of Lincoln's early life for children. +There are also many shorter biographies included +in the books recommended for regular or collateral +reading.</p> + +<p>In style and content the story of Franklin is +one of the best for children. The "Autobiography" +of Franklin has many graphic touches +from American life. His intense practical personality, +his many-sidedness and public spirit, make +up a character that will long instruct and open<span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span> +out in many directions the minds of the young. +His clear sense and wisdom in small affairs as in +great, and the pleasing style of his narrative, are +sufficiently characteristic to have a strong personal +impression. It will hardly be necessary to take the +whole of the "Autobiography," but the more attractive +parts, leaving the rest to the private reading of +children. "Poor Richard's Almanac" intensifies the +notion of Franklin's practical and everyday wisdom, +and at the same time introduces the children to a +form of literature that, in colonial days, under +Franklin's patronage, had a wide acceptance and +lasting influence in America.</p> + +<p>Plutarch's "Lives" furnish a series of great biographies +which grammar school children should +become well acquainted with. The lives of American +writers and poets should be brought to the attention +of children in conjunction with their productions. +"The Children's Stories of American Literature" +and the introductory chapters of many of the masterpieces +furnish this interesting and stimulating +material. It should not be neglected by pupils and +teachers. For older pupils and for teachers several +of Macaulay's "Essays" are valuable, and the style +is strikingly interesting. For example, the essays on +Samuel Johnson, Lord Chatham, Milton, Addison, +and Frederick the Great. Motley's "Essay on Peter +the Great" and Carlyle's "Essay on Burns" are of +similar interest and value. "The Schönberg Cotta<span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span> +Family" is valuable in the upper grammar grades. +Most of this kind of reading must be outside reference +work if it is done at all. Teachers should, first +of all, enrich their own experience by these readings, +occasionally bring a book to the class from +which selections may be read, and, secondly, encourage +the more enthusiastic and capable children to +this wider field of reading.</p> + + +<p>6. Historical Poems and Pictures of American +Life.</p> + +<p>Some of the best American poems and prose +masterpieces are fine descriptions of American life +and manners, in different parts of the country and +at various times. Such are: "Courtship of Miles +Standish," "Tales of the White Hills," "Snow-Bound," +"Rip Van Winkle," and "Sleepy Hollow." +"The Gentle Boy," "Mabel Martin," "Giles Corey," +"Evangeline," "Uncle Tom's Cabin," and some of +the great biographies, like those of Samuel Adams, +Franklin, Washington, and Lincoln, are also fine +descriptions of home life in America. The same +may be said of some of the masterpieces of English +and European literature, for example, "Ivanhoe," +"Roger de Coverley," "The Christmas Carol," +"Vicar of Wakefield," "William Tell," "Silas Marner," +"The Cotter's Saturday Night," and "Schönberg +Cotta Family."</p> + +<p>The culture value of these pictures of home and +domestic life for young people is surpassingly great.<span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span> +Gradually their views are broadened, and they may +be imbued with those social, home-bred qualities and +virtues so fundamental in human life.</p> + +<p>Irving's stories and Longfellow's "Miles Standish" +give a still more pronounced and pleasing +literary cast to two of the characteristic forms of +life in our colonial history, the Puritan and the +Dutch Patroon. If the children have reached this +point, where they can read and enjoy the "Sketch-Book," +it will be worth much as a description of life +along the Hudson, and will develop taste and appreciation +for literary excellence. Even the fanciful +and ridiculous elements conduce to mental health +and soundness, by showing up in pleasing satire the +weaknesses and foibles of well-meaning people.</p> + +<p>"Snow-Bound," "Songs of Labor," and "Among +the Hills," while not historical in the usual sense, +are still plainly American, and may well be associated +with other poetic delineations of American +life. "Snow-Bound" is a picture of New England +life, with its pleasing and deep-rooted memories. Its +family spirit and idealization of common objects and +joys make it a classic which reaches the hearts of +boys and girls. "Among the Hills" is also a picture +of home life in New England mountains, a contrast +of the mean and low in home environment to +the beauty of thrift and taste and unselfish home +joys. The "Songs of Labor" are descriptive of the +toils and spirit of our varied employments in New<span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span> +England and of that larger New England which the +migrating Yankees have established between the +oceans.</p> + +<p>"Evangeline" is another literary pearl that enshrines +in sad and mournful measures a story of +colonial days, and teaches several great lessons, as +of the harshness and injustice of war, of fair-mindedness +and sympathy for those of alien speech and +country, of patience and gentleness and loyalty to +high ideals in a character familiar and sacred to all.</p> + + +<p>7. The Poetry of Nature in the Masterpieces of +Literature.</p> + +<p>Both in poetic and in prose form there is great +variety and depth of nature worship in good literature. +There are few, if any, of the great poets who +have not been enthusiastic and sympathetic observers +of nature,—nature lovers, we may call them. We +can hardly mention the names of Emerson, Bryant, +and Wordsworth, without thinking of their loving +companionship with nature, their flight to the woods +and fields. But the same is true of Lowell, Whittier, +Hawthorne, Whitman, and all the rest. When we +add to these, those companions of nature, such as +Thoreau, Leander Keyser, Olive Thorn Miller, Burroughs, +Warner, and others of like spirit, we may +be surprised at the number of our leading writers +who have found their chief delight in dwelling close +to the heart of nature.</p> + +<p>An examination of the books recommended for<span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span> +children's study and delight will reveal a large number +of the most graceful, inspiriting products of +human thought, which are nature poems, nature +hymns, odes to skylark, the dandelion, the mountain +daisy, communings with the myriad moods and +forms of the natural world. Such books as "Nature +Pictures by American Poets," "Golden Treasury of +Songs and Lyrics," "Poetry of the Seasons," the +"Open Sesame" books, and others, show an infinite +variety of poetic inspiration from nature. Adding +to these Burroughs's "Birds and Bees," "Wake +Robin," "Squirrels and other Fur-bearers"; Thoreau's +"Succession of Forest Trees"; Higginson's +"Outdoor Papers"; Keyser's "News from the +Birds," "In Bird Land," and "Birddom"; Torrey's +"Footpath Way," and "Birds in the Bush"; Long's +"Wilderness Ways," and "Ways of Wood Folk"; +the "Plant World" of Vincent, the "Natural History" +of Selborne, and others of like quality,—and +we have an abundance of the most friendly and enticing +invitations to nature study. These materials +are suited, by proper arrangement, to all the grades +from the fourth up. Under good teachers such +books can do no other than awaken and encourage +the happiest kind of observation and sympathy for +nature. It is the kind of appreciation of birds and +trees, insects and clouds, which at once trains to +close and discriminating perception, and to the cultivation +of æsthetic sense in color, form, and sound.<span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span></p> + +<p>The love of nature cannot be better instilled than +by following these poets.</p> + +<p>While the study of literature as it images nature +cannot take the place of pure science, it is the most +powerful ally that the scientist can call in. The +poets can do as much to idealize science study, to +wake the dull eye, and quicken the languid interest +in nature, as scientists themselves. Away, then, +with this presumed antagonism between literature +and science! Neither is complete without the other. +Neither can stand on its own feet. But together, in +mutual support, they cannot be tripped up. The +facts, the laws, the utilities, adaptations, and wonders +in nature are not so marvellous but the poet's eye +will pierce beneath and above them, will give them +a deeper interpretation, and clothe them in a garment +of beauty and praise. There is nothing beautiful +or grand or praiseworthy that the poet's eye +will not detect it, and the poet's art reveal it in +living and lasting forms. Let the scientist delve +and the poet sing. The messages between them +should be only those of cheer.</p> + +<p>It is in this myriad-voiced world of fields and +brooks, of mountain, lake, and river, of storm and +cloud and of the changing seasons, that poets find +the images, suggestions, and analogies which interpret +and illustrate the spiritual life of man. The +more rigid study of science in laboratory and class-room +is necessary to the student, but it would be a<span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span> +narrow and pedantic teacher who would not welcome +the poetic temper and enthusiasm in nature study.</p> + +<p>The teachers of reading have, therefore, the best +of all opportunities for cultivating this many-sided +sympathy for and insight into nature, and at the +same time to train the children to correlate these +nature poems with their science studies. Observers +like Thoreau and Burroughs give us the greatest +inducement for getting out into the woods. They +open our eyes to the beauties and our hearts to the +truth of nature's teachings. These are the gardens +of delight where science and poetry walk hand in +hand and speak face to face. It would not be difficult +to show that many of the greatest scientists +were poets, and that some of the chiefest poets have +been foremost in scientific study.</p> + + +<p>8. The Sentiment of Patriotism in Literature.</p> + +<p>The powerful national spirit finds expression in +many forms of literature, in hymns, in war song, in +oration, in essay, in pioneer narrative, in stories of battle, +in novel, in flag song, in ballad, and in biography.</p> + +<p>We have already noted the great significance of +American history stories in fourth and fifth grades. +It is from the early pioneer epoch and the colonial +history that we derive much of our best educative +history. The heroism of these old days has been +commemorated in story and poem by our best writers.</p> + +<p>As we approach the Revolutionary crisis a new body +of choice literary products, aglow with the fire of patri<span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span>otism +and independence, is found stored up for the joy +and stimulus of our growing young Americans: "Paul +Revere's Ride," "Grandmother's Story of Bunker +Hill," Washington's letters, "A Ballad of the Boston +Tea Party," "Ode for Washington's Birthday," "Lexington" +(Holmes), "The Song of Marion's Men," +"The Green Mountain Boys," Webster's speeches +at Bunker Hill and on Adams and Jefferson, "Old +Ticonderoga" (Hawthorne), Burke's speech on the +American War, Washington's "Farewell to the +Army," The Declaration of Independence, "Under +the Old Elm," and descriptions of some of the great +scenes of the war by our best historians.</p> + +<p>It is to be desired that children in the seventh +grade may have opportunity in regular history lessons +to study in detail a few of the central topics of the +Revolutionary epoch. This will put them in touch +with the spirit and surroundings of the Americans.</p> + +<p>In the reading lessons of the same grade we may +well afford to discover and feel what our best patriots +and men of letters have said and felt in view of the +struggle for freedom. The noblest expressions of +sentiment upon great men and their achievements +are contagious with the young. Patriotism can find +no better soil in which to strike its deepest roots than +the noble outbursts of our orators and poets and +patriotic statesmen. The cumulative effect of these +varied but kindred materials is greater than when +scattered and disconnected. They mutually support<span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span> +each other, and when they are brought into close +dependence upon parallel historical studies, we may +well say that the children are drinking from the deep +and pure sources of true Americanism.</p> + +<p>Parallel to whatever history we attempt to teach in +the eighth grade should run a selection of the best +literary products that our American authors can +furnish, and here again we are rich in resources. +The thought and life of our people find their high-water +mark in the poet's clarion note and the statesman's +impassioned appeal. No others have perceived +the destiny of our young republic as our cherished +poets, Longfellow, Whittier, Bryant, Holmes, and +Emerson. They have stood upon the mountain tops, +looking far and wide through the clear atmosphere, +while the great army of the people has been tenting +in the valleys below. These wakeful priests and +prophets have caught the bright tints of the morning +while the people were still asleep, and have witnessed +the suffused glory of the sunset clouds when the +weary masses below had already forgotten the day's +toil. One thing at least, and that the greatest, can be +done for our children before they finish the common +school course. They may rise into this pure atmosphere +of poet, patriot, sage, and prophet. They may +hear these deathless strains and feel the thrill of these +clarion notes. Let their ears be once attuned to the +strength and harmony of this music, and it will not +cease to echo in their deeper life. The future<span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span> +patriots will be at hand, and the coming years will see +them rising to the great duties that inevitably await +them. We have a body of noble, patriotic material +which is capable of producing this effect if handled +by skilful teachers: the Ordinance of 1787, <i>The +Federalist</i>, Numbers 1 and 2, Washington's "Inaugurals" +and the "Farewell Address," Everett's +"Oration on Washington," "O Mother of Mighty +Race" (Bryant); "Our Country's Call" (Bryant); +"Abraham Lincoln" (Bryant); Lincoln's "Inaugurals" +and "Gettysburg Speech," "Army Hymn" and +"The Flower of Liberty" (Holmes), Webster's "Second +Speech on Foot's Resolution," The Emancipation +Proclamation, "The Fortune of the Republic" +(Emerson), etc., "Antiquity of Freedom" (Bryant); +"Centennial Hymn" (Whittier); "The Building of +the Ship" (Longfellow); "The Poor Voter on Election +Day" (Whittier).</p> + +<p>Why not gather together these sources of power, +of unselfish patriotism, of self-sacrifice, of noble and +inspiring impulse? Let this fruit-bringing seed be +sown deep in the minds and hearts of the receptive +young. What has inspired the best of men to high +thinking and living can touch them.</p> + +<p>It is not by reading and declaiming a few miscellaneous +fragments of patriotic gush, not by waving +flags and banners and following processions, that the +deeper sentiments of patriotism and humanity are to +be touched, but by gathering and concentrating these<span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span> +fuller, richer sources of spiritual power and conscious +national destiny. The schoolroom is by far the best +place to consolidate these purifying and conserving +sentiments. By gathering into a rising series and +focussing in the higher grades the various forms, in +prose and verse, in which the genius of our country +has found its strongest expression; by associating +these ringing sentiments with the epochs and crises +of our history, with the valorous deeds of patriots +upon the field and of statesmen in the senate, with +the life and longings of home-nurtured poets and +sages,—we shall plant seed whose fruitage will not +disappoint the lovers of the fatherland.</p> + +<p>Mr. Horace E. Scudder, in his two essays on +"Literature" and "American Classics in the Common +School," has portrayed with convincing clearness the +spiritual power and high-toned Americanism which +breathe from those literary monuments which have +been quarried from our own hillsides and chiselled by +American hands. We recommend to every teacher +the reading in full of these essays, from which we +quote at much length:—</p> + +<p>"Fifty years ago there were living in America six +men of mark, of whom the youngest was then nineteen +years of age, the oldest forty-four. Three of +the six are in their graves and three still breathe the +kindly air. [Since this was written, in 1888, the last +of the six has passed away.] One only of the six +has held high place in the national councils, and it is<span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span> +not by that distinction that he is known and loved. +They have not been in battle; they have had no +armies at their command; they have not amassed +great fortunes, nor have great industries waited on +their movements. Those pageants of circumstances +which kindle the imagination have been remote from +their names. They were born on American soil; +they have breathed American air; they were nurtured +on American ideas. They are Americans of Americans. +They are as truly the issue of our national +life as are the common schools in which we glory. +During the fifty years in which our common school +system has been growing up to maturity these six +have lived and sung; and I dare say that the lives +and songs of Bryant, Emerson, Longfellow, Whittier, +Holmes, and Lowell have an imperishable value, +regarded as exponents of national life, not for a +moment to be outweighed in the balance by the most +elaborate system of common schools which the wit of +man may devise. The nation may command armies +and schools to rise from the soil, but it cannot call +into life a poet. Yet when the poet comes and we +hear his voice in the upper air, then we know the +nation he owns is worthy of the name. Do men +gather grapes of thorns or figs of thistles? Even so, +pure poetry springs from no rank soil of national +life.</p> + +<p>"I am not arguing for the critical study of our +great authors, in the higher grades of our schools.<span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span> +They are not the best subjects for critical scholarship; +criticism demands greater remoteness, greater +foreignness of nature. Moreover, critical study is +not the surest method of securing the full measure +of spiritual light, though it yields abundant gain in +the refinement of the intellectual nature and in the +quickening of the perceptive faculties. I am arguing +for the free, generous use of these authors in the +principal years of school life. It is then that their +power is most profoundly needed, and will be most +strongly felt. We need to put our children in their +impressionable years into instant and close connection +with the highest manifestation of our national +life. Away with the bottle and the tube! Give +them a lusty draft at the mother's full breast!</p> + +<p>"Nor do I fear that such a course will breed a +narrow and parochial Americanism. On the contrary, +it would destroy a vulgar pride in country, +help the young to see humanity from the heights +on which the masters of song have dwelt, and open +the mind to the more hospitable entertainment of +the best literature of every clime and age. I am +convinced that there is no surer way to introduce +the best English literature into our schools than to +give the place of honor to American literature. In +the order of nature a youth must be a citizen of his +own country before he can become naturalized in the +world. We recognize this in our geography and history; +we may wisely recognize it also in our reading.<span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span></p> + +<p>"The place, then, of literature in our common +school education is in spiritualizing life, letting light +into the mind, inspiring and feeding the higher forces +of human nature.</p> + +<p>"It is the business of the old to transmit to the +young the great traditions of the past of the country, +to feed anew the undying flame of patriotism. There +is the element of destiny. No nation lives upon its +past; it is already dead when it says, 'Let us eat and +drink to-day; for to-morrow we die.' But what that +destiny is to be may be read in the ideals which the +young are forming; and those ideals, again, it is +the business of the old to guide. They cannot form +them; the young must form them for themselves; +but whether these ideals shall be large or petty, +honorable or mean, will depend upon the sustenance +on which they are fed.</p> + +<p>"Now in a democracy, more signally than under +any other form of national organization, it is vitally necessary +that there should be an unceasing, unimpeded +circulation of the spiritual life of the people. The +sacrifice of the men and women who have made +and preserved America, from the days of Virginia +and New England to this hour, has been ascending +from the earth in a never-ending cloud; they have +fallen again in strains of music, in sculpture, in +painting, in memorial hall, in tale, in oration, in +poem, in consecration of life; and the spirit which +ascended is the same as that which descended. In<span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span> +literature above all is this spirit enshrined. You +have but to throw open the shrine, and the spirit +comes with its outspread blessings upon millions of +waiting souls. Entering them, it reissues in countless +shapes, and thus is the life of the nation in its +highest form kept ever in motion, and without motion +is no life.</p> + +<p>"The deposit of nationality is in laws, institutions, +art, character, and religion; but laws, institutions, +character, and religion are expressed through art +and mainly through the art of letters. It is literature, +therefore, that holds in precipitation the genius +of the country; and the higher the form of literature, +the more consummate the expression of that spirit +which does not so much seek a materialization as +it shapes itself inevitably in fitting form. Long may +we read and ponder the life of Washington, yet at +last fall back content upon those graphic lines of +Lowell in 'Under the Old Elm,' which cause the +figure of the great American to outline itself upon +the imagination with large and strong portraiture. +The spirit of the orations of Webster and Benton, +the whole history of the young giant poised in conscious +strength before his triumphant struggle, one +may catch in a breath in those glowing lines which end +'The Building of the Ship.' The deep passion of the +war for the Union may be overlooked in some formal +study of battles and campaigns, but rises pure, strong, +and flaming in the immortal 'Gettysburg Speech.'<span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span></p> + +<p>"Precisely thus the sentiment of patriotism must +be kept fresh and living in the hearts of the young +through quick and immediate contact with the +sources of that sentiment; and the most helpful +means are those spiritual deposits of patriotism +which we find in noble poetry and lofty prose, as +communicated by men who have lived patriotic lives +and been fed with coals from the altar.</p> + +<p>"It is from the men and women bred on American +soil that the fittest words come for the spiritual enrichment +of American youth. I believe heartily in +the advantage of enlarging one's horizon by taking +in other climes and other ages, but first let us make +sure of that great expansive power which lies close +at hand. I am sure there never was a time or country +where national education, under the guidance +of national art and thought, was so possible as in +America to-day.</p> + +<p>"The body of wholesome, strong American literature +is large enough to make it possible to keep boys +and girls upon it from the time when they begin to +recognize the element of authorship until they leave +the school, and it is varied and flexible enough to +give employment to the mind in all its stages of +development. Moreover, this literature is interesting, +and is allied with interesting concerns; half the +hard places are overcome by the willing mind, and +the boy who stumbles over some jejune lesson in his +reading-book will run over a bit of genuine prose<span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span> +from Irving which the schoolbook maker, with his +calipers, pronounces too hard.</p> + +<p>"We have gone quite far enough in the mechanical +development of the common school system. +What we most need is the breath of life, and reading +offers the noblest means for receiving and imparting +this breath of life. The spiritual element in education +in our common schools will be found to lie in +reserve in literature, and, as I believe, most effectively +in American literature.</p> + +<p>"Think for a moment of that great, silent, resistless +power for good which might at this moment be +lifting the youth of the country, were the hours for +reading in school expended upon the undying, life-giving +books! Think of the substantial growth of +a generous Americanism, were the boys and girls +to be fed from the fresh springs of American literature! +It would be no narrow provincialism into +which they would emerge. The windows in Longfellow's +mind looked to the east, and the children +who have entered into possession of his wealth travel +far. Bryant's flight carries one through upper air, +over broad champaigns. The lover of Emerson has +learned to get a remote vision. The companion of +Thoreau finds Concord become suddenly the centre +of a very wide horizon. Irving has annexed Spain +to America. Hawthorne has nationalized the gods +of Greece and given an atmosphere to New England. +Whittier has translated the Hebrew Scriptures into<span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span> +the American dialect. Lowell gives the American +boy an academy without cutting down a stick of +timber in the grove, or disturbing the birds. Holmes +supplies that hickory which makes one careless +of the crackling of thorns. Franklin makes the +America of a past generation a part of the great +world before treaties had bound the floating states +into formal connection with venerable nations. +What is all this but saying that the rich inheritance +we have is no local ten-acre lot, but a part of the +undivided estate of humanity. Universality, Cosmopolitanism,—these +are fine words, but no man ever +secured the freedom of the Universe who did not +first pay taxes and vote in his own village."—"Literature +in School" (Houghton, Mifflin, & Co.).</p> + + +<p>9. The series of American classics is nowise confined +to the ideas of local or national patriotism, but +above and beyond that deep and powerful sentiment +which magnifies the opportunity and manifest destiny +of our nation, it grasps at the ideal form and content +of those Christian virtues which now and evermore +carry healing and comfort to the toiling millions. +Our poets, as they have pondered on the past and +looked into the future, were not able to be content +with less than the best. As the vision of the coming +years unrolled itself before them they looked +upon it with joy mingled with solicitude. In the +mighty conflicts now upon us only those of generous +and saintly purpose and of pure hearts can prevail.<span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Brief is the time, I know,<br /></span> +<span class="i0">The warfare scarce begun;<br /></span> +<span class="i0">Yet all may win the triumphs thou hast won.<br /></span> +<span class="i0">Still flows the fount whose waters strengthened thee,<br /></span> +<span class="i0">The victors' names are yet too few to fill<br /></span> +<span class="i0">Heaven's mighty roll; the glorious armory<br /></span> +<span class="i0">That ministered to thee is open still."—<span class="smcap">Bryant.</span><br /></span> +</div></div> + +<p>To reveal this Christian armory, the defences of +the soul against the assaults of evil, has been the +highest inspiration of our poets. What depth and +beauty and impersonation of Christian virtues do we +find in "Snow-Bound," "Among the Hills," "Evangeline," +"The Conqueror's Grave," "To a Waterfowl," +"The Groves were God's First Temples," "The Living +Temple," "The Sun Day Hymn," "The Chambered +Nautilus," "Vision of Sir Launfal," "The +Great Stone Face."</p> + +<p>The Bible is not generally admissible as a schoolbook, +but the spirit of Christianity, clad in the forms +of strength and grace, is immanent in the works of +our poets. So universal, so human, so fit to the +needs and destinies of men, are the truths of the +great evangel, that the prophets and seers of our +race drift evermore into the sheltering haven they +supply. To drink in these potent truths through +poetry and song, to see them enshrined in the imagery +and fervor of the sacred masterpieces of our +literature, is more than culture, more than morality; +it is the portal and sanctuary of religious thought, +and children may enter it.<span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span></p> + +<p>10. The higher products of literature contain an +energy that quickens spiritual life in morals, in art, +and in religion. To many people, whose lives are +submerged in commercial pursuits or in the great +struggle to develop and utilize the material resources +of the world, these spiritual forces seem vague and +shadowy, if not mythical. But there are plenty of +heroic souls in the realm of letters, such as Emerson, +Scudder, Ruskin, Arnold, and Carlyle, who are not +disposed to let men settle down in lazy satisfaction +with material good, nor to be blinded even by the +splendor of modern achievements in engineering, +in medicine, and in the application of electricity. +We must at least reach a point of view high enough +to perceive the relations of these natural riches to +the higher nature and destiny of man.</p> + +<p>Scudder says, "It is to literature that we must +look for the substantial protection of the growing +mind against an ignoble, material conception of life, +and for the inspiring power which shall lift the +nature into its rightful fellowship with whatsoever +is noble, true, lovely, and of good report."</p> + +<p>Shelley, in like spirit, says: "The cultivation of +poetry is never more to be desired than at periods +when, from an excess of the selfish and calculating +principle, the accumulation of the materials of external +life exceed the quantity of the power of assimilating +them to the internal laws of human nature. +The body has then become too unwieldy for that +which animates it."<span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span></p> + +<p>Matthew Arnold, in "Sweetness and Light," while +discussing the function of that truer culture and "perfection +which consists in becoming something rather +than in having something," remarks:—</p> + +<p>"And this function is particularly important in our +modern world, of which the whole civilization is, to a +much greater degree than the civilization of Greece +and Rome, mechanical and external, and tends constantly +to become more so. But above all in our own +country has culture a weighty part to perform because +here that mechanical character, which civilization +tends to take everywhere, is shown in the most eminent +degree. Indeed, nearly all the characters of +perfection, as culture teaches us to fix them, meet in +this country with some powerful tendency which +thwarts them and sets them at defiance. The idea +of perfection as an inward condition of the mind and +spirit is at variance with the mechanical and material +civilization in esteem with us, and nowhere, as I have +said, so much in esteem as with us."</p> + +<p>11. Judged by these higher standards our writers +and literary leaders were not simply Americans. They +were also Europeans. The Puritan brought his religion +with him, the Cavalier acquired his gentlemanly +instincts in the old home, not in the untrodden forests +of the New World. Much of what we call American +is the wine of the Old World poured into the bearskins +and buckskins of the West, with a flavor of the +freedom of our Western wilds. Though born and<span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span> +bred on American soil and to the last exemplars of +the American spirit, our literary leaders have derived +their ideas and inspiration from the literature, tradition, +and history of the Old World. It will be no +small part of our purpose, therefore, to open up to +the children of our common schools the best entrance +to the history and literature of Europe. Our own +writers and poets have done this for us in a variety of +instances: Hawthorne's rendering of the Greek myths, +Bryant's translation of the "Iliad" and "Odyssey," +a good half of Irving's "Sketch-Book," Lowell's +"Vision of Sir Launfal," "Aladdin," and "Prometheus," +Irving's "Alhambra," Longfellow's "Golden +Legend," "Sandalphon," Taylor's "Boys of Other +Countries." Nearly the whole of our literature, even +when dealing ostensibly with American topics, is suffused +with the spirit and imagery of the Old World +traditions. There is also a large collection of prose +versions of European traditions, which, while not +classic, are still lively renderings of old stories and +well suited to the collateral reading of children. Such +are "Gods and Heroes," "Tales from English History," +"Tales from Spenser," "Heroes of Asgard," +"Story of the Iliad and Odyssey."</p> + +<p>The transition from our own poets who have +handled European themes to English writers who +have done the same, is easy and natural; Macaulay's +"Lays of Ancient Rome," Scott's "Tales of a Grandfather," +"The Stories of Waverley," the "Christmas<span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span> +Carol," Kingsley's "Greek Heroes" and "Water +Babies," Ruskin's "King of the Golden River," +"Lady of the Lake," "Marmion," "Roger de Coverley +Papers," "Merchant of Venice," "Arabian Nights," +"Peasant and Prince," Bunyan's "Pilgrim's Progress," +"Gulliver's Travels," and others have become +by inheritance and birthright as much a part of the +American child's culture as the more distinctive products +of our own writers. No line can be drawn between +those writings which are American and those +which sprung from the soil of England and Europe. +So intimate and vital is the connection between our +present and our past, between our children and their +cousins across the water.</p> + +<p>These American and European literary products lie +side by side in the school course, though the predominating +spirit through the middle and higher grades +up to the eighth should be American. We have +noticed that in the earlier grades most of our classic +reading matter comes from Europe, the nursery +rhymes, the folk-lore, fables, and myths, because +the childhood of our culture periods was in Europe. +But into the fourth grade, and from there on, beginning +with the pioneers on sea and land, our American +history and literature enters as a powerful agent of +culture. It brings us into quick and vital contact, not +simply with the outward facts, but with the inmost +spirit, of our national life and struggle toward development. +This gives the American impulse free<span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span> +and full expansion, and fortunate are we, beyond +expression, that pure and lofty poets stand at the +threshold to usher the children into this realm, +founded deep in the realism of our past history and +rising grandly into the idealism of our desires and +hopes. As we advance into the sixth, seventh, +and eighth grades the literature of Europe begins +again to increase in quantity and influence, and to +share equally with American authors the attention +of the children.</p> + +<p>The Americanism of our poets and prose writers, +as previously shown, has also another side to it, which +is one sign of the breadth and many-sidedness of literature +as a study for the young. North America is +a land rich in variety of natural scenery and resource. +Nature has decked the New World with a lavish hand, +forest and mountain, lake and river, prairie and +desert, the summer land of flowers and the home of +New England winters. The masterpieces of our poets +are full of the scenery, vegetation, sunsets, mountains, +and prairies of the Western empire. The flowers, the +birds, the wild beasts, the pathless forests, the limitless +stretches of plain, have mirrored themselves in +the songs of our poets, and have rendered them +dearer to us because seen and realized in this idealism. +Unconsciously perhaps the feeling of patriotism +is largely based upon this knowledge of the +rich and varied beauty and bounty of our native +land.<span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span></p> + +<div class="poem"><div class="stanza"> +<span class="i0">"I love thy rocks and rills,<br /></span> +<span class="i0">Thy woods and templed hills,<br /></span> +<span class="i0">My heart with rapture thrills,<br /></span> +<span class="i2">Like that above."<br /></span> +</div></div> + +<p>As along the shores of our Northern lakes the clear +and quiet waters reflect the green banks, the rolling, +forest-crowned hills, the rocky bluffs, the floating +clouds, and overarching blue, so in the homespun, +classic verse and prose of our own writers are imaged +the myriad charms of our native land. Bryant +especially is the poet of forest and glade, "The Forest +Hymn," "The Death of the Flowers," "The Return +of the Birds," "A Summer Ramble," "The +Fringed Gentian," "The Hunter of the Prairies," +"The White-footed Deer," "To a Waterfowl," +"Thanatopsis," and many others. Longfellow's +"Hiawatha," "Evangeline"; Whittier's "Barefoot +Boy," "Songs of Labor," "Among the Hills," and +"Snow-Bound"; Hawthorne's "Tales of the White +Hills"; Holmes's "Spring"; Lowell's "Indian Summer +Reverie," "The Oak," and many more.</p> + +<p>The literature selected for these grades has a wide +scope. It is instinct with the best Americanism. It +draws from Europe at every breath, while enjoying +the freedom of the West. Social, political, and home +life and virtue are portrayed in great variety of dress. +Nature also and natural science reveal the myriad +forms of beauty and utility.</p> + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span></p> +<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV</h2> + +<h3>CLASS-ROOM METHOD IN READING</h3> + + +<p>1. The Doorway.</p> + +<p>There is a strong comfort in the idea that in the +preparation of a masterpiece for a reading class the +teacher may be dealing with a unity of thought in a +variety of relations that makes the study a comprehensive +culture-product both to herself and to the +children. To become a student of "Hiawatha" as a +whole, and in its relations to Indian life and tradition, +early aboriginal history, and Longfellow's connection +with the same, is to throw a deep glance into history +and anthropology, and to recognize literature as the +permanent form of expressing their spirit. There +are a good many side-lights that a teacher needs to +get from history and other literature, and from the +author's life, in order to see a literary masterpiece in +its true setting. It is the part of the poet to make +his work intensely real and ideal, the two elements +that appeal with trenchant force to children. The +teacher needs not only to see the graphic pictures +drawn by the artist, but to gather about these central +points of view other collateral, explanatory facts that +give a deeper setting to the picture. Fortunately,<span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span> +such study as this is not burdensome. There is a +joyousness and sparkle to it that can relieve many +an hour of tedium. Literature in its best forms is +recreation, and brings an infusion of spiritual energy. +We should not allow ourselves to confuse it with +those more humdrum forms of school employment, +like spelling, figuring, reading in the formal sense, +grammar, writing, etc. Literature is the spiritual +side of school effort, the uplands of thought, where +gushing springs well from the roots and shade of +overarching trees. There is jollity and music, beauty +and grandeur, the freshness of cool breezes and of +mountain scenery, in such profusion as to satisfy the +exuberance of youthful spirit, and to infuse new +energy into old and tired natures. If the teacher +can only get out of the narrow streets of the town +and from between the dead walls of the schoolroom, +up among the meadows and groves and brooks, in +company with Bryant or Longfellow or Whittier, if she +can only take a draught of these spirit-waters before +walking into the schoolroom, her thought and conduct +will be tempered into a fit instrument of culture.</p> + +<p>The teacher's preparation is not only in the intellectual +grasp of the thought, but in the sympathy, +feeling, and pleasure germane to a classic. The +æsthetic and emotional elements, the charm of poetry, +and the sparkle of wit and glint of literary elegance +and aptness are what give relish and delight to true +literary products. Literature appeals to the whole<span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span> +nature and not to the intellect alone. It is not superficial +and formal, but deep and spiritual. The teacher +who reads a classic like "Marmion," thoughtfully +dwelling upon the historic pictures, calling to mind +other of Scott's stories and the earlier struggle between +Scotland and England, is drinking at the fresh +fountains and sources of some of the best parts of +European history. The clear and rock-rimmed lakes +of Scotland, her rugged mountains and ruined castle +walls, are not more delightful to the traveller than the +pictures of life and history that appear in "Tales of +a Grandfather," "Rob Roy," "Marmion," and "Lady +of the Lake." To paint these stirring panoramic +views of Scotch adventure and prowess upon the +imagination of the young is to invigorate their thought +with the real sentiment of patriotism, and with appreciation +for manly struggle, endurance, and spirit. +The vivid insight it gives into feudal society in +church and court and castle, on battle-field and in +dining hall, among the rude peasantry and the unlettered +nobility, is found more lifelike and lasting +than the usual results of historical study.</p> + +<p>The moment we take a longer masterpiece and +examine it as a representative piece of human life, or +as a typical portraiture of a historical epoch, it +becomes the converging point for much lively and +suggestive knowledge, deep and strong social interests, +and convincing personification of moral impulses.</p> + +<p>The best preparation, therefore, a teacher can make<span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span> +for a class is a spiritual and spirited one. At first +the linguistic, formal, verbal mastery of literature, its +critical examination, even its elocution, should remain +in the background both for teacher and children. +Let the direct impress of the thought, motive, and +emotion of the characters be unimpeded; give the +author a chance to speak direct to the hearts of the +children, and the avenue toward the desired results in +formal reading will be left wide open.</p> + +<p>We would not deny that a certain labor is required +of the teacher in such preparation. But, in the main, +it is a refreshing kind of labor. If it brings a feeling +of weariness, it is the kind that conduces to +sound and healthy sleep. It invokes a feeling of +inward power and of accumulated rich resource that +helps us to meet with confidence the emergencies +and opportunities of instruction.</p> + + +<p>2. In the assignment of the lesson the teacher has a +chance to give the children a glimpse of the pleasure +that awaits them, and to catch a little of the enthusiasm +which her own study has awakened. This +should be done briefly and by significant suggestion. +In first introducing a longer work, it will pay to +occupy more than is usual in recitations in opening +up the new subject; if it is historical, in locating the +time, circumstances, and geographical setting. The +chief aim of the assignment should be to awaken +curiosity and interest which may be strong enough to +lead to a full and appreciative study of the lesson.<span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span> +A second aim of the assignment is to pave the way +to an easier mastery of verbal difficulties that arise, +such as new and difficult words, obscure or involved +passages. The first aim is a substantial and fruitful +one. It approaches the whole reading lesson from +the side of interest and spirit. It seeks to plant +direct incentives and suggestions deep enough in the +mind to start effort. The assignment should take it +for granted that natural interest and absorption in +the thought will lead directly to that kind of vigorous +effort and mastery that will secure natural and expressive +oral reading. Look well to the deeper +springs of thought and action, and the formal reading +will open just the avenue needed to realize good +expression.</p> + +<p>Skill, originality, and teaching art are much needed +in the assignment. It is not how much the teacher +says, but the suggestiveness of it, the problems +raised, the questions whose answers lie in the examination +of the lesson. The reference to previous +readings which bear resemblance to this selection; +the inquiry into children's experiences, sets them to +thinking.</p> + +<p>Sometimes it pays to spend five or ten minutes in +attacking the difficult words and meanings of the +lesson assigned. Let the class read on and discover +words or phrases that puzzle them. Let difficult +forms be put on the board and syllabicated if necessary. +A brief study of synonymous words and +phrases may be in place.<span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span></p> + +<p>It is a mistake to decline all helpful and suggestive +study of the next lesson in class, on the ground +that it invalidates the self-activity of children. Self-activity +is, indeed, the chief aim of a good assignment. +It is designed to stimulate the children to +energetic and well-directed effort. Self-activity is +not encouraged by requiring children to struggle +with obstacles they have not the ability to surmount. +Pronouncing new words and searching for dictionary +meanings is often made a mechanical labor which is +irksome and largely fruitless, because the wrong +pronunciations are learned and the definitions do +not fit. Before children are required to use the dictionary +in pronouncing and defining words, they need +careful exercises in how to use and to interpret the +dictionary.</p> + +<p>The teacher needs to make a study of the art of +assigning lessons. Clearness and simplicity, so as to +give no ground for misunderstandings, are the result +of thoughtful preparation on the teacher's part. +There is always danger of giving too much or too +little, of carelessness and unsteady requirements, +overburdening the children one day, and even forgetting +the next day to assign a definite task. The +forethought and precision with which a teacher +assigns her lessons is one of the best tests of her +prudence and success in teaching.</p> + +<p>It is necessary also to be on one's guard against +hasty assignments. Even when proper care has<span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span> +been taken in planning the next lesson, the time +slips by with urgent work, and the signal for dismissal +comes before time has been taken for any +clear assignment.</p> + +<p>If the teacher knows just what references will +throw added light upon the lesson, what books and +pages will be directly helpful, if he can appoint different +pupils to look up particular references and +sometimes even go to the library with them and +search for the references, in grades from the fifth +through the eighth, the result may be very helpful. +In the class recitation it is necessary to gather up +the fruits of this reference work with as little waste +of time as possible, recognizing that it is purely +collateral to the main purpose.</p> + +<p>Pictures and maps are useful oftentimes as references. +As children advance in the grades, they are +capable of greater independence and judgment in the +use of such materials. General, loose, and indefinite +references are a sign of ignorance, carelessness, and +lack of preparation on the teacher's part. They are +discouraging and unprofitable to children. But we +desire to see children broadening their views, extending +their knowledge of books and of how to use them. +The amount of good literature that can be well +treated and read in the class is small, but much suggestive +outside home and vacation reading may be +encouraged, that will open a still wider and richer +area of personal study.<span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span></p> + +<p>3. In spite of all the precautions of the teacher, in +spite of lively interest and intelligent study by the +children, there will be many haltings and blunders, +many inaccuracies in the use of eye and voice. +These faults spring partly from habit and previous +home influences. The worst faults are often those +of which a child is unconscious, so habitual have they +become. If we are to meet these difficulties wisely, +we must start and keep up a strong momentum in +the class. There should be a steady and strong +current of effort in which all share. This depends, +as has been often said, upon the power of the selection +to awaken the thought and feeling of the children. +It depends equally upon the pervasive spirit +and energy of the teacher. If we try to analyze this +complex phenomenon, we may find that, so far as the +children are concerned, two elements are present, +natural and spontaneous absorption in the ideas and +sensibilities awakened by the author, and the bracing +conviction that sustained effort is expected and required +by the teacher. Children, to read well, must +be free; they must feel the force of ideas and of the +emotions and convictions awakened by them. They +must also be conscious of that kind of authority and +control which insists upon serious and sustained +effort. Freedom to exercise their own powers and +obedience to a controlling influence are needful. If +the teacher can secure this right movement and ferment +in a class, she will be able to correct the errors<span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span> +and change bad habits into the desired form of expression. +The correction of errors, in the main, +should be quiet, incidental, suggestive, not disturbing +the child's thought and effort, not destroying the +momentum of his sentiment and feeling. Let him +move on firmly and vigorously; only direct his movement +here and there, modify his tone by easy suggestions +and pertinent questions, and encourage him as +far as possible in his own effort to appreciate and +express the author's idea.</p> + +<p>In reading lessons there are certain purely formal +exercises that are very helpful. The single and concert +pronunciation of difficult or unusual words that +come up in old and new lessons, the vocal exercises +in syllabication and in vowel and consonant drill, are +examples. They should be quick and vigorous, and +preliminary to their application in lessons.</p> + + +<p>4. The teacher is only a guide and interpreter. +With plenty of reserve power, he should only draw +upon it occasionally. His chief business is not to +show the children how to read by example, nor to be +always explaining and amplifying the thought of the +author. His aim should be to best call the minds of +the children into strong action through the stimulation +of the author's thought, and to go a step farther +and reproduce and mould this thought into oral +expression.</p> + +<p>In order to call out the best efforts of children, a +teacher needs to study well the art of questioning.<span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span> +The range of possibilities in questioning is very +wide. If a rational, sensible question is regarded as +the central or zero point, there are many degrees +below it in the art of questioning and many degrees +above it. Below it is a whole host of half-rational or +useless questions which would better be left unborn: +What does this word mean? Why didn't you study +your lesson? Why weren't you paying attention? +What is the definition of also? How many mistakes +did Mary make?</p> + +<p>Much time is sometimes wasted in trying to answer +aimless or trivial questions: Peter, what does +this strange word mean, or how do you pronounce it? +Ethel may try it. Who thinks he can pronounce it +better? Johnny, try it. Perhaps somebody knows +how it ought to be. Sarah, can't you pronounce it? +Finally, after various efforts, the teacher passes on to +something else without even making clear the true +pronunciation or meaning. This is worse than killing +time. It is befuddling the children. A question +should aim clearly at some important idea, and should +bring out a definite result. The children should +have time to think, but not to guess and dawdle, and +then be left groping in the dark.</p> + +<p>The chief aim of questions is to arouse vigor and +variety of thought as a means of better appreciation +and expression. Children read poorly because they +do not see the meaning or do not feel the force +of the sentiment. They give wrong emphasis and<span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span> +intonation. A good question is like a flash of lightning +which suddenly reveals our standing-ground and +surroundings, and gives the child a chance to strike +out again for himself. His intelligence lights up, he +sees the point, and responds with a significant rendering +of the thought. But the teacher must be a +thinker to ask simple and pertinent questions. He +can't go at it in a loose and lumbering fashion. +Lively and sympathetic and appreciative of the +child's moods and feelings must he be, as well as +clear and definite in his own perception of the +author's meaning.</p> + +<p>Questioning for meaning is equivalent to that for +securing expression, and thus two birds are hit with +one stone. A pointed question energizes thought +along a definite line, and leads to a more intense and +vivid perception of the meaning. This is just the +vantage-ground we desire in order to secure good +expression. We wish children not to imitate, but +first to see and feel, and then to express in becoming +wise the thought as they see it and feel it. This +makes reading a genuine performance, not a parrot-like +formalism.</p> + + +<p>5. Trying to awaken the mental energy and action +of a class as they move on through a masterpiece, +requires constant watchfulness to keep alive their +sense-perceptions and memories, and to touch their +imaginations into constructive effort at every turn in +the road. Through the direct action of the senses<span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span> +the children have accumulated much variety of sense-materials, +of country and town, of hill, valley, river, +lake, fields, buildings, industries, roads, homes, gardens, +seasons. Out of this vast and varied quarry +they are able to gather materials with which to construct +any landscape or situation you may desire. +Give the children abundance of opportunity to use +these collected riches, and to construct, each in his +own way, the scenes and pictures that the poet's +art so vividly suggests. Many of the questions we +ask of children are designed simply to recall and +reawaken images which lie dormant in their minds, +or, on the other hand, to find out whether they can +combine their old sense-perceptions so skilfully and +vividly as to realize the present situation. Keen and +apt questions will reach down into the depth of a +child's life experiences and bring up concrete images +which the fancy then modifies and adjusts to the +present need. The teacher may often suggest something +in his own observations to kindle like memories +in theirs. Or, if the subject seems unfamiliar, he +may bring on a picture from book or magazine. +Sometimes a sketch or diagram on the board may +give sense-precision and definiteness to the object +discussed, even though it be rudely drawn. This constant +appeal to what is real and tangible and experimental, +not only locates things definitely in time and +space, makes clear and plain what was hazy or meaningless, +awakens interest by connecting the story or<span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span> +description with former experiences, but it sets in +action the creative imagination which shapes and +builds up new and pleasing structures, combining old +and new. This kind of mental elaboration, which +reaches back into the senses and forward into the +imagination, is what gives mobility and adjustability to +our mental resources. It is not stiff and rigid and +refractory knowledge that we need. Ideas may +retain their truth and strength, their inward quality, +and still submit to infinite variations and adjustments. +Water is one of the most serviceable of all nature's +compounds, because it has such mobility of form, +such capacity to dissolve and take into solution other +substances, or of being absorbed and even lost sight +of in other bodies. The ideas we have gathered and +stored up from all sources are our building materials; +the imagination is the architect who conceives +the plan and directs the use of different materials +in the growth of the new structures. The teacher's +chief function in reading classes is, on the one +hand, to see that children revive and utilize their +sense-knowledge, and on the other, to wake the +sleeping giant and set him to work to build the +beauteous structures for which the materials have +been prepared. But for this, teachers could be dispensed +with. As Socrates said, they are only +helpers; they stand by, not to perform the work, but +to gently guide, to stimulate, and now and then to +lend a helping hand over a bad place.<span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span></p> + +<p>Explanations, therefore, on the teacher's part, +should be clear and brief, purely tributary to the +main effort. In younger classes, when the children +have, as yet, little ability to use references, the +teacher may add much, especially if it be concrete, +graphic, picturesque, and bearing directly upon the +subject. But as children grow more self-reliant +they can look up facts and references, and bring +more material themselves to the elucidation of the +lesson. But even in adult classes the rich experience +of a trained and wise teacher, whose illustrations are +apt and graphic and criticisms incisive, is an intense +pleasure and stimulus to students.</p> + +<p>6. The major part of time and effort in reading +classes should be given to the reading proper, and +not to oral discussions, explanations, and collateral +information and references. It is possible to have +interesting discussions and much use of reference +books, and still make small progress in expressive +reading. The main thing should not be lost sight +of. We should learn to march steadily forward +through lively and energetic thought toward expressive +reading. There is no other right approach to +good reading except through a lively grasp of the +thought, sentiment, and style of the author. But the +side-lights that come from collateral reading and +reference are of great significance. They are something +like the scenery on the stage. They make +the effect more intense and real. They supply a<span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span> +background of environment and association which +give the ideas more local significance and a stronger +basis in the whole complex of ideas.</p> + +<p>The reading or oral rendering is the final test of +understanding and appreciation of the lesson. The +recitation should focus in this applied art. All +questioning and discussion that do not eventuate in +expressive reading fall short of their proper result. +Reading is a school exercise in which the principles +discussed can be immediately applied, and this is +scarcely true in studies like history, science, and +mathematics. There are many hindrances in the +way of this fruitful result; the teacher is tempted to +talk and explain too much, interesting questions and +controversies spring up, trivial matters receive too +much consideration, much time is spent in the oral +reproduction of the thought; often the time slips by +with a minimum of effective reading.</p> + +<p>The questions, discussions, collateral references, +and explanations should be brought into immediate +connection with the children's reading, so that the +special thought may produce its effect upon expression. +This test of effectiveness is a good one to +apply to explanations, definitions, and questions. +Unless they produce a pronounced effect upon the +reading, they are largely superfluous. In view of +this the teacher will learn to be sparing of words, +laconic and definite in statement, pointed and clear +in questioning, and energetic in pushing forward.<span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span> +While interest in the thought-content is the impelling +motive in good reading exercises, lively and +natural expression is likewise the proper fruit and +outcome of such a motive carried to its proper end.</p> + +<p>7. In order to keep up the right interest and +movement, it is necessary to give considerable variety +to the work. A teacher's good sense and tact +should be like a thermometer which registers the +mental temperature of the class. If kept too long at +a single line of effort, its monotony induces carelessness +and inattention; while a total change to some +other order of exercise would awake their interest +and zeal. Variety is needed also within the compass +of a single recitation, because there are several preliminaries +and varieties of preparatory drill which +conduce to good rendering of any selection. Such +are vocal exercises in consonants and vowels; pronunciation +and syllabication of new or difficult +words; physical exercises to put the body and nervous +system into proper tone; the assignment of the +next lesson, requiring a peculiar effort and manner +of treatment; the report and discussion of references; +concert drills; the study of meanings—synonyms +and derivations; illustrations and information +by the teacher; introduction of other illustrative matter, +as pictures, drawings, maps, and diagrams. +Variety can be given to each lesson in many ways +according to the ingenuity of the teacher. If we are +reading a number of short selections, they themselves<span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span> +furnish different varieties and types of prose and +verse. The dramatist or novelist provides for such +variety by introducing a series of diverse scenes, all +leading forward to a common end.</p> + +<p>8. Parallel to the requirement of variety is the +equally important demand that children should learn +to do one thing at a time and learn to do it well. +This may appear contradictory to the former requirement, +but the skill and tact of the teacher is what +should solve this seeming contradiction. It is a fact +that we try to do too many things in each reading +lesson. We fail to pound on one nail long enough +to drive it in. Reading lessons often resemble a +child pounding nails into a board. He strikes one +nail a blow or two, then another, and so on until a +dozen or more are in all stages of incompleteness. +We too often allow the recitation hour to end with a +number of such incomplete efforts. Good reading is +not like moving a house, when it is all carried along +in one piece. We reach better results if we concentrate +attention and effort during a recitation along +the line of a narrow aim. At least this seems true +of the more formal, mechanical side of reading. It +is better to try to break up bad habits, one at a time, +rather than to make a general, indefinite onslaught +upon all together. Suppose, for example, that the +teacher suggests as an aim of the lesson conversational +reading, or that which sounds like pupils talking +to each other. Many dialogue selections admit<span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span> +of such an aim as this. If this aim is set up at the +beginning of the lesson, the children's minds will be +rendered acute in this direction; they will be on the +alert for this kind of game. Each child who reads +is scrutinized by teacher and pupils to see how near +he comes to the ideal. A conscious effort begins to +dominate the class to reach this specific goal. Children +may close their eyes and listen to see if the +reading has the right sound. A girl or boy goes +into an adjoining entry or dressing room and listens +to see if those in the class are reading or talking. +The enthusiasm and class spirit awakened are very +helpful. Not that a whole recitation should be given +up to that sort of thing, but it is the characteristic +effort of the lesson. When the children practise the +next lesson at home they will have this point in +mind.</p> + +<p>For several days this sort of specific, definite aim +at a narrow result may be followed up in the class +till the children begin to acquire power in this direction. +What was, at first, painfully conscious effort +begins to assume the form of habit, and when this +result is achieved, we may drop this aim as a leading +one in the recitation, and turn our attention to some +different line of effort. Distinct pronunciation of +sounds is one of the things that we are always aiming +at, in a general way, and never getting. Why +not set this up in a series of recitations as a definite +aim, and resort to a series of devices to lay bare the<span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span> +kind of faults the children are habitually guilty of? +Give them a chance to correct these faults, and awake +the class spirit in this direction. It will not be difficult +to convince them that they are not pronouncing +their final consonants, like <i>d</i>, <i>t</i>, <i>l</i>, <i>m</i>, <i>r</i>, and <i>k</i>. Keep +the attention for a lesson to this kind of error till +there is recognizable improvement. Then notice +the short vowel sounds in the unaccented syllables, +and give them search-light attention. Notice later +the syllables that children commonly slur over. +Mark these fugitives, and see if they continue so +invisible and inaudible. They are like Jack the +Giant Killer, when he put on his cloak of invisibility, +or like Perseus under similar circumstances. +See if we can find these fellows who seem to masquerade +and dodge about behind their companions. +Then some of the long vowels and diphthongs will +require investigation. They are not all so open-faced +and above board as they might be. When +children have such a simple and distinct aim in +view, they are ready to work with a vim and to +exert themselves in a conscious effort at improvement. +Keep this aim foremost in the recitation, +although other requirements of good reading are +not wholly neglected.</p> + +<p>After a definite line of effort has been strongly +developed as one of the above described, it is possible +thereafter to keep it in mind with slight attention. +But if no special drill has ever been devoted<span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span> +to it for a given length of time, it has not been +brought so distinctly to mind as to produce a lasting +impression and to lay the basis for habit. Besides +the two aims, clear articulation and conversational +tones, there are others that may be labored at similarly. +Appreciation of the thought as expressed by +the reading is a rich field for critical study of a piece, +and as a basis for observing and judging the children's +reading. This idea is well implied by such +questions as follow: Is that what the passage +means? Have you given expression to the author's +meaning by emphasis on this word? Does your +rendering of this passage make good sense? Compare +it with what precedes. How did the man feel +when he said this? What do we know of his character +that would lead us to expect such words from +him? This line of questions has a wide and varied +range. The chief thing is to scrutinize the thought +in all the light attainable, and appeal to the child's +own judgment as to the suitableness of the tone and +emphasis to the thought. Does it sound right? Is +that what the passage means?</p> + +<p>Each characteristic form of prose or verse has a +peculiar style and force of expression that calls for a +corresponding oral rendering. There is the serious +and massive, though simple, diction of Webster's +speeches, with its smooth and rounded periods, calling +for slow and steady and energetic reading. We +should notice this characteristic of an author, and<span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span> +grow into sympathy with his feeling, language, and +mental movement. In Macaulay's "Lays of Ancient +Rome," the ring of martial music is in the words, and +it swells out into rapid and rousing speech which +should correspond to the thought. In "Evangeline" +the flow of language is placid and gentle and rhythmical, +and in consonance with the gentle faith and +hope of Evangeline. Every true literary product +has its own character, which the genius of the author +has impressed upon its language and moulded into +its structure, and which calls for a rendering fit and +appropriate. Before completing a selection, we +should detect this essence and quality and bring our +reading to reveal it. The places should be pointed +out where it comes into prominence.</p> + +<p>When completing such a work of art there should +be given opportunity to bring all the varied elements +and special aims discovered and worked out during +its reading to a focus.</p> + +<p>In the final review and rereading of a complete +poem or prose selection the points of excellence in +reading which have been the special aims of effort +in the studies of the piece should be kept sharply in +mind and pushed to a full expression. The realization +of these various aims may be set before the +class as the distinct object of their closing work on a +masterpiece. The failure to hold vigorously to this +final achievement is a clear sign of intellectual and +moral lassitude. Reading, as noticed before, is<span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span> +one of the few studies in which the final application +of theory to practice can be effected, and children +may realize that things are learned for the sake of +using them, and not simply against some future contingency. +This implies, however, much resource +and skill on the teacher's part in awakening the children. +The impulses and aims which arouse the +children to strenuous effort should spring from +within, and should be expressions of their own self-activity +and volition. There is much need of the +enthusiasm and will-energy that overcome drudgery. +Children should be taught to be dissatisfied with anything +less than real accomplishment.</p> + +<p>The children will naturally memorize certain passages +which strike their fancy. Other passages +have been suggested by the teacher for different +pupils to memorize. In one of the closing lessons +let the children recite these parts before the class. +If the teacher has succeeded in calling out the live +interest of the class during the previous study, such +a lesson will be a joy to both pupils and teacher. +One or two of the children may also volunteer or be +appointed to make an oral statement of the argument, +which will give freedom to natural and effective +speech. Such a round-up of the reading lessons +at the end of a series of interesting studies is a +rich experience to the whole class.</p> + +<p>Besides the important special aims thus far suggested, +which should each stand out clear for a<span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span> +series of lessons until its value is realized and worked +over into habit, there are other subordinate aims that +deserve particular and individual consideration, and +may now and then become the dominant purpose of +a lesson. Such are the correction of singsong reading, +the use of the dictionary, the study of synonyms +and antitheses, the comparisons and figures of speech, +exercises in sight reading of unfamiliar selections, +quotations from selections and masterpieces already +read, study of the lives and works of authors.</p> + +<p>Reading is a many-sided study, and to approach +its difficulties with success we must take them up one +at a time, conquering them in detail. Good housekeepers +and cooks are accustomed to lay out a series +of dinners in which the chief article of diet is varied +from day to day as follows: chicken pie with oysters, +veal potpie, stewed fish, broiled beefsteak, venison +roast, bean soup with ham, roast mutton, baked fish, +broiled quail, roast beef, baked chicken with parsnips, +etc. Such a series of dinners gives a healthy variety +and relish. It is better for most people than the bill +of fare at a large hotel, where there is so much +variety and sameness each day. When we try each +day to do everything in a reading lesson, we grasp +more than our hands can hold, and most of it falls to +the ground. Children are pleased and encouraged +by actual progress in surmounting difficulties when +they are presented one at a time, and opportunity is +given for complete mastery. The children should<span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span> +labor consciously and vigorously at one line of effort, +be it distinctness or rhythm or emphasis or conversational +tone, till decided improvement and progress are +attained, and the ease of right habit begins to show +itself. Then we can turn to some new field, securing +and holding the vantage-ground of our foregoing +effort by occasional reminders.</p> + +<p>9. One of the best tests applied to a reading class +is their degree of class attention. The steadiness +and responsiveness with which the whole class follow +the work is a fair measure of successful teaching. +To have but one child read at a time while the +others wait their turn or scatter their thoughts, is +very bad. It is a good sign of a teacher's skill and +efficiency to see every child in energetic pursuit of +the reading. It conduces to the best progress in +that study and is the genesis of right mental habit.</p> + +<p>Attention is a <i>sine qua non</i> to good teaching, and +yet it is a result rather than a cause. It is a ripe +fruit rather than the spring promise of it. The provisions +which lead up to steady attention are deserving +of a teacher's study and patient scrutiny. She +may command attention for a moment by sheer force +of will and personality, but it must have something +to feed upon the next moment and the next, or it will +be wandering in distant fields. So great and indispensable +is the value of attention, that some teachers +try to secure it at too heavy a cost. They command, +threaten, punish. They resort to severity and<span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span> +cruelty. But the more formidable the teacher becomes, +the more difficult for a child to do his duty. +Here, again, we can best afford to go back to the +sources from which attention naturally springs, +interesting subject of thought, vivid and concrete +perceptions, lively and suggestive appeal to the imagination, +the sphere of noble thought and emotion, +variety and movement in mental effort, a mutual +sympathy and harmony between teacher and pupil.</p> + +<p>It is indeed well for the teacher to gauge his work +by the kind and intensity of attention he can secure. +If the class has dropped into slothful and habitual +carelessness and inattention, he will have to give them +a few severe jolts; he must drop questions where +they are least expected. He must be very alert to +detect a listless child and wake him into action. The +vigor, personal will, and keen watchfulness of the +teacher must be a constant resource. On the other +hand, let him look well to the thought, the feeling, +and capacity of the children, and give them matter +which is equal to their merits.</p> + +<p>It is not unusual to find the teacher's eye following +the text closely instead of watching the class. But +the teacher's eye should be moving alertly among the +children. In case he has studied the lesson carefully, +the teacher can detect almost every mistake without +the book. In fact, even if one has not recently read +a selection, he can usually detect a verbal error by +the break or incoherency of the thought. Moreover,<span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span> +the teacher can better judge the expressiveness of the +reading by listening to it than by following the text +with his eye. Depending wholly upon the ear, any +defect of utterance or ineptness of expression is +quickly detected. Even the children at times should +be asked to close their books and to listen closely to +the reading. This emphasizes the notion that good +reading is the oral expression of thought, so that +those who listen can understand and enjoy it.</p> + +<p>The treadmill style of reading, which repeats and +repeats, doing the same things day by day, going +through the like round of mechanical motions, should +give way to a rational, spirited, variegated method +which arouses interest and variety of thought, and +moves ever toward a conscious goal.</p> + +<p>10. In studying the masterpieces of great writers, +a question arises how to treat the moral situations involved +in the stories. In their revolt against excessive +moralizing with children, some critics object to +any direct teaching of moral ideas in connection with +literature, being opposed to explicit discussions of +moral notions.</p> + +<p>All will admit that literature, dealing as it does +with human life, is surcharged with practical morality, +with social conduct. It is also the motive of great +writers, while dealing honestly with human nature, to +idealize and beautify their representations of men. +Nor is it their purpose to make unworthy characters +pleasing and attractive models.<span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span></p> + +<p>It is expected, of course, that children will get +clear notions and opinions of such persons as Miles +Standish and John Alden, of Whittier's father and +mother and others in the fireside circle of "Snow-Bound," +of Antonio and Shylock in the "Merchant of +Venice," of Cinderella and her sisters in the story, of +Wallace and Bruce in Scott's "Tales," of Gluck and +his brothers in Ruskin's story, of Scrooge in the +"Christmas Carol," of Evangeline, Enoch Arden, etc.</p> + +<p>But boys and girls are not infallible judges of +character. They are apt to form erroneous or one-sided +judgments from lack of insight into the author's +meaning, or from carelessness. There is the same +possibility of error in forming moral judgments as +in forming judgments in other phases of an author's +thought.</p> + +<p>It is the province of the teacher to stimulate the +children to think, and, by his superior experience and +judgment, to guide them into correct thinking. It +is not the function of the teacher to impose his ready-made +judgments upon children, either in morals or +in anything else. But it is his concern, by questions, +suggestions, and criticisms, to aid in clarifying the +thought, to put the children upon the right track. +There is no reason why a teacher should abdicate his +place of instructor because he chances to come before +moral problems. Literature is full of moral +situations, moral problems, and moral evolutions in +character, and even of moral ideals. Is the teacher<span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span> +to stand dumb before these things as if he had lost +his wits? Or is he to consider it the greatest opportunity +of his life to prudently guide young people +to the correct perception of what is beautiful and +true in human life? Why, indeed, should he suppress +his own enthusiasm for these ideals? Why +should not his personality be free to express itself +in matters of moral concern, as well as in intellectual +and æsthetic judgments? So long as the teacher +throws the pupils back upon their own self-activity +and thinking power, there need be no danger of +moral pedantry or of moral dyspepsia.</p> + +<p>It seems to me, therefore, that the teacher should +use freedom and boldness in discussing with the +children candidly and thoughtfully the characters +presented in good literature. Let the situations be +made clear so that correct judgments of single acts +can be formed. Let the weaknesses and virtues of +the persons be noted. Let motives be studied and +characteristic tendencies traced out. In this way +children may gradually increase their insight and +enlarge the range of their knowledge of social life. +If these things are not legitimate, why should such +materials be presented to children at all? We need +not make premature moralists of children, or teach +them to pass easy or flippant moral judgments upon +others. But we wish their interest in these characters +to be deep and genuine, their eyes wide open +to the truths of life, and their intuitive moral judg<span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span>ments +to ripen in a healthy and hearty social environment. +To this end the teacher will need to use all +his skill in questioning, in suggestion, in frank and +candid discussion. In short, he needs just those +qualities which a first-class teacher needs in any +field of study.</p> + +<p>We have gotten out of the mode of tacking a +moral to a story. Ostensibly moral stories, overweighted +with a moral purpose, do not please us. +We wish novelists and dramatists to give us the +truth of life, and leave us to pass judgment upon +the characters. Our best literature presents great +variety of scenes and characterizations in their +natural setting in life. They specially cultivate +moral judgment and insight. One of the ultimate +standards which we apply to all novels and dramas +is that of their fundamental moral truth. Schlegel, +in his "Dramatic Art and Literature," in his criticisms +of great writers, discusses again and again +the moral import of the characters, and even the +moral purpose of Shakespeare and the dramatists. +In fact, these moral considerations lie deep and fundamental +in judging the great works of literary art. +The masterpieces we use in the schools bear the +same relation to the children that the more difficult +works bear to adults.</p> + +<p>The clear discussion of the moral element in literature +seems, therefore, natural and legitimate, while +its neglect and obscuration would be a fatal defect.<span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span></p> + +<p>11. There are two kinds of reading which should +be cultivated in reading lessons, although they seem +to fall a little apart from the main highway of effort. +They are, first, sight reading of supplementary matter +for the purpose of cultivating a quick and accurate +grasp of new thought and forms. When we leave +school, one of the values of reading will be the power +it gives to interpret quickly and grasp firmly the +ideas as they present themselves in the magazines, +papers, and books we read. Good efforts in school +reading will lead forward gradually to that readiness +of thought and fluency of perception which will give +freedom and mastery of new reading matter. To +develop this ability and to regulate it into habit, we +must give children a chance to read quite a little +at sight. We need supplementary readers in sets +which can be put into the hands of children for this +purpose. The same books will answer for several +classes, and may be passed from room to room of +similar grade.</p> + +<p>The reading matter we select for this purpose +may be classic, and of the best quality, just as well +as to be limited to information and geographical +readers which are much inferior. There are first-class +books of literary merit, which are entirely serviceable +for this purpose and much richer in culture. +They continue the line of study in classic literature, +and give ground for suggestive comparisons and +reviews which should not be neglected. There is<span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span> +a strong tendency in our time to put inferior reading +matter, in the form of information readers, science +primers, short history stories, geographical readers, +newspapers, and specially prepared topics on current +events, into reading classes. These things may do +well enough in their proper place in geography, history, +natural science, or general lessons, but they +should appear scarcely at all in reading lessons. +Preserve the reading hour for that which is choicest +in our prose and verse, mainly in the form of shorter +or longer masterpieces of literature.</p> + +<p>Secondly, many books should be brought to the +attention of the children which they may read outside +of school. The regular reading exercises should give +the children a lively and attractive introduction to some +of the best authors, and a taste for the strength and +beauty of their productions. But the field of literature +is so wide and varied that many things can only +be suggested, which will remain for the future leisure +and choice of readers. Children might, however, +be made acquainted with some of the best books +suited to their age for which there is not school time. +Many of the best books, like "Ivanhoe," "Quentin +Durward," "Captains Courageous," "Swiss Family +Robinson," and "Nicholas Nickleby," cannot be read +in school. They should be in the school library, and +the teacher should often refer to them and to others +suggested by the regular reading, which give deeper +and wider views into life.<span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span></p> + +<p>12. In the use of the symbols and language forms +of reading, the children should be led on to freedom +and self-activity. How to get the mastery of +these forms in the early reading work is discussed +in the "Special Method in Primary Reading and +Story."</p> + +<p>In the fourth and fifth years of school, children +should learn to use the dictionary. It is a great +means of self-help when they have learned to interpret +the dictionary easily. But special lessons are +necessary to teach children: first, how to find words +in the dictionary; second, how to interpret the +diacritical markings so as to get a correct pronunciation; +and third, how to discriminate among definitions. +Adults and even teachers are often deficient in these +particulars, and children will not form habits of using +the dictionary with quick and easy confidence without +continuous, attentive care on the teacher's part. +The best outcome of such training is the conscious +power of the child to help himself, and there is +nothing in school work more deserving of encouragement.</p> + +<p>The system of diacritical markings used in the +dictionary should be put on the blackboard, varied +illustrations of the markings given, and the application +of these markings to new words in the dictionary +discovered. Lack of success in this work is chiefly +due to a failure to pursue this plan steadily till ease +and mastery are gained and habits formed.<span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span></p> + +<p>In the later grades these habits of self-help should +be kept up and extended further to the study of +synonyms, root words and their kindred, homonyms, +prefixes and suffixes, and the derived meanings of +words.</p> + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span></p> +<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V</h2> + +<h3>METHOD FURTHER DISCUSSED AND ILLUSTRATED.<br /> +SUMMARY</h3> + + +<p>In the following chapter some phases of method +not fully treated before will be discussed and illustrated.</p> + +<p>1. The proposal to treat literary masterpieces as +units of thought implies a searching study and sifting +out of the essential idea in each poem or selection. +In some, both of the longer and shorter pieces, it is +not difficult to detect the motive. In Bryant's "Ode +to a Waterfowl," it is even suggested as a sort of +moral at the close. Likewise in the "Pied Piper of +Hamelin," and in Burns's "Tam O'Shanter." In +"Glaucis and Philemon," as well as in "The Golden +Touch," even a child can quickly discern the controlling +idea of the myth. But in many of our +choicest literary products it requires deliberate +thought to discover the poet's deeper meaning, +especially that idea which binds all the parts together +and gives unity to the whole. In Lowell's address +"To the Dandelion," we may find in each stanza the +gleam of the golden thread which unifies the whole. +The first lines suggest it:<span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span>—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Dear common flower, that grow'st beside the way,<br /></span> +<span class="i0">Fringing the dusty road with harmless gold."<br /></span> +</div></div> + +<p>And again in the second stanza:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"'Tis the Spring's largess which she scatters now<br /></span> +<span class="i0">To rich and poor alike, with lavish hand."<br /></span> +</div></div> + +<p>In the succeeding stanzas he calls to mind how the +dandelion suggests the riches of the tropics, the full +promise of summer, the pure joys of childhood, the +common loving courtesies of life, the rich love and +prodigality of nature, and the divinity in every human +heart.</p> + +<p>When by reflection we bind all these thoughts +together, and find that they focus in the idea that +the best riches abound and even burst forth out of +common things and from the hearts of common men +and women, we realize that the poet has brought +us to the point of discovering a deep and practical +truth, which, put to work in the world, would bring +rhythm and harmony into human life.</p> + +<p>But such a deep impression is not made by a +superficial or fragmental study of the poem.</p> + +<p>A somewhat similar result may be wrought out +by the study of Lowell's poem, "An Incident in a +Railroad Car," and the idea is well expressed in the +verse:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Never did poesy appear<br /></span> +<span class="i0">So full of heaven to me as when<br /></span> +<span class="i0">I saw how it would pierce through pride and fear<br /></span> +<span class="i0">To lives of coarsest men."<br /></span> +</div></div> +<p><span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span></p> +<p>The study of a poem or other masterpiece in this +way, to get at its inner life and continuity, reveals to +us an interesting process of mental elaboration and +comparative thought. Such self-active reflection is +the subsoiling of the mind.</p> + +<p>To set children to work upon problems of this +sort, to put them in the way of thinking and feeling +for themselves, and that too even in the longer classics +like "Evangeline," "Enoch Arden," "Silas +Marner," etc., is to bring such studies into the +realm of great culture-producing agencies.</p> + +<p>Many minor questions of method will be solved by +having these centres of thought, these problems for +thinkers. Teachers are bothered to know what sort +of questions to ask. It would be safe to say, those +questions which move in the direction of the main +truth, toward the solution of the chief problem. +But let the questions be shrewd, not revealing too +much, stimulating to thoughtfulness and heading +off errors. To what extent shall geographical, +historical, or biographical facts be gathered for the +enrichment and clarifying of the poem? Those +materials which throw necessary light on the essential +ideas, omitting what is irrelevant and secondary.</p> + +<p>A careful study of the life of Alexander, by +Plutarch, will bring to light, more than anything +else, his magnanimity. The thing that so much +distinguished him from other men was his large, +liberal temper, displayed on many various occasions. +<span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span>It reminds the mature student of that remarkable +utterance of Burke, "Great affairs and little minds +go ill together." The large-minded statesmanship +with which Burke discusses conciliation with the +colonies is of like quality with this magnanimous +spirit of Alexander.</p> + +<p>One who reads receptively Emerson's "The Fortune +of the Republic" will open his eyes on two +opposite but closely related ideas, the serious faults,—the +low political tone, the materialism, the spread-eagle +strut and slovenly mediocrity of much in American +life,—and over against this the splendid promise, +manliness, and intense idealism of our national life. +To work out this conception in the brains of young +people and let it kindle their hearts with some true +glow of patriotism, is the highest form of teaching. +Such instruction would convert every schoolhouse +into a true temple of freedom and patriotism.</p> + +<p>But in order to reach these results both teachers +and pupils must put their minds to the stretch of +earnest work. In the introduction to the above-named +essay of Emerson, in the "Riverside Literature +Series," occurs the following interesting and +suggestive passage: "Yet many of his most notable +addresses were given before audiences of young men +and women, and out of the great body of his writings +it is not difficult to find many passages which go +straight to the intelligence of boys and girls in +school. The plan of this series forbids the use of<span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span> +extracts, or many numbers might be filled with striking +and appropriate passages from Emerson's writings; +but there are certain essays and addresses +which, though they may contain some knotty sentences, +are in the main so interesting to boys and +girls who have begun to think, they are so inspiring +and yield so much to any one who will take a little +trouble to use his mind, that it is obviously desirable +to bring them in convenient form to the attention +of schools. Some of the best things in literature we +can get only by digging for them; and there is great +satisfaction in reading again and again masterpieces +like the essays in this collection, with a fresh +pleasure in each reading as new ideas spring up in +the mind of the attentive reader."</p> + +<p>It will be a day rich in promise and fruitful of +great things when the general body of our teachers +take hold of our great American classics in this +determined spirit, treating them as wholes and grasping +firmly the essential fundamental ideas.</p> + +<p>2. It is in the thought-analysis of a reading lesson +that a teacher's wit and wisdom are brought to the +severest test. The words of Shakespeare may be +applied to the teacher:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"A prince most prudent, of an excellent<br /></span> +<span class="i0">And unmatched wit and judgment."<br /></span> +</div></div> + +<p>There is much danger of wasting time in formal +questions, questions striking no spark of interest,<span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span> +questions on familiar words that really need no +elucidation, vague and unpremeditated questions that +make no forward step. Simple, far-reaching questions, +which touch the pupils' deeper thoughtfulness +in preparing the lesson and stimulate his self-active +effort, are needed. If the teacher has become keenly +interested, he will ask more telling questions. If he +has probed into the author's secret,—the thing which +he has been hinting at and only gives occasional +glimpses of to whet your curiosity,—he will discover +that thought-getting is almost a tantalizing +process with great writers. The teacher must spur +and almost tantalize the children with a similar +shrewdness of question.</p> + +<p>Problem-raising questions, involving thoughtful +retrospect and shrewd anticipation, questions which +cannot be answered offhand but lead on to a deeper +study, are at a premium. Ruskin says:—</p> + +<p>"And, therefore, first of all, I tell you earnestly +and authoritatively (I know I am right in this), you +must get into the habit of looking intensely at +words and assuring yourself of their meaning, syllable +by syllable,—nay, letter by letter." Again +he says, of a well-educated gentleman, that "above +all he is learned in the peerage of words; knows +the words of true descent and ancient blood at a +glance from words of modern canaille."</p> + +<p>In order to make his thought unmistakable, I +quote at length a passage from Ruskin's "Sesame +and Lilies":<span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span>—</p> + +<p>"And now, merely for example's sake, I will, with +your permission, read a few lines of a true book with +you, carefully; and see what will come out of them. +I will take a book perfectly known to you all; no +English words are more familiar to us, yet nothing +perhaps has been less read with sincerity. I will +take these few following lines of 'Lycidas':—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"'Last came, and last did go,<br /></span> +<span class="i0">The pilot of the Galilean lake;<br /></span> +<span class="i0">Two massy keys he bore of metals twain,<br /></span> +<span class="i0">(The golden opes, the iron shuts amain),<br /></span> +<span class="i0">He shook his mitred locks, and stern bespake,<br /></span> +<span class="i0">How well could I have spar'd for thee, young swain,<br /></span> +<span class="i0">Enow of such as for their bellies' sake<br /></span> +<span class="i0">Creep and intrude, and climb into the fold:<br /></span> +<span class="i0">Of other care they little reckoning make,<br /></span> +<span class="i0">Than how to scramble at the shearers' feast,<br /></span> +<span class="i0">And shove away the worthy bidden guest;<br /></span> +<span class="i0">Blind mouths! that scarce themselves know how to hold<br /></span> +<span class="i0">A sheep-hook, or have learn'd aught else, the least<br /></span> +<span class="i0">That to the faithful herdsman's art belongs!<br /></span> +<span class="i0">What recks it them? What need they? They are sped;<br /></span> +<span class="i0">And when they list, their lean and flashy songs<br /></span> +<span class="i0">Grate on their scrannel pipes of wretched straw;<br /></span> +<span class="i0">The hungry sheep look up, and are not fed,<br /></span> +<span class="i0">But, swoln with wind, and the rank mist they draw,<br /></span> +<span class="i0">Rot inwardly, and foul contagion spread;<br /></span> +<span class="i0">Besides what the grim wolf with privy paw<br /></span> +<span class="i0">Daily devours apace, and nothing said.'<br /></span> +</div></div> + +<p>"Let us think over this passage, and examine its +words.</p> + +<p>"First, is it not singular to find Milton assigning<span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span> +to St. Peter, not only his full episcopal function, +but the very types of it which Protestants usually +refuse most passionately? His 'mitred' locks! Milton +was no Bishop-lover; how comes St. Peter to be +'mitred'? 'Two massy keys he bore.' Is this, +then, the power of the keys claimed by the Bishops +of Rome, and is it acknowledged here by Milton +only in a poetical license, for the sake of its picturesqueness; +that he may get the gleam of the golden +keys to help his effect? Do not think it. Great +men do not play stage tricks with doctrines of +life and death: only little men do that. Milton +means what he says; and means it with his might, +too,—is going to put the whole strength of his +spirit presently into the saying of it. For though +not a lover of false bishops, he was a lover of true +ones; and the lake-pilot is here, in his thoughts, +the type and head of true episcopal power. For +Milton reads that text, 'I will give unto thee the +keys of the kingdom of Heaven,' quite honestly. +Puritan though he be, he would not blot it out of +the book because there have been bad bishops; +nay, in order to understand him, we must understand +that verse first; it will not do to eye it askance, +or whisper it under our breath, as if it were a +weapon of an adverse sect. It is a solemn, universal +assertion, deeply to be kept in mind by all +sects. But perhaps we shall be better able to reason +on it if we go on a little farther, and come back to it.<span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span> +For clearly, this marked insistence on the power of +the true episcopate is to make us feel more weightily +what is to be charged against the false claimants +of episcopate; or generally, against false claimants +of power and rank in the body of the clergy; they +who, 'for their bellies' sake, creep, and intrude, and +climb into the fold.'</p> + +<p>"Do not think Milton uses those three words +to fill up his verse, as a loose writer would. He +needs all the three; specially those three, and no +more than those—'creep,' and 'intrude,' and +'climb'; no other words would or could serve the +turn, and no more could be added. For they +exhaustively comprehend the three classes, correspondent +to the three characters, of men who dishonestly +seek ecclesiastical power. First, those +who 'creep' into the fold; who do not care for +office, nor name, but for secret influence, and do +all things occultly and cunningly, consenting to +any servility of office or conduct, so only that +they may intimately discern, and unawares direct +the minds of men. Then those who 'intrude' +(thrust, that is) themselves into the fold, who by +natural insolence of heart, and stout eloquence of +tongue, and fearlessly perseverant self-assertion, +obtain hearing and authority with the common +crowd. Lastly, those who 'climb,' who by labor +and learning, both stout and sound, but selfishly +exerted in the cause of their own ambition, gain high<span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span> +dignities and authorities, and become 'lords over +the heritage,' though not 'ensamples to the flock.'</p> + +<p>"Now go on:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"'Of other care they little reckoning make,<br /></span> +<span class="i0">Than how to scramble at the shearers' feast.<br /></span> +<span class="i0">Blind mouths—'<br /></span> +</div></div> + +<p>"I pause again, for this is a strange expression; +a broken metaphor, one might think, careless and +unscholarly.</p> + +<p>"Not so: its very audacity and pithiness are intended +to make us look close at the phrase and +remember it. Those two monosyllables express +the precisely accurate contraries of right character, +in the two great offices of the Church—those of +bishop and pastor.</p> + +<p>"A Bishop means a person who sees.</p> + +<p>"A Pastor means one who feeds.</p> + +<p>"The most unbishoply character a man can have +is therefore to be Blind.</p> + +<p>"The most unpastoral is, instead of feeding, to +want to be fed,—to be a Mouth.</p> + +<p>"Take the two reverses together, and you have +'blind mouths.' We may advisably follow out this +idea a little. Nearly all the evils in the Church +have arisen from bishops desiring power more than +light. They want authority, not outlook. Whereas +their real office is not to rule; though it may be +vigorously to exhort and rebuke; it is the king's<span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span> +office to rule; the bishop's office is to oversee the +flock; to number it, sheep by sheep; to be ready +always to give full account of it. Now it is clear +he cannot give account of the souls, if he has not +so much as numbered the bodies of his flock. The +first thing, therefore, that a bishop has to do is at +least to put himself in a position in which, at any +moment, he can obtain the history from childhood +of every living soul in his diocese, and of its present +state. Down in that back street, Bill, and +Nancy, knocking each other's teeth out!—Does the +bishop know all about it? Has he his eye upon +them? Has he had his eye upon them? Can +he circumstantially explain to us how Bill got +into the habit of beating Nancy about the head? +If he cannot, he is no bishop, though he had a +mitre as high as Salisbury steeple; he is no bishop,—he +has sought to be at the helm instead of +the masthead; he has no sight of things. 'Nay,' +you say, it is not his duty to look after Bill in the +back street. What! the fat sheep that have full +fleeces—you think it is only those he should look +after, while (go back to your Milton) 'the hungry +sheep look up, and are not fed, besides what the +grim wolf with privy paw' (bishops knowing nothing +about it) 'daily devours apace, and nothing said'?</p> + +<p>"'But that's not our idea of a bishop.' Perhaps +not; but it was St. Paul's; and it was Milton's. +They may be right, or we may be; but we must<span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span> +not think we are reading either one or the other by +putting our meaning into their words.</p> + +<p>"I go on.</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"'But, swolln with wind, and the rank mist they draw.'<br /></span> +</div></div> + +<p>"This is to meet the vulgar answer that 'if the +poor are not looked after in their bodies, they are in +their souls; they have spiritual food.'</p> + +<p>"And Milton says, 'They have no such thing as +spiritual food; they are only swolln with wind.' +At first you may think that is a coarse type, and +an obscure one. But, again, it is a quite literally +accurate one. Take up your Latin and Greek dictionaries, +and find out the meaning of 'Spirit.' It +is only a contraction of the Latin word 'breath,' +and an indistinct translation of the Greek word for +'wind.' The same word is used in writing. 'The +wind bloweth where it listeth;' and 'So is every +one that is born of the Spirit,' born of the breath, +that is, for it means the breath of God, in soul +and body. We have the true sense of it in our +words 'inspiration' and 'expire.' Now, there are +two kinds of breath with which the flock may be +filled; God's breath and man's. The breath of God +is health and life and peace to them, as the air +of heaven is to the flocks on the hills; but man's +breath—the word he calls spiritual—is disease and +contagion to them, as the fog of the fen. They rot +inwardly with it; they are puffed up by it, as a body<span class='pagenum'><a name="Page_147" id="Page_147">[Pg 147]</a></span> +by the vapors of its own decomposition. This is +literally true of all false religious teaching; the first +and last and fatalest sign of it is that 'puffing up.'</p> + +<p>"Lastly, let us return to the lines respecting the +power of the keys, for now we can understand them. +Note the difference between Milton and Dante in +their interpretation of this power; for once the latter +is weaker in thought; he supposes both the keys to +be of the gate of heaven; one is of gold, the other of +silver; they are given by St. Peter to the sentinel angel, +and it is not easy to determine the meaning either of +the substances of the three steps of the gate or of +the two keys. But Milton makes one, of gold, the key +of heaven; the other, of iron, the key of the prison, +in which the wicked teachers are to be bound who +'have taken away the key of knowledge, yet entered +not in themselves.'</p> + +<p>"We have seen that the duties of bishop and +pastor are to see and feed, and, of all who do so, +it is said, 'He that watereth, shall be watered also +himself.' But the reverse is truth also. He that +watereth not, shall be withered himself, and he that +seeth not, shall himself be shut out of sight,—shut +into the perpetual prison house. And that prison +opens here as well as hereafter; he who is to be +bound in heaven must first be bound on earth. That +command to the strong angels, of which the rock-apostle +is the image, 'Take him, and bind him hand +and foot, and cast him out,' issues, in its measure,<span class='pagenum'><a name="Page_148" id="Page_148">[Pg 148]</a></span> +against the teacher for every help withheld, and for +every truth refused, and for every falsehood enforced; +so that he is more strictly fettered the more he fetters, +and further outcast as he more and more misleads, +till at last the bars of the iron cage close upon him, +and as 'the golden opes, the iron shuts amain.'</p> + +<p>"We have got something out of the lines, I think, +and much more is yet to be found in them; but we +have done enough by way of example of the kind of +word-by-word examination of your author which is +rightly called 'reading,' watching every accent and +expression, and putting ourselves always in the author's +place, annihilating our own personality, and seeking +to enter into his, so as to be able assuredly to say, +'Thus Milton thought,' not 'Thus I thought, in misreading +Milton.'"</p> + +<p>3. In reading successive poems and prose selections +from different authors, strong resemblances in thought +or language are frequently detected. It is a thought-provoking +process to bring such similar passages to +a definite comparison. Even where the same topic +is treated differently by two authors, the different +or contrasted points of view are suggestive. Calling +such familiar passages to mind is in itself a good +practice, and it is well to cultivate this mode of +turning previous knowledge into use.</p> + +<p>To illustrate this point, let us call to mind some +familiar passages, touching the winter snow-storm +and the fireside comforts, from Whittier, Emerson, +and Lowell.<span class='pagenum'><a name="Page_149" id="Page_149">[Pg 149]</a></span></p> + +<p>Whittier's description of a snow-storm in "Snow-Bound" +is well known:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Unwarmed by any sunset light<br /></span> +<span class="i0">The gray day darkened into night,<br /></span> +<span class="i0">A night made hoary with the swarm<br /></span> +<span class="i0">And whirl-dance of the blinding storm,<br /></span> +<span class="i0">As zigzag wavering to and fro<br /></span> +<span class="i0">Crossed and recrossed the winged snow:<br /></span> +<span class="i0">And ere the early bedtime came<br /></span> +<span class="i0">The white drift piled the window-frame,<br /></span> +<span class="i0">And through the glass the clothes-line posts<br /></span> +<span class="i0">Looked in like tall and sheeted ghosts.<br /></span> +</div><div class="stanza"> +<span class="i0">"So all night long the storm roared on:<br /></span> +<span class="i0">The morning broke without a sun;<br /></span> +<span class="i0">In tiny spherule traced with lines<br /></span> +<span class="i0">Of Nature's geometric signs,<br /></span> +<span class="i0">In starry flake and pellicle<br /></span> +<span class="i0">All day the hoary meteor fell;<br /></span> +<span class="i0">And, when the second morning shone,<br /></span> +<span class="i0">We looked upon a world unknown,<br /></span> +<span class="i0">On nothing we could call our own.<br /></span> +<span class="i0">Around the glistening wonder bent<br /></span> +<span class="i0">The blue walls of the firmament,<br /></span> +<span class="i0">No cloud above, no earth below,—<br /></span> +<span class="i0">A universe of sky and snow!<br /></span> +<span class="i0">The old familiar sights of ours<br /></span> +<span class="i0">Took marvellous shapes; strange domes and towers<br /></span> +<span class="i0">Rose up where sty or corn-crib stood,<br /></span> +<span class="i0">Or garden-wall, or belt of wood;<br /></span> +<span class="i0">A smooth white mound the brush-pile showed,<br /></span> +<span class="i0">A fenceless drift what once was road;<br /></span> +<span class="i0">The bridle-post an old man sat<br /></span> +<span class="i0">With loose-flung coat and high cocked hat;<br /></span> +<span class="i0">The well-curb had a Chinese roof;<span class='pagenum'><a name="Page_150" id="Page_150">[Pg 150]</a></span><br /></span> +<span class="i0">And even the long sweep, high aloof,<br /></span> +<span class="i0">In its slant splendor, seemed to tell<br /></span> +<span class="i0">Of Pisa's leaning miracle."<br /></span> +</div></div> + +<p>Again the fireside joy is expressed:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Shut in from all the world without,<br /></span> +<span class="i0">We sat the clean-winged hearth about,<br /></span> +<span class="i0">Content to let the north-wind roar<br /></span> +<span class="i0">In baffled rage at pane and door,<br /></span> +<span class="i0">While the red logs before us beat<br /></span> +<span class="i0">The frost-line back with tropic heat;<br /></span> +<span class="i0">And ever, when a louder blast<br /></span> +<span class="i0">Shook beam and rafter as it passed,<br /></span> +<span class="i0">The merrier up its roaring draught<br /></span> +<span class="i0">The great throat of the chimney laughed,<br /></span> +<span class="i0">The house-dog on his paws outspread<br /></span> +<span class="i0">Laid to the fire his drowsy head,<br /></span> +<span class="i0">The cat's dark silhouette on the wall<br /></span> +<span class="i0">A couchant tiger's seemed to fall;<br /></span> +<span class="i0">And, for the winter fireside meet,<br /></span> +<span class="i0">Between the andirons' straddling feet,<br /></span> +<span class="i0">The mug of cider simmered slow,<br /></span> +<span class="i0">The apples sputtered in a row,<br /></span> +<span class="i0">And, close at hand, the basket stood<br /></span> +<span class="i0">With nuts from brown October's wood.<br /></span> +</div><div class="stanza"> +<span class="i0">"What matter how the night behaved?<br /></span> +<span class="i0">What matter how the north-wind raved?<br /></span> +<span class="i0">Blow high, blow low, not all its snow<br /></span> +<span class="i0">Could quench our hearth-fire's ruddy glow."<br /></span> +</div></div> + +<p>If these passages and others in "Snow-Bound" +are familiar to the children in previous study, the +reading of Emerson's "The Snow-Storm," might set<span class='pagenum'><a name="Page_151" id="Page_151">[Pg 151]</a></span> +them to recalling a whole series of pictures from +Whittier:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Announced by all the trumpets of the sky,<br /></span> +<span class="i0">Arrives the snow, and, driving o'er the fields,<br /></span> +<span class="i0">Seems nowhere to alight: the whited air<br /></span> +<span class="i0">Hides hills and woods, the river, and the heaven,<br /></span> +<span class="i0">And veils the farmhouse at the garden's end.<br /></span> +<span class="i0">The sled and traveller stopped, the courier's feet<br /></span> +<span class="i0">Delayed, all friends shut out, the housemates sit<br /></span> +<span class="i0">Around the radiant fireplace, enclosed<br /></span> +<span class="i0">In a tumultuous privacy of storm.<br /></span> +</div><div class="stanza"> +<span class="i0">"Come see the north wind's masonry.<br /></span> +<span class="i0">Out of an unseen quarry evermore,<br /></span> +<span class="i0">Furnished with tile, the fierce artificer<br /></span> +<span class="i0">Curves his white bastions with projected roof<br /></span> +<span class="i0">Round every windward stake, or tree, or door.<br /></span> +<span class="i0">Speeding, the myriad-handed, his wild work<br /></span> +<span class="i0">So fanciful, so savage, nought cares he<br /></span> +<span class="i0">For number or proportion. Mockingly,<br /></span> +<span class="i0">On coop or kennel he hangs Parian wreaths;<br /></span> +<span class="i0">A swan-like form invests the hidden thorn;<br /></span> +<span class="i0">Fills up the farmer's lane from wall to wall,<br /></span> +<span class="i0">Maugre the farmer's sighs; and at the gate<br /></span> +<span class="i0">A tapering turret overtops the work.<br /></span> +<span class="i0">And when his hours are numbered, and the world<br /></span> +<span class="i0">Is all his own, retiring, as he were not,<br /></span> +<span class="i0">Leaves, when the sun appears, astonished Art<br /></span> +<span class="i0">To mimic in slow structures, stone by stone,<br /></span> +<span class="i0">Built in an age, the mad wind's night-work,<br /></span> +<span class="i0">The frolic architecture of the snow."<br /></span> +</div></div> + +<p>The architecture of the snow can be compared +point by point in both authors, in the objects about<span class='pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span> +the farmhouse, while the picture of the snug comforts +of the fireplace is in both.</p> + +<p>Of a somewhat different, yet closely related, character +is the description in the Prelude to Part Second, +in the "Vision of Sir Launfal":—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Down swept the chill wind from the mountain peak,<br /></span> +<span class="i2">From the snow five thousand summers old;<br /></span> +<span class="i0">On open wold and hill-top bleak<br /></span> +<span class="i2">It had gathered all the cold,<br /></span> +<span class="i0">And whirled it like sleet on the wanderer's cheek;<br /></span> +<span class="i0">It carried a shiver everywhere<br /></span> +<span class="i0">From the unleafed boughs and pastures bare;<br /></span> +<span class="i0">The little brook heard it and built a roof<br /></span> +<span class="i0">'Neath which he could house him, winter-proof;<br /></span> +<span class="i0">All night by the white stars' frosty gleams<br /></span> +<span class="i0">He groined his arches and matched his beams;<br /></span> +<span class="i0">Slender and clear were his crystal spars<br /></span> +<span class="i0">As the lashes of light that trim the stars;<br /></span> +<span class="i0">He sculptured every summer delight<br /></span> +<span class="i0">In his halls and chambers out of sight;<br /></span> +<span class="i0">Sometimes his tinkling waters slipt<br /></span> +<span class="i0">Down through a frost-leaved forest-crypt,<br /></span> +<span class="i0">Long, sparkling aisles of steel-stemmed trees<br /></span> +<span class="i0">Bending to counterfeit a breeze;<br /></span> +<span class="i0">Sometimes the roof no fretwork knew<br /></span> +<span class="i0">But silvery mosses that downward grew;<br /></span> +<span class="i0">Sometimes it was carved in sharp relief<br /></span> +<span class="i0">With quaint arabesques of ice-fern leaf;<br /></span> +<span class="i0">Sometimes it was simply smooth and clear<br /></span> +<span class="i0">For the gladness of heaven to shine through, and here<br /></span> +<span class="i0">He had caught the nodding bulrush-tops<br /></span> +<span class="i0">And hung them thickly with diamond drops,<br /></span> +<span class="i0">Which crystalled the beams of moon and sun,<br /></span> +<span class="i0">And made a star of every one:<span class='pagenum'><a name="Page_153" id="Page_153">[Pg 153]</a></span><br /></span> +<span class="i0">No mortal builder's most rare device<br /></span> +<span class="i0">Could match this winter-palace of ice;<br /></span> +<span class="i0">'Twas as if every image that mirrored lay<br /></span> +<span class="i0">In his depths serene through the summer day,<br /></span> +<span class="i0">Each flitting shadow of earth and sky,<br /></span> +<span class="i2">Lest the happy model should be lost,<br /></span> +<span class="i0">Had been mimicked in fairy masonry<br /></span> +<span class="i2">By the elfin builders of the frost.<br /></span> +</div><div class="stanza"> +<span class="i0">"Within the hall are the song and laughter,<br /></span> +<span class="i2">The cheeks of Christmas glow red and jolly,<br /></span> +<span class="i0">And sprouting is every corbel and rafter<br /></span> +<span class="i2">With the lightsome green of ivy and holly;<br /></span> +<span class="i0">Through the deep gulf of the chimney wide<br /></span> +<span class="i0">Wallows the Yule-log's roaring tide;<br /></span> +<span class="i0">The broad flame-pennons droop and flap<br /></span> +<span class="i2">And belly and tug as a flag in the wind;<br /></span> +<span class="i0">Like a locust shrills the imprisoned sap,<br /></span> +<span class="i2">Hunted to death in its galleries blind;<br /></span> +<span class="i0">And swift little troops of silent sparks,<br /></span> +<span class="i2">Now pausing, now scattering away as in fear,<br /></span> +<span class="i0">Go threading the soot-forest's tangled darks<br /></span> +<span class="i2">Like herds of startled deer."<br /></span> +</div></div> + +<p>The elfin builders of the frost have raised even +more delicate structures than the snow. The descriptive +power of the poets in picturing nature's handiwork +cannot be better seen than in these passages. +It is hardly worth while to suggest the points of +resemblance which children will quickly detect in +these passages, as the comparison of—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Through the deep gulf of the chimney wide<br /></span> +<span class="i0">Wallows the Yule-log's roaring tide,"<br /></span> +<span class='pagenum'><a name="Page_154" id="Page_154">[Pg 154]</a></span></div></div> + +<p class="noidt">with this,—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"The merrier up its roaring draught.<br /></span> +<span class="i0">The great throat of the chimney laughed."<br /></span> +</div></div> + +<p>Such passages, suggesting like thoughts in earlier +studies, are very frequent and spring up in unexpected +quarters.</p> + +<p>For example, Emerson, in "Waldeinsamkeit," +says:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"I do not count the hours I spend<br /></span> +<span class="i2">In wandering by the sea;<br /></span> +<span class="i0">The forest is my loyal friend,<br /></span> +<span class="i2">Like God it useth me."<br /></span> +</div></div> + +<p>Again, in the "Apology," he says:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Think me not unkind and rude<br /></span> +<span class="i2">That I walk alone in grove and glen;<br /></span> +<span class="i0">I go to the god of the wood<br /></span> +<span class="i2">To fetch his word to men."<br /></span> +</div></div> + +<p>And Lowell, in "The Bobolink":—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"As long, long years ago I wandered,<br /></span> +<span class="i0">I seem to wander even yet.<br /></span> +<span class="i0">The hours the idle schoolboy squandered,<br /></span> +<span class="i0">The man would die ere he'd forget.<br /></span> +<span class="i0">O hours that frosty eld deemed wasted,<br /></span> +<span class="i0">Nodding his gray head toward my books,<br /></span> +<span class="i0">I dearer prize the lore I tasted<br /></span> +<span class="i0">With you, among the trees and brooks,<br /></span> +<span class="i0">Than all that I have gained since then<br /></span> +<span class="i0">From learned books or study-withered men."<br /></span> +<span class='pagenum'><a name="Page_155" id="Page_155">[Pg 155]</a></span></div></div> + +<p>And Whittier says:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Our uncle, innocent of books,<br /></span> +<span class="i0">Was rich in lore of fields and brooks,<br /></span> +<span class="i0">The ancient teachers never dumb<br /></span> +<span class="i0">Of Nature's unhoused lyceum."<br /></span> +</div></div> + +<p>It would not be difficult to recall other passages +from Bryant, Shakespeare, Byron, and many others, +expressing this love of solitude in woods or on the +seashore, and the wisdom to be gained from such +communion with nature. This active retrospect to +gather up kindred thoughts out of previous studies +and mingle them with the newer influx of radiant +ideas from master minds is a fruitful mode of assimilating +and compounding knowledge. It may be +advisable at times for the teacher to bring together +a few additional passages from still wider sources, +expressive of a thought kindred to that worked out +in the class. Such study leads to a self-reliant, enthusiastic +companionship with the thoughts of great +men, and is most profitable.</p> + +<p>4. There is a pronounced value in dramatic representation +of literary selections. The impersonating +of characters gives an intensity and realism to the +thought that cannot be effected in any other way. +In some cases it is possible to provide a stage and +some degree of costuming, to lend more complete +realization of the scenes.</p> + +<p>In favor of such dramatic efforts it may be said +that children, even in the earlier grades, are naturally<span class='pagenum'><a name="Page_156" id="Page_156">[Pg 156]</a></span> +dramatic, and enjoy greatly both seeing and participating +in them. It gives scope to their natural tendency +toward action, rather than repose, and proper +verbal expression is more easily secured in conjunction +with action than without it. In this connection +it may be said that acting lends greater freedom and +spontaneity to the reading.</p> + +<p>Schlegel, in his description of dramatic art, says:—</p> + +<p>"Even in a lively oral narration, it is not unusual +to introduce persons in conversation with each other, +and to give a corresponding variety to the tone and the +expression. But the gaps, which these conversations +leave in the story, the narrator fills up in his own +name with a description of the accompanying circumstances, +and other particulars. The dramatic poet +must renounce all such expedients; but for this he is +richly recompensed in the following invention. He +requires each of the characters in his story to be personated +by a living individual; that this individual +should, in sex, age, and figure, meet as near as may +be the prevalent conceptions of his fictitious original, +nay, assume his entire personality; that every speech +should be delivered in a suitable tone of voice, and +accompanied by appropriate action and gesture; +and that those external circumstances should be +added which are necessary to give the hearers a +clear idea of what is going forward. Moreover, these +representatives of the creatures of his imagination +must appear in the costume belonging to their as<span class='pagenum'><a name="Page_157" id="Page_157">[Pg 157]</a></span>sumed +rank, and to their age and country; partly for +the sake of greater resemblance, and partly because, +even in dress, there is something characteristic. +Lastly, he must see them placed in a locality which, +in some degree, resembles that where, according to +his fable, the action took place, because this also contributes +to the resemblance: he places them, <i>i.e.</i>, on a +scene. All this brings us to the idea of the theatre. +It is evident that the very form of dramatic poetry, +that is, the exhibition of an action by dialogue without +the aid of narrative, implies the theatre as its +necessary complement."</p> + +<p>"The invention of dramatic art, and of the theatre, +seems a very obvious and natural one. Man has a +great disposition to mimicry; when he enters vividly +into the situation, sentiments, and passions of others, +he involuntarily puts on a resemblance to them in +his gestures. Children are perpetually going out of +themselves; it is one of their chief amusements to +represent those grown people whom they have had +an opportunity of observing, or whatever strikes their +fancy; and with the happy pliancy of their imagination, +they can exhibit all the characteristics of any +dignity they may choose to assume, be it that of a +father, a schoolmaster, or a king."</p> + +<p>In his book, "Imagination and Dramatic Instinct," +S. S. Curry says:—</p> + +<p>"Since dramatic instinct is so important, the +question naturally arises respecting the use of dia<span class='pagenum'><a name="Page_158" id="Page_158">[Pg 158]</a></span>logues +for its education. There are those who think +that all histrionic art is useless; that it is even deleterious +to character to assume a part.</p> + +<p>"The best answer to this is the study of the little +child. The very first means a child adopts to get out +of itself, or to realize the great world about it, is by +dramatic action and instinct. No child was ever born +with any mind at all, that had not some of this instinct; +and the more promising the child, the more +is it dramatic and imaginative. Dramatic instinct is +universal. It is the secret of all success; it is the instinct +by which man sees things from different points +of view, by which he realizes the ideal in character in +contrast to that which is not ideal."</p> + +<p>"Professor Monroe was once asked by a clergyman +for private lessons. He told him that was impossible. +'Well,' said the minister, 'what can I do then?' +'Go home and read Shakespeare dramatically.' +Why was such advice given? Because the struggle to +read Shakespeare would get the minister out of himself. +The struggle to realize how men of different +types of character would speak certain things would +make him conscious whether he, himself, spoke naturally. +He would, in short, become aware of his +mannerisms, of his narrow gamut of emotions, his +sameness of point of view; he would be brought into +direct contact with the process of his own mind in +thinking."</p> + +<p>The supreme value of a vivid and versatile imagi<span class='pagenum'><a name="Page_159" id="Page_159">[Pg 159]</a></span>nation +in giving full and rich development to the whole +mind is now a vital part of our confession of faith. +The question is how to cultivate such a resourceful +imagination. The literature of the creative imagination +is felt to be the chief means, and the dramatic +instinct toward interpreting, assimilating and expressing +human thought and feeling opens the avenue of +growth.</p> + +<p>Dr. Curry says:—</p> + +<p>"Dramatic instinct should be trained because it is +a part of the imagination, because it gives us practical +steps toward the development of the imagination, +because it is the means of securing discipline and +power over feeling. Dramatic instinct should be +trained because it is the insight of one mind into another. +The man who has killed his dramatic instinct +has become unsympathetic, and can never appreciate +any one's point of view but his own. Dramatic +instinct endows us with broad conceptions of the +idiosyncrasies, beliefs, and convictions of men. It +trains us to unconscious reasoning, to a deep insight +into the motives of man. It is universally felt that +one's power to 'other himself' is the measure of the +greatness of his personality. All sympathy, all +union of ourselves with the ideals and struggles of +our race, are traceable to imagination and dramatic +instinct."</p> + +<p>He further emphasizes the idea that dramatic instinct +has two elements—imagination and sympathy.<span class='pagenum'><a name="Page_160" id="Page_160">[Pg 160]</a></span> +"Imagination affords insight into character; sympathy +enables us to identify ourselves with it." "Together +they form the chief elements of altruism. +They redeem the mind from narrowness and selfishness; +they enable the individual to appreciate the +point of view, the feelings, motives, and characters of +his fellow-men; they open his eyes to read the +various languages of human art; they enable him to +commune with his kind on a higher plane than that of +commonplace facts; they lift him into communion with +the art and spirit of every age and nation. Without +their development man is excluded from the highest +enjoyment, the highest communion with his kind, and +from the highest success in every walk of life."</p> + +<p>Dramatization is the only means by which we can +bring the reading work of the school to its full and +natural expression. The action involved in it predisposes +the mind to full and natural utterance. The fulfilment +of all the dramatic conditions lends an impetus +and genuineness to every word that is spoken. It +has been often observed that boys and girls whose +reading is somewhat expressionless become direct +and forcible when taking a part in a dialogue or +dramatic action. It would be almost farcical not to +put force and meaning into the words when all the +other elements of action and realism are present.</p> + +<p>Educational progress is everywhere exerting a +distinct pressure at those points where greater realism, +deeper absorption in actualities, is possible.<span class='pagenum'><a name="Page_161" id="Page_161">[Pg 161]</a></span> +This is the significance of outdoor excursions, of +experiments, laboratories, and object work in nature +study. In geography and history it is the purpose +of pictures, vivid descriptions, biographical stories, and +the accounts of eye-witnesses and real travellers, etc.</p> + +<p>In literature we possess, embodied in striking +concrete personalities, many of the most forcible +ideas that men have conceived and dealt with in +the history of the world. It is very desirable that +children should become themselves the vehicles for +the expression of these ideas. The school is the +place where children should become the embodiment +of ideas. It would be a grand and not impractical +scheme of education to propose to make +the school a place where each child, in a well-chosen +succession, should be allowed to impersonate +and become the embodiment of the constructive +ideas of our civilization.</p> + +<p>We reason much concerning the educative value +of carpentry, of the various forms of manual skill in +wood and iron, of weaving, gardening, and cooking, +of the work of shoemaker, basket-maker, and potter, +and of the educative value of these constructive +activities; for the purposes of universal education, +is it not of equal importance that children become +skilled in the histrionic art, in the apt interpretation +and expression of good manners, in that deeper +social insight and versatile tact which are the constructive +elements in conduct? Or, putting it in a<span class='pagenum'><a name="Page_162" id="Page_162">[Pg 162]</a></span> +more obvious form, is it any more important for +a person to know how to construct a bookcase or +even a steam-engine, than to shape his speech or +conduct skilfully in meeting a board of education +or a business manager.</p> + +<p>It is not the purpose of the school to educate +players or public readers, any more than to train +carpenters or machinists. But the reading exercises +in school should culminate in the ability to sympathetically +interpret a considerable variety of human +life and character as presented in our best literature. +Modern educators, however, are not satisfied, in any +important study, with theoretical knowledge derived +from books. They demand that knowledge shall +pass over into some sort of practice and use. Reading +passes naturally and without a break from the +interpretation of life to its embodiment in conduct. +In this important respect it is the most practical +of all studies. Its subject matter, derived from +literature, consists largely of an interesting variety +of typical and artistically beautiful character delineations +from the hands of the supreme master of this +art. Dramatic representation is the last and indispensable +step in the art of reading; and the interest +that naturally attaches to it, from early childhood +up through all the stages of growth, removes one +chief obstacle to its introduction.</p> + +<p>Keeping in mind that wisdom, skill, and versatility +in conduct are the natural and appropriate outcome<span class='pagenum'><a name="Page_163" id="Page_163">[Pg 163]</a></span> +of successful dramatic representation, it is not at +all extravagant to say that the average child will +have far more use for this result, both now and in all +the vicissitudes of later life, than for skill in carpentry, +or ironwork, or weaving, etc.</p> + +<p>Nor have we any disposition to detract from the +value usually attributed to manual training in its +various forms by its advocates.</p> + +<p>It is not uncommon for teachers generally to employ +the dialogue form when the selection admits of it, and +to assign the parts to different children. Our purpose, +however, in the fuller discussion and emphasis of the +dramatic element is to suggest a more liberal employment +of dramatic selections, and to provide for a much +fuller dramatic representation, using simple, inexpensive +costumes and stage surroundings where possible.</p> + +<p>When we examine in detail the number of dramatic +selections in a set of readers, or among the masterpieces +sometimes read in the classes below the high +school, we shall find a number of purely dramatic +works. "The Merchant of Venice" and "Julius +Cæsar" are well adapted to seventh and eighth +grades, and there are many selections in which +the dialogue is an important feature, as in "The +Cricket on the Hearth," "King of the Golden River," +"Tanglewood Tales," "Lady of the Lake," "Marmion," +"Pilgrim's Progress," "Grandfather's Chair," +and many others.</p> + +<p>"The Courtship of Miles Standish" has been<span class='pagenum'><a name="Page_164" id="Page_164">[Pg 164]</a></span> +published in a form specially adapted for school +exhibitions by Houghton, Mifflin, & Co. Longfellow's +"Giles Corey of the Salem Farms," in the "Riverside +Series," is a drama well suited to sixth grade. The +story of "William Tell," derived from Schiller's +drama, is adapted to sixth and possibly to fifth grade.</p> + +<p>Some of the ballads are cast in the form of the +dialogue, and can be easily treated so in the school, +as "Proud Lady Margaret," "Robin Hood and the +Widow's Sons," "King John and the Abbot of Canterbury," +and many others. The Robin Hood stories +are full of dialogue and could be easily dramatized, +and so with "Uncle Tom's Cabin," and others.</p> + +<p>An examination of our literature from this point +of view will discover a strong dramatic element in +a large portion of it, and the cultivation of this spirit +will qualify the children for a better appreciation of +many of the great works.</p> + +<p>5. Treatment of the "Odyssey."</p> + +<p>The "Odyssey" is probably as well known as any +masterpiece in the world's literature. For the sake +of illustration, therefore, we will enter upon a brief +discussion of the mode of handling it as a unit in the +school.</p> + +<p>There are abundant sources in English from +which the teacher can get an adequate knowledge +of this great poem without using the original Greek. +A few of the leading books which the teacher may +consult are as follows: "The Story of Ulysses"<span class='pagenum'><a name="Page_165" id="Page_165">[Pg 165]</a></span> +(Cook). A very simple, abbreviated narrative of +Ulysses' wanderings, sometimes used as a reading +book in fourth or fifth grade. (Public School +Publishing Co.)—"Lamb's Adventures of Ulysses." +A pleasing prose rendering of the chief incidents of +the story, more difficult than the preceding. Sometimes +used as a reader. (Ginn & Co.)—"Church's +Stories of the Old World," in which "The Adventures +of Ulysses" forms a chapter. A good short +treatment of the story in simple language. (Ginn & +Co.)—"Ulysses among the Phæacians," consisting +of selections from five books of the "Odyssey" as +translated into verse by Bryant. This seems well +adapted for use as a reading-book in fourth or fifth +grade, and will be discussed more fully as such. +(Houghton, Mifflin, & Co.)—"The Odyssey of +Homer" by Palmer, is an excellent prose-poetic +rendering of the whole poem, and is of great service +to the teacher. (Houghton, Mifflin, & Co.)—Another +excellent prose translation, by Butcher and +Lang, has been much used. (The Macmillan Co.)—Bryant's +"Homer's 'Odyssey,'" a complete poetic +rendering of the whole twenty-four books of the +poem, is probably the best basis for school reference +and study of the poem.—"National Epics," by +Rabb, has a good narrative and introduction for the +"Odyssey," and a list of critical references. (A. C. +McClurg & Co.)—"Art and Humanity in Homer," +by Lawton, has an interesting discussion of the<span class='pagenum'><a name="Page_166" id="Page_166">[Pg 166]</a></span> +"Odyssey." Other famous translations of the whole +"Odyssey" were made by Alexander Pope, William +Cowper, George Chapman, and others.</p> + +<p>It is not unusual in schools for teachers to give +children of the third or fourth grade an oral introduction +to the whole story in a series of lessons. This +requires skill in presenting and discussing the +episodes, and should be attended by good oral reproductions +by the children. Such oral work should be +done in distinct lessons apart from the regular reading. +Later, in fourth or fifth grade, the story is +sometimes read in class from one of the simple prose +narratives of Miss Cook, or Lamb, or Church. In +the fifth or sixth grade, "Ulysses among the Phæacians" +forms an interesting reading-book, with which +to acquaint the children more fully with the poetic +beauty and descriptive detail of the original, so far +as it can be secured in English. In connection with +such reading it may be interesting to choose from +Bryant's complete translation other selected parts of +the story, and encourage the children to read them, +if books from the library or homes can be provided.</p> + +<p>We may dwell for a moment upon those qualities of +Homer's story which have commanded the admiration +of the great poets in different ages and countries. +The peculiar poetic charm and power of the original +Greek are probably untranslatable, although several +eminent poets have attempted it. But we have at +least both prose and verse renderings of it that are +beautiful and poetic.<span class='pagenum'><a name="Page_167" id="Page_167">[Pg 167]</a></span></p> + +<p>Some of the critics have said that the whole poem +is a perfect unit in thought,—much more so than the +"Iliad,"—centring in the person of Ulysses. His +wanderings and his final return constitute the thread +of the narrative. In the main it is a story of peace, +with descriptions of cities, islands, palaces, strange +lands, and peaceful arts and manners. After their +return from Troy we meet Nestor and Menelaus, +dwelling happily in their palaces and surrounded +with home comforts. Ulysses, himself, the great +sufferer, is tossed about the world, or held captive +on sea-girt, far-away islands. He passes through a +series of wonderful adventures, keeping his alertness +and balance of mind so completely that his name has +become a synonym in all lands for shrewdness and +far-seeing wisdom. And it is not only a wise perception, +but a self-control in the midst of old and new +temptations which is most remarkable. This over-mastering +shrewdness or calculation even overdoes +itself and becomes amusing, when he tries, for +example, to deceive his guardian goddess as to who +he is. The descriptions of women and of domestic +life are famous and delightful. The constancy of +Penelope, her industry and shrewdness in outwitting +the suitors, have given her a supreme place among +the women of story. The descriptions of peaceful +manners and customs, of public games, of feasting +and music, of palace halls and ornament, are among +the great literary pictures of the world.<span class='pagenum'><a name="Page_168" id="Page_168">[Pg 168]</a></span></p> + +<p>The particular adventures through which Ulysses +passed with Circe, with the Sirens, with Polyphemus, +with Eolus, with the lotus-eaters, and others, are +plainly suggestive of the dangers which threaten the +thoughtless minded, those who plunge headlong into +danger without forethought. Ulysses does not give +way to folly or passion, is bold and skilful in danger, +and persevering to the last extreme.</p> + +<p>In the treatment of the "Odyssey," the teacher +will need a general knowledge of Greek mythology, +which can be easily derived from "Greek Gods, +Heroes, and Men" (Scott, Foresman, & Co.), and +from several other of the reference books. Some +study of Greek architecture, sculpture, and modes of +life will be instructive and helpful, as given in Smith's +"History of Greece" and other histories. Pictures of +Greek temples and ruins, sculpture, and palaces will +be pleasing and attractive to children. (See Lübke's +"History of Art," Vol. I, Dodd, Mead, & Co.) Some +of the children's books also contain good pictures.</p> + +<p>A good map, indicating the supposed wanderings +of Ulysses in the Mediterranean, is given in several +of the books, <i>e.g.</i> in Palmer's "Odyssey," and fixes +many of the most interesting events of the story. +The teacher should not overlook the geography of +the story and its relation to this and later studies in +history, literature, and geography.</p> + +<p>In using "Ulysses among the Phæacians" as a +reader in fourth or fifth grade, the first unit of study<span class='pagenum'><a name="Page_169" id="Page_169">[Pg 169]</a></span> +is the voyage of Ulysses on his raft, from the time +of leaving Calypso till he is wrecked by the storm +and driven upon the island of Scheria, the home of +the Phæacians. We will suggest a few points in +the treatment. The supposed places and the route +of the voyage can be traced on the map. Let the +teacher sketch it on the board in assigning the lesson. +Suggest that the children locate in the sky the stars +and constellations by which Ulysses is to direct his +course. The story of the construction of the raft on +which Ulysses is to make this journey, just preceding +this part of the story, could be read to the class by +the teacher, as it is not contained in these extracts. +In length of time how does this voyage compare +with a voyage across the Atlantic to-day? Why is it +said, in line 329, that the Great Bear "alone dips not +into the waters of the deep"?</p> + +<p>From previous studies, the children may be able +to tell of Ulysses' stay upon the island with Calypso. +What may the children know of Neptune? Why is +he angered with Ulysses? A picture of Neptune +with the trident is in place. Explain the expression +"while from above the night fell suddenly." Was +Ulysses justified in saying, "Now must I die a miserable +death"? In spite of the desperate storm, in +what ways does Ulysses struggle to save his life? +How do the gods assist him? In what way does +this experience of Ulysses remind us of Robinson +Crusoe's shipwreck and escape?<span class='pagenum'><a name="Page_170" id="Page_170">[Pg 170]</a></span></p> + +<p>With how many men had Ulysses started on his +way to Troy? Now he alone escapes after great +suffering and hopeless buffetings. In what way +during this voyage and shipwreck did Ulysses display +his accustomed shrewdness and foresight? After +landing, what dangers did he still fear?</p> + +<p>The nearly three hundred lines of Book V, which +give this account of Ulysses' voyage and shipwreck, +will require several lessons, and the above questions +are but a few of those raised in its reading and discussion. +When Neptune, Ulysses, or Ino speak, let +the speaker be impersonated so as to give greater +force and reality. In the next book (VI), there is +more of dialogue and better opportunity for variety +of manner and voice.</p> + +<p>It would be tedious to enter into further detail +suggesting questions. But we may believe that a +spirited treatment of this part of the story of Ulysses +in reading lessons, including his stay and treatment +among the Phæacians, will give the children much +appreciation of the beauty and power of this old +story. By means of occasional readings of other +selected parts of the "Odyssey," from Bryant or +Palmer, some of the most striking pictures in the +story of his wanderings can be presented. Even +the children may find time for some of this additional, +outside reading. In any event the story of +Ulysses, as a piece of great literature, can thus be +brought home to the understandings and hearts of<span class='pagenum'><a name="Page_171" id="Page_171">[Pg 171]</a></span> +children, and will constitute henceforward a part +of that rich furniture of the mind which we call +culture.</p> + + +<h3>SUMMARY OF SIGNIFICANT POINTS IN READING</h3> + +<p>1. The teacher's effort is first directed to a vivid +interpretation of the author's thought and feeling, +and later to an expressive rendering of the thought.</p> + +<p>2. Every exertion should be made to lead the +children to an absorbed and interested attention in +the selections.</p> + +<p>3. The author's leading motive in the whole selection +should be firmly grasped by the teacher. By +centring all discussion toward this motive, unnecessary +digressions will be avoided.</p> + +<p>4. The teacher will hardly teach well unless he +has saturated himself with the spirit of the selection, +and enjoys it. To this end he needs not only to +study the selection, but also the historical, geographical, +biographical, and other side-lights.</p> + +<p>5. The teacher needs great freedom and versatility +in the use of his materials. Warmth, animation, +and freedom of manner are necessary.</p> + +<p>6. Children often do not know how to study a +reading lesson. In the assignment and in the way of +handling the lesson they should be taught how to get +at it, how to understand and enjoy it.<span class='pagenum'><a name="Page_172" id="Page_172">[Pg 172]</a></span></p> + +<p>7. In the assignment of the lesson the thought +of the piece should be opened up in an interesting +way, and such difficulties as children are not likely to +grapple with and master for themselves pointed out +and approached. Difficult words need to be pronounced +and hard passages explained.</p> + +<p>8. The assignment should be unmistakably clear +and definite, so as to insure a good seat study.</p> + +<p>9. The seat study should be chiefly on parts +already discussed in class.</p> + +<p>10. During the recitation proper, strong class attention +by all the members of the class is a first +necessity. Much knowledge, alertness, and skill are +necessary to secure this. One must keep all the +members of the class in the eye constantly, and +distribute the questions and work among them +promptly and judiciously, so as to secure concentrated +effort.</p> + +<p>11. The teacher can often judge a recitation better +without looking at the book while the class is reading.</p> + +<p>12. Skill in questioning is very useful in reading +lessons.</p> + +<div class="blockquot"><p>(<i>a</i>) Questions to arouse the thought should +appeal to the experience of children.</p> + +<p>(<i>b</i>) Questions to bring out the meaning of +words or passages, or to expose errors or +to develop thought, should be clear and +specific, not long and ambiguous.</p></div><p><span class='pagenum'><a name="Page_173" id="Page_173">[Pg 173]</a></span></p> + +<p>13. Let the teacher be satisfied with reasonable +answers, and not insist on the precise verbal form +present to his own mind.</p> + +<p>14. The teacher needs to awaken strongly the +imagination in picturing scenes, in interpreting +poetic images and figures, and in impersonating +characters. The picture-forming power is stimulated +by apt questions, by suggestion of the teacher, by +interpretation, by appeal to experience, by dramatic +action.</p> + +<p>15. The use of the dialogue and dramatic representation +is among the best means of awakening +interest and producing freedom and self-forgetfulness.</p> + +<p>16. The pupil should give his own interpretation, +subject to correction, and interpret parts in relation +to the whole.</p> + +<p>17. Without too much loss of time children should +learn to help themselves in overcoming difficulties +in solving problems.</p> + +<p>18. Sometimes it is well for children to come prepared +to ask definite questions on parts they do not +understand.</p> + +<p>19. The tendency to more independent and mature +thinking is encouraged by comparing similar ideas, +figures of speech, and language in different poems +and from different authors.</p> + +<p>20. There should be much effective reading and +not much mere oral reproduction. The paraphrase<span class='pagenum'><a name="Page_174" id="Page_174">[Pg 174]</a></span> +may be used at times to give the pupil a larger view +of the content of the piece.</p> + +<p>21. Let the pupil reading feel responsible for giving +to the class the content of the printed page. +Often it is best to face the class.</p> + +<p>22. The teacher should occasionally read a passage +in the best style for the pupils, not for direct +imitation, but to suggest the higher ideals and spirit +of good reading. A high standard is thus set up.</p> + +<p>23. Children should be encouraged to learn by +heart the passages they like. In the midst of the +recitation it is well occasionally to memorize a passage.</p> + +<p>24. The teacher must drill himself in clear-cut +enunciation of short vowels, final consonants, and +pure vowel sounds. Cultivate also a quick ear for +accurate enunciation in the pupils and for pleasing +tones. Frequent drill exercise, singly and in concert, +is necessary.</p> + +<p>25. Use ingenuity by indirect methods to overcome +nasality, stuttering, nervously rapid reading, +slovenly and careless expression, monotone, and singsong.</p> + +<p>26. By means of physical training, deep breathing, +vigorous thought work, encourage to self-reliant +manner and good physical position.</p> + +<p>27. Give variety to each lesson; avoid monotony +and humdrum.</p> + +<p>28. Each lesson should emphasize a particular<span class='pagenum'><a name="Page_175" id="Page_175">[Pg 175]</a></span> +aim, determined by the nature of the selection or by +the previous bad habits and faults of the children +in reading. It is impossible to give proper emphasis +to all things in each lesson, and indefiniteness and +monotony are the result.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_176" id="Page_176">[Pg 176]</a></span></p> +<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI</h2> + +<h3>THE VALUE OF CLASSICS TO THE TEACHER</h3> + + +<p>In discussing the value and fruitfulness of this +field of study to children, it is impossible to forbear +the suggestion of its scope and significance for +teachers. If the masters of song and expression +are able to work so strongly upon the immature +minds of children, how much deeper the influence +upon the mature and thoughtful minds of teachable +teachers! They above all others should have dispositions +receptive of the best educational influences. +The duties and experiences of their daily work predispose +them toward an earnest and teachable spirit. +In very many cases, therefore, their minds are wide +open to the reception of the best. And how deep +and wide and many-sided is this enfranchisement of +the soul through literature!</p> + +<p>It is a gateway to history; not, however, that castaway +shell which our text-books, in the form of a dull +recital of facts, call history; but its heart and soul, +the living, breathing men and women, the source +and incentive of great movements and struggles +toward the light. Literature does not make the +study of history superfluous, but it puts a purpose<span class='pagenum'><a name="Page_177" id="Page_177">[Pg 177]</a></span> +into history which lies deeper than the facts, it sifts +out the wheat from the chaff, casts aside the superficial +and accidental, and gets down into the deep +current of events where living causes are at work.</p> + +<p>The "Courtship of Miles Standish," for example, +is deeper and stronger than history because it idealizes +the stern and rigid qualities of the Puritan, while +John Alden and Priscilla touch a deeper universal +sympathy, and body forth in forms of beauty that +pulsing human love which antedates the Puritan and +underlies all forms of religion and society.</p> + +<p>Illustrative cases have been given in sufficient +abundance to show that literature, among other +things, has a strong political side. It grasps with +a master hand those questions which involve true +patriotism. It exalts them into ideals, and fires the +hearts of the people to devotion and sacrifice for +their fulfilment.</p> + +<p>Burke's "Oration on the American War" is, to one +who has studied American history, an astonishing +confirmation of how righteous and far-sighted were +the principles for which Samuel Adams and the +other patriots struggled at the opening of the Revolution. +Webster's speech at Bunker Hill is a graphic +and fervent retrospect on the past of a great struggle, +and a prophetic view of the swelling tide of individual, +social, and national well-being.</p> + +<p>If the teacher is to interpret history to school +children, he must learn to grasp what is essential<span class='pagenum'><a name="Page_178" id="Page_178">[Pg 178]</a></span> +and vital; he must be able to discriminate between +those events which are trivial and those of lasting +concern. The study of our best American literature +will reveal to him this distinction, and make him a +keen and comprehensive critic of political affairs.</p> + +<p>Barnett, in his "Common Sense in Education and +Teaching" (p. 170), says:—</p> + +<p>"In the second place, literature provides us with +historical landmarks. We cannot be said to understand +the general 'history' of a particular time unless +we know something of the thought that stirred its +most subtle thinkers, and interpreted and made articulate +the spirit of the times in which they lived. The +most notable facts in the history of the times of +Edward III, of Elizabeth, and of Victoria are that +Chaucer and Shakespeare and Tennyson and their +contemporaries lived and wrote. Political history, +social history, economic history, even ecclesiastical history, +are all reflected, illustrated, and interpreted by +what we find in the great works of contemporary +literature."</p> + +<p>Charles Kingsley, in his "Literary and General +Essays" (p. 249), holds a like opinion:—</p> + +<p>"I said that the ages of history were analogous to +the ages of man, and that each age of literature was +the truest picture of the history of its day, and for +this very reason English literature is the best, perhaps +the only, teacher of English history, to women +especially. For it seems to me that it is principally by<span class='pagenum'><a name="Page_179" id="Page_179">[Pg 179]</a></span> +the help of such an extended literary course that we +can cultivate a just and enlarged taste which will connect +education with the deepest feelings of the heart."</p> + +<p>Literature is also a mirror that reflects many sides +of social life and usage. There is no part of a +teacher's education that is so vital to his practical +success as social culture. John Locke's "Thoughts +on Education" are, in the main, an inquiry into the +methods and means by which an English gentleman +can be formed. The aim of the tutor who has this +difficult task is not chiefly to give learning, to fill the +mind with information, to develop mentality, but to +train the practical judgment in harmony with gentlemanly +conduct. The tutor, himself a scholar, is to +know the world, its ins and outs, its varieties of social +distinction and usage, its snares and pitfalls, its wise +men and fools. The child is to learn to look the +world in the face and understand it, to know himself +and to be master of himself and of his conduct, to +appreciate other people in their moods and characters, +and to adapt himself prudently and with tact to the +practical needs. The gentleman whom Locke sets +up as his ideal is not a fashion-plate figure, not a +drawing-room gallant, but a clear-headed man who +understands other people and himself, and has been +led by insensible degrees to so shape his habitual +conduct as most wisely to answer his needs in the +real world. Emerson, with all his lofty idealism and +unconventionalism, has an ideal of education nearly<span class='pagenum'><a name="Page_180" id="Page_180">[Pg 180]</a></span> +akin to that of Locke. This social ideal of Locke +and Emerson is one that American teachers can well +afford to ponder. As a nation, we have been accustomed +to think that a certain amount of roughness +and boorishness was necessary as a veil to cover the +strongest manly qualities. Smoothness and tact and +polish, however successful they may be in real life, +are, theoretically at least, at a discount. The Adamses, +Jefferson, Jackson, Lincoln, Thoreau, were men who +did violence in a good many ways to social usages, +and we may admire their faults overmuch.</p> + +<p>To the teacher who stands in the presence of thirty +or fifty distinct species of incipient men and women, +social insight and culture, the ability to appreciate +each in his individual traits, his strength or weakness, +are a prime essential to good educative work.</p> + +<p>Now, there are two avenues through which social +culture is attainable,—contact with men and women +in the social environment which envelops us all, and +literature. Literature is, first of all, a hundred-sided +revelation of human conduct as springing from motive. +Irving, Hawthorne, Longfellow, Holmes, and Lowell +are revealers of humanity. Still more so are Dickens +and Eliot and Shakespeare and Goethe. To study +these authors is not simply to enjoy the graphic +power of an artist, but to look into the lives of so +many varieties of men and women. They lay bare +the heart and its inward promptings. Our appreciation +for many forms of life under widely differing<span class='pagenum'><a name="Page_181" id="Page_181">[Pg 181]</a></span> +conditions is awakened. We come in touch with +those typical varieties of men and women whom we +shall daily meet if we will but notice. It broadens +one's perceptions and sympathies, it reveals the +many-sidedness of human life. It suggests to a +teacher that the forty varieties of humanity in her +schoolroom are not after one pattern, nor to be +manipulated according to a single device.</p> + +<p>The social life that surrounds each one of us is +small and limited. Our intimate companionships are +few, and we can see deeply into the inner life of but +a small portion even of those about us. The deeper +life of thought and feeling is largely covered up with +conventionalities and externalities. But in the works +of the best novelists, dramatists, and poets, we may +look abroad into the whole world of time and place, +upon an infinite variety of social conditions, and we +are permitted to see directly into the inner thought +and motive, the very soul of the actors. Yet fidelity +to human nature and real life is claimed to be the +peculiar merit of these great writers. By the common +consent of critics, Shakespeare is the prince of +character delineators. Schlegel says of him:—</p> + +<p>"Shakespeare's knowledge of mankind has become +proverbial; in this his superiority is so great that he +has justly been called the master of the human heart. +A readiness to remark the mind's fainter and involuntary +utterances, and the power to express with certainty +the meaning of these signs, as determined by<span class='pagenum'><a name="Page_182" id="Page_182">[Pg 182]</a></span> +experience and reflection, constitute 'the observer of +men.'"</p> + +<p>"After all, a man acts so because he is so. And +what each man is, that Shakespeare reveals to us +most immediately; he demands and obtains our belief, +even for what is singular and deviates from the +ordinary course of nature. Never perhaps was there +so comprehensive a talent for characterization as +Shakespeare. It not only grasps every diversity of +rank, age, and sex, down to the lispings of infancy; +not only do the king and the beggar, the hero and +the pickpocket, the sage and the idiot, speak and act +with equal truthfulness; not only does he transport +himself to distant ages and foreign nations, and portray +with the greatest accuracy (a few apparent violations +of costume excepted) the spirit of the ancient +Romans, of the French in the wars with the English, +of the English themselves during a great part of their +history, of the Southern Europeans (in the serious +part of many comedies), the cultivated society of the +day, and the rude barbarism of a Norman foretime; +his human characters have not only such depth and +individuality that they do not admit of being classed +under common names, and are inexhaustible even in +conception,—no, this Prometheus not merely forms +men, he opens the gates of the magical world of +spirits."</p> + +<p>What is true of Shakespeare in a preëminent +degree is true to a marked extent of all the great +novelists and poets.<span class='pagenum'><a name="Page_183" id="Page_183">[Pg 183]</a></span></p> + +<p>The teacher needs to possess great versatility and +tact in social situations. A quick insight, social +ease, freedom, and self-possession are of the first +importance to him. The power of sympathy, of +appreciation for others' feelings and difficulties, is +wholly dependent upon such social cultivation. +Otherwise the teacher will be rude, even uncouth +and boorish in manner, producing friction and ill-will +where tact and gentleness would bring sympathy +and confidence. Many people absorb this refinement +of thought and manner from the social circles +with which they mingle, and it is, of course, a smiling +fortune that has placed a teacher's early life in +a happy and cultured atmosphere, where the social +sympathies and graces are absorbed almost unconsciously. +But even where the earlier conditions +have been less favorable, the opportunity for rapid +social development and culture is most promising. +The numberless cases in our country in which young +people, by the strength of their energetic purpose +and desire for improvement, have raised themselves +not only to superior knowledge and scholarship, but +also to that far greater refinement of social life and +manner which we call true culture,—the numberless +instances of this sort are a surprising indication of +the power of education. Literature has been a +potent agent in this direction. It emancipates, it +sets free, the spirit of man. It lifts him above what +is sordid and material, and gives him those true<span class='pagenum'><a name="Page_184" id="Page_184">[Pg 184]</a></span> +standards of worth with which to measure all things. +It contains within itself the refining elements, the +æsthetic and ethical ideals, and, best of all, it portrays +human life in all its thought, feeling, and +passion with such intensity and realistic fidelity that +its teaching power is unparalleled.</p> + +<p>This potentiality of the better literature to produce +such noble results in the higher range of culture is +dependent upon conditions. No one will understand +literature who does not study and understand ordinary +life as it surrounds him; who does not constantly +draw upon his own experience in interpreting +the characters portrayed in books. No stupid or +unobservant person will be made wise through books, +be they never so choice. Even the student who +works laboriously at his text-books, but has no eye +nor care for the people or doings about him, is getting +only the mechanical side of education, and is +losing the better part. He who will draw riches out +of books must put his intellect and sympathy, his +whole enthusiastic better self, into them.</p> + +<p>The indwelling virtue of great books is that they +demand this intense awakening, this complete absorption +of the whole self. The mind of a child and of +a man or woman has to stretch itself to the utmost +limit to take in the message of a great writer. One +feels the old barriers giving way and the mind expanding +to the conception of larger things. Speaking +of the ancient drama at Athens, Shelley says,<span class='pagenum'><a name="Page_185" id="Page_185">[Pg 185]</a></span> +"The imagination is enlarged by a sympathy with +pains and passions so mighty that they distend in +their conception the capacity of that by which they +are conceived."</p> + +<p>Those who have received into the inner self the +expansive energy of noble thought and social culture, +are the better qualified, from the rich variety of the +inner life, to act effectively upon the complex conditions +and forces of the outer world. The teacher +whose inner life is teeming with these rich sympathies +and potent ideals will react with greater prudence +and tact upon the kaleidoscopic conditions of +a school.</p> + +<p>Practical social life and literature are not distinct +modes of culture. They are one, they interact upon +each other in scores of ways. Give a teacher social +opportunities, give him the best of our literature, let +these two work their full influence upon him,—then, +if he cannot become a teacher, it is a hopeless case. +Let him go to the shop, to the farm, to the legislature; +there is no place for him in the schoolroom.</p> + +<p>Literature is also a sharp and caustic critic of his +own follies or foibles, to one who can reflect. It has +a multitude of surprises by which we are able, as +Burns wished,—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"To see oursels as ithers see us."<br /></span> +</div></div> + +<p>Even the schoolmaster finds an occasional apt description +of himself in literature which it is often<span class='pagenum'><a name="Page_186" id="Page_186">[Pg 186]</a></span> +interesting and entertaining for him to ponder. One +of the most familiar is that of Goldsmith in "The +Deserted Village":—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Beside yon straggling fence that skirts the way<br /></span> +<span class="i0">With blossomed furze unprofitably gay,<br /></span> +<span class="i0">There, in his noisy mansion, skill'd to rule,<br /></span> +<span class="i0">The village master taught his little school.<br /></span> +<span class="i0">A man severe he was, and stern to view;<br /></span> +<span class="i0">I knew him well, and every truant knew:<br /></span> +<span class="i0">Well had the boding tremblers learn'd to trace<br /></span> +<span class="i0">The day's disasters in his morning face;<br /></span> +<span class="i0">Full well they laugh'd, with counterfeited glee,<br /></span> +<span class="i0">At all his jokes, for many a joke had he;<br /></span> +<span class="i0">Full well the busy whisper, circling round,<br /></span> +<span class="i0">Convey'd the dismal tidings when he frown'd.<br /></span> +<span class="i0">Yet he was kind, or, if severe in aught,<br /></span> +<span class="i0">The love he bore to learning was in fault.<br /></span> +<span class="i0">The village all declar'd how much he knew;<br /></span> +<span class="i0">'Twas certain he could write, and cipher too;<br /></span> +<span class="i0">Lands he could measure, terms and tides presage,<br /></span> +<span class="i0">And even the story ran that he could gauge;<br /></span> +<span class="i0">In arguing, too, the parson own'd his skill,<br /></span> +<span class="i0">For even though vanquish'd he could argue still;<br /></span> +<span class="i0">While words of learned length and thundering sound<br /></span> +<span class="i0">Amaz'd the gazing rustics ranged around;<br /></span> +<span class="i0">And still they gaz'd, and still the wonder grew<br /></span> +<span class="i0">That one small head could carry all he knew."<br /></span> +</div></div> + +<p>A like entertainment and suggestion of what the +schoolmaster may be, as seen by others, are furnished +by Irving's Ichabod Crane. William Shenstone's +description of the schoolmistress and the +school near two hundred years ago in his native +village, is very diverting. Charles Dickens's descrip<span class='pagenum'><a name="Page_187" id="Page_187">[Pg 187]</a></span>tion +of schools and schoolmasters is important in +the history of England, and, like his portrayals +of child life generally, of deep pedagogical worth +to teachers.</p> + +<p>In his book, "The Schoolmaster in Literature," +Mr. Skinner has done a real service to the teaching +world in bringing together, into a convenient compilation +from many sources, the literature bearing +directly upon the schoolmaster. Even the comic +representations and caricatures are valuable in calling +attention to common foibles and mannerisms, to +say nothing of the more serious faults of teachers.</p> + +<p>It is in literature, also, and in those lives and +scenes from history which literary artists have +worked up, that the teacher can best develop his +own moral ideals and strengthen the groundwork of +his own moral character. The stream will not rise +above its source, and a teacher's moral influence in +a school will not reach above the inspirations from +high sources which he himself has felt. Those +teachers who have devoted themselves solely to the +mastery of the texts they teach, who have read little +from our best writers, are drawing upon a slender +capital of moral resource. Not even if home influences +have laid a sound basis of moral habits are +these sufficient reserves for the exigencies of teaching. +The moral nature of the teacher needs constant +stimulus to upward growing, and the children +need examples, ideal illustrations, life and blood im<span class='pagenum'><a name="Page_188" id="Page_188">[Pg 188]</a></span>personations +of the virtues; and literature is the chief +and only safe reservoir from which to draw them.</p> + +<p>We have already discussed the moral value of the +right books for children. The lessons of the great +works are so profound in this respect that they offer +a still wider range of study to the teacher. Even +the foremost thinkers and philosophers have found +therein an inexhaustible source of truth and wisdom.</p> + +<p>In the Foreword to his "Great Books as Life +Teachers," Newell Dwight Hillis says, "For some +reason our generation has closed its text-books on +ethics and morals, and opened the great poems, +essays, and novels." This is a remarkable statement +and is the key-note to a silent but sweeping change +in education. He adds, "Doubtless for thoughtful +persons this fact argues, not a decline of interest in +the fundamental principles of right living, but a +desire to study these principles as they are made +flesh and embodied in living persons." Again, "It +seems important to remember that the great novelists +are consciously or unconsciously teachers of +morals, while the most fascinating essays and poems +are essentially books of aspiration and spiritual +culture."</p> + +<p>It is suggestive to note that this fundamental text +is worked out in his book by chapters on Ruskin's +"Seven Lamps of Architecture," George Eliot's +"Romola," Hawthorne's "Scarlet Letter," Victor +Hugo's "Les Miserables," Tennyson's "Idylls of<span class='pagenum'><a name="Page_189" id="Page_189">[Pg 189]</a></span> +the King," and Browning's "Saul." This suggests +a fruitful line of studies for every teacher.</p> + +<p>Among modern essayists, Emerson, Carlyle, Ruskin, +and Matthew Arnold stand preëminent, and they +are already well established among the mightiest +teachers of our age, and it may be, of many to +come. Sure it is that teachers could not do better +than put themselves within earshot of these resonant +voices. Their heart-strings will vibrate and +their intellects will be stretched to a full tension, +not simply by the music, but by the truth which +surges up and bursts into utterance. It is scarcely +a figure of speech to say that the lightning flashes +across their pages. The stinging rebuke of wrong, +the noble ideals of righteousness, place them among +the prophets whose tongues have been touched with +fire from the altar.</p> + +<p>Besides the historical, social, and moral tuition for +teachers in literature, there are several other important +culture effects in it. The deepest religious incentives +are touched, nature in her myriad phases is +observed with the eye of the poet and scientist, and +the æsthetic side of poetry and rhythmic prose, its +charm and graces of style, its music and eloquence, +work their influence upon the reader. Literature is +a harp of many strings, and happy is that teacher +who has learned to detect its tones and overtones, +who has listened with pleasure to its varied raptures, +and has felt that expansion of soul which it produces.<span class='pagenum'><a name="Page_190" id="Page_190">[Pg 190]</a></span></p> + +<p>Literature, in the sense in which we have been +using it, has been called the literature of power, the +literature of the spirit. That is, it has generative, +spiritual life. It is not simple knowledge, it is +knowledge energized, charged with potency. It is +knowledge into which the poet has breathed the +breath of life. The difference between bare knowledge +and the literature of power is like the difference +between a perfect statue in stone and a living, +pulsing, human form.</p> + +<p>One of the virtues of literature, therefore, is the +mental stimulus, the joy, the awakening, the intensity +of thought it spontaneously calls forth. Textbooks +are usually a bore, but literature is a natural +resource even in hours of weariness. Who would +dream of enlivening leisure hours or vacation rest +with text-books of grammar, or arithmetic, or history, +or science? But the poet soothes with music, +solemn or gay, according to our choice. If we go to +the woods or lakes to escape our friends, we take one +of the masters of song with us. After a day of toil +and weariness, we can turn to "Evangeline," or +"Lady of the Lake," or the "Vision of Sir Launfal," +and soon we are listening to—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"The murmuring pines and the hemlocks,"<br /></span> +</div></div> + +<p class="noidt">or the echo of the hunter's horn,—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"The deep-mouthed bloodhound's heavy bay<br /></span> +<span class="i0">Resounded up the rocky way,<span class='pagenum'><a name="Page_191" id="Page_191">[Pg 191]</a></span><br /></span> +<span class="i0">And faint, from farther distance borne,<br /></span> +<span class="i0">Were heard the clanging hoof and horn."<br /></span> +</div></div> + +<p>At a time when we are not fit for the irksome and +perfunctory preparation of text-book lessons, we are +still capable of receiving abundant entertainment or +hearty inspiration from Warner's "How I killed a +Bear," or Tennyson's "Enoch Arden," or "Sleepy +Hollow." Literature is recreation in its double +sense. It gives rest and relief, and it builds up.</p> + +<p>Teachers should shake themselves free from the +conviction that severe disciplinary studies are the +best part of education. They have their well-merited +place. But there are higher spiritual fountains +from which to draw. Read the lives of Scott, +Macaulay, Irving, Hawthorne, and Emerson, and +discover that the things we do with the greatest +inward spontaneity and pleasure and ease are often +the best.</p> + +<p>Literature, both in prose and verse, is what the +teacher needs, because our best authors are our +best teachers in their method of handling their subjects. +They know how to find access to the reader's +mind by making their ideas attractive, interesting, +and beautiful. They seem to know how to sharpen +the edge of truth to render it more keen and incisive. +They drive truth deeper, so that it remains +embedded in the life and thought. Let a poet clothe +an idea with strength and wing it with fancy, and it<span class='pagenum'><a name="Page_192" id="Page_192">[Pg 192]</a></span> +will find its way straight to the heart. First of all, +nearly all our classic writers, especially those we +use in the grades, handle their subjects from the +concrete, graphic, picturesque side. They not only +illustrate abundantly from nature and real things in +life; they nearly always individualize and personify +their ideas. Virtue to a poet is nothing unless it +is impersonated. A true poet is never abstract or +dry or formal in his treatment of a subject. It is +natural for a literary artist, whether in verse or prose, +to create pictures, to put all his ideas into life forms +and bring them close to the real ones in nature. +Homer's idea of wisdom is Minerva, war is Mars, +strength is Ajax, skill and prudence are Ulysses, +faithfulness is Penelope. Dickens does not talk about +schoolmasters in general, but of Squeers. Shakespeare's +idea of jealousy is not a definition, not a +formula, but Othello. Those books which have +enthralled the world, like "Robinson Crusoe," "Pilgrim's +Progress," "Gulliver's Travels," "Arabian +Nights," "Evangeline," "Ivanhoe," "Merchant of +Venice,"—they deal with no form of classified or +generalized knowledge; they give us no definitions, +they are scenes from real life. They stand among +realities, and their roots are down in the soil of +things. They are persons hemmed in by the close +environment of facts.</p> + +<p>This realism, this objectifying of thought, this living +form of knowledge, is characteristic of all great<span class='pagenum'><a name="Page_193" id="Page_193">[Pg 193]</a></span> +writers in prose or verse. The novelist, the romancer, +the poet, the orator, and even the essayist, will always +put the breath of reality into his work by an infusion +of concreteness, of graphic personification. The +poet's fancy, building out of the abundant materials +of sense-experience, is what gives color and warmth +to all his thoughts. Strong writers make incessant +use of figures of speech. Their thought must clothe +itself with the whole panoply of imagery and graphic +representation in order to be efficient in the warfare +for truth.</p> + +<p>What a lesson for the teacher! What models upon +which to develop his style of thinking! If the teaching +profession and its work could be weighed in the +balance, the scale would fall on the side of the +abstract with a heavy thud. Not that object lessons +will save us. They only parody the truth. For the +object lesson as a separate thing we have no use at +all. But to ground every idea and every study in +realism, to pass up steadily through real objects and +experience to a perception of truths which have wide +application, to science—this is the true philosophy +of teaching.</p> + +<p>The classic writers lead us even one grand step +beyond realism. The fancy builds better than the +cold reason. It adorns and ennobles thought till it +becomes full-fledged for the flight toward the ideal.</p> + +<p>As the poet, standing by the sea-shore, ponders the +life that has been in the now empty shell washed up<span class='pagenum'><a name="Page_194" id="Page_194">[Pg 194]</a></span> +from the deep, his fancy discovers in the shell a resemblance +to human life and destiny, and he cries:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Build thee more stately mansions, O my soul,<br /></span> +<span class="i0">As the swift seasons roll!<br /></span> +<span class="i0">Leave thy low-vaulted past!<br /></span> +<span class="i0">Let each new temple, nobler than the last,<br /></span> +<span class="i0">Shut thee from heaven with a dome more vast,<br /></span> +<span class="i0">Till thou at length art free,<br /></span> +<span class="i0">Leaving thine outgrown shell by life's unresting sea!"<br /></span> +</div></div> + +<p>Is it possible that one could fall under the sway of +the poets and artists, appropriate their images and +fruitful style of thought, be wrought upon by their +fancies, and still remain dull and lifeless and prosaic +in the class-room? No wonder that true literature +has been called the literature of power, as distinguished +from the literature of knowledge (supplementary +readers, pure science, information books, +etc.). The lives and works of our best writers contain +an expansive spiritual energy, which, working +into the mind of a teacher, breaks the shell of +mechanism and formality. The artist gives bright +tints and colors to ideas which would otherwise be +faded and bleached.</p> + +<p>The study of the best literature adapted to children +in each age is a fruitful form of psychology and +child study. The series of books selected for the +different grades is supposed to be adapted to the +children at each period. The books which suit<span class='pagenum'><a name="Page_195" id="Page_195">[Pg 195]</a></span> +the temper and taste of children in primary grades +are peculiar in quality, and fit those pupils better +than older ones. In intermediate classes the boyhood +spirit, which delights in myth, physical deeds of +prowess, etc., shows itself, and many of the stories, +ballads, and longer poems breathe this spirit. In +grammar grades the expanding, maturing minds of +children leap forward to the appreciation of more +complex and extended forms of literature which deal +with some of the great problems of life more +seriously, as "Snow-Bound," "Evangeline," "Roger +de Coverley," "Merchant of Venice," etc.</p> + +<p>Any poem or story which is suited to pupils of the +common school may generally be used in several +grades. Hawthorne's "Wonder Book," for instance, +may be used anywhere from the third to the eighth +grade by a skilful teacher. But for us the important +question is, to what age of children is it best +adapted? Where does its style of thought best fit +the temper of the children? The eighth grade may +read it and get pleasure and good from it, but it does +not come up to the full measure of their needs. Children +of the third grade cannot master it with sufficient +ease, but in the latter part of the fourth or first part +of the fifth grade it seems to exactly suit the wants, +that is, the spiritual wants, of the children. It will +vary, of course, in different schools and classes. Now, +it is a problem for our serious consideration to determine +what stories to use and just where each belongs,<span class='pagenum'><a name="Page_196" id="Page_196">[Pg 196]</a></span> +within reasonable limits. Let us inquire where +the best culture effect can be realized from each +book used, where it is calculated to work its best +and strongest influence. To accomplish this result +it is necessary to study equally the temper of the +children and the quality of the books, to seek the +proper food for the growing mind at its different +stages. This is not chiefly a matter of simplicity or +complexity of language. Our readers are largely +graded by the difficulty of language. But literature +should be distributed through the school grades +according to its power to arouse thought and interest. +Language will have to be regarded, but as secondary. +Look first to the thought material which is to engage +children's minds, and then force the language into +subservice to that end. The final test to determine +the place of a selection in the school course must be +the experiment of the class-room. We may exercise +our best judgment beforehand, and later find that a +classic belongs one or two grades higher or lower +than we thought.</p> + +<p>We really need some comprehensive principle upon +which to make the selection of materials as adapted +to the nature (psychology) of children. The theory +of the culture epochs of race history as parallel to +child development offers at least a suggestion. A +few of the great periods of history seem to correspond +fairly well to certain epochs of child growth. The +age of folk-lore and the fairy tale is often called the<span class='pagenum'><a name="Page_197" id="Page_197">[Pg 197]</a></span> +childhood of the race; the predominance of the +imagination and of the childlike interpretation of +things in nature reminds us strikingly of the fancies +of children. We find also that the literary remains +of this epoch in the world's history, the fairy tales, +are the peculiar delight of children from four to six. +In like manner the heroic age and its literary products +seem to fascinate the children of nine to eleven +years. In connection with this theory it is observed +that the greatest poets of the world in different +countries are those who have given poetic form and expression +to the typical ideas and characters of certain +epochs of history. So Homer, Virgil, Dante, Milton, +Scott. The best literature is, much of it, the precipitate +of the thought and life of historical epochs in +race development. Experiment has shown that +much of this literature is peculiarly adapted to exert +strong culture influence upon children. Emerson, in +his "Essay on History," says: "What is the foundation +of that interest all men feel in Greek history, letters, +art, and poetry, in all its periods, from the Heroic +or Homeric age down to the domestic life of the +Athenians and Spartans, four or five centuries later? +What but this, that every man passes personally +through a Grecian period?" And again: "The student +interprets the age of chivalry by his own age of +chivalry, and the days of maritime adventure and circumnavigation +by quite parallel miniature experiences +of his own. To the sacred history of the world, he has<span class='pagenum'><a name="Page_198" id="Page_198">[Pg 198]</a></span> +the same key. When the voice of a prophet out of the +deeps of antiquity merely echoes to him a sentiment of +his infancy, a prayer of his youth, he then pierces to the +truth through all the confusion of tradition and the +caricature of institutions." The literary heritage of +the chief culture epochs is destined therefore to enter +as a powerful agent in the education of children in +our schools, and the place of a piece of literature in +history suggests at least its place in child culture.</p> + +<p>The study of these literary masterpieces, the choicest +of the world, while it offers a broad perspective +of history, also enters deep into the psychology of +children and their periods of growth and change. +What a study for the teacher!</p> + +<p>Suppose now that a wise selection of the best +products for school use had been made. The books +for each grade would respond not only to the ability +but to the characteristic temper and mental status +of children at that age. The books would arouse +the full compass of the children's mental power, +their emotional as well as intellectual capacities, +their sympathy, interest, and feeling. The teacher +who is about to undertake the training of these +children may not know much about children of that +age. How can she best put herself into an attitude +by which she can meet and understand the children +on their own ground? Not simply their intellectual +ability and standing, but, better still, their impulses +and sympathies, their motives and hearts? Most<span class='pagenum'><a name="Page_199" id="Page_199">[Pg 199]</a></span> +people, as they reach maturity and advance in years, +have a tendency to grow away from their childhood. +Their purposes have changed from those of childhood +to those of mature life. They are no longer interested +in the things that interest children. Such things seem +trivial and even incomprehensible to them.</p> + +<p>Now the person who is preparing to be a teacher +should grow back into his childhood. Without losing +the dignity or purpose of mature life, he should allow +the memories and sympathies of childhood to revive. +The insight which comes from companionship and +sympathy with children he needs in order to guide +them with tact and wisdom.</p> + +<p>The literature which belongs to any age of childhood +is perhaps the best key to the spirit and disposition +of that period. The fact that it is of permanent +worth makes it a fit instrument with which the teacher +may reawaken the dormant experiences and memories +of that period in his own life. The teacher +who finds it impossible to reawaken his interest in the +literature that goes home to the hearts of children +has <i>prima facie</i> evidence that he is not qualified to +stimulate and guide their mental movements. The +human element in letters is the source of its deep +and lasting power; the human element in children +is the centre of their educative life, and he who disregards +this and thinks only of intellectual exercises +is a poor machine. The literature which children +appreciate and love is the key to their soul life. It<span class='pagenum'><a name="Page_200" id="Page_200">[Pg 200]</a></span> +has power to stimulate teacher and pupil alike, and +is therefore a common ground where they may both +stand and look into each other's faces with sympathy.</p> + +<p>This is not so much the statement of a theory as +a direct inference from many observations. It has +been observed repeatedly, in different schools under +many teachers, that the "Lady of the Lake," "Vision +of Sir Launfal," "Sleepy Hollow," or "Merchant of +Venice" have had an astonishing power to bring +teacher and children into near and cherished companionship. +It is not possible to express the profound +lessons of life that children get from the poets. In +the prelude to Whittier's "Among the Hills," what +a picture is drawn of the coarse, hard lot of parents +and children in an ungarnished home, "so pinched +and bare and comfortless," while the poem itself, a +view of that home among the hills which thrift and +taste and love have made,—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Invites the eye to see and heart to feel<br /></span> +<span class="i0">The beauty and the joy within their reach;<br /></span> +<span class="i0">Home and home loves and the beatitudes<br /></span> +<span class="i0">Of nature free to all."<br /></span> +</div></div> + +<p>To study such poetry in its effect upon children is a +monopoly of the rich educational opportunity which +falls naturally into the hands of teachers. Psychology, +as derived from text-books, is apt to be cold +and formal; that which springs from the contact of +young minds with the fountains of song lives and +breathes. If a teacher desires to fit herself for<span class='pagenum'><a name="Page_201" id="Page_201">[Pg 201]</a></span> +primary instruction, she can do nothing so well calculated +to bring herself <i>en rapport</i> with little children +as to read the nursery rhymes, the fairy tales, fables, +and early myths. They bring her along a charming +road into the realm of childlike fancies and sympathies, +which were almost faded from her memory. +The same door is opened through well-selected +literature to the hearts of children in intermediate +and grammar grades.</p> + +<p>The sense of humor is cultivated in literature +better than elsewhere. In fact, no other study +contains much material of humorous quality. A +quick sense of it is deemed by many of the best +judges an indispensable quality in teachers. Not +that a teacher needs to be a diverting story-teller +or entertainer, if only he has an indulgent patience +and kindly sympathy for those who enjoy telling +stories. There is a certain hearty, wholesome social +spirit in the enjoyment of humor which diffuses +itself like sunlight through a school. It contains an +element of kindliness, humanity, and good fellowship +which lubricates all the machinery and takes away +unnecessary stiffness and gravity in conduct. Best +of all it is a sort of mental balance-wheel for the +teacher, which enables him to see the ludicrous +phases of his own behavior, should he be inclined +to run to foolish extremes in various directions. +Much of our best literature abounds in humorous +elements. Lowell, Holmes, Shakespeare, and Irving<span class='pagenum'><a name="Page_202" id="Page_202">[Pg 202]</a></span> +are spontaneously rich in this quality of ore, and it +is just as well perhaps to cultivate our appreciation +in these richer veins as in shallow and unproductive +ones elsewhere.</p> + +<p>Schlegel says of Shakespeare, his "comic talent +is equally wonderful with that he has shown in the +pathetic and tragic; it stands at an equal elevation +and possesses equal extent and profundity.... Not +only has he delineated many kinds of folly, but even +of sheer stupidity he has contrived to give a most +diverting and entertaining picture."</p> + +<p>The inability to appreciate the ludicrous and farcical, +and especially of witty conceits, is felt to be a +mark of dulness and heaviness, and in dealing with +children and young people a versatile perception of +the humorous is very helpful. Many of the pupils +possess this quality of humor in a marked degree, +and the teacher should at least have sufficient insight +to appreciate this peculiar bent of mind and turn of +wit.</p> + +<p>A brief retrospect will make plain the profitableness +of classics to the teacher. They show a deep +perspective into the spirit and inner workings of history. +The social life and insight developed by the +study of literature give tact and judgment to understand +and respect the many-sided individualities +found in every school. The teacher's own moral and +æsthetic and religious ideals are constantly lifted and +strengthened by the study of classics. Such reading<span class='pagenum'><a name="Page_203" id="Page_203">[Pg 203]</a></span> +is a recreation and relief even in hours of weariness +and solitude. It is an expansive spiritual power +rather than a burden. Literary artists are also a +standing illustration of the graphic, spirited manner +of handling subjects. Finally, this rich and varied +realm of classic thought and expression is the doorway +by which we enter again into the moods and +impulses and fancies of childhood. We thus revive +our own youth and fit ourselves for a quick and appreciative +perception of children's needs. It is the +best kind of child study.</p> + +<hr style='width: 15%;' /> + +<p>A few of the books which are suggestive, and illustrate +the value of literature for teachers, and in some +cases even lay out lines of profitable and stimulative +reading, are as follows:—</p> + +<div class="blockquot"><p>Newell Dwight Hillis. Great Books and Life Teachers. (Fleming +H. Revell Co.)</p> + +<p>George Willis Cooke. Poets and Problems. (Houghton, Mifflin, & Co.)</p> + +<p>The Schoolmaster in Literature. (The American Book Co.)</p> + +<p>Representative Essays. (G. P. Putnam's Sons.)</p> + +<p>Hamilton Wright Mabie. Books and Culture. (Dodd, Mead, +& Co.)</p> + +<p>James Baldwin. The Book Lover. (A. C. McClurg & Co.)</p> + +<p>The Schoolmaster in Comedy and Satire. (The American Book +Co.)</p> + +<p>Emerson's Essays.</p> + +<p>Schlegel's Dramatic Art and Literature. (Bohn's Libraries.)</p> + +<p>Ruskin's Sesame and Lilies, and Seven Lamps of Architecture.</p> + +<p>Thomas Wentworth Higginson, Book and Heart. (Harper & +Brothers.)</p> +<p><span class='pagenum'><a name="Page_204" id="Page_204">[Pg 204]</a></span></p> +<p>Carlyle's Heroes and Hero-Worship.</p> + +<p>Counsel upon the Reading of Books. Van Dyke. (Houghton, +Mifflin, & Co.)</p> + +<p>Literary and General Essays. Charles Kingsley. (Macmillan +& Co.)</p></div> + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_205" id="Page_205">[Pg 205]</a></span></p> +<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII</h2> + +<h3>LIST OF BOOKS</h3> + + +<p>The following list of books, arranged according to +grades, is designed to supply the children of the five +grades, from the fourth to the eighth inclusive, with +excellent reading matter in the form of complete +masterpieces of American and English literature. +It includes, besides the books for regular reading +lessons, a large list of collateral and closely related +works for the children and also for teachers.</p> + +<p>The books of these lists contain a rich and varied +fund of finest culture material, first of all for the +teacher, and, through her spirit and enthusiasm, for +the children.</p> + +<p>Besides the general discussions of these books in +the preceding chapters, a few additional explanations +are necessary to make plain the grounds upon which +this particular selection and arrangement of books is +based. The whole purpose of the preceding chapters +is to throw light upon this list, and to qualify the +teacher for an intelligent and efficient use of these +books as school readers.</p> + +<p>1. The books apportioned to each grade or year +are divided into three series. The first series is care<span class='pagenum'><a name="Page_206" id="Page_206">[Pg 206]</a></span>fully +selected to serve as regular reading-books for +that grade. Almost without exception they are complete +works, or collections of complete poems, stories, +etc. Many of them are very familiar and have been +much used in the schools. The number of books for +each grade is large, so as to have room for choice +and adaptation to each class.</p> + +<p>The second series consists of closely related collateral +readings derived from a much wider range of +books in literature, history, and science. Many of +these books of the second list are not so strictly masterpieces +of literature, but of a secondary rank as +prose renderings of the great poems, myths, and +stories of other languages, also American and European +history stories. These materials are well adapted +for the reference studies and home readings of children. +They all deal with interesting and worthy +subjects of thought in a superior style. Many of +these books, however, are great and permanent works +of literature. They are materials, also, which the +teacher should be familiar with. They should be +constantly referred to and discussed in connection +with the first series. It is quite probable that some +teachers will prefer books of the second series for +regular reading in the place of some suggested in +the first series.</p> + +<p>The third series consists of books for teachers, including +great works of literature, history, and science, +which will enrich the teacher's knowledge and con<span class='pagenum'><a name="Page_207" id="Page_207">[Pg 207]</a></span>tribute +to a broader enthusiasm and culture. The +writings of some of the great essayists, as Ruskin, +Carlyle, Emerson, Kingsley, Motley, Lowell, Huxley, +Macaulay, and others, are peculiarly fit to broaden +the teacher's horizon and ennoble his purpose. Some +of the best poems and novels suitable for advanced +study are mentioned. There are also books which +deal in a comprehensive and critical, but sympathetic, +way with important literary topics, as the myths and +great epics, the age of chivalry, and the lives of the +most eminent writers. Some of the best works of +biography and history are also suggested for teachers, +and a number of the best professional and pedagogical +books for teachers, dealing with literature, reading, +and child study.</p> + +<p>2. This list of books is of course tentative. There +are other literary works as good, perhaps, but not a +few difficulties stand in the way of the best selection. +A few of the best materials are scattered in books +not available for school purposes. Some of the finest +of our longer classics have not been tested much in +school use. There is, however, an abundance of +choice English works, complete, well printed and +bound, in cheap, schoolbook form. The chief difficulty, +after all, is in selecting and arranging the best +of an abundant and varied collection of excellent literature. +This inspiring problem lies but partly solved +at the threshold of every teacher's work. It requires +extensive knowledge of literature and experience in<span class='pagenum'><a name="Page_208" id="Page_208">[Pg 208]</a></span> +its use in classes. A masterpiece may be read in +several grades, and teachers will differ in judging +its true place. Schools and classes differ also in +their capacity and previous preparation for classic +readings, so that no course of reading will fit all +schools, or, perhaps, any two schools. Many principals +will prefer to use the books one or two grades +lower, or higher, than here indicated. Every teacher +should use such a list according to his best individual +judgment as based upon the needs of his school. +This list was discussed and partly made out in conference +with a number of experienced superintendents, +and much variety of opinion was expressed as +to the best grade for the use of a number of the +selections.</p> + +<p>3. The books chosen for each grade are designed +to be a suitable combination of prose and poetry, of +short and long selections from history, science, and +letters. Variety in subject-matter and style is required +in each grade, although certain strong individual +characteristics are expected to appear in the literature +of each year's work. Many of the shorter poems +fit in well with longer masterpieces in prose and +verse. Some of the epics, myths, and historical episodes +are told in both prose and verse. The children +may well meet and study them in both forms. +If from four to six larger masterpieces could be read +each year, and these could bring out the style and +quality of so many authors, if a number of suitable<span class='pagenum'><a name="Page_209" id="Page_209">[Pg 209]</a></span> +shorter pieces could be read and related to the former, +the many-sided influence of literature would +prove each year effective. Literature is the broadest +of all subjects, both as a basis of culture and for the +unification of the varied studies. It touches every +phase of experience and knowledge along its higher +levels, and overlooks the whole field of life from the +standpoint of the seer and poet. The classic readings +should aim at the completeness, variety, and +elevation of thought which literature alone can give. +Every year's literature should open the gates to +meadow and woodland, to park and fruitful fields, +into rich and shaded valleys, and up to free and +sunny hilltops and mountains.</p> + +<p>4. The list of books for each year includes two or +three books of miscellaneous collections of classics in +prose and verse. Many of the selections are short and +some fragmentary. Such are the three volumes of +"Open Sesame," the "Golden Treasury of Songs and +Lyrics," "Children's Treasury of English Song," and +"Book of Golden Deeds." In each of the books named +is found a variety of material suited perhaps to two +or three grades. In most of the books just named it +is not intended in our plan that all the selections +should be read through in succession. It will be +better for the teacher to select from those collections +such choice poems, stories, etc., as will enrich and +supplement the longer classics, and give that added +variety so needful. Many of the finest poems in<span class='pagenum'><a name="Page_210" id="Page_210">[Pg 210]</a></span> +our language are short, and should not be omitted +from our school course. They should be read and +some of them memorized by the children. It would +be well if the teacher had in each grade one or two +sets of such books of choice miscellaneous materials +from which to select occasional reading. The regular +readers used by the children would consist of the +longer masterpieces, which would be supplemented +by the shorter selections. In this way greater unity +and variety might be achieved within the limits of +each grade.</p> + +<p>5. Information books and supplementary readers +in history, geography, and natural science have been +excluded, in the main, from our lists. The test of +literary excellence has been applied to most of the +books chosen. De Quincey's distinction between the +literature of knowledge and that of power is our line +of demarkation. It seems to us probable that the +future will call for a still more stringent adherence to +this principle of selection. Information readers are +good and necessary in their place in geography, +history, and natural science; but they are not good +enough to take the place of classics in reading lessons. +The only exceptions to the rule of classics are the +prose renderings of the old classics, as the "Story of +the Odyssey," and the biographical stories from history. +Both these have so much of interest and stimulus +for the young that they seem to harmonize with our +plan. But criticism may yet expose their inadequacy.<span class='pagenum'><a name="Page_211" id="Page_211">[Pg 211]</a></span></p> + +<p>It is our plan, in brief, to limit the reading work +mainly to the choice masterpieces of the best authors, +and to render these studies as fruitful as possible in +spiritual power. If supplementary readings are used +at all, let them be those which will strengthen the +influence of the classics.</p> + +<p>It has been our plan to collect in the Special +Method Books devoted to geography, history, and +natural science, a full list of the supplementary +readers and information books in those subjects.</p> + +<p>6. In our list, however, is included quite a number +of classic renderings of science and nature topics. +Such are "Wake Robin," "Birds and Bees," "A +Hunting of the Deer," etc., "Sharp Eyes" etc., +"Succession of Forest Trees," "Up and Down the +Brooks," "Water Babies," "The Foot-path Way," +"Madam How and Lady Why," "Wilderness Ways," +"In Bird Land," and many others.</p> + +<p>These books, however, belong to the literature of +power. They look at nature through the eyes of +poet and artist and enthusiast. They are not cold, +matter-of-fact delineations. They unfold the æsthetic +and human side of nature, the divinity of flower and +tree. These books are the communings of the soul +with nature, and are closely related in spirit to the +poems of nature in Bryant, Wordsworth, Tennyson, +and other poets. There has been a chasm between +them and our text-books in science which needs +bridging over. Now that science is beginning to be<span class='pagenum'><a name="Page_212" id="Page_212">[Pg 212]</a></span> +taught objectively, experimentally, and inductively, +there will be much less of a hiatus at this stage, because +there is so much that is powerfully stimulating +in nature study.</p> + +<p>7. Some books are named twice in the lists, first as +books of reference, or in the teacher's lists, and in a +later grade for the use of children in regular reading. +We have been especially careful in selecting appropriate +books in the first list for each grade adapted +to the age of the children. These books for regular +reading must be used by every child, so that they +should be fitted to the average ability. The reference +books for collateral reading in the second series of +each grade may be more difficult in some cases, as +they will be used, in part, only by the stronger pupils.</p> + +<p>There are certain groups of kindred books, like the +Greek myths, that are distributed through three or +more grades. It is not expected that any child will +use all of these books, as several of them may deal +with the same story, like the "Iliad" or "Odyssey." +It seemed best to include all the important renderings +of these stories, and leave the teacher to choose +among them for his class.</p> + +<p>8. To give more specific aid to teachers, most of +the books are briefly described, and some notion of +their special worth and fitness indicated. It is hoped +that these short descriptions will be of considerable +help to young teachers in making selections for their +classes.<span class='pagenum'><a name="Page_213" id="Page_213">[Pg 213]</a></span></p> + +<p>9. Many of the best and most commonly used +books are published by several companies. In such +cases the names of the different publishers are indicated +in connection with each book.</p> + +<p>10. By an examination of these lists the teacher of +any grade will discover that, in order to teach well, +she must be acquainted with the books used in one +or two grades, both above and below her own. All +the chief groups of books in literature run through +three or four grades, and the teacher in any grade +needs to get a comprehensive view of the important +groups of books used in her classes. In addition to +this, the books recommended for teachers give a still +more definite and comprehensive grasp of large +classes of literary material. The books recommended +for teachers could be indefinitely extended, but it is +hoped that enough are mentioned to give definiteness +to their wider studies, and to serve as an introduction +to some of the larger fields of literature, science, and +history.</p> + +<p>11. There are certain peculiar difficulties connected +with the reading of longer classics which are much +less frequently met with in the usual school readers. +These difficulties are of such a real and serious kind +that many teachers are apt to be discouraged before +success is attained. Complete classics like Webster's +speeches, "Julius Cæsar," "Snow-Bound," "Marmion," +and "Evangeline" have been regarded as +too long and difficult for school purposes. We have<span class='pagenum'><a name="Page_214" id="Page_214">[Pg 214]</a></span> +found, however, that the greater length, if rightly +utilized, only intensifies the effect of a masterpiece. +The chief objection is the greater language difficulty +(hard and unusual words, proper names, etc.) of the +longer classics. This is a real obstacle and must be +fairly met. It is impossible to grade down the language +and thought of a great writer. It is necessary to bring +the class up to his level rather than bring him down +to theirs. This requires time and skill and perseverance +on the teacher's part, and labor and thought in +the children. It may require a week or a month to +get a class well under way in "Lady of the Lake," +"King of the Golden River," or the "Sketch-Book." +But when well done it is a conquest of no mean +importance. The language, style, and characteristics +of the author are strange and difficult. The scales +must drop from children's eyes before they will +appreciate Ruskin or Tennyson or Emerson. The +wings of fancy, the æsthetic sense, do not unfold in +a single day. But if these initial difficulties can be +overcome, we shall emerge soon into the sunlight of +interest and success. It takes a degree of faith in +good things and patience under difficulties to attain +success in classic readings. Even when the teacher +thinks he is doing fairly well, the parents sometimes +say the work is too hard and the verbal difficulties +too great. Generally, however, parents are satisfied +when children work hard and are interested.</p> + +<p>Again, children whose reading in the lower grades<span class='pagenum'><a name="Page_215" id="Page_215">[Pg 215]</a></span> +has been of the information order lack the imaginative +power that is essential to the grasp and enjoyment +of any masterpiece. The sleeping or dulled +fancy must be awakened. The power to image +things, so natural to the poet, must be aroused and +exercised. The lack of training in vivid and poetic +thought in early years is sure to make itself felt in +deficient and languid thought and feeling in the +higher grades. But we cannot afford to give up +the struggle. We may be forced to begin lower +down in the series of books, but anything less than +a classic is not fit for the children.</p> + +<p>12. The leading publishing houses are now competing +vigorously in bringing out the best complete +classics in cheap, durable, well-printed form for +school use. In our list the names of the publishers +are given. Most of the companies can be addressed +in Boston, Chicago, New York, or San Francisco. +Most of the books bound in boards or cloth range +in price from twenty-five to fifty cents. The pamphlet +editions are from ten to fifteen cents. The +larger books of miscellaneous collections and some +of the science classics range from seventy-five cents +to a dollar and a quarter. A few of the books are +priced as high as two dollars.</p> + +<p>13. Before final publication, the following lists of +books have been submitted to the criticism of a number +of able superintendents and to the leading publishing +houses. In consequence considerable changes<span class='pagenum'><a name="Page_216" id="Page_216">[Pg 216]</a></span> +and additions have been made. The chief criticism +offered was that the books, in a number of cases, are +too difficult for the grades indicated. To meet this +objection a few changes were made, while in several +cases books are described as suitable for two or three +grades.</p> + +<p>For the sake of quick and easy reference in finding +any book, an alphabetical list of the titles of all +the books is given at the close, and the page indicated +where each book may be found in the descriptive +list.</p> + + +<h3>FOURTH GRADE</h3> + +<p>1. BOOKS FOR REGULAR READING LESSONS</p> + +<p class="pubblock">Hawthorne's Wonder Book. Houghton, Mifflin, & Co.; Educational +Publishing Co.</p> + +<p class="expblock">Has been very extensively used in fourth and fifth grades, +and even in sixth. A book of standard excellence.</p> + +<p class="pubblock">Kingsley's Greek Heroes. Ginn & Co.; The Macmillan Co.</p> + +<p class="expblock">Much used. Excellent. Covers much the same ground as +the Wonder Book and is preferred by some to it.</p> + +<p class="pubblock">Stories from the Arabian Nights. Houghton, Mifflin, & Co.</p> + +<p class="expblock">Excellent. It contains some of the most familiar stories, as +Aladdin, in simple form.</p> + +<p class="pubblock">Whittier's Child Life in Poetry and Prose. Houghton, Mifflin, & Co.</p> + +<p class="expblock">An excellent selection of poems and stories of child life by +Whittier. It has many simple poems and stories, as +Barefoot Boy, John Gilpin, etc. Also for fifth grade.</p> + +<p class="pubblock">Fanciful Tales (Stockton). Scribner's Sons.</p> + +<p class="expblock">Very pleasing and well-told stories for children. It has not +been extensively used for reading as yet.</p> +<p><span class='pagenum'><a name="Page_217" id="Page_217">[Pg 217]</a></span></p> +<p class="pubblock">Book of Tales. American Book Co.</p> + +<p class="expblock">A good collection of old fairy tales, stories, and poems. It +has been extensively used.</p> + +<p class="pubblock">Old Testament Stories in Scripture Language. Houghton, Mifflin, +& Co. Abraham, Joseph, Moses, and others.</p> + +<p class="expblock">The patriarchal stories in familiar Bible language. It may +be a little difficult for the first part of the year.</p> + +<p class="pubblock">Round the Year in Myth and Song (Holbrook). American +Book Co.</p> + +<p class="expblock">A fine collection of nature poems for occasional use throughout +the year.</p> + +<p class="pubblock">Bird-World (Stickney-Hoffman). Ginn & Co.</p> + +<p class="expblock">An interesting collection of bird stories and descriptions. +Simple. A good book to encourage observation of birds.</p> + +<p class="pubblock">Nature in Verse (Lovejoy). Silver, Burdett, & Co.</p> + +<p class="expblock">An excellent collection of nature poems arranged by the +seasons.</p> + +<p class="pubblock">Book of Legends (Scudder). Houghton, Mifflin, & Co.</p> + +<p class="pubblock">Andersen's Fairy Tales. First and Second Series. Ginn & Co.</p> + +<p class="pubblock">Grimm's Household Tales. Houghton, Mifflin, & Co.</p> + +<p class="pubblock">Four Great Americans (Baldwin). Werner School Book Co.</p> + +<p class="pubblock">Hans Andersen Tales. The Macmillan Co.</p> + +<p class="pubblock">Squirrels and Other Fur-Bearers (Burroughs). Houghton, Mifflin, +& Co.</p> + +<p class="expblock">Very entertaining, but somewhat difficult in language. Use +toward the end of the year, and in fifth grade.</p> + +<p class="pubblock">Peabody's Old Greek Folk Stories. Houghton, Mifflin, & Co.</p> + +<p class="expblock">Simple and well written. It supplements the Wonder Book.</p> + +<p class="pubblock">King Arthur and his Court (Greene). Ginn & Co.</p> + +<p class="expblock">A recent book. Simple in style and pleasing to children.</p> + +<p class="pubblock">The Howells Story Book. Scribner's Sons.</p> + + +<p>2. SUPPLEMENTARY AND REFERENCE BOOKS</p> + +<p class="pubblock">Stories of Our Country (Johonnot). American Book Co.</p> + +<p class="expblock">Good American stories for children to read at home or +school.</p> +<p><span class='pagenum'><a name="Page_218" id="Page_218">[Pg 218]</a></span></p> +<p class="pubblock">Tales from the "Faerie Queene." The Macmillan Co.</p> + +<p class="expblock">For reference and library.</p> + +<p class="pubblock">Bimbi (De la Ramée). Ginn & Co.</p> + +<p class="expblock">The Nürnberg Stove and other good stories. Good for +home reading and for school work.</p> + +<p class="pubblock">The Nürnberg Stove. Maynard, Merrill, & Co.; Houghton, +Mifflin, & Co.</p> + +<p class="pubblock">Gods and Heroes (Francillon). Ginn & Co.</p> + +<p class="expblock">Suitable to late fourth and fifth grades for collateral reading. +Simple in style.</p> + +<p class="pubblock">Waste Not, Want Not (Edgeworth). Ginn & Co.; D. C. +Heath, & Co.; Houghton, Mifflin, & Co.</p> + +<p class="expblock">Practical stories for children, illustrating foresight, economy, +etc.</p> + +<p class="pubblock">A Ballad Book (Bates). Sibley & Ducker.</p> + +<p class="expblock">A good collection of the older, simpler ballads. These ballads +should be distributed through the year. Good for +supplementary reading, also for drill in reading.</p> + +<p class="pubblock">The Story of Ulysses (Cook). Public School Publishing Co.</p> + +<p class="expblock">An excellent rendering, sometimes used as a reader.</p> + +<p class="pubblock">Friends and Helpers (Eddy). Ginn & Co.</p> + +<p class="expblock">Stories of animals and birds. Instructive.</p> + +<p class="pubblock">Hans Andersen Stories. Houghton, Mifflin, & Co.</p> + +<p class="pubblock">Tommy-Anne and the Three Hearts (Wright). The Macmillan +Co.</p> + +<p class="pubblock">First Book of Birds (Miller). Houghton, Mifflin, & Co.</p> + +<p class="expblock">Very simple and interesting descriptions and accounts of +common birds. Will help to interest the children in +nature.</p> + +<p class="pubblock">The Little Lame Prince. Maynard, Merrill, & Co.; D. C. +Heath & Co.</p> + +<p class="expblock">A story for home reading.</p> + +<p class="pubblock">The Dog of Flanders. Maynard, Merrill, & Co.; Houghton, +Mifflin, & Co.; Educational Publishing Co.</p> + +<p class="expblock">An excellent story for children to read at home or in school. +Pathetic.</p> + +<p class="pubblock">Old Stories of the East (Baldwin). American Book Co.</p> +<p><span class='pagenum'><a name="Page_219" id="Page_219">[Pg 219]</a></span></p> +<p class="expblock">A pleasing treatment of the old Bible stories, not in Bible +language. Well written.</p> + +<p class="pubblock">Fairy Tales in Prose and Verse (Rolfe). American Book Co.</p> + +<p class="expblock">A choice collection of stories and poems.</p> + +<p class="pubblock">Heroes of Asgard. The Macmillan Co.</p> + +<p class="expblock">A good simple treatment of the Norse myths. Suitable for +supplementary and sight reading.</p> + +<p class="pubblock">Tales of Troy (De Garmo). Public School Publishing Co.</p> + +<p class="expblock">A simple narrative of the Trojan war. Supplementary.</p> + +<p class="pubblock">Our Feathered Friends (Grinnell). D. C. Heath & Co.</p> + +<p class="expblock">Instructive book on birds.</p> + +<p class="pubblock">Alice's Adventures in Wonderland (Carroll). The Macmillan +Co.; Educational Publishing Co.</p> + +<p class="expblock">Very suitable for home and family reading. Younger children +enjoy it much. Entertaining.</p> + +<p class="pubblock">Jackanapes, The Brownies (Mrs. Ewing). Houghton, Mifflin, +& Co.</p> + +<p class="pubblock">Through the Looking Glass (Carroll). The Macmillan Co.; +Educational Publishing Co.</p> + +<p class="pubblock">The Merry Adventures of Robin Hood (Pyle). Scribner's Sons.</p> + +<p class="expblock">An expensive book (about three dollars). Excellent stories +to read to children. Full of humor and adventure. +Finely illustrated. A good book for school and home +library.</p> + +<p class="pubblock">Open Sesame, Vol. I and Vol. II. Ginn & Co.</p> + +<p class="expblock">A fine collection of the best poems of nature, heroism, +Christmas time, etc. Ballads and stories. They are +adapted to children in several grades, and should be used +for reading, memory work, and for recitation.</p> + +<p class="pubblock">Stories of the Old World (Church). Ginn & Co.</p> + +<p class="expblock">Good reading matter for fourth and fifth grades. Interesting +for supplementary reading.</p> + +<p class="pubblock">Stories of American Life and Adventure (Eggleston). American +Book Co.</p> + +<p class="pubblock">Black Beauty. Educational Publishing Co.; University Pub. Co.</p> + +<p class="pubblock">Children's Treasury of English Song. The Macmillan Co.</p> + +<p class="expblock">A collection of poems for occasional use.</p> +<p><span class='pagenum'><a name="Page_220" id="Page_220">[Pg 220]</a></span></p> +<p class="pubblock">Little Lord Fauntleroy. Scribner's Sons.</p> + +<p class="expblock">A famous story for home reading. A book for libraries.</p> + +<p class="pubblock">Heroes of the Middle West (Catherwood). Ginn & Co.</p> + +<p class="expblock">Stories for later fourth and fifth grades. A good book for +supplementary reading. Also for sixth grade.</p> + +<p class="pubblock">Old Norse Stories (Bradish). American Book Co.</p> + +<p class="expblock">Stories for reference reading and sight reading.</p> + +<p class="pubblock">Stories from Plato (Burt). Ginn & Co.</p> + +<p class="expblock">Simple myths and stories for home reading.</p> + +<p class="pubblock">The Eugene Field Book. Scribner's Sons.</p> + +<p class="expblock">Pleasing and entertaining for younger children. Prose and +verse, humorous and pathetic.</p> + +<p class="pubblock">Stories from Old Germany (Pratt). Educational Publishing Co.</p> + +<p class="expblock">A simple, interesting rendering of the story of Siegfried.</p> + +<p class="pubblock">Secrets of the Woods. Ginn & Co.</p> + +<p class="pubblock">Norse Stories (Mabie). Dodd, Mead, & Co.</p> + +<p class="expblock">An excellent rendering of the Norse stories. Simple.</p> + +<p class="pubblock">Fifty Famous Stories Retold (Baldwin). American Book Co.</p> + +<p class="expblock">Simple and well told.</p> + +<p class="pubblock">Pioneers of the Revolution. Public School Publishing Co.</p> + +<p class="expblock">A simple narrative of pioneer life and conflict in the South-west +during the Revolution.</p> + + +<p>3. TEACHERS' BOOKS</p> + +<p class="pubblock">Story of the Iliad (Church). The Macmillan Co.</p> + +<p class="expblock">A reference book for outside reading.</p> + +<p class="pubblock">Emerson's Essays. Second Series. Houghton, Mifflin, & Co.</p> + +<p class="expblock">Essays on the poet, manners, character, etc. Inspiring +reading for the teacher.</p> + +<p class="pubblock">Myths of the Northern Lands (Guerber). American Book Co.</p> + +<p class="pubblock">Readings in Folklore (Skinner). American Book Co.</p> + +<p class="expblock">Good general introduction to the folklore of modern European +countries.</p> + +<p class="pubblock">History and Literature (Rice). A. Flanagan.</p> + +<p class="expblock">A discussion of books and materials for teachers.</p> + +<p class="pubblock">Being a Boy (Warner). Houghton, Mifflin, & Co.</p> +<p><span class='pagenum'><a name="Page_221" id="Page_221">[Pg 221]</a></span></p> +<p class="pubblock">David Copperfield (Charles Dickens).</p> + +<p class="pubblock">Talks to Teachers (James).</p> + +<p class="pubblock">Sesame and Lilies (Ruskin). Houghton, Mifflin, & Co.; The +Macmillan Co.</p> + +<p class="pubblock">Tales of a Traveler (Irving). American Book Co.; Maynard, +Merrill, & Co.</p> + +<p class="pubblock">Poetry for Children (Eliot). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A good collection for miscellaneous uses in the school.</p> + +<p class="pubblock">California and Oregon Trail (Parkman). Hurst & Co.; Little, +Brown, & Co.</p> + +<p class="expblock">Interesting descriptions of Indian and Western life.</p> + +<p class="pubblock">Story of the Odyssey (Church). The Macmillan Co.</p> + +<p class="expblock">Good for reference and general reading.</p> + +<p class="pubblock">Literature in Schools (Scudder). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A series of three excellent papers on the use and value of +literature in schools. Especially valuable for teachers.</p> + +<p class="pubblock">Children's Stories of American Literature (Wright). Scribner's.</p> + +<p class="expblock">Short biographies of American writers in two small +volumes.</p> + +<p class="pubblock">The Age of Fable (Bulfinch). Lee & Shepard.</p> + +<p class="expblock">One of the best general treatises on mythology.</p> + +<p class="pubblock">National Epics (Rabb). A. C. McClurg.</p> + +<p class="expblock">A good introduction and extracts from the great epic poems +of all nations.</p> + +<p class="pubblock">In Bird Land (Keyser). A. C. McClurg.</p> + +<p class="expblock">Delightful reading and suggestive to teachers.</p> + +<p class="pubblock">The Ways of Wood Folk (Long). Ginn & Co.</p> + +<p class="expblock">Very pleasing stories of animal life for children and +teachers.</p> + +<p class="pubblock">Nature Pictures by American Poets (Marble). The Macmillan Co.</p> + +<p class="pubblock">La Salle and the Discovery of the Great West (Parkman). +Little, Brown, & Co.</p> + +<p class="expblock">Very interesting account of the exploration of the Great +Lakes and the Mississippi River.</p> + +<p class="pubblock">The Discovery of America, two volumes (Fiske). Houghton, +Mifflin, & Co.</p> + +<p class="expblock">Valuable account of Columbus and other explorers.</p> +<p><span class='pagenum'><a name="Page_222" id="Page_222">[Pg 222]</a></span></p> +<p class="pubblock">The Beginnings of New England (Fiske). Houghton, Mifflin, +& Co.</p> + +<p class="expblock">Excellent.</p> + +<p class="pubblock">The Story-Teller's Art (Dye). Ginn & Co.</p> + +<p class="expblock">A book designed for high school teachers, but good also +for teachers in the grades.</p> + +<p class="pubblock">The Winning of the West (Roosevelt). Putnam.</p> + +<p class="pubblock">Leonard and Gertrude (Pestalozzi). D. C. Heath & Co.</p> + +<p class="pubblock">Jean Mitchell's School. Public School Publishing Co.</p> + +<p class="pubblock">The Pilot (Cooper). American Book Co.; University Pub. Co.</p> + + +<h3>FIFTH GRADE</h3> + +<p>1. BOOKS FOR REGULAR READING LESSONS</p> + +<p class="pubblock">Hiawatha. Houghton, Mifflin, & Co.; The Macmillan Co.; +Educational Publishing Co.; University Pub. Co.</p> + +<p class="expblock">Well suited for reading. Used in several grades.</p> + +<p class="pubblock">Lays of Ancient Rome (Macaulay). Maynard, Merrill, & Co.; +Houghton, Mifflin, & Co.; The Macmillan Co.; Educational +Publishing Co.; American Book Co.</p> + +<p class="expblock">The four ballad poems. Good school reading for children. +Names somewhat hard at first. Very stimulating and +heroic. Used also in sixth grade.</p> + +<p class="pubblock">King of the Golden River (Ruskin). Ginn & Co.; The Macmillan +Co.; Houghton, Mifflin, & Co.; D. C. Heath +& Co.; Maynard, Merrill, & Co.</p> + +<p class="expblock">Much used. Excellent story and reading.</p> + +<p class="pubblock">Tanglewood Tales (Hawthorne). Houghton, Mifflin, & Co.</p> + +<p class="expblock">Companion book to the Wonder Book. Excellent matter +for reading.</p> + +<p class="pubblock">Water Babies (Kingsley). Ginn & Co.; The Macmillan Co.; +Educational Publishing Co.; Maynard, Merrill, & Co.</p> + +<p class="expblock">Interesting story. Good also for home reading. Better, +perhaps, for sixth grade.</p> +<p><span class='pagenum'><a name="Page_223" id="Page_223">[Pg 223]</a></span></p> +<p class="pubblock">Ulysses among the Phæacians (Bryant). Houghton, Mifflin, +& Co.</p> + +<p class="expblock">Simple and easy. Poetic in its rendering. Better for sixth +grade in some classes.</p> + +<p class="pubblock">Tales from English History (prose and verse). American Book +Company.</p> + +<p class="expblock">Stories and ballads of the leading periods of English history +from the best authors. Illustrated.</p> + +<p class="pubblock">Gulliver's Travels. Houghton, Mifflin, & Co.; Ginn & Co.; +The Macmillan Co.; Educational Publishing Co.</p> + +<p class="expblock">Somewhat difficult in spots. Very interesting to boys and +girls. For some classes use in sixth grade.</p> + +<p class="pubblock">Adventures of Ulysses (Lamb). Ginn & Co.; D. C. Heath +& Co.</p> + +<p class="expblock">Well told, giving complete outline of the whole story.</p> + +<p class="pubblock">Heroic Ballads. Ginn & Co.</p> + +<p class="expblock">Scotch and English and many later and American ballads.</p> + +<p class="pubblock">The Pied Piper and Other Poems (Browning). Houghton, +Mifflin, & Co.</p> + +<p class="expblock">Also other poems and ballads of Browning.</p> + +<p class="pubblock">Tales from Scottish History (Rolfe). American Book Co.</p> + +<p class="pubblock">Some Merry Adventures of Robin Hood (Pyle). Scribner's +Sons. Shorter School Edition.</p> + +<p class="expblock">Humorous and entertaining.</p> + +<p class="pubblock">Little Daffydowndilly and Biographical Stories (Hawthorne). +Houghton, Mifflin, & Co. The latter for sixth grade.</p> + +<p class="pubblock">Stories of American Life and Adventure (Eggleston). American +Book Co.</p> + +<p class="pubblock">The Ways of Wood Folk (Long). Ginn & Co.</p> + +<p class="expblock">An excellent nature book for children, entertaining, instructive, +and well written.</p> + +<p class="pubblock">Gulliver's Voyage to Lilliput (Swift). Maynard, Merrill, +& Co.</p> + +<p class="pubblock">Squirrels and Other Fur-Bearers (Burroughs). Houghton, Mifflin, +& Co.</p> + +<p class="pubblock">The Children's Hour (Longfellow). Houghton, Mifflin, & Co.</p> +<p><span class='pagenum'><a name="Page_224" id="Page_224">[Pg 224]</a></span></p> + +<p>2. SUPPLEMENTARY AND REFERENCE BOOKS</p> + +<p class="pubblock">Arabian Nights (Hale). Ginn & Co.</p> + +<p class="expblock">Many of the best stories of the collection, including a number +of the less familiar ones. Also for regular reading.</p> + +<p class="pubblock">Ten Boys on the Road from Long Ago. Ginn & Co.</p> + +<p class="expblock">A book interesting and much used. Good for reading in +fourth, fifth, and sixth grades. Also for sight reading.</p> + +<p class="pubblock">Robinson Crusoe. Ginn & Co.; D. C. Heath & Co.; American +Book Co.; University Publishing Co.</p> + +<p class="expblock">Much reduced and simplified from the original. A complete +and more difficult edition is published by Houghton, Mifflin, +& Co.</p> + +<p class="pubblock">The Odyssey of Homer (Palmer). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A complete prose translation of the entire Odyssey. Probably +the best. Good for fifth and sixth grades.</p> + +<p class="pubblock">Bryant's Odyssey. Houghton, Mifflin, & Co.</p> + +<p class="expblock">A simple, poetic rendering of the whole Odyssey. A good +teacher's book. Use parts in class.</p> + +<p class="pubblock">Bryant's Iliad. Houghton, Mifflin, & Co.</p> + +<p class="expblock">Complete poetic translation. One of the best.</p> + +<p class="pubblock">Heroes of the Middle West (Catherwood). Ginn & Co.</p> + +<p class="expblock">Good stories of the early French explorers of the Great +Lakes and the Mississippi Valley. Somewhat difficult.</p> + +<p class="pubblock">Pope's Iliad. The Macmillan Co.; Ginn & Co.; American Book +Co.; Silver, Burdett, & Co.; D. C. Heath & Co.</p> + +<p class="expblock">A famous rendering of the old Greek story. Still better +for sixth grade.</p> + +<p class="pubblock">A Story of the Golden Age (Baldwin). Scribner's Sons.</p> + +<p class="pubblock">Secrets of the Woods (Long). Ginn & Co.</p> + +<p class="pubblock">Old Greek Story (Baldwin). American Book Co.</p> + +<p class="pubblock">Arabian Nights (Clarke). American Book Co.</p> + +<p class="pubblock">Colonial Children (Hart). The Macmillan Co.</p> + +<p class="expblock">Simple and well-chosen source material. Excellent.</p> + +<p class="pubblock">Krag and Johnny Bear (Seton). Scribner's Sons.</p> + +<p class="pubblock">Poems of American Patriotism (Matthews). Scribner's Sons.</p> + +<p class="pubblock">Ballads and Lyrics. Houghton, Mifflin, & Co.</p> +<p><span class='pagenum'><a name="Page_225" id="Page_225">[Pg 225]</a></span></p> +<p class="pubblock">Stories from Herodotus. Maynard, Merrill & Co.; The Macmillan +Co.</p> + +<p class="expblock">Simple and interesting stories. Good also for sixth grade.</p> + +<p class="pubblock">Jason's Quest. Sibley & Ducker.</p> + +<p class="expblock">The story of Jason told in full. Interesting and well written.</p> + +<p class="pubblock">Book of Golden Deeds. The Macmillan Co.</p> + +<p class="expblock">A fine collection of historical and famous stories. For sixth +grade also.</p> + +<p class="pubblock">Historical Tales, American (Morris). J. B. Lippincott.</p> + +<p class="expblock">One of the best collections of American stories.</p> + +<p class="pubblock">Greek Gods, Heroes, and Men. Scott, Foresman, & Co.</p> + +<p class="expblock">A collection of Greek stories, both mythical and historical.</p> + +<p class="pubblock">The Story of the English (Guerber). American Book Co.</p> + +<p class="expblock">A complete series of English history stories arranged chronologically, +good for fifth and sixth grades.</p> + +<p class="pubblock">Tales of Chivalry (Rolfe). American Book Co.</p> + +<p class="expblock">Good stories from Scott, mostly from Ivanhoe. Also the +early life of Scott. Good for fifth and sixth grades.</p> + +<p class="pubblock">Boy's King Arthur (Lanier). Scribner's Sons.</p> + +<p class="expblock">A very interesting story for boys and girls. A good library +book ($2.00).</p> + +<p class="pubblock">The Story of Siegfried (Baldwin). Scribner's Sons.</p> + +<p class="expblock">A full and attractive story of Siegfried's adventures. A good +library book ($2.00).</p> + +<p class="pubblock">Pioneer History Stories (McMurry). Three volumes. The +Macmillan Co. Also for sixth year.</p> + +<p class="expblock">Early pioneer stories of the Eastern states, of the Mississippi +Valley, and of the Rocky Mountains.</p> + +<p class="pubblock">Open Sesame. Part II. Ginn & Co.</p> + +<p class="expblock">A good collection of poems arranged in important classes.</p> + +<p class="pubblock">The Story of the Greeks (Guerber). American Book Co.</p> + +<p class="expblock">Leading stories of Greek myth and history. For fifth and +sixth grades.</p> + +<p class="pubblock">The Story of Troy. American Book Co.</p> + +<p class="expblock">A short narrative of the Trojan War.</p> + +<p class="pubblock">Story of the Odyssey (Church). The Macmillan Co.</p> + +<p class="expblock">Library book for general reading. Simple.</p> +<p><span class='pagenum'><a name="Page_226" id="Page_226">[Pg 226]</a></span></p> +<p class="pubblock">The Story of Roland (Baldwin). Scribner's Sons.</p> + +<p class="expblock">Large book for library. Good.</p> + +<p class="pubblock">The Hoosier School Boy (Eggleston). Scribner's Sons.</p> + +<p class="pubblock">American Explorers (Higginson). Lee & Shepard.</p> + +<p class="expblock">Excellent descriptions of early explorations. Good source +material for pupils and teachers. Also for sixth grade.</p> + +<p class="pubblock">The Children's Life of Abraham Lincoln (Putnam). A. C. +McClurg. Also for sixth and seventh grades.</p> + +<p class="pubblock">Four American Naval Heroes (Beebe). Werner School Book +Company. Sixth grade also.</p> + +<p class="expblock">A simple narrative of great naval conflicts.</p> + +<p class="pubblock">Lobo, Rag, and Vixen (Seton). Scribner's Sons.</p> + + +<p>3. TEACHERS' BOOKS</p> + +<p class="pubblock">Beginnings of New England and Discovery of America, two +volumes (Fiske). Houghton, Mifflin, & Co.</p> + +<p class="expblock">Good library books for teacher.</p> + +<p class="pubblock">Sesame and Lilies (Ruskin). The Macmillan Co.</p> + +<p class="expblock">A very stimulating and suggestive book for teachers.</p> + +<p class="pubblock">The Golden Age (Kenneth and Grahame). John Lane.</p> + +<p class="pubblock">Moral Instruction of Children (Adler). D. Appleton & Co.</p> + +<p class="pubblock">Childhood in Literature and Art (Scudder). Houghton, Mifflin, +& Co.</p> + +<p class="expblock">An instructive book for teachers.</p> + +<p class="pubblock">Readings in Folk Lore (Skinner). American Book Co.</p> + +<p class="expblock">Valuable source book.</p> + +<p class="pubblock">Wilderness Ways (Long). Ginn & Co.</p> + +<p class="expblock">Entertaining to both teachers and pupils.</p> + +<p class="pubblock">The Story of Our Continent (Shaler). Ginn & Co.</p> + +<p class="expblock">An interesting geological history of North America.</p> + +<p class="pubblock">Historical Tales, English (Morris). J. B. Lippincott.</p> + +<p class="expblock">Excellent materials for reference work.</p> + + +<p class="pubblock">Westward Ho! (Kingsley). The Macmillan Co.; University +Publishing Co.</p> + +<p class="expblock">A good story of the time of Elizabeth, Drake, and Raleigh.</p> +<p><span class='pagenum'><a name="Page_227" id="Page_227">[Pg 227]</a></span></p> + +<p class="pubblock">Samuel de Champlain (Sedgwick). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A short and interesting biography. Other books of the +same Riverside Biographical Series are, William Penn, +Lewis and Clark, George Rogers Clark, and Paul Jones.</p> + +<p class="pubblock">History and Literature (Rice). Flanagan.</p> + +<p class="expblock">A brief pedagogical treatment of the whole subject of literature +and history for the elementary school.</p> + +<p class="pubblock">Ivanhoe (Scott). Ginn & Co.; D. C. Heath & Co.; Houghton, +Mifflin, & Co.; American Book Co.; The Macmillan +Co.</p> + +<p class="pubblock">The Deerslayer (Cooper). The Macmillan Co.</p> + +<p class="pubblock">House of Seven Gables (Hawthorne). Houghton, Mifflin, & Co.</p> + +<p class="pubblock">Drake and his Yeomen (Barnes). The Macmillan Co.</p> + +<p class="pubblock">Hard Times (Charles Dickens).</p> + +<p class="expblock">Mechanical methods in education described.</p> + +<p class="pubblock">Wake Robin (Burroughs). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A book of pleasing nature observation and study.</p> + +<p class="pubblock">Pioneers of France in the New World, and La Salle and the +Discovery of the Great West (Parkman). Little, Brown, +& Co.</p> + +<p class="expblock">Excellent and interesting historical material for the teacher.</p> + +<p class="pubblock">The Men Who Made the Nation (Sparks). The Macmillan Co.</p> + +<p class="expblock">Interesting biographical material.</p> + +<p class="pubblock">The Age of Chivalry (Bulfinch). Lee & Shepard.</p> + +<p class="expblock">An important treatise on this subject. Library book.</p> + +<p class="pubblock">The Foot-path Way (Torrey). Houghton, Mifflin, & Co.</p> + +<p class="expblock">Attractive and inspiring nature study.</p> + +<p class="pubblock">Birddom (Keyser). Lothrop & Co.</p> + +<p class="expblock">Excellent style and treatment of bird life.</p> + +<p class="pubblock">News from the Birds (Keyser). D. Appleton & Co.</p> + +<p class="expblock">Very pleasing studies and stimulating to teachers.</p> + +<p class="pubblock">Greek Life and Story (Church). G. P. Putnam's Sons.</p> + +<p class="expblock">A good series of pictures from the chief episodes of Greek +history.</p> + +<p class="pubblock">Counsel upon the Reading of Books (Van Dyke). Houghton, +Mifflin, & Co. Excellent.</p> + +<p class="pubblock">The Odyssey (Butcher and Lang). The Macmillan Co.</p> +<p><span class='pagenum'><a name="Page_228" id="Page_228">[Pg 228]</a></span></p> + +<h3>SIXTH GRADE</h3> + +<p>1. BOOKS FOR REGULAR READING LESSONS</p> + +<p class="pubblock">The Sketch-Book (Irving). Ginn & Co.; American Book Co.; +Maynard, Merrill, & Co.; Macmillan Co.; Houghton, Mifflin, & Co.; +Educational Pub. Co.; University Pub. Co.</p> + +<p class="expblock">Rip Van Winkle and other American essays. One of the best +books for sixth grade. Used also in fifth and seventh grades.</p> + +<p class="pubblock">The Courtship of Miles Standish (Longfellow). Houghton, +Mifflin, & Co.</p> + +<p class="expblock">Excellent in many ways for sixth-grade children. A dramatized +edition is also published. Used sometimes in seventh grade.</p> + +<p class="pubblock">The Christmas Carol (Dickens). Houghton, Mifflin, & Co.; +Maynard, Merrill, & Co.; Educational Publishing Co.</p> + +<p class="expblock">Excellent as literature and for variety of style in class work. +Used also in seventh grade.</p> + +<p class="pubblock">Hunting of the Deer (Warner). Houghton, Mifflin, & Co.</p> + +<p class="expblock">Including also How I Killed a Bear, and other admirable +stories, in which the humor and sentiment are fine. Used +also in seventh grade.</p> + +<p class="pubblock">Snow-Bound and Songs of Labor (Whittier). Houghton, Mifflin, +& Co.</p> + +<p class="expblock">One of the best American poems for children. Used also +in seventh and eighth grades.</p> + +<p class="pubblock">Coming of Arthur and Passing of Arthur. Houghton, Mifflin, +& Co.; Maynard, Merrill, & Co.; The Macmillan Co.</p> + +<p class="expblock">In the fine, poetic style of Tennyson, but simple. Suited +also for seventh grade.</p> + +<p class="pubblock">The Gentle Boy and Other Tales (Hawthorne). Houghton, +Mifflin, & Co.</p> + +<p class="expblock">A pathetic story of the Quaker persecutions in New England.</p> + +<p class="pubblock">Tales of the White Hills and Sketches (Hawthorne). Houghton, +Mifflin, & Co.</p> + +<p class="expblock">The Great Stone Face in this series is one of the choicest +stories for children in English.</p> +<p><span class='pagenum'><a name="Page_229" id="Page_229">[Pg 229]</a></span></p> +<p class="pubblock">Plutarch's Alexander the Great. Houghton, Mifflin, & Co.</p> + +<p class="expblock">A good biography for children and serves well as an introduction +to Plutarch.</p> + +<p class="pubblock">Grandfather's Chair (Hawthorne). Houghton, Mifflin, & Co.</p> + +<p class="expblock">The best stories we have of early and colonial New England +history. Good also for seventh grade.</p> + +<p class="pubblock">Children's Hour, Paul Revere, and other papers (Longfellow). +Houghton, Mifflin, & Co.</p> + +<p class="expblock">This contains also the Birds of Killingworth, and other +of Longfellow's best short poems.</p> + +<p class="pubblock">Birds and Bees, Sharp Eyes, and other papers (Burroughs). +Houghton, Mifflin, & Co. Also for seventh grade.</p> + +<p class="expblock">These are among the best of Burroughs's books for children. +Classic in style and choice in matter.</p> + +<p class="pubblock">Hawthorne's Biographical Stories. Houghton, Mifflin, & Co.</p> + +<p class="pubblock">Seven American Classics (Swinton). American Book Co.</p> + +<p class="expblock">A good collection of American classics suited to this grade.</p> + +<p class="pubblock">Three Outdoor Papers (Higginson). Houghton, Mifflin, & Co.</p> + +<p class="expblock">Interesting studies of nature in choice style.</p> + +<p class="pubblock">Giles Corey (Longfellow). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A drama of the Salem witchcraft, with directions for its +representation on the stage.</p> + +<p class="pubblock">The Building of the Ship, The Masque of Pandora, and other +poems (Longfellow). Houghton, Mifflin, & Co.</p> + +<p class="expblock">Excellent. The Masque of Pandora could be rendered in +dramatic form by children. Also for seventh grade.</p> + +<p class="pubblock">Mabel Martin and other poems (Whittier). Houghton, Mifflin, +& Co.</p> + +<p class="expblock">A choice collection of poems from Whittier. A good picture +of New England life. Used also in seventh and eighth +grades.</p> + +<p class="pubblock">Baby Bell, The Little Violinist, and other prose and verse +(Aldrich). Houghton, Mifflin, & Co.</p> + +<p class="expblock">Very choice poems and stories.</p> + +<p class="pubblock">Open Sesame, Vol. II, and Vol. III. Ginn & Co.</p> + +<p class="expblock">Poems and ballads. A collection well arranged for various +school use, for reading, recitation, and memorizing.</p> +<p><span class='pagenum'><a name="Page_230" id="Page_230">[Pg 230]</a></span></p> + +<p>2. SUPPLEMENTARY AND REFERENCE BOOKS</p> + +<p class="pubblock">Ten Great Events in History (Johonnot). D. Appleton & Co.</p> + +<p class="expblock">Good collateral reading in this grade.</p> + +<p class="pubblock">Lanier's Froissart. Scribner's Sons.</p> + +<p class="expblock">A fine story for library ($2.00).</p> + +<p class="pubblock">Child's History of England (Dickens). Hurst & Co.; Houghton, +Mifflin, & Co.; American Book Co.</p> + +<p class="expblock">A book much used. Should be in a school library.</p> + +<p class="pubblock">Tales from Shakespeare (Lamb). American Book Co.; Macmillan +Co.; Educational Publishing Co.; D. C. Heath +& Co.; Houghton, Mifflin, & Co.</p> + +<p class="expblock">Designed as an introduction to the plays of Shakespeare. +Language and style superior. Used also in seventh grade.</p> + +<p class="pubblock">Pilgrim's Progress (Bunyan). Macmillan Co.; Ginn & Co.; +Houghton, Mifflin, & Co.; University Publishing Co.</p> + +<p class="expblock">The famous old story which all children should read. A +book for the library and the home.</p> + +<p class="pubblock">Story of Cæsar (Clarke). American Book Co.</p> + +<p class="pubblock">Heroes and Patriots of the Revolution (Hart). The Macmillan Co.</p> + +<p class="pubblock">Swiss Family Robinson. Ginn & Co.; Educational Publishing Co.</p> + +<p class="pubblock">A library book for children. University Publishing Co.</p> + +<p class="pubblock">Stories from Old English Poetry (Richardson). Houghton, +Mifflin, & Co.</p> + +<p class="expblock">An excellent series of stories from Chaucer and others.</p> + +<p class="pubblock">Historical Tales, English (Morris). J. B. Lippincott.</p> + +<p class="expblock">A good collection of English history stories.</p> + +<p class="pubblock">Selections from Irving. Sibley & Ducker.</p> + +<p class="expblock">A variety of interesting selections from Irving's works.</p> + +<p class="pubblock">The Conquest of Mexico (Prescott). Maynard, Merrill, & Co.</p> + +<p class="expblock">The story of Cortes and his adventures told by a master.</p> + + +<p class="pubblock">William Tell (McMurry). Silver, Burdett, & Co.</p> + +<p class="expblock">The drama of Schiller's Wilhelm Tell, translated into simple +English. Adapted for representation.</p> + +<p class="pubblock">Source Book of American History (Hart). Macmillan Co.</p> + +<p class="expblock">The parts bearing on the colonial history. Original sources, +letters, etc.</p> +<p><span class='pagenum'><a name="Page_231" id="Page_231">[Pg 231]</a></span></p> +<p class="pubblock">Story of a Bad Boy (Aldrich). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A good narrative of boy life, humorous and entertaining.</p> + +<p class="pubblock">Lay of the Last Minstrel (Scott). The Macmillan Co.; Maynard, +Merrill, & Co.; Ginn & Co.; Houghton, Mifflin, & Co.</p> + +<p class="expblock">One of the best descriptions of the old minstrelsy. Suitable +for sixth and seventh grades.</p> + +<p class="pubblock">Choice English Lyrics (Baldwin). Silver, Burdett, & Co.</p> + +<p class="expblock">A great variety of choice poems, ballads, lyrics, and +sonnets.</p> + +<p class="pubblock">Poetry of the Seasons (Lovejoy). Silver, Burdett, & Co.</p> + +<p class="expblock">A choice collection of nature poems.</p> + +<p class="pubblock">Wilderness Ways (Long). Ginn & Co.</p> + +<p class="expblock">An interesting study of wild animals, birds, etc.</p> + +<p class="pubblock">Famous Allegories (Baldwin). Silver, Burdett, & Co.</p> + +<p class="expblock">A good selection for reference reading and for teachers.</p> + +<p class="pubblock">Rab and His Friends (Brown). Educational Publishing Co.; +D. C. Heath & Co.; Houghton, Mifflin, & Co.</p> + +<p class="expblock">Interesting stories of dogs for children.</p> + +<p class="pubblock">Story of Oliver Twist (Dickens). D. Appleton & Co.</p> + +<p class="expblock">Suitable for introducing children to Dickens.</p> + +<p class="pubblock">Undine (Fouque). Ginn & Co.</p> + +<p class="pubblock">Nine Worlds (Litchfield). Ginn & Co.</p> + +<p class="pubblock">Hans Brinker, or the Silver Skates (Mary Mapes Dodge). Century +Co.</p> + +<p class="pubblock">Don Quixote (De la Mancha). Scribner's Sons; Ginn & Co.</p> + +<p class="pubblock">Tales of a Traveller (Irving). American Book Co.; Maynard, +Merrill, & Co.</p> + +<p class="expblock">Various interesting stories of adventure.</p> + +<p class="pubblock">Pilgrims and Puritans (Moore). Ginn & Co.</p> + +<p class="expblock">One of the best books on the early history of Plymouth and +Boston. Very simple and well told.</p> + +<p class="pubblock">Stories from Waverley (Gassiot). The Macmillan Co.</p> + +<p class="expblock">For reference reading. Stories from Scott.</p> + +<p class="pubblock">Golden Treasury of Songs and Lyrics (Palgrave). The Macmillan +Co.</p> + +<p class="expblock">A collection of the best songs and lyrical poems.</p> + +<p class="pubblock">The Rose and the Ring (Thackeray). D. C. Heath & Co.</p> +<p><span class='pagenum'><a name="Page_232" id="Page_232">[Pg 232]</a></span></p> +<p class="pubblock">Knickerbocker Stories. University Publishing Co.</p> + +<p class="pubblock">Boys of '76 (Coffin). Harper Brothers.</p> + +<p class="expblock">A realistic account of Revolutionary scenes.</p> + +<p class="pubblock">Stories of Bird Life (Pearson). B. F. Johnson Publishing Co.</p> + +<p class="expblock">Simple descriptions by a close observer of birds.</p> + +<p class="pubblock">Our Country in Prose and Verse. American Book Co.</p> + +<p class="expblock">Excellent collection for children's use.</p> + +<p class="pubblock">Stories of Animal Life (Holden). American Book Co.</p> + +<p class="pubblock">Stories from English History (Church). The Macmillan Co.</p> + +<p class="expblock">In two volumes. The second part is especially suited to +sixth grade. Parts also of Part One.</p> + +<p class="pubblock">Children's Stories of American Literature (Wright). 1660-1860. +Scribner's Sons.</p> + +<p class="expblock">Short biographies of the chief American writers.</p> + +<p class="pubblock">Golden Arrow (Hall). Houghton, Mifflin, & Co.</p> + + +<p>3. TEACHERS' BOOKS</p> + +<p class="pubblock">Peter the Great (Motley). Maynard, Merrill, & Co.</p> + +<p class="expblock">A very interesting essay for teachers and for older pupils.</p> + +<p class="pubblock">Frederick the Great (Macaulay). Maynard, Merrill, & Co.</p> + +<p class="expblock">For teachers only. Interesting in style and content.</p> + +<p class="pubblock">Life Histories of American Insects (Weed). The Macmillan Co.</p> + +<p class="expblock">An interesting scientific treatment.</p> + +<p class="pubblock">Vicar of Wakefield (Goldsmith). Ginn & Co.; American +Book Co.; D. C. Heath & Co.; Houghton, Mifflin, & Co.; +The Macmillan Co.; The University Publishing Co.</p> + +<p class="pubblock">The Talisman (Scott). American Book Co.; Ginn & Co.</p> + +<p class="pubblock">Introduction to Literature (Lewis). The Macmillan Co.</p> + +<p class="expblock">Good selections.</p> + +<p class="pubblock">Source Book of English History (Kendall). The Macmillan Co.</p> + +<p class="expblock">Good selections for sixth, seventh, and eighth grades.</p> + +<p class="pubblock">Twice Told Tales (Hawthorne). Houghton, Mifflin, & Co.</p> + +<p class="pubblock">Old Virginia and Her Neighbors, two volumes (Fiske). Houghton, +Mifflin, & Co.</p> +<p><span class='pagenum'><a name="Page_233" id="Page_233">[Pg 233]</a></span></p> +<p class="pubblock">The Dutch and Quaker Colonies in America, two volumes +(Fiske). Houghton, Mifflin, & Co.</p> + +<p class="expblock">These four volumes are excellent for the treatment of colonial +history.</p> + +<p class="pubblock">An Introduction to Ruskin. Sibley & Ducker.</p> + +<p class="expblock">Extracts from Ruskin's principal writings.</p> + +<p class="pubblock">Essay on Milton (Macaulay). Maynard, Merrill, & Co.; American +Book Co.; The Macmillan Co.</p> + +<p class="expblock">A good example of Macaulay's style.</p> + +<p class="pubblock">History of England (Macaulay). Maynard, Merrill, & Co.</p> + +<p class="expblock">A brief history of England from the earliest times to 1660.</p> + +<p class="pubblock">The Iliad (Bryant). Houghton, Mifflin, & Co.</p> + +<p class="pubblock">Books and Libraries (Lowell). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A valuable and interesting essay on libraries and books. +Also other essays.</p> + +<p class="pubblock">The Red Cross Story Book (Lang). Longmans & Co.</p> + +<p class="pubblock">Montcalm and Wolfe (Parkman). Little, Brown, & Co.</p> + +<p class="pubblock">Washington Irving (Warner). Houghton, Mifflin, & Co.</p> + +<p class="expblock">Of the American Men of Letters Series.</p> + +<p class="pubblock">Conspiracy of Pontiac (Parkman). Little, Brown, & Co.</p> + +<p class="pubblock">The Fortune of the Republic (Emerson). Houghton, Mifflin, +& Co.</p> + +<p class="pubblock">Nature Pictures by American Poets (Marble). The Macmillan Co.</p> + +<p class="expblock">A choice collection of nature poems.</p> + +<p class="pubblock">Poetic Interpretation of Nature (Shairp). Houghton, Mifflin, & Co.</p> + +<p class="expblock">An interesting treatise on the sources of poetry in nature.</p> + +<p class="pubblock">Westward Ho! (Kingsley). The Macmillan Co.; The University +Publishing Co.</p> + +<p class="expblock">A story of the time of Elizabeth.</p> + +<p class="pubblock">The Schoolmaster in Literature. American Book Co.</p> + +<p class="pubblock">Also its companion book, The Schoolmaster in Comedy and +Satire. American Book Co.</p> + +<p class="pubblock">Scarlet Letter (Hawthorne).</p> + +<p class="pubblock">Last of the Mohicans (Cooper). D. C. Heath & Co.; Houghton, +Mifflin, & Co.; Macmillan Co.; University Pub. Co.</p> + +<p class="pubblock">Henry Esmond (Thackeray). Houghton, Mifflin; Macmillan.</p> + +<p class="pubblock">Nicholas Nickleby (Charles Dickens).</p> +<p><span class='pagenum'><a name="Page_234" id="Page_234">[Pg 234]</a></span></p> + +<h3>SEVENTH GRADE</h3> + +<p>1. BOOKS FOR REGULAR READING LESSONS</p> + +<p class="pubblock">Evangeline (Longfellow). Houghton, Mifflin, & Co.; The Macmillan +Co.; The University Publishing Co.</p> + +<p class="expblock">This has been much used in seventh and eighth grades.</p> + +<p class="pubblock">Sella, Thanatopsis, and Other Poems (Bryant). Houghton, +Mifflin, & Co.; Maynard, Merrill, & Co.</p> + +<p class="expblock">Some of Bryant's best poetic productions. Or eighth grade.</p> + +<p class="pubblock">Sohrab and Rustum (Arnold). American Book Co.; Houghton, +Mifflin, & Co.; Maynard & Merrill; Werner School +Book Co.; Educational Publishing Co.</p> + +<p class="expblock">Style simple but highly poetic. Used also in eighth grade.</p> + +<p class="pubblock">Cricket on the Hearth (Dickens). Houghton, Mifflin, & Co.; +Maynard, Merrill, & Co.</p> + +<p class="pubblock">Enoch Arden and the Lotus Eaters (Tennyson). Maynard, +Merrill, & Co.; Houghton, Mifflin, & Co.; The Macmillan +Co.; University Publishing Co.</p> + +<p class="expblock">Used in seventh and eighth grades and high schools.</p> + +<p class="pubblock">Merchant of Venice (Shakespeare). American Book Co.; Ginn +& Co.; The Macmillan Co.; D. C. Heath & Co.; Houghton, +Mifflin, & Co.; Maynard & Merrill; Educational Publishing +Co.; University Publishing Co.</p> + +<p class="expblock">The best of Shakespeare's for this grade. Parts of it are +often dramatized and presented. Much liked by the +children.</p> + +<p class="pubblock">Tales of a Grandfather (Scott). Ginn & Co.; Educational Publishing +Co.; University Publishing Co.</p> + +<p class="expblock">Stories of Wallace, Bruce, Douglas, and other Scotch heroes. +Should be read only in parts in class. Library book.</p> + +<p class="pubblock">Poems of Emerson. Houghton, Mifflin, & Co.</p> + +<p class="expblock">Historical and nature poems, with a good introduction. +A small but important collection of poems for older +children.</p> +<p><span class='pagenum'><a name="Page_235" id="Page_235">[Pg 235]</a></span></p> +<p class="pubblock">The Cotter's Saturday Night (Burns). Houghton, Mifflin, +& Co.; Maynard, Merrill, & Co.</p> + +<p class="expblock">Contains also Tam O'Shanter and other poems of Burns's best.</p> + +<p class="pubblock">Bunker Hill, Adams, and Jefferson (Webster). Houghton, Mifflin, +& Co.; American Book Co.; Maynard, Merrill, & Co.</p> + +<p class="expblock">Historical, patriotic, and simple in style. The best of Webster's +speeches for seventh and eighth grades.</p> + +<p class="pubblock">Poor Richard's Almanac (Franklin). Houghton, Mifflin, & Co.</p> + +<p class="expblock">This contains also interesting papers and letters by Franklin. +The proverbs of Franklin are well deserving the study of +children.</p> + +<p class="pubblock">Scudder's Life of Washington. Houghton, Mifflin, & Co.</p> + +<p class="expblock">Best life of Washington for grammar grades.</p> + +<p class="pubblock">Source Book of American History (Hart). The Macmillan Co.</p> + +<p class="expblock">Excellent reading selections for sixth, seventh, and eighth +grades.</p> + +<p class="pubblock">Grandmother's Story and Other Poems (Holmes). Houghton, +Mifflin, & Co.</p> + +<p class="expblock">Some of Holmes's best patriotic and humorous poems.</p> + +<p class="pubblock">The Plant World (Vincent). D. Appleton & Co.</p> + +<p class="expblock">A superior collection of extracts from great scientific writers. +One of the best science readers for upper grades.</p> + +<p class="pubblock">Poetry of the Seasons (Lovejoy). Silver, Burdett, & Co.</p> + +<p class="expblock">Good collection for reading and various uses.</p> + +<p class="pubblock">William Tell (McMurry). Silver, Burdett, & Co.</p> + +<p class="expblock">Suitable for seventh-grade reading. A drama.</p> + +<p class="pubblock">Golden Treasury of Best Songs and Lyrical Poems (Palgrave). +The Macmillan Co.</p> + + +<p>2. SUPPLEMENTARY AND REFERENCE BOOKS</p> + +<p class="pubblock">Rules of Conduct (Washington). Houghton, Mifflin, & Co.</p> + +<p class="expblock">Containing also his letters, farewell address, and other +important papers.</p> + +<p class="pubblock">Shakespeare's Tragedies (Lamb). American Book Co.; The +Macmillan Co.</p> + +<p class="expblock">Companion book to the Comedies.</p> +<p><span class='pagenum'><a name="Page_236" id="Page_236">[Pg 236]</a></span></p> +<p class="pubblock">Natural History of Selborne (White). Ginn & Co.</p> + +<p class="expblock">A famous old book, interesting both in style and content. +One of the first books of real nature study.</p> + +<p class="pubblock">Letters (Chesterfield). Ginn & Co.; Maynard, Merrill, & Co. +The Macmillan Co.</p> + +<p class="expblock">Entertaining and unique. Valuable for reading extracts to +the school.</p> + +<p class="pubblock">Plutarch's Lives. Ginn & Co.; The Macmillan Co.; Educational +Publishing Co.</p> + +<p class="expblock">A book that all grammar school children should be encouraged +to read.</p> + +<p class="pubblock">The Two Great Retreats (Grote-Segur). Ginn & Co.</p> + +<p class="expblock">Retreat of the ten thousand Greeks, and Napoleon's +retreat from Russia.</p> + +<p class="pubblock">The Alhambra (Irving). Ginn & Co.; Maynard, Merrill, & Co. +The Macmillan Co.</p> + +<p class="expblock">Most attractive descriptions and legends connected with +the Alhambra.</p> + +<p class="pubblock">Peter Schlemihl (Chamisso). Ginn & Co.</p> + +<p class="pubblock">Picciola (Saintine). Ginn & Co.</p> + +<p class="pubblock">Hatim Tai (from the Persian). Ginn & Co.</p> + +<p class="pubblock">Life of Nelson (Southey). Ginn & Co.; American Book Co.; +The Macmillan Co.</p> + +<p class="pubblock">Camps and Firesides of the Revolution (Hart). The Macmillan +Co.</p> + +<p class="expblock">Interesting source material.</p> + +<p class="pubblock">The Crofton Boys (Martineau). D. C. Heath & Co.</p> + +<p class="pubblock">Orations on Washington and Landing of the Pilgrims (Webster). +American Book Co.</p> + +<p class="expblock">A few children may be encouraged to read these great +speeches, among the best in our history. Somewhat +difficult.</p> + +<p class="pubblock">Silas Marner (Eliot). The Macmillan Co.; Sibley & Ducker; +American Book Co.; Ginn & Co.; D. C. Heath & Co.; +Houghton, Mifflin, & Co.; Educational Publishing Co.</p> + +<p class="expblock">A good introduction for children to George Eliot's writings. +Used in eighth grade and high school.</p> +<p><span class='pagenum'><a name="Page_237" id="Page_237">[Pg 237]</a></span></p> +<p class="pubblock">Vicar of Wakefield (Goldsmith). Ginn & Co.; American Book +Co.; D. C. Heath & Co.; Houghton, Mifflin, & Co.; The +Macmillan Co.; Maynard, Merrill, & Co.; Univ. Pub. Co.</p> + +<p class="expblock">One of the great books, permeated with Goldsmith's fine +style and humor.</p> + +<p class="pubblock">Two Years Before the Mast (Dana). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A book of real power for boys and girls.</p> + +<p class="pubblock">A Bunch of Herbs (Burroughs). Houghton, Mifflin, & Co.</p> + +<p class="expblock">Good nature study for pupils and teachers. Also for regular +reading.</p> + +<p class="pubblock">Samuel Adams (Morse). Houghton, Mifflin, & Co.</p> + +<p class="expblock">One of the best of American biographies. One of the best +descriptions of scenes in Boston just preceding the Revolution.</p> + +<p class="pubblock">Tom Brown's School Days (Hughes). The Macmillan Co.; +Houghton, Mifflin, & Co.; Ginn & Co.; Educational Publishing +Co.</p> + +<p class="expblock">A story for boys. Vigorous and true to life.</p> + +<p class="pubblock">Last of the Mohicans (Cooper). The Macmillan Co.; Maynard, +Merrill, & Co.; D. C. Heath & Co.; Houghton, Mifflin, +& Co.; University Publishing Co.</p> + +<p class="expblock">A good book with which to introduce young people to +Cooper's famous stories.</p> + +<p class="pubblock">Franklin's Autobiography. Ginn & Co.; Houghton, Mifflin, +& Co.; Maynard, Merrill, & Co.; American Book Co.; +The Macmillan Co.; The Educational Publishing Co.</p> + +<p class="expblock">A book that all young people should read. Valuable in +many ways.</p> + +<p class="pubblock">Uncle Tom's Cabin (Stowe). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A library book for home reading.</p> + +<p class="pubblock">From Colony to Commonwealth (Moore). Ginn & Co.</p> + +<p class="expblock">Simple account of the early events of the Revolution about +Boston.</p> + +<p class="pubblock">Stories from the Classic Literature of Many Nations (Palmer). +The Macmillan Co.</p> + +<p class="pubblock">The Gold Bug and Other Tales (Poe). Houghton, Mifflin, +& Co.</p> +<p><span class='pagenum'><a name="Page_238" id="Page_238">[Pg 238]</a></span></p> +<p class="pubblock">American War Ballads and Lyrics (Eggleston). G. P. Putnam's +Sons.</p> + +<p class="pubblock">The Siege of Leyden (Motley). D. C. Heath & Co.</p> + +<p class="pubblock">Twelve Naval Captains. Scribner's Sons.</p> + +<p class="expblock">Short biographies of naval heroes.</p> + +<p class="pubblock">Open Sesame, Volume III. Ginn & Co.</p> + +<p class="expblock">A collection for various uses, prose and verse. Patriotism, +sentiment, humor, and nature.</p> + +<p class="pubblock">Birddom (Keyser). D. Lothrop & Co.</p> + +<p class="expblock">Good for regular reading. Written in the fine style of a +true lover of nature.</p> + +<p class="pubblock">Town Geology (Kingsley). The Macmillan Co.</p> + +<p class="expblock">An interesting book for those predisposed to science.</p> + +<p class="pubblock">Children's Stories of American Literature (1860-1896) (Wright). +Scribner's Sons.</p> + +<p class="expblock">Short biographies of recent American writers.</p> + +<p class="pubblock">Prince and Pauper (Clemens). Harper & Bros.</p> + + +<p>3. TEACHERS' BOOKS</p> + +<p class="pubblock">Education and the Larger Life (Henderson). Houghton, Mifflin, +& Co.</p> + +<p class="expblock">A book of great value to teachers for thoughtful study.</p> + +<p class="pubblock">Critical Period of American History (Fiske). Houghton, Mifflin, +& Co.</p> + +<p class="expblock">A very superior and interesting book of the period just after +the Revolution.</p> + +<p class="pubblock">The Beginnings of New England (Fiske). Houghton, Mifflin, +& Co.</p> + +<p class="expblock">Valuable for sixth and seventh grade teachers.</p> + +<p class="pubblock">Birds in the Bush (Torrey). Houghton, Mifflin, & Co.</p> + +<p class="expblock">Entertaining nature study by a master.</p> + +<p class="pubblock">Nestlings in Forest and Marsh (Wheelock). A. C. McClurg.</p> + +<p class="expblock">A suggestive book for teachers and older pupils.</p> + +<p class="pubblock">Madam How and Lady Why (Kingsley). The Macmillan Co.</p> + +<p class="expblock">Interesting style and content.</p> +<p><span class='pagenum'><a name="Page_239" id="Page_239">[Pg 239]</a></span></p> +<p class="pubblock">Brave Little Holland (Griffis). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A historical study of the Dutch in Holland and in this +country.</p> + +<p class="pubblock">Familiar Flowers of Field and Garden (Matthews). D. Appleton +& Co.</p> + +<p class="expblock">An easy study of common plants and flowers according to +the seasons.</p> + +<p class="pubblock">Guy Mannering (Scott). Ginn & Co.</p> + +<p class="pubblock">Autocrat of the Breakfast Table (Holmes). Houghton, Mifflin, +& Co.</p> + +<p class="pubblock">Tale of Two Cities (Dickens). Ginn & Co.; American Book Co.</p> + +<p class="pubblock">Life of Pestalozzi (de Guimps). D. Appleton & Co.</p> + +<p class="pubblock">First Bunker Hill Oration (Webster). D. C Heath & Co.</p> + +<p class="pubblock">Mill on the Floss (George Eliot).</p> + +<p class="pubblock">Hugh Wynne, Free Quaker (Mitchell). Century Co.</p> + +<p class="pubblock">The Fortune of the Republic (Emerson). Houghton, Mifflin, +& Co.</p> + +<p class="expblock">Very stimulating to teachers.</p> + +<p class="pubblock">Masterpieces of American Literature (Scudder). Houghton, +Mifflin, & Co.</p> + +<p class="expblock">One of the best collections of classical masterpieces.</p> + +<p class="pubblock">Life of Samuel Johnson (Macaulay). Maynard, Merrill, & Co.; +Houghton, Mifflin, & Co.</p> + +<p class="expblock">Very fine, in Macaulay's superior style.</p> + +<p class="pubblock">Modern Painters (Ruskin). Various publishers.</p> + +<p class="expblock">For teachers, a good study in Ruskin.</p> + +<p class="pubblock">Essay on Burns (Carlyle). Maynard, Merrill, & Co.; The Macmillan +Co.; Houghton, Mifflin, & Co.; D. C. Heath +& Co.; Educational Publishing Co.</p> + +<p class="expblock">An interesting subject and an able treatment.</p> + +<p class="pubblock">Readings from the Spectator. Educational Publishing Co.; +Maynard, Merrill, & Co.</p> + +<p class="expblock">Roger de Coverley and other selected parts of essays from +Addison.</p> + +<p class="pubblock">Six Centuries of English Poetry (Baldwin). Silver, Burdett, +& Co.</p> + +<p class="expblock">Valuable for reference and occasional study.</p> +<p><span class='pagenum'><a name="Page_240" id="Page_240">[Pg 240]</a></span></p> +<p class="pubblock">Fiske's Washington and His Country (Irving). Ginn & Co.</p> + +<p class="expblock">Good life of Washington and history of the Revolution.</p> + +<p class="pubblock">The War of Independence (Fiske). Houghton, Mifflin, & Co.</p> + +<p class="pubblock">Poetic Interpretation of Nature (Shairp). Houghton, Mifflin, & Co.</p> + +<p class="pubblock">Mere Literature (Woodrow Wilson). Houghton, Mifflin, & Co.</p> + +<p class="expblock">An interesting series of essays for teachers.</p> + +<p class="pubblock">The Life of Alexander Hamilton (Lodge). Houghton, Mifflin, +& Co.</p> + +<p class="pubblock">The Study and Teaching of English (Chubb). The Macmillan Co.</p> + +<p class="pubblock">Burke's Speech on Conciliation with America. D. C. Heath +& Co.; American Book Co.; The Macmillan Co.</p> + + +<h3>EIGHTH GRADE</h3> + +<p>1. BOOKS FOR REGULAR READING LESSONS</p> + +<p class="pubblock">Vision of Sir Launfal (Lowell). Houghton, Mifflin, & Co.; The +Macmillan Co.</p> + +<p class="expblock">One of the best poems in English for school use.</p> + +<p class="pubblock">Julius Cæsar (Shakespeare). American Book Co.; The Macmillan +Co.; Silver, Burdett, & Co.; D. C. Heath & Co.; +Houghton, Mifflin, & Co.; Maynard, Merrill, & Co.; The +Educational Publishing Co.; University Publishing Co.</p> + +<p class="expblock">Well suited for eighth grade study and presentation. Used +also in high schools.</p> + +<p class="pubblock">Tales of a Wayside Inn (Longfellow). Houghton, Mifflin, & Co.</p> + +<p class="pubblock">Bunker Hill, Adams, and Jefferson (Webster). Houghton, Mifflin, +& Co.</p> + +<p class="pubblock">Roger de Coverley (Addison). The Macmillan Co.; American +Book Co.; Houghton, Mifflin, & Co.; The Educational +Publishing Co.; Silver, Burdett, & Co.; Sibley & Ducker; +D. C. Heath & Co.; Maynard, Merrill, & Co.</p> + +<p class="expblock">An excellent study for children in eighth grade. Also used +in high schools.</p> +<p><span class='pagenum'><a name="Page_241" id="Page_241">[Pg 241]</a></span></p> +<p class="pubblock">In Bird Land (Keyser). A. C. McClurg & Co.</p> + +<p class="expblock">A book adapted to awaken the children to a sympathetic +observation of birds.</p> + +<p class="pubblock">Lady of the Lake (Scott). Maynard, Merrill, & Co.; American +Book Co.; Ginn & Co.; Houghton, Mifflin, & Co.; The +Macmillan Co.; D. C. Heath & Co.; The Educational +Publishing Co.; University Publishing Co.</p> + +<p class="expblock">An attractive study. Somewhat difficult.</p> + +<p class="pubblock">Marmion (Scott). Ginn & Co.; Maynard, Merrill, & Co.; +The Macmillan Co.; The Educational Publishing Co.; +Houghton, Mifflin, & Co.; American Book Co.</p> + +<p class="expblock">A great historical picture, full of interest.</p> + +<p class="pubblock">The Great Debate (Hayne-Webster). Houghton, Mifflin, +& Co.; Maynard, Merrill, & Co.</p> + +<p class="expblock">A fine study of forensic debate. Incidentally a deeper +appreciation of history. Somewhat difficult for eighth +grade.</p> + +<p class="pubblock">A Bunch of Herbs (Burroughs). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A very suggestive study of common plants, trees, weather, +etc.</p> + +<p class="pubblock">Burke on Conciliation. Sibley & Ducker; Ginn & Co.; The +Macmillan Co.; Silver, Burdett, & Co.; Houghton, Mifflin, +& Co.; American Book Co.; D. C. Heath & Co.; +Maynard, Merrill, & Co. Used also in high school.</p> + +<p class="expblock">A great study both as literature and as history. One of the +best studies in American history before the Revolution.</p> + +<p class="pubblock">The Gettysburg Speech (Lincoln). Houghton, Mifflin, & Co.</p> + +<p class="expblock">The inaugurals, an essay by Lowell on Lincoln and other +papers.</p> + +<p class="pubblock">The Deserted Village, and The Traveller (Goldsmith). The +Macmillan Co.; Houghton, Mifflin, & Co.; Maynard, +Merrill, & Co.</p> + +<p class="expblock">The best of Goldsmith's poems. Also shorter poems.</p> + +<p class="pubblock">Franklin's Autobiography. The Macmillan Co.; Ginn & Co.; +Houghton, Mifflin, & Co.; Maynard, Merrill, & Co.; +American Book Co.; The Educational Publishing Co.</p> + +<p class="expblock">Partly for class use and partly for reference reading.</p> +<p><span class='pagenum'><a name="Page_242" id="Page_242">[Pg 242]</a></span></p> +<p class="pubblock">Plutarch's Lives. Ginn & Co.; The Educational Publishing +Co.; The Macmillan Co.</p> + +<p class="expblock">A few for class reading. Others for reference.</p> + +<p class="pubblock">Translation of Homer's Odyssey (Palmer). Houghton, Mifflin, +& Co.</p> + +<p class="pubblock">Abraham Lincoln (Schurz). Houghton, Mifflin, & Co.</p> + +<p class="pubblock">Two Great Retreats (Grote-Segur). Ginn & Co.</p> + +<p class="expblock">Good sight reading, and for reference.</p> + +<p class="pubblock">Peter the Great (Motley). Maynard, Merrill, & Co.</p> + +<p class="expblock">A very interesting essay in superior style.</p> + +<p class="pubblock">The Succession of Forest Trees, Wild Apples, and Sounds +(Thoreau). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A very attractive nature study.</p> + + +<p>2. SUPPLEMENTARY AND REFERENCE BOOKS</p> + +<p class="pubblock">Ruskin's Selections. Ginn & Co.; The Macmillan Co.</p> + +<p class="expblock">Longer selections from Ruskin. Excellent also for regular +reading.</p> + +<p class="pubblock">My Hunt after the Captain, etc. (Holmes). Houghton, Mifflin, +& Co.</p> + +<p class="expblock">A very entertaining description of scenes during war times.</p> + +<p class="pubblock">Don Quixote (Cervantes). Ginn & Co.; The Macmillan Co.; +Scribner's Sons.</p> + +<p class="expblock">A book that children should be encouraged to read. Its +satire and humor they should learn to appreciate.</p> + +<p class="pubblock">Ivanhoe (Scott). The Macmillan Co.; Ginn & Co.; American +Book Co.; Houghton, Mifflin, & Co.; D. C. Heath & Co.</p> + +<p class="expblock">The best introduction to Scott's novels, in connection with +school studies.</p> + +<p class="pubblock">The Abbot (Scott). Ginn & Co.; American Book Co.</p> + +<p class="expblock">One of Scott's best stories.</p> + +<p class="pubblock">Yesterdays with Authors (James T. Fields). Houghton, Mifflin, +& Co.</p> + +<p class="pubblock">Rob Roy, and Quentin Durward (Scott). Ginn & Co.; American +Book Co.</p> + +<p class="expblock">Good library books.</p> +<p><span class='pagenum'><a name="Page_243" id="Page_243">[Pg 243]</a></span></p> +<p class="pubblock">The House of Seven Gables (Hawthorne). Houghton, Mifflin, +& Co.</p> + +<p class="expblock">A New England story in Hawthorne's style. A good home +study for children and teachers.</p> + +<p class="pubblock">The Boy's Browning. Dana, Estes, & Co.</p> + +<p class="expblock">A good collection of the simpler poems adapted to younger +readers.</p> + +<p class="pubblock">Tale of Two Cities (Dickens). Ginn & Co.; American +Book Co.</p> + +<p class="pubblock">Jean Valjean (from Les Miserables). Ginn & Co.; Educational +Publishing Co.</p> + +<p class="pubblock">The Talisman (Scott). American Book Co.; Ginn & Co.</p> + +<p class="pubblock">Treasure Island (Stevenson). Scribner's Sons.</p> + +<p class="pubblock">Life of Washington (Statesmen Series). Houghton, Mifflin, +& Co.</p> + +<p class="pubblock">Life of Nelson (Southey). The Macmillan Co.; Ginn & Co.; +American Book Co.</p> + +<p class="pubblock">The Foot-path Way (Torrey). Houghton, Mifflin, & Co.</p> + +<p class="expblock">One of the best books for cultivating an appreciation for +nature.</p> + +<p class="pubblock">In Bird Land (Keyser). A. C. McClurg & Co.</p> + +<p class="expblock">A very interesting bird study.</p> + +<p class="pubblock">The Old Manse, and A Few Mosses (Hawthorne). Houghton, +Mifflin, & Co.</p> + +<p class="expblock">A pleasing account of the old house and its associations.</p> + +<p class="pubblock">News from the Birds (Keyser). D. Appleton & Co.</p> + +<p class="expblock">Excellent study and observation.</p> + +<p class="pubblock">Peasant and Prince (Martineau). Ginn & Co.; Univ. Pub. Co.</p> + +<p class="expblock">An interesting narrative of French life just before the Revolution.</p> + +<p class="pubblock">A Book of Famous Verse (Repplier). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A superior collection of poems.</p> + +<p class="pubblock">Nature Pictures by American Poets (Marble). The Macmillan Co.</p> + +<p class="expblock">Choice poems descriptive of nature.</p> + +<p class="pubblock">Seven British Classics. American Book Co.</p> + +<p class="expblock">A good collection of English masterpieces. Adapted also +for regular reading in seventh and eighth grades.</p> +<p><span class='pagenum'><a name="Page_244" id="Page_244">[Pg 244]</a></span></p> +<p class="pubblock">Star Land (Ball). Ginn & Co.</p> + +<p class="expblock">A very interesting and well-written introduction to astronomy.</p> + +<p class="pubblock">Life of John Quincy Adams (Morse). Houghton, Mifflin, & Co.</p> + +<p class="expblock">The Statesmen Series.</p> + +<p class="pubblock">Poems of American Patriotism (Matthews). Scribner's Sons.</p> + + +<p>3. TEACHERS' BOOKS</p> + +<p class="pubblock">Culture and Anarchy (Arnold). Maynard, Merrill, & Co.</p> + +<p class="expblock">It illustrates well Arnold's thought and style.</p> + +<p class="pubblock">Elaine (Tennyson). Maynard, Merrill, & Co.; The Macmillan +Co.</p> + +<p class="expblock">A beautiful poem, simple and musical, from the Idylls of the +King.</p> + +<p class="pubblock">Great Words of Great Americans (Putnam).</p> + +<p class="expblock">Papers and addresses of Washington and Lincoln.</p> + +<p class="pubblock">Literature in Schools (Scudder). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A stimulating book for teachers of all grades.</p> + +<p class="pubblock">The Princess (Tennyson). Ginn & Co.; The Macmillan Co.; +Maynard, Merrill, & Co.; American Book Co.</p> + +<p class="pubblock">Biblical Masterpieces (Moulton). The Macmillan Co.</p> + +<p class="pubblock">The Book Lover (Baldwin). A. C. McClurg & Co.</p> + +<p class="expblock">A discussion of books and reading with lists of books and +suggestions.</p> + +<p class="pubblock">The Story of the Birds (Baskett). D. Appleton & Co.</p> + +<p class="expblock">One of the superior books of nature study.</p> + +<p class="pubblock">Frail Children of the Air (Scudder). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A scientific but simple treatise on butterflies.</p> + +<p class="pubblock">Books and Culture (Mabie). Dodd, Mead, & Co.</p> + +<p class="expblock">An attractive and valuable book on literature for teachers.</p> + +<p class="pubblock">Science Sketches (Jordan). A. C. McClurg & Co.</p> + +<p class="expblock">A very attractive style in the treatment of scientific topics.</p> + +<p class="pubblock">Birds through an Opera Glass (Merriam). Houghton, Mifflin, +& Co.</p> + +<p class="expblock">Good outdoor study.</p> + +<p class="pubblock">Up and Down the Brooks (Bramford). Houghton, Mifflin, & Co.</p> + +<p class="expblock">A study of insect life in the streams.</p> +<p><span class='pagenum'><a name="Page_245" id="Page_245">[Pg 245]</a></span></p> +<p class="pubblock">Essays, first series (Emerson). Houghton, Mifflin, & Co.</p> + +<p class="expblock">Essays on history, self-reliance, compensation, and others. +Teachers should study Emerson's essays.</p> + +<p class="pubblock">Heroes and Hero-Worship (Carlyle). A. C. McClurg & Co.; +The Macmillan Co.</p> + +<p class="expblock">A great book and a good specimen of Carlyle's style and +thought.</p> + +<p class="pubblock">Introductory Lessons in English (McNeil and Lynch). American +Book Co.</p> + +<p class="expblock">A series of masterpieces with questions and discussions as +to treatment in high schools.</p> + +<p class="pubblock">How to Teach Reading (Clark). Scott, Forsman, & Co.</p> + +<p class="expblock">A pedagogical treatment of reading.</p> + +<p class="pubblock">Counsel upon the Reading of Books (Van Dyke). Houghton, +Mifflin, & Co.</p> + +<p class="expblock">Strong essays on books and reading from different points +of view by strong writers.</p> + +<p class="pubblock">Romola (George Eliot). Various publishers.</p> + +<p class="expblock">One of the great novels. Valuable in many ways.</p> + +<p class="pubblock">Macbeth (Shakespeare). Silver, Burdett, & Co.; D. C. Heath +& Co.; The Macmillan Co.; American Book Co.; The +Educational Publishing Co.; University Publishing Co.</p> + +<p class="expblock">This and other great plays of Shakespeare should be read +by teachers.</p> + +<p class="pubblock">Life of Hamilton (Statesmen Series). Houghton, Mifflin, & Co.</p> + +<p class="pubblock">Emerson's Self-Reliance. Maynard, Merrill, & Co.</p> + +<p class="pubblock">Life of Webster (Lodge), also John Quincy Adams (Morse). +Houghton, Mifflin, & Co.</p> + +<p class="expblock">From the Statesmen Series. Excellent reading for the +teacher.</p> + +<p class="pubblock">Literary Study of the Bible (Moulton). D. C. Heath & Co.</p> + +<p class="expblock">A valuable introduction to the literary appreciation of the +Bible.</p> + +<p class="pubblock">The Marble Faun (Hawthorne). Houghton, Mifflin, & Co.</p> + +<p class="pubblock">Plutarch's Lives. Ginn & Co.; The Macmillan Co.; The Educational +Publishing Co.</p> + +<p class="pubblock">Locke's Thoughts on Education. The Macmillan Co.</p> +<p><span class='pagenum'><a name="Page_246" id="Page_246">[Pg 246]</a></span></p> +<p class="pubblock">Spencer's Education. D. Appleton & Co.</p> + +<p class="pubblock">Daniel Deronda (George Eliot).</p> + +<p class="pubblock">Dombey and Son (Charles Dickens).</p> + +<p class="pubblock">The Autobiography of John Stuart Mill.</p> + +<p class="pubblock">The Schoolmaster in Comedy and Satire (Skinner). The American +Book Co.</p> + +<p class="pubblock">Emerson's American Scholar. American Book Co.; Houghton, +Mifflin, & Co.; Maynard, Merrill, & Co.</p> + +<p class="pubblock">The Judgment of Socrates. Houghton, Mifflin, & Co.</p> + +<p class="pubblock">Poets and Problems (Cooke). Houghton, Mifflin, & Co.</p> + +<p class="pubblock">Introduction to Tennyson, Ruskin, and Browning.</p> + +<p class="pubblock">A Century of Science and other Essays (Fiske). Houghton, +Mifflin, & Co.</p> + +<p class="pubblock">American Writers of To-day (Vedder). Silver, Burdett, & Co.</p> + +<p class="pubblock">Ralph Waldo Emerson (Holmes). American Men of Letters +Series. Houghton, Mifflin, & Co.</p> + + +<hr style="width: 85%;" /> +<p><span class='pagenum'><a name="Page_247" id="Page_247">[Pg 247]</a></span></p> +<h2><a name="ALPHABETICAL_LIST_OF_TITLES" id="ALPHABETICAL_LIST_OF_TITLES"></a>ALPHABETICAL LIST OF TITLES</h2> + +<div class="blockquot"> +<p><br /> +Abbot, The, <a href="#Page_242">242</a><br /> +<br /> +Abraham Lincoln, <a href="#Page_242">242</a><br /> +<br /> +Adams, Bunker Hill, and Jefferson, <a href="#Page_235">235</a>, <a href="#Page_240">240</a><br /> +<br /> +Adams, Life of John Quincy, <a href="#Page_244">244</a><br /> +<br /> +Adams, Samuel, <a href="#Page_237">237</a><br /> +<br /> +Adventures of Ulysses, <a href="#Page_223">223</a><br /> +<br /> +Age of Chivalry, <a href="#Page_227">227</a><br /> +<br /> +Age of Fable, <a href="#Page_221">221</a><br /> +<br /> +Alexander the Great, <a href="#Page_229">229</a><br /> +<br /> +Alhambra, <a href="#Page_236">236</a><br /> +<br /> +Alice's Adventures in Wonderland, <a href="#Page_219">219</a><br /> +<br /> +American Explorers, <a href="#Page_226">226</a><br /> +<br /> +American Scholar, <a href="#Page_246">246</a><br /> +<br /> +American War Ballads and Lyrics, <a href="#Page_238">238</a><br /> +<br /> +American Writers of To-day, <a href="#Page_246">246</a><br /> +<br /> +Andersen's Fairy Tales, <a href="#Page_217">217</a><br /> +<br /> +Arabian Nights (Clarke), <a href="#Page_224">224</a><br /> +<br /> +Arabian Nights (Hale), <a href="#Page_224">224</a><br /> +<br /> +Arabian Nights, Stories from the, <a href="#Page_216">216</a><br /> +<br /> +Autobiography (Franklin), <a href="#Page_237">237</a>, <a href="#Page_241">241</a><br /> +<br /> +Autobiography of John Stuart Mill, <a href="#Page_246">246</a><br /> +<br /> +Autocrat of the Breakfast Table, <a href="#Page_239">239</a><br /> +<br /> +<br /> +Baby Bell, the Little Violinist, and other prose and verse, <a href="#Page_229">229</a><br /> +<br /> +Ballad Book, <a href="#Page_218">218</a><br /> +<br /> +Ballads and Lyrics, <a href="#Page_225">225</a><br /> +<br /> +Beginnings of New England, <a href="#Page_222">222</a>, <a href="#Page_238">238</a><br /> +<br /> +Beginnings of New England, and Discovery of America, <a href="#Page_226">226</a><br /> +<br /> +Being a Boy, <a href="#Page_220">220</a><br /> +<br /> +Biblical Masterpieces, <a href="#Page_244">244</a><br /> +<br /> +Bimbi, <a href="#Page_218">218</a><br /> +<br /> +Biographical Stories (Hawthorne), <a href="#Page_223">223</a>, <a href="#Page_229">229</a><br /> +<br /> +Birddom, <a href="#Page_227">227</a>, <a href="#Page_238">238</a><br /> +<br /> +Birds and Bees, Sharp Eyes, and other papers, <a href="#Page_229">229</a><br /> +<br /> +Birds in the Bush, <a href="#Page_238">238</a><br /> +<br /> +Birds through an Opera Glass, <a href="#Page_244">244</a><br /> +<br /> +Bird-World, <a href="#Page_217">217</a><br /> +<br /> +Black Beauty, <a href="#Page_219">219</a><br /> +<br /> +Book Lover, <a href="#Page_244">244</a><br /> +<br /> +Book of Famous Verse, <a href="#Page_243">243</a><br /> +<br /> +Book of Golden Deeds, <a href="#Page_225">225</a><br /> +<br /> +Book of Legends, <a href="#Page_217">217</a><br /> +<br /> +Book of Tales, <a href="#Page_217">217</a><br /> +<br /> +Books and Culture, <a href="#Page_244">244</a><br /> +<br /> +Books and Libraries, <a href="#Page_233">233</a><br /> +<br /> +Boy's Browning, <a href="#Page_243">243</a><br /> +<br /> +Boy's King Arthur, <a href="#Page_225">225</a><br /> +<br /> +Boys of '76, <a href="#Page_232">232</a><br /> +<br /> +Brave Little Holland, <a href="#Page_239">239</a><br /> +<span class='pagenum'><a name="Page_248" id="Page_248">[Pg 248]</a></span><br /> +Brownies, The, <a href="#Page_219">219</a><br /> +<br /> +Browning, Boy's, <a href="#Page_243">243</a><br /> +<br /> +Browning, Introduction to Tennyson, Ruskin, and, <a href="#Page_246">246</a><br /> +<br /> +Building of the Ship, <a href="#Page_229">229</a><br /> +<br /> +Bunch of Herbs, <a href="#Page_237">237</a>, <a href="#Page_241">241</a><br /> +<br /> +Bunker Hill, Adams, and Jefferson, <a href="#Page_235">235</a>, <a href="#Page_240">240</a><br /> +<br /> +Burke on Conciliation, <a href="#Page_241">241</a><br /> +<br /> +Burke's Speech on Conciliation with America, <a href="#Page_240">240</a><br /> +<br /> +Burns, Essay on, <a href="#Page_239">239</a><br /> +<br /> +<br /> +Cæsar, Story of, <a href="#Page_230">230</a><br /> +<br /> +California and Oregon Trail, <a href="#Page_221">221</a><br /> +<br /> +Camps and Firesides of the Revolution, <a href="#Page_236">236</a><br /> +<br /> +Century of Science, and other essays, <a href="#Page_246">246</a><br /> +<br /> +Champlain, Samuel de, <a href="#Page_227">227</a><br /> +<br /> +Chesterfield, Letters of, <a href="#Page_236">236</a><br /> +<br /> +Childhood in Literature and Art, <a href="#Page_226">226</a><br /> +<br /> +Child Life in Poetry and Prose, <a href="#Page_216">216</a><br /> +<br /> +Children's Hour, <a href="#Page_223">223</a>, <a href="#Page_229">229</a><br /> +<br /> +Children's Hour, Paul Revere, and other papers, <a href="#Page_229">229</a><br /> +<br /> +Children's Life of Abraham Lincoln, <a href="#Page_226">226</a><br /> +<br /> +Children's Stories of American Literature, <a href="#Page_221">221</a><br /> +<br /> +Children's Stories of American Literature, 1660-1860, <a href="#Page_232">232</a><br /> +<br /> +Children's Stories of American Literature, 1860-1896, <a href="#Page_238">238</a><br /> +<br /> +Children's Treasury of English Song, <a href="#Page_219">219</a><br /> +<br /> +Child's History of England, <a href="#Page_230">230</a><br /> +<br /> +Choice English Lyrics, <a href="#Page_231">231</a><br /> +<br /> +Christmas Carol, <a href="#Page_228">228</a><br /> +<br /> +Colonial Children, <a href="#Page_224">224</a><br /> +<br /> +Coming of Arthur and Passing of Arthur, <a href="#Page_228">228</a><br /> +<br /> +Conquest of Mexico, <a href="#Page_230">230</a><br /> +<br /> +Conspiracy of Pontiac, <a href="#Page_233">233</a><br /> +<br /> +Cotter's Saturday Night, <a href="#Page_235">235</a><br /> +<br /> +Counsel upon the Reading of Books, <a href="#Page_227">227</a>, <a href="#Page_245">245</a><br /> +<br /> +Courtship of Miles Standish, <a href="#Page_228">228</a><br /> +<br /> +Cricket on the Hearth, <a href="#Page_234">234</a><br /> +<br /> +Critical Period of American History, <a href="#Page_238">238</a><br /> +<br /> +Crofton Boys, <a href="#Page_236">236</a><br /> +<br /> +Culture and Anarchy, <a href="#Page_244">244</a><br /> +<br /> +<br /> +Daniel Deronda, <a href="#Page_246">246</a><br /> +<br /> +David Copperfield, <a href="#Page_221">221</a><br /> +<br /> +Deerslayer, <a href="#Page_227">227</a><br /> +<br /> +Deserted Village, and the Traveller, <a href="#Page_241">241</a><br /> +<br /> +Discovery of America, <a href="#Page_221">221</a><br /> +<br /> +Discovery of America, Beginnings of New England, and, <a href="#Page_226">226</a><br /> +<br /> +Dog of Flanders, <a href="#Page_218">218</a><br /> +<br /> +Dombey and Son, <a href="#Page_246">246</a><br /> +<br /> +Don Quixote, <a href="#Page_231">231</a>, <a href="#Page_242">242</a><br /> +<br /> +Drake and his Yeomen, <a href="#Page_227">227</a><br /> +<br /> +Dutch and Quaker Colonies in America, <a href="#Page_233">233</a><br /> +<br /> +<br /> +Education, <a href="#Page_246">246</a><br /> +<br /> +Education and the Larger Life, <a href="#Page_238">238</a><br /> +<br /> +Elaine, <a href="#Page_244">244</a><br /> +<br /> +Emerson, Poems of, <a href="#Page_234">234</a><br /> +<br /> +Emerson, Ralph Waldo, <a href="#Page_246">246</a><br /> +<span class='pagenum'><a name="Page_249" id="Page_249">[Pg 249]</a></span><br /> +Emerson's Essays, <a href="#Page_220">220</a><br /> +<br /> +Emerson's Essays, First Series, <a href="#Page_245">245</a><br /> +<br /> +Enoch Arden and the Lotus Eaters, <a href="#Page_234">234</a><br /> +<br /> +Essay on Burns, <a href="#Page_239">239</a><br /> +<br /> +Essay on Milton, <a href="#Page_233">233</a><br /> +<br /> +Essays (Emerson), <a href="#Page_220">220</a><br /> +<br /> +Essays (Emerson), First Series, <a href="#Page_245">245</a><br /> +<br /> +Eugene Field Book, <a href="#Page_220">220</a><br /> +<br /> +Evangeline, <a href="#Page_234">234</a><br /> +<br /> +<br /> +Faerie Queen, Tales from the, <a href="#Page_218">218</a><br /> +<br /> +Fairy Tales (Andersen), <a href="#Page_217">217</a><br /> +<br /> +Fairy Tales in Prose and Verse, <a href="#Page_219">219</a><br /> +<br /> +Familiar Flowers of Field and Garden, <a href="#Page_239">239</a><br /> +<br /> +Famous Allegories, <a href="#Page_231">231</a><br /> +<br /> +Fanciful Tales, <a href="#Page_216">216</a><br /> +<br /> +Fifty Famous Stories Retold, <a href="#Page_220">220</a><br /> +<br /> +First Book of Birds, <a href="#Page_218">218</a><br /> +<br /> +First Bunker Hill Oration, <a href="#Page_239">239</a><br /> +<br /> +Foot-path Way, <a href="#Page_227">227</a>, <a href="#Page_243">243</a><br /> +<br /> +Fortune of the Republic, <a href="#Page_233">233</a>, <a href="#Page_239">239</a><br /> +<br /> +Four American Naval Heroes, <a href="#Page_226">226</a><br /> +<br /> +Four Great Americans, <a href="#Page_217">217</a><br /> +<br /> +Frail Children of the Air, <a href="#Page_244">244</a><br /> +<br /> +Franklin's Autobiography, <a href="#Page_237">237</a>, <a href="#Page_241">241</a><br /> +<br /> +Frederick the Great, <a href="#Page_232">232</a><br /> +<br /> +Friends and Helpers, <a href="#Page_218">218</a><br /> +<br /> +Froissart, <a href="#Page_230">230</a><br /> +<br /> +From Colony to Commonwealth, <a href="#Page_237">237</a><br /> +<br /> +<br /> +Gentle Boy, and other tales, <a href="#Page_228">228</a><br /> +<br /> +Gettysburg Speech, <a href="#Page_241">241</a><br /> +<br /> +Giles Corey, <a href="#Page_229">229</a><br /> +<br /> +Gods and Heroes, <a href="#Page_218">218</a><br /> +<br /> +Gold Bug, and other tales, <a href="#Page_237">237</a><br /> +<br /> +Golden Age, <a href="#Page_226">226</a><br /> +<br /> +Golden Arrow, <a href="#Page_232">232</a><br /> +<br /> +Golden Treasury of Best Songs and Lyrical Poems, <a href="#Page_235">235</a><br /> +<br /> +Golden Treasury of Songs and Lyrics, <a href="#Page_231">231</a><br /> +<br /> +Grandfather's Chair, <a href="#Page_229">229</a><br /> +<br /> +Grandmother's Story, and other poems, <a href="#Page_235">235</a><br /> +<br /> +Great Debate (Hayne-Webster), <a href="#Page_241">241</a><br /> +<br /> +Great Words of Great Americans, <a href="#Page_244">244</a><br /> +<br /> +Greek Gods, Heroes, and Men, <a href="#Page_225">225</a><br /> +<br /> +Greek Heroes, <a href="#Page_216">216</a><br /> +<br /> +Greek Life and Story, <a href="#Page_227">227</a><br /> +<br /> +Grimm's Household Tales, <a href="#Page_217">217</a><br /> +<br /> +Gulliver's Travels, <a href="#Page_223">223</a><br /> +<br /> +Gulliver's Voyage to Lilliput, <a href="#Page_223">223</a><br /> +<br /> +Guy Mannering, <a href="#Page_239">239</a><br /> +<br /> +<br /> +Hamilton, Life of, <a href="#Page_245">245</a><br /> +<br /> +Hamilton, Life of Alexander, <a href="#Page_240">240</a><br /> +<br /> +Hans Andersen Stories, <a href="#Page_218">218</a><br /> +<br /> +Hans Andersen Tales, <a href="#Page_217">217</a><br /> +<br /> +Hans Brinker, or the Silver Skates, <a href="#Page_231">231</a><br /> +<br /> +Hard Times, <a href="#Page_227">227</a><br /> +<br /> +Hatim Tai, <a href="#Page_236">236</a><br /> +<br /> +Henry Esmond, <a href="#Page_233">233</a><br /> +<br /> +Heroes and Hero Worship, <a href="#Page_245">245</a><br /> +<br /> +Heroes and Patriots of the Revolution, <a href="#Page_230">230</a><br /> +<br /> +Heroes of Asgard, <a href="#Page_219">219</a><br /> +<br /> +Heroes of the Middle West, <a href="#Page_220">220</a>, <a href="#Page_224">224</a><br /> +<br /> +Heroic Ballads, <a href="#Page_223">223</a><br /> +<br /> +Hiawatha, <a href="#Page_222">222</a><br /> +<br /> +Historical Tales, American, <a href="#Page_225">225</a><br /> +<br /> +Historical Tales, English, <a href="#Page_226">226</a>, <a href="#Page_230">230</a><br /> +<span class='pagenum'><a name="Page_250" id="Page_250">[Pg 250]</a></span><br /> +History and Literature, <a href="#Page_220">220</a>, <a href="#Page_227">227</a><br /> +<br /> +History of England, <a href="#Page_233">233</a><br /> +<br /> +Hoosier School Boy, <a href="#Page_226">226</a><br /> +<br /> +Household Tales (Grimm), <a href="#Page_217">217</a><br /> +<br /> +House of Seven Gables, <a href="#Page_227">227</a>, <a href="#Page_243">243</a><br /> +<br /> +How to Teach Reading, <a href="#Page_245">245</a><br /> +<br /> +Hugh Wynne, Free Quaker, <a href="#Page_239">239</a><br /> +<br /> +Hunting of the Deer, <a href="#Page_228">228</a><br /> +<br /> +<br /> +Iliad (Bryant), <a href="#Page_224">224</a>, <a href="#Page_233">233</a><br /> +<br /> +Iliad (Pope), <a href="#Page_224">224</a><br /> +<br /> +In Bird Land, <a href="#Page_221">221</a>, <a href="#Page_241">241</a>, <a href="#Page_243">243</a><br /> +<br /> +Introduction to Literature, <a href="#Page_232">232</a><br /> +<br /> +Introduction to Ruskin, <a href="#Page_233">233</a><br /> +<br /> +Introduction to Tennyson, Ruskin, and Browning, <a href="#Page_246">246</a><br /> +<br /> +Introductory Lessons in English, <a href="#Page_245">245</a><br /> +<br /> +Irving, Selections from, <a href="#Page_230">230</a><br /> +<br /> +Ivanhoe, <a href="#Page_227">227</a>, <a href="#Page_242">242</a><br /> +<br /> +<br /> +Jackanapes, <a href="#Page_219">219</a><br /> +<br /> +Jason's Quest, <a href="#Page_225">225</a><br /> +<br /> +Jean Mitchell's School, <a href="#Page_222">222</a><br /> +<br /> +Jean Valjean, <a href="#Page_243">243</a><br /> +<br /> +Jefferson, Bunker Hill, Adams and, <a href="#Page_235">235</a>, <a href="#Page_240">240</a><br /> +<br /> +Johnson, Life of Samuel, <a href="#Page_239">239</a><br /> +<br /> +Judgment of Socrates, <a href="#Page_246">246</a><br /> +<br /> +Julius Cæsar, <a href="#Page_240">240</a><br /> +<br /> +<br /> +King Arthur and his Court, <a href="#Page_217">217</a><br /> +<br /> +King of the Golden River, <a href="#Page_222">222</a><br /> +<br /> +Krag and Johnny Bear, <a href="#Page_224">224</a><br /> +<br /> +<br /> +Lady of the Lake, <a href="#Page_241">241</a><br /> +<br /> +Landing of the Pilgrims, Orations on Washington and, <a href="#Page_236">236</a><br /> +<br /> +La Salle and the Discovery of the Great West, <a href="#Page_221">221</a><br /> +<br /> +Last of the Mohicans, <a href="#Page_233">233</a>, <a href="#Page_237">237</a><br /> +<br /> +Lay of the Last Minstrel, <a href="#Page_231">231</a><br /> +<br /> +Lays of Ancient Rome, <a href="#Page_222">222</a><br /> +<br /> +Leonard and Gertrude, <a href="#Page_222">222</a><br /> +<br /> +Letters (Chesterfield), <a href="#Page_236">236</a><br /> +<br /> +Life Histories of American Insects, <a href="#Page_232">232</a><br /> +<br /> +Life of Alexander Hamilton, <a href="#Page_240">240</a><br /> +<br /> +Life of Hamilton, <a href="#Page_245">245</a><br /> +<br /> +Life of John Quincy Adams, <a href="#Page_244">244</a><br /> +<br /> +Life of Nelson, <a href="#Page_236">236</a>, <a href="#Page_243">243</a><br /> +<br /> +Life of Pestalozzi, <a href="#Page_239">239</a><br /> +<br /> +Life of Samuel Johnson, <a href="#Page_239">239</a><br /> +<br /> +Life of Washington, <a href="#Page_235">235</a>, <a href="#Page_243">243</a><br /> +<br /> +Life of Webster, <a href="#Page_245">245</a><br /> +<br /> +Lincoln, Abraham, <a href="#Page_242">242</a><br /> +<br /> +Lincoln, Children's Life of Abraham, <a href="#Page_226">226</a><br /> +<br /> +Literary Study of the Bible, <a href="#Page_245">245</a><br /> +<br /> +Literature in Schools, <a href="#Page_221">221</a>, <a href="#Page_244">244</a><br /> +<br /> +Little Daffydowndilly and Biographical Stories, <a href="#Page_223">223</a><br /> +<br /> +Little Lame Prince, <a href="#Page_218">218</a><br /> +<br /> +Little Lord Fauntleroy, <a href="#Page_220">220</a><br /> +<br /> +Little Violinist, <a href="#Page_229">229</a><br /> +<br /> +Lobo, Rag, and Vixen, <a href="#Page_226">226</a><br /> +<br /> +Lotus Eaters, Enoch Arden and the, <a href="#Page_234">234</a><br /> +<br /> +<br /> +Mabel Martin, and other poems, <a href="#Page_229">229</a><br /> +<br /> +Macbeth, <a href="#Page_245">245</a><br /> +<br /> +Madam How and Lady Why, <a href="#Page_238">238</a><br /> +<br /> +Marble Faun, <a href="#Page_245">245</a><br /> +<br /> +Marmion, <a href="#Page_241">241</a><br /> +<br /> +Masterpieces of American Literature, <a href="#Page_239">239</a><br /> +<br /> +Men who made the Nation, <a href="#Page_227">227</a><br /> +<br /> +Merchant of Venice, <a href="#Page_234">234</a><br /> +<span class='pagenum'><a name="Page_251" id="Page_251">[Pg 251]</a></span><br /> +Mere Literature, <a href="#Page_240">240</a><br /> +<br /> +Merry Adventures of Robin Hood, <a href="#Page_219">219</a>, <a href="#Page_223">223</a><br /> +<br /> +Mill on the Floss, <a href="#Page_239">239</a><br /> +<br /> +Milton, Essay on, <a href="#Page_233">233</a><br /> +<br /> +Modern Painters, <a href="#Page_239">239</a><br /> +<br /> +Montcalm and Wolfe, <a href="#Page_233">233</a><br /> +<br /> +Moral Instruction of Children, <a href="#Page_226">226</a><br /> +<br /> +My Hunt after the Captain, <a href="#Page_242">242</a><br /> +<br /> +Myths of the Northern Lands, <a href="#Page_220">220</a><br /> +<br /> +<br /> +National Epics, <a href="#Page_221">221</a><br /> +<br /> +Natural History of Selborne, <a href="#Page_236">236</a><br /> +<br /> +Nature in Verse, <a href="#Page_217">217</a><br /> +<br /> +Nature Pictures by American Poets, <a href="#Page_221">221</a>, <a href="#Page_233">233</a>, <a href="#Page_243">243</a><br /> +<br /> +Nelson, Life of, <a href="#Page_236">236</a>, <a href="#Page_243">243</a><br /> +<br /> +Nestlings in Forest and Marsh, <a href="#Page_238">238</a><br /> +<br /> +News from the Birds, <a href="#Page_227">227</a>, <a href="#Page_243">243</a><br /> +<br /> +Nicholas Nickleby, <a href="#Page_233">233</a><br /> +<br /> +Nine Worlds, <a href="#Page_231">231</a><br /> +<br /> +Norse Stories, <a href="#Page_220">220</a><br /> +<br /> +Nürnberg Stove, <a href="#Page_218">218</a><br /> +<br /> +<br /> +Odyssey (Bryant), <a href="#Page_224">224</a><br /> +<br /> +Odyssey (Butcher and Lang), <a href="#Page_227">227</a><br /> +<br /> +Odyssey (Church), <a href="#Page_225">225</a><br /> +<br /> +Odyssey of Homer (Palmer), <a href="#Page_224">224</a><br /> +<br /> +Odyssey, Translation of Homer's (Palmer), <a href="#Page_242">242</a><br /> +<br /> +Old Greek Folk Stories, <a href="#Page_217">217</a><br /> +<br /> +Old Greek Story, <a href="#Page_224">224</a><br /> +<br /> +Old Manse, and a Few Mosses, <a href="#Page_243">243</a><br /> +<br /> +Old Norse Stories, <a href="#Page_220">220</a><br /> +<br /> +Old Stories of the East, <a href="#Page_218">218</a><br /> +<br /> +Old Testament Stories in Scripture Language, <a href="#Page_217">217</a><br /> +<br /> +Old Virginia and her Neighbors, <a href="#Page_232">232</a><br /> +<br /> +Oliver Twist, Story of, <a href="#Page_231">231</a><br /> +<br /> +Open Sesame, <a href="#Page_219">219</a>, <a href="#Page_225">225</a>, <a href="#Page_229">229</a>, <a href="#Page_238">238</a><br /> +<br /> +Orations on Washington and Landing of the Pilgrims, <a href="#Page_236">236</a><br /> +<br /> +Our Country in Prose and Verse, <a href="#Page_232">232</a><br /> +<br /> +Our Feathered Friends, <a href="#Page_219">219</a><br /> +<br /> +<br /> +Paul Revere, <a href="#Page_229">229</a><br /> +<br /> +Peasant and Prince, <a href="#Page_243">243</a><br /> +<br /> +Pestalozzi, Life of, <a href="#Page_239">239</a><br /> +<br /> +Peter Schlemihl, <a href="#Page_236">236</a><br /> +<br /> +Peter the Great, <a href="#Page_232">232</a>, <a href="#Page_242">242</a><br /> +<br /> +Picciola, <a href="#Page_236">236</a><br /> +<br /> +Pied Piper, and other poems, <a href="#Page_223">223</a><br /> +<br /> +Pilgrims and Puritans, <a href="#Page_231">231</a><br /> +<br /> +Pilgrim's Progress, <a href="#Page_230">230</a><br /> +<br /> +Pilot, <a href="#Page_222">222</a><br /> +<br /> +Pioneer History Stories, <a href="#Page_225">225</a><br /> +<br /> +Pioneers of France in the New World, and La Salle and the Discovery of the Great West, <a href="#Page_227">227</a><br /> +<br /> +Pioneers of the Revolution, <a href="#Page_220">220</a><br /> +<br /> +Plant World, <a href="#Page_235">235</a><br /> +<br /> +Plutarch's Lives, <a href="#Page_236">236</a>, <a href="#Page_242">242</a>, <a href="#Page_245">245</a><br /> +<br /> +Poems of American Patriotism, <a href="#Page_224">224</a>, <a href="#Page_244">244</a><br /> +<br /> +Poems of Emerson, <a href="#Page_234">234</a><br /> +<br /> +Poetic Interpretation of Nature, <a href="#Page_233">233</a>, <a href="#Page_240">240</a><br /> +<br /> +Poetry for Children, <a href="#Page_221">221</a><br /> +<br /> +Poetry of the Seasons, <a href="#Page_231">231</a>, <a href="#Page_235">235</a><br /> +<br /> +Poets and Problems, <a href="#Page_246">246</a><br /> +<br /> +Poor Richard's Almanac, <a href="#Page_235">235</a><br /> +<br /> +Prince and Pauper, <a href="#Page_238">238</a><br /> +<br /> +Princess, <a href="#Page_244">244</a><br /> +<br /> +<br /> +Quentin Durward, <a href="#Page_242">242</a><br /> +<span class='pagenum'><a name="Page_252" id="Page_252">[Pg 252]</a></span><br /> +<br /> +Rab and his Friends, <a href="#Page_231">231</a><br /> +<br /> +Ralph Waldo Emerson, <a href="#Page_246">246</a><br /> +<br /> +Readings from the Spectator, <a href="#Page_239">239</a><br /> +<br /> +Readings in Folklore, <a href="#Page_220">220</a>, <a href="#Page_226">226</a><br /> +<br /> +Red Cross Story Book, <a href="#Page_233">233</a><br /> +<br /> +Rob Roy, and Quentin Durward, <a href="#Page_242">242</a><br /> +<br /> +Robinson Crusoe, <a href="#Page_224">224</a><br /> +<br /> +Roger de Coverley, <a href="#Page_240">240</a><br /> +<br /> +Romola, <a href="#Page_245">245</a><br /> +<br /> +Rose and the Ring, <a href="#Page_231">231</a><br /> +<br /> +Round the Year in Myth and Song, <a href="#Page_217">217</a><br /> +<br /> +Rules of Conduct, <a href="#Page_235">235</a><br /> +<br /> +Ruskin, Introduction to, <a href="#Page_233">233</a><br /> +<br /> +Ruskin, Introduction to Tennyson, Browning, and, <a href="#Page_246">246</a><br /> +<br /> +Ruskin (Selections), <a href="#Page_242">242</a><br /> +<br /> +<br /> +Samuel Adams, <a href="#Page_237">237</a><br /> +<br /> +Samuel de Champlain, <a href="#Page_227">227</a><br /> +<br /> +Samuel Johnson, Life of, <a href="#Page_239">239</a><br /> +<br /> +Scarlet Letter, <a href="#Page_233">233</a><br /> +<br /> +Schoolmaster in Comedy and Satire, <a href="#Page_246">246</a><br /> +<br /> +Schoolmaster in Literature, <a href="#Page_233">233</a><br /> +<br /> +Science Sketches, <a href="#Page_244">244</a><br /> +<br /> +Secrets of the Woods, <a href="#Page_220">220</a>, <a href="#Page_224">224</a><br /> +<br /> +Selections (Ruskin), <a href="#Page_242">242</a><br /> +<br /> +Selections from Irving, <a href="#Page_230">230</a><br /> +<br /> +Self-reliance, <a href="#Page_245">245</a><br /> +<br /> +Sella, Thanatopsis, and other poems, <a href="#Page_234">234</a><br /> +<br /> +Sesame and Lilies, <a href="#Page_221">221</a>, <a href="#Page_226">226</a><br /> +<br /> +Seven American Classics, <a href="#Page_229">229</a><br /> +<br /> +Seven British Classics, <a href="#Page_243">243</a><br /> +<br /> +Shakespeare's Tragedies, <a href="#Page_235">235</a><br /> +<br /> +Sharp Eyes, Birds and Bees, and other papers, <a href="#Page_229">229</a><br /> +<br /> +Siege of Leyden, <a href="#Page_238">238</a><br /> +<br /> +Silas Marner, <a href="#Page_236">236</a><br /> +<br /> +Six Centuries of English Poetry, <a href="#Page_239">239</a><br /> +<br /> +Sketch Book, <a href="#Page_228">228</a><br /> +<br /> +Snow-Bound, and Songs of Labor, <a href="#Page_228">228</a><br /> +<br /> +Sohrab and Rustum, <a href="#Page_234">234</a><br /> +<br /> +Some Merry Adventures of Robin Hood, <a href="#Page_223">223</a><br /> +<br /> +Songs of Labor, Snow-Bound and, <a href="#Page_228">228</a><br /> +<br /> +Sounds, Succession of Forest Trees, Wild Apples, and, <a href="#Page_242">242</a><br /> +<br /> +Source Book of American History, <a href="#Page_230">230</a>, <a href="#Page_235">235</a><br /> +<br /> +Source Book of English History, <a href="#Page_232">232</a><br /> +<br /> +Spectator, Readings from the, <a href="#Page_239">239</a><br /> +<br /> +Squirrels and Other Fur-bearers, <a href="#Page_217">217</a>, <a href="#Page_223">223</a><br /> +<br /> +Star Land, <a href="#Page_244">244</a><br /> +<br /> +Stories from English History, <a href="#Page_232">232</a><br /> +<br /> +Stories from Herodotus, <a href="#Page_225">225</a><br /> +<br /> +Stories from Old English Poetry, <a href="#Page_230">230</a><br /> +<br /> +Stories from Old German, <a href="#Page_220">220</a><br /> +<br /> +Stories from Plato, <a href="#Page_220">220</a><br /> +<br /> +Stories from the Arabian Nights, <a href="#Page_216">216</a><br /> +<br /> +Stories from the Classic Literature of Many Nations, <a href="#Page_237">237</a><br /> +<br /> +Stories from Waverley, <a href="#Page_231">231</a><br /> +<br /> +Stories, Hans Andersen, <a href="#Page_218">218</a><br /> +<br /> +Stories of American Life and Adventure, <a href="#Page_219">219</a>, <a href="#Page_223">223</a><br /> +<br /> +Stories of Animal Life, <a href="#Page_232">232</a><br /> +<br /> +Stories of Bird Life, <a href="#Page_232">232</a><br /> +<br /> +Stories of Our Country, <a href="#Page_217">217</a><br /> +<span class='pagenum'><a name="Page_253" id="Page_253">[Pg 253]</a></span><br /> +Stories of the Old World, <a href="#Page_219">219</a><br /> +<br /> +Story of a Bad Boy, <a href="#Page_231">231</a><br /> +<br /> +Story of Cæsar, <a href="#Page_230">230</a><br /> +<br /> +Story of Oliver Twist, <a href="#Page_231">231</a><br /> +<br /> +Story of Our Continent, <a href="#Page_226">226</a><br /> +<br /> +Story of Roland, <a href="#Page_226">226</a><br /> +<br /> +Story of Siegfried, <a href="#Page_225">225</a><br /> +<br /> +Story of the Birds, <a href="#Page_244">244</a><br /> +<br /> +Story of the English, <a href="#Page_225">225</a><br /> +<br /> +Story of the Golden Age, <a href="#Page_224">224</a><br /> +<br /> +Story of the Greeks, <a href="#Page_225">225</a><br /> +<br /> +Story of the Iliad, <a href="#Page_220">220</a><br /> +<br /> +Story of the Odyssey (Church), <a href="#Page_221">221</a>, <a href="#Page_225">225</a><br /> +<br /> +Story of Troy, <a href="#Page_225">225</a><br /> +<br /> +Story of Ulysses, <a href="#Page_218">218</a><br /> +<br /> +Story-teller's Art, <a href="#Page_222">222</a><br /> +<br /> +Study and Teaching of English, <a href="#Page_240">240</a><br /> +<br /> +Succession of Forest Trees, Wild Apples, and Sounds, <a href="#Page_242">242</a><br /> +<br /> +Swiss Family Robinson, <a href="#Page_230">230</a><br /> +<br /> +<br /> +Tale of Two Cities, <a href="#Page_239">239</a>, <a href="#Page_243">243</a><br /> +<br /> +Tales from English History, <a href="#Page_223">223</a><br /> +<br /> +Tales from Scottish History, <a href="#Page_223">223</a><br /> +<br /> +Tales from Shakespeare, <a href="#Page_230">230</a><br /> +<br /> +Tales from the Faerie Queen, <a href="#Page_218">218</a><br /> +<br /> +Tales, Hans Andersen, <a href="#Page_217">217</a><br /> +<br /> +Tales of a Grandfather, <a href="#Page_234">234</a><br /> +<br /> +Tales of a Traveler, <a href="#Page_221">221</a>, <a href="#Page_231">231</a><br /> +<br /> +Tales of a Wayside Inn, <a href="#Page_240">240</a><br /> +<br /> +Tales of Chivalry, <a href="#Page_225">225</a><br /> +<br /> +Tales of the White Hills, and Sketches, <a href="#Page_228">228</a><br /> +<br /> +Tales of Troy, <a href="#Page_219">219</a><br /> +<br /> +Talisman, <a href="#Page_232">232</a>, <a href="#Page_243">243</a><br /> +<br /> +Talks to Teachers, <a href="#Page_221">221</a><br /> +<br /> +Tanglewood Tales, <a href="#Page_222">222</a><br /> +<br /> +Ten Boys on the Road from Long Ago, <a href="#Page_224">224</a><br /> +<br /> +Ten Great Events in History, <a href="#Page_230">230</a><br /> +<br /> +Tennyson, Introduction to, Ruskin, and Browning, <a href="#Page_246">246</a><br /> +<br /> +Thanatopsis, Sella, and other poems, <a href="#Page_234">234</a><br /> +<br /> +Thoughts on Education, <a href="#Page_245">245</a><br /> +<br /> +Three Outdoor Papers, <a href="#Page_229">229</a><br /> +<br /> +Through the Looking Glass, <a href="#Page_219">219</a><br /> +<br /> +Tom Brown's School Days, <a href="#Page_237">237</a><br /> +<br /> +Tommy-Anne and the Three Hearts, <a href="#Page_218">218</a><br /> +<br /> +Town Geology, <a href="#Page_238">238</a><br /> +<br /> +Translation of Homer's Odyssey (Palmer), <a href="#Page_242">242</a><br /> +<br /> +Traveller, Deserted Village and the, <a href="#Page_241">241</a><br /> +<br /> +Treasure Island, <a href="#Page_243">243</a><br /> +<br /> +Twelve Naval Captains, <a href="#Page_238">238</a><br /> +<br /> +Twice Told Tales, <a href="#Page_232">232</a><br /> +<br /> +Two Great Retreats, <a href="#Page_236">236</a>, <a href="#Page_242">242</a><br /> +<br /> +Two Years before the Mast, <a href="#Page_237">237</a><br /> +<br /> +<br /> +Ulysses among the Phæacians, <a href="#Page_223">223</a><br /> +<br /> +Ulysses, Story of, <a href="#Page_218">218</a><br /> +<br /> +Uncle Tom's Cabin, <a href="#Page_237">237</a><br /> +<br /> +Undine, <a href="#Page_231">231</a><br /> +<br /> +Up and down the Brooks, <a href="#Page_244">244</a><br /> +<br /> +<br /> +Vicar of Wakefield, <a href="#Page_232">232</a>, <a href="#Page_237">237</a><br /> +<br /> +Vision of Sir Launfal, <a href="#Page_240">240</a><br /> +<br /> +<br /> +Wake Robin, <a href="#Page_227">227</a><br /> +<br /> +War of Independence, <a href="#Page_240">240</a><br /> +<br /> +Washington and his Country, <a href="#Page_240">240</a><br /> +<br /> +Washington, and Landing of the Pilgrims, Orations on, <a href="#Page_236">236</a><br /> +<span class='pagenum'><a name="Page_254" id="Page_254">[Pg 254]</a></span><br /> +Washington Irving, <a href="#Page_233">233</a><br /> +<br /> +Washington, Life of, <a href="#Page_235">235</a>, <a href="#Page_243">243</a><br /> +<br /> +Waste Not, Want Not, <a href="#Page_218">218</a><br /> +<br /> +Water Babies, <a href="#Page_222">222</a><br /> +<br /> +Waverley, Stories from, <a href="#Page_231">231</a><br /> +<br /> +Ways of Wood Folk, <a href="#Page_221">221</a>, <a href="#Page_223">223</a><br /> +<br /> +Webster, Life of, <a href="#Page_245">245</a><br /> +<br /> +Westward Ho!, <a href="#Page_226">226</a>, <a href="#Page_233">233</a><br /> +<br /> +Wild Apples, Succession of Forest Trees, and Sounds, <a href="#Page_242">242</a><br /> +<br /> +Wilderness Ways, <a href="#Page_226">226</a>, <a href="#Page_231">231</a><br /> +<br /> +William Tell, <a href="#Page_230">230</a>, <a href="#Page_235">235</a><br /> +<br /> +Winning of the West, <a href="#Page_222">222</a><br /> +<br /> +Wonder Book, <a href="#Page_216">216</a><br /> +<br /> +<br /> +Yesterdays with Authors, <a href="#Page_242">242</a><br /> +</p> +</div> + +<hr style="width: 85%;" /> +<h2>Tarr and McMurry's Geographies</h2> + +<h4>COMMENTS</h4> + +<div class="poem"> +<p class="comblock">North Plainfield, N.J.</p> + +<p>"I think it the best Geography that I have seen."</p> + +<p style='text-align: right'> +—<span class="smcap">H. J. Wightman</span>, <i>Superintendent</i>.<br /> +</p> + +<p class="comblock">Boston, Mass.</p> + +<p>"I have been teaching the subject in the Boston Normal School +for over twenty years, and Book I is the book I have been looking +for for the last ten years. It comes nearer to what I have been +working for than anything in the geography line that I have yet +seen. I congratulate you on the good work."</p> + +<p style='text-align: right'> +—<span class="smcap">Miss L. T. Moses</span>, <i>Normal School</i>.<br /> +</p> + +<p class="comblock">Detroit, Mich.</p> + +<p>"I am much pleased with it and have had enthusiastic praise +for it from all the teachers to whom I have shown it. It seems to +me to be scientific, artistic, and convenient to a marked degree. +The maps are a perfect joy to any teacher who has been using +the complicated affairs given in most books of the kind."</p> + +<p style='text-align: right'> +—<span class="smcap">Agnes McRae.</span><br /> +</p> + +<p class="comblock">De Kalb, Ill.</p> + +<p>"I have just finished examining the first book of Tarr and +McMurry's Geographies. I have read the book with care from +cover to cover. To say that I am pleased with it is expressing +it mildly. It seems to me just what a geography should be. It is +correctly conceived and admirably executed. The subject is approached +from the right direction and is developed in the right +proportions. And those maps—how could they be any better? +Surely authors and publishers have achieved a triumph in text-book +making. I shall watch with interest for the appearance of +the other two volumes."</p> + +<p style='text-align: right'>—Professor <span class="smcap">Edward C. Page</span>, <i>Northern +Illinois State Normal School</i>.</p> + +<p class="comblock">Asbury Park, N.J.</p> + +<p>"I do not hesitate at all to say that I think the Tarr and +McMurry's Geography the best in the market."</p> + +<p style='text-align: right'> +—<span class="smcap">F. S. Shepard</span>, <i>Superintendent of Schools</i>.<br /> +</p> + +<p class="comblock">Ithaca, N.Y.</p> + +<p>"I am immensely pleased with Tarr and McMurry's Geography."</p> + +<p style='text-align: right'> +—<span class="smcap">Charles De Garmo</span>, <i>Professor of Pedagogy, Cornell University</i>.<br /> +</p> +</div> + +<hr style="width: 65%;" /> +<h2>Tarr and McMurry's Geographies</h2> + +<p class="center">A NEW SERIES OF GEOGRAPHIES IN THREE OR FIVE VOLUMES<br /> + +Size of Books 5½ × 7½ inches. Half-Leather</p> + +<h4>By RALPH S. TARR, B.S., F.G.S.A.</h4> +<p class="center"><span class="smcap">Cornell University</span></p> + +<h5>AND</h5> + +<h4>FRANK M. McMURRY, Ph.D.</h4> +<p class="center"><span class="smcap">Teachers College, Columbia University</span></p> + + +<h5>TWO BOOK SERIES</h5> + + +<div class='center'> +<table border="0" cellpadding="2" cellspacing="0" summary="" width="70%"> +<tr><td align='left'><b>Introductory Geography</b></td><td align='right'><b>60 cents</b></td></tr> +<tr><td align='left'><b>Complete Geography</b></td><td align='right'><b>$1.00</b></td></tr> +</table></div> + +<h5>THE THREE BOOK SERIES</h5> + + +<div class='center'> +<table border="0" cellpadding="2" cellspacing="0" summary="" width="70%"> +<tr><td align='left'><span class="smcap">First Book</span> (4th and 5th Years) <b>Home Geography and the Earth as a Whole</b></td><td align='right'><b>60 cents</b></td></tr> +<tr><td align='left'><span class="smcap">Second Book</span> (6th Year) <b>North America</b></td><td align='right'><b>75 cents</b></td></tr> +<tr><td align='left'><span class="smcap">Third Book</span> (7th year) <b>Europe and Other Continents</b></td><td align='right'><b>75 cents</b></td></tr> +</table></div> + +<h5>THE FIVE BOOK SERIES</h5> + + +<div class='center'> +<table border="0" cellpadding="2" cellspacing="0" summary="" width="70%"> +<tr><td align='left'><span class="smcap">First Part</span> (4th year) <b>Home Geography</b></td><td align='right'><b>40 cents</b></td></tr> +<tr><td align='left'><span class="smcap">Second Part</span> (5th year) <b>The Earth as a Whole</b></td><td align='right'><b>40 cents</b></td></tr> +<tr><td align='left'><span class="smcap">Third Part</span> (6th year) <b>North America</b></td><td align='right'><b>75 cents</b></td></tr> +<tr><td align='left'><span class="smcap">Fourth Part</span> (7th year) <b>Europe, South America, Etc.</b></td><td align='right'><b>50 cents</b></td></tr> +<tr><td align='left'><span class="smcap">Fifth Part</span> (8th year) <b>Asia and Africa, with Review of North America</b></td><td align='right'><b>40 cents</b></td></tr> +</table></div> + +<p>To meet the requirements of some courses of study, the section from the Third +Book, treating of South America, is bound up with the Second Book, thus bringing +North America and South America together in one volume.</p> + +<p>The following Supplementary Volumes have also been prepared, and may be +had separately or bound together with the Third Book of the Three Book Series, +or the Fifth Part of the Five Book Series:</p> + + +<h5>SUPPLEMENTARY VOLUMES</h5> + + +<div class='center'> +<table border="0" cellpadding="2" cellspacing="0" summary="" width="70%"> +<tr><td align='left'><b>New York State</b></td><td align='right'><b>30 cents</b></td><td align='left' class="bl"><b>Kansas</b></td><td align='right'><b>30 cents</b></td></tr> +<tr><td align='left'><b>The New England States</b></td><td align='right'><b>30 cents</b></td><td align='left' class="bl"><b>Ohio</b></td><td align='right'><b>30 cents</b></td></tr> +<tr><td align='left'><b>Utah</b></td><td align='right'><b>40 cents</b></td><td align='left' class="bl"><b>Virginia</b></td><td align='right'><b>30 cents</b></td></tr> +<tr><td align='left'><b>California</b></td><td align='right'><i>Now ready</i></td><td align='left' class="bl"><b>Pennsylvania</b></td><td align='right'><i>Now ready</i></td></tr> +<tr><td align='center' colspan='2'><b>New Jersey</b></td><td align='center' colspan='2'><i>In preparation.</i></td></tr> +</table></div> + +<p>When ordering, be careful to specify the Book or Part and the Series desired, +and whether with or without the State Supplement.</p> + +<h4> +<small>PUBLISHED BY</small><br /> +<big>THE MACMILLAN COMPANY</big><br /> +66 FIFTH AVENUE, NEW YORK<br /> +<small>CHICAGO BOSTON SAN FRANCISCO ATLANTA</small><br /> +</h4> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Special Method in the Reading of +Complete English Classics, by Charles McMurry + +*** END OF THIS PROJECT GUTENBERG EBOOK SPECIAL METHOD IN THE *** + +***** This file should be named 39154-h.htm or 39154-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/9/1/5/39154/ + +Produced by David Edwards and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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