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O59DE\O
ONTARIO
TEACHERS' MANUALS
LITERATURE
AUTHORIZED BY THE IINISTER OF EDUCATION
TORONTO
THE COPP, CLARK COMPANY, LIbIITED
COPI"RIGHT, CANADA, 191,
HE INISTER OF ]'DUC&TIOq FOR
IEI.TEI), I16, 1917o
CONTENTS
PAGE
CouISE OF STUDY--DETAILS ......................... 1
CR I
Introduction
at is Literature? ...............................
The Qualities that Appeal to Children at Different
Ages ............................................ 7
In Junior Forms .............................. 7
In Senior Forms (Books III and IV ............
Complete Wholes versus Extracts .............. 11
Correlation o Literature with Nature Study,
Geography, History, and Art .................
Aires in Teaching Literature ................... 14
General Principles Applicable in the Teaching o
Literature ......................................
CHTEE I
Methods
In Junior Vorms .............................. 19
Memorization ............................. 20
In Senior Forms .............................. 22
Teacher's Preparation ..................... 22
Preparation o[ Pupils ...................... 23
Presentation ..............................
Value of Oral Reading in the Interpretation
and Appreciation o[ Literature ........... 27
Developent o the lain Thought .......... 29
Minute Analysis ........................... 31
AIIusions ................................. 32
Iagery .................................. 33
Literature of oble Thought ............... 35
Recapitulation ............................
Mistakes in Teaching Literature ........... 37
Extensive Reading ...................... 39
CHAPTEE
Illustrative Lessons
Pantomime
Little Miss Muffet ........................
Dramatization
Little Boy BIue ........................... 43
The Story of enny Penny ................ 44
Wishes ...................................
Indian Lu]]aby ............................ 47
iii
iv CONTENTS
CHPTE IV. Fom I:
Illustrative Lessons
The Wind and the Leaves ...................... 50
Piping Down the Valleys Wild ................. 52
The Baby Swallow ............................ 54
The Brook .............. ..................... 56
CHAPTEB V. FORM II
Illustrative Lessons
by Shadow ...................................
One, Two, Three ............................... 62
Dandelions .................................... 64
The Blind Men and the Elephant ............... 67
The Lord is my Shepherd ...................... 71
CTE VI. FoM III
lllustrative Lessons
Hide and Seek ................................ 74
An Apple Orchard in the Spring ............... 76
Little Daffydowndilly ..........................
Moonlight Sonata .............................
Lead. Kindly Light ........................... 87
Lead, Kindly Light ...........................
CHT çII. Fo IV
Illustrative Lessons
Judah's Supplication to Joseph ................ 93
Mercy ........................................ 98
Morning on the Liêvre ......................... 101
Dickens in the Camp .......................... 105
Dost Thou Look Back on at Hath Been ...... 112
Waterloo ..................................... 117
Three Scenes in the Tyrol ..................... 122
CHAPTER VIII
Supplementary Reading
South-West Wind, Esq ......................... 131
A Christmas Carol ............................ 135
The Lady of the Lake ......................... 139
CHAPTER IX
Selections for Memorization ....................... 145
LITERATURE
PUBLIC AND SEPARATE SC]IOOL
COURSE OF STUDY
DETAILS
F0 P,I I
A. SELECTIONS FROI" TttE Ç)N'TARIO IEADER
B. SUlPlPLEXIENTARY READI-N'G _t.N'D .,[EMOP, IZATION': Selec-
tion may be ruade from the following:
I. To be Read fo Pupils:
1. :NuIlSER¥ RHYtES: Sing a Song of Sixpence; I
Saw a Ship a-Sailing; Who Killed Cock Robin ;
Simple Simon; Mary's Lamb, etc.
Consult Verse and Prose 1or Beginners in Readig;
Riverside Literature Series, No. 59, 15 cents.
2. FIIrï SOEOnlES: Briar Rose, Snow-white and Rose-
red--Grimm; The Ugly Duckling--Andersen;
Cinderella, The Sleeping Beauty in the Wood--
Perrault; Bcauty and the Beast--3Iadame de
Villeneuve ; The Wonderful Lamp--Arabian
Nights' Entertainments.
Consult Foiry Tales Every Child Should Know,
by H. W. 1Habie. Grosset & Dunlap, 50c.
1
2 LITERATURE
3. FOLK STORIES: Whittington and His Cat; The
Three Bears.
4. FALV.S: Selections from zEsop and La Fontaine.
Consult Fables and Folk Btories, b¥ Scudder, Parts
I and II; Riverside Literature Series, Nos. 47, 48,
15 cents each.
]I. To be Read by Pupits:
Fables and Folk Stories--Scudder ; A Child's Garden
of Yerses (First Part)--Stevenson; Ileaders of
a similar grade.
III. To be Memorized by Pupils:
1. 3IE.Oa: Gv.s: Specimens of these may be round
in the Public School Manuals on Primary
Ieading and Literature.
2. FRo£ TIIE I{EADERS: Morning H3ann ; Evening
Prayer; The Swing; What I Should Do; Alice.
FOEM II
A. SELECTIOXS FROM: SECOX'D I{EADER
B. SUPPLEMEXTAEY PtEADIXG AND [E:MORIZATIO.Y: Selec-
tion may be ruade from the following:
I. To be Read fo Pupils:
1. 'AIIlIATIVE POEMS: John Gilpin--Cowper; Lucy
Gray--Wordsworth; Wreck of the Hesperus
Longfellow; Pied Piper of HamelinBrowning ;
May Queen---Tennyson ; etc.
Consult The Children's Gorlond, Patmore. The
Macmlllan Co., 35 cents.
COURSE OF STUDY
2. IATUnE STOIIIES: Wild Animals I Have Known,
Lives of the Hunted--Thompson-Seton; The
Watchers of the Trails--Roberts.
3. F,InY SoEoniEs: Fairy Tales Every Child Should
Know--II. W. Mabie.
4. 0THER STORIES: Sclections from the Wonder
Book-- IIawthorne; Jungle Book-- Kipling;
Gulliver's Travels--Swift; Alice in Wonder-
land--Carroll; Robinson Crusoe---Defoe; Thc
Hall of Heroes--R,»yal Treasury of Story
Song, Part III, Nelson & Sons.
II. To be Read by PupiIs:
A Child's Garden of Verses--Stevenson; The Seven
Little Sisters--Jane Andrews; Fifty Famous
Stories l:letold--Baldwin.
III. To be memorized by Pupîls: (A minimum of six
lines a week)
FRont TIIE IEADEII'-
A Wake-up Song ; Love ; The Land of Nod ; One, Two,
Three ; March ; Abide with Me; The New Moon ;
The Song for Little May; The Lord is my Shep-
herd; Lullaby--Tennyson; Indian Summer;
proverbs, maxims, and short extracts ïound af
the bottom of the page in the Readers.
FORM III
A. SELECTIONS FROI THIRD IEADER
:B. SUPPLEIENTARY ]:EADING AND [E3IORIZATION: Se]ec-
tion may be ruade from the following:
4 LITERATURE
The
King of the Golden Biver--Ruskin; Tangle-
wood Tales--2Hawthorne; The Heroes--Kings-
ley; Adventures of Ulysses--Lamb ; Squirrels and
Other Fur-bearers--Burroughs; Ten Little Boys
who Lived on the Road from Long Ago till
Now--Jane Andrews; Hiawatha--Longffellow;
];ip Van Winkle--Irving; Water Babies--
Kingsley.
To be Memorized by Pupils: (A minimum of ten lines a
week)
FRO:M TIIB ItEADER:
To-day--Carly]e; The Quest--Bumstead; Hearts of
Oak--Garrick ; A Farewell--Kingsley; An Apple
Orchard in the SprinMartin; The Charge
of the Light Brigade---Tennyson ; Lead, Kindly
Light--Xewman; The Bugle Song--Tennyson;
(rossm, the Bar--Tennyson" The Fighting
Téméraire--Newbolt ; AfterglowWi]fred Camp-
bell; proverbs, maxims, and short extracts.
FORM IV
A. SELECTIONS FRO,I: FOURTtI IEADER
B. SUPPLESIENTARY READING AND ][E[ORIZATIOI: Selec-
tions may be ruade from the list prepared an-
nually by the Department of Education.
LITERATURE
£'HAPTER I
]NTP, ç)DU£'T]ON
IT IS the purpose of this Manual fo prescrit the general
principles on which the teaching of literature is based. It
will distinguish between the intensive and the extensive
study of literature; it will consider what lnaterial is suit-
able for children af different ages; it will discuss the
reasons for various steps in les.con procedure; and it will
illustrate methods by giving, for use in different Ft, rms,
lesson plans in literature that is diverse in its qualities.
This 3Ianual is hot intended fo provide a short and easy
way of teaching literature nor to save the teacher from
expending thought and labour on his work. The authors
do hot propose fo cover all possible cases and leave nothing
for the teacher's ingenuity and originality.
WHAT IS LITERATL"RE?
Good literature portrays and interprets human life,
its activities, its ideas and emotions, and those things about
which human interest and emotion cluster. It gives breadth
of view, supplies high ideals of conduct, cultivates the
imagination, trains the faste, and develops an apprecia-
tion of beauty of form, fitness of phrase, and music of
langage. The terln Literature as used in this Manual
5
6 LITERATURE
is applied espeeially fo those seleetions in the Ontario
Readers whic5 possess in some degree these characteristics.
Sud selections are unlike the lessons in the text-books in
grammar, geography, arithmetic, etc. In these the aire
is to determine the facts and the conclusions fo which they
lead. Even in the P, eaders, there are sorne lessons of
vhieh this is partly true. For instance, the lesson on
('louds, Rains, and Ri'ers, by Tyndall, is such as might
be found in a text-book in geography or science, tIere
the information alone is viewed as valuable, and the pupiI
will probably supplement what he has learned from the
book bv the study of material objects and natural pheno-
mena. When this lesson is fo be studied, the pupil should
be taught hot only to understand thoroughly what the
author is expressing by his language, but also to appreciate
the clearness and force with whieh' he bas given his
message to the world. The pupil should be called upon
to exanaine the author's illustrations, his choice of words,
and his paragraph and sentence structure.
Each literature lesson in the Reader has some par-
ticular force, or charm of thought and expression. There
is found in these lessons, n(rt only beauty of thought and
feeling, but artistic form as well. In the highest forms
of ]iterature, the emotional elcment predominates, and it
should be one fo which ail mankind, to a greater or less
degree, are subject. It is the predominance of these emo-
tional and artistic elements which makes literature a
difficu]t subject fo teach. The element of fee]ing is e]usive
and can best be taught by the influence of contagion.
There is usually less diflïcu]ty about the intellectual e]e-
ment, that is, about the meaning of words and phrases,"
the general thought of the lesson, and the relation of the
thoughts fo one anothcr and to the whole.
INTERESTS VAR¥ GREATLY 7
TIIE QUALITIES TH,4T .APPEAL
TO CHILDREN .AT DIFFERENT AGE8
This is a psychological problem which can be solved
only by a study of the interests and capacities of the
children. These interests vary so great]y and make their
appearance at such diverse periods in different individuals
and in the two sexes, that it is a diflïcult marrer to say
with any definiteness just what qualities of literature
appeal to children at any particular age. Moreover, the
children's environment and previous experiences bave a
great deal fo do in determining these interests and capa-
cities. There are, however, certain characteristics of dif-
ferent periods of childhood whieh are fairly unirersal, and
which may, therefore, be taken as guiding, determining
factors in the selection of suitable literature.
JUNIOR FORM8
1. 0ne of the most striking characteristics of young
children is the activity of their imagination. They endow
their toys with life and personality; they construct the
most fantastic and impossible tales; they accept without
question the existence of supernatural beings. The
problem for the teacher is fo direct this activity of imagina-
tion into proper fields, and to present material which will
give the child a large store of beautiful images--images
that are hot only àelightful to dwell upon, but are also
elevating and refining in their influence up6n eharacter.
The fairy talc, the folk talc, and the fable, owe their
popularity with young children to the predominance of
the imaginative element. The traàitionary fairy tales
and folk stories are usually more suitable than those that
appear in teachers' magazines and modern holiday books
8 LITERATURE
for children. The hardest thing for the educated mind
to dois to write down to the level of children without
coddling or becoming cynical. The old tales are sincere,
simple, and full of faith. They are hot written for chil-
dren, but are the romauce of the people with whom they
came into existence, and thcv have stood the test of ages.
The mvth is usually hot suitab]e for young children,
as it is a religious story having a svmbolic meaning which
is bevond their interpretation. If itis used at all, on]y
the stov in it should be given.
2. Stories of adventure, courage, and the defence of
the helpless appeal very strong]y to young children. Even
the cruelties and crudities of Bluebe«rd, Ali B«ba end lte
Fortp Thieres, and Aladdin and ]is Wonderful Lamp do
hot alarm or repel children very mueh, owing to their laek
of experience in these matters. Stories based on the love
of the sexes are unsuitable for children of this age,
although it eonstitutes the ehief element in stories for
older people.
3. The ehild is also interested in stories of simple
games, of animais and birds, and of the material world
on which so mueh of his happiness depends. These stories
are corrective of the desire whieh characterizes some ehil-
dren for too many fairy stories. The fairy story and he
nature storv should be alternated, so that the ehild's in-
terests may be imaginative without beeoming visionary,
and praetieal without beeoming prosaie.
4. Most children have a keen sense of the musical
qualifies of verse. The ehild of two years of age will give
his attention fo the rhvthm of the nursery rhyme when
the prose story will hot interest him. The eonsideration
and analysis of these musical qualifies should be deferred
ATTRACTIVE STORIES 9
for years; but it is probablc that the foundation for a
future appreciation of poetry is often laid by an acquain-
tance with the rhymcs of chiIdhood.
5. The elemcnt of repetition appeals strongly fo chil-
dren. In this lies the attractiveness of the " cumulative
story", tu which the saine incident, or fcature, or form
of expression is repeated again and again with some sh,t
modification; for example, the story of Henny Penny, The
Gingerbread Boy, and The Little Red Hen. The choruses
and the refrains of songs are pleasant for this reason.
Silrerlocks and he Three Bears is an example of a
story that has many attractive features. Silverlocks is an
interesting girl, because she is mischievous and advcn-
turous. The pupils know a good deal al)out bears and
wild animais from picture books, stories, and perhaps the
travelling menageries. The bears bave all proper names--
Rough Bruin, Iammy Muff, and Tiny ; this gives an air
of reality to the story. The bears spcak in short, char-
acteristic sentences.
Silverlocks runs away from home, goes into the woods,
and finds a ]onely house which is the home of the bears.
They are hot at home, so she enters. These actions suggest
mystery and adventure.
The construction of the story shows two chief divisions,
with three subdivisions. The second division begins with
the return of the bears. They find the soup bas bcen
tasted, the chairs disturbed, and the beds rpled ; their
conversation is interesting, and their tones characteristic.
Tiny, the little bcar, suffers most; he enlists the ssmpathy
of the children, as he has lost his dinner and his chair is
broken. He discovers Silverlocks, but she escapes and
"never runs away from home any more"
I0 LITERATURE
SENIOR FOIIMS (BOOES III AND IV)
1. In these Forms, the pupil's imagination is still
strong, lhough less fanlastic and under better control, and
hence stories involving a large element of imagination
retain their charm ai this stage. The myth, and longer
and more involved fairy tales, such as l-uskin's Eïng of
t/se Golden River, Ilaw¢horne's Wonder Boo]i-, and ]ïings-
ley's Greek Heroes, are read with avidity.
2. Stories involving a number of incidents are wonder-
fully attractive. This is due fo the pupil's instinctive
interest in action and personality. Children are more
deeply interested in persons who do things than in those
who become something else than they were. A descrip-
tion of some evolution of character çery soon palls, but
a stirring raie of heroic deeds exerts a powerful fascina-
tion. This explains the attractiveness of the hero tale,
the story of adventure, and the stirring historical narra-
tive. The action should hare the merit of arti.¢tic modera-
tion. Stories in which there is a carnival of action, for
example, the "dime thriller ", under whose spell so many
bovs fall, must be avoided. Literature that /eaves the
mind so feverish that the pupil loses interest in other sub-
jects is worse than no literature. The easiest way fo pre-
vent a faste for this injurious kind, is fo give the pupil
an acquaintance with works descriptive of noble deeds
and virile character. An interest in epic poetry or the
historical novel may be developed from the chi/d's in-
stinctive interest in action. Tennyson's Passing of
Arflur, Arnold's ,qobrab and Rustum, Longfellow's Et'an-
geline and King Robert of Sicily, and Scott's Iranhoe will
be read with keen enjo)anent. The force and beauty of
the language, the faithfulness of the descriptions to lire,
COMPLETE WHOLES VERSUS EXTRACTS 11
he historical setting, the lofty imagery, and the ]ogical
development will arouse a healthy mental appetite that will
flnd no p/easure in the worthless story of sensation and
vulgar incident, or even in some badly constructed com-
positions of historical adventure.
3. The pupils of the Senior Forms show even more
striking interest in animals, pers, and wild creatures t/mn
do the pupils of the Junior Forms. To this natural in-
terest is due the engrossing charactcr of nature study.
Toit is also due the satisfaction arising from the reading
of some of the many nature stories that bave appeared in
recent years.
Thompson-Seton's Wild Animais I bave Known and
Lives of the Hunted, and Roberts' The Watchers of the
Trais are excellent examples of this class.
COMPLETE WHOLES VERSUS EXTRACTS
Scattered througbout the O»dario Readcrs are to be
round extracts from larguer works. These extracts are
placed there primarily because they bave some special
literary value. They have fairly complete unity in them-
selves and can be treated in detail in a way that would
be impossible with a whole story. The extract has an
advantage over the whole, in that if repays intensive study,
while, in many cases, such study of the whole work would
hot be worth while. It is considered better fo give the
pupil many of these passages wbere the author bas shown
his greatest art, rather than fo allow one long work to absorb
the very limited rime which the pupil tan devote to this
subject. The study of the extract will bave accomplished
ifs mission if if induces the pupil to read the larger work
for hiraself in later years. If the treatment by the teacher
12 LITERATURE
is ruade as interesting as it shouldbe, it is hoped that the
pupil will ol)tain such delight from, and I)e inspired to
such enthusiasm by, these glimpses of literary treasure.%
that he will hot be satisfied until he has enjoyed in their
entirety such works as The Lady of t],e Lat'e, Pickwick
Papcr.ç, Lor,a I)ooe, Te Mill o the Floss, Julius Ctrsar,
and I[ i.ç Nez'er Too L([e fo Metd. An extract may serve
as an introduction to the choicest work of an author, may
arouse an interest in his writing.% and give the pupils a
faste of his quality, but, unless it whets their ai)petites
for the work as a wh«.le, its (.hier purpose will hot have
bcen accomp]ished. Thcse extracts cannot give a pan-
oramic icw of a great hist«»rical cpoch. They do hot
rcquire that sustaincd attention that relates to-day's
readings witl that of yesterday, and that takes a wide-
survey of nmny parts in their relation fo a central themc.
The ]arger work gives a culttre and a ]iberal education,
when if is trcatcd in the proper manner, that is very dif-
fcrent from the fra/cntary knowledge of an author that
would l)e gained lff even the intensive study of many short
extracts. The treatmeut of the cxtract, as we have said,
must be minute; xhile [he whole work should be subse-
quent]y read in a method that will be outlined later on
under the head of Supplementary Reading.
COIIRELATIO OF LITER..TURE
WITI-I NATURE STUDY, GEOGRAPItY, HISTORY, AND ART
Iany of the lessons in the Otario Reaàers should be
preceded 1)y preparatory work in geography, history, or
nature sttdy. Poems such as Jacques Cartier, T]e Clarge
of the Ligtt Brigadc, Tte Burial of Sir John Moore, and
The Arnada cannot be fully appreciated unless the his-
CORRELATION
torieal setting is known. There are famous pictures that
will increase the pupil's interest in these poems. In the
lessons on art, there are studies of pictures that suggest
feelings and thoughts characterizcd by universality, per-
manency, and nobility--pictures that stir men fo nobler
thought and higher aspiration. Often, such pictures are
the painter's method of expressing in colours, thoughts
tha the poet bas expressed in words. Lessons sucl as
Dandelions, Bob ll'hite, and The Sandpiper require a pre-
liminary acquaintance with certain faets of nature, and
therefore should be taken, if possible, when these can be
obtained through personal observation by the pupils.
Wolfe and Monfcalrff and Drake's Voyage .lround tle
World demand, in addition fo historical facto, certain
geographical data. These facts and data should be com-
municated af some t/me before the lessons in literature are
taken, in order that the latter may hOt descend into lcssons
in history, geography, or natural science. The extracts
mentioned above are hot placed in the :Readers fo teach
certain historical, geographical, or scientific facts. They
are placed there, as has been said, primarily because they
have some value as literature. Hence the literature lesson
should require few digressions, the necessary preparatory
work having been donc in previous periods.
But while history, geoaphy, nature study, and art
frequently assist in the interpretation of a poem or prose
selection, these subjects, on the other hand, may be rein-
forced and strenhened by selections drawn from the
fields of literature. The facts of the history lesson will
be given an additional attractiveness if the pupil is directed
fo some well-written bioaphy or drama embodying the
saine facts, or if the teacher reads or recites fo the class
some spirited ballad, such as Bonnie Dnndee, bearing upon
14 LITERATURE
the lesson. The interest in the observations ruade in nature
study will be intensified by reading some nature story
written in good literary tortu.
While these studies rnay go hand in hand with litera-
ture, itis hot necessary that they should be always taken
on the saine «lay or even in the saine week. The literature
lesson may be an effective agent in the recall of ideas
that have had rime fo be assimilated from previous nature
study, history, or geography lessons. In our enthusiasm
for literature we must hot make these subjccts the mere
soil and fertilizers out of which the flowers of poetry will
spring. Each of these subjects has ifs proper sphcre, but
that teacher misses many golden opportunities who does
not frequently take a comprehensive survey of his rnaterial
in all these studies in order fo final the element that will
give a unity fo all our knowledge and experience. The
lessons in the 12eader may be taken according to the con-
ditions existing in the class or the inclination of the
teacher. By no means is if necessary fo follow the order
in the book.
AIIS IN TEACHING LITERATURE
The teacher should always have a clear and definite
aire in view in teaching a selection in literature, but
different teachers may bave diffcrent aires in teaching the
saine selection. There should, of course, always be the
general aire to create a faste for good literature by leading
the pupils fo appreciate the beauty and power of clear
and artistic expression of thought and feeling; but this
aire rnust be specific according fo the nature of the selec-
tion fo be taught. Some specific aires may be given as
suggestive :
AIMS IN TEACHING LITERATURE 15
1. To appeal suitably to such instinctive fastes and
interests of childhood as are already awake and active;
for example, Second Reader, p. 3, My Shadow; p. 185, A
Visit from ,ç't. Nicholas; p. 125, Little Gustava; p. 215,
The Children's Hour.
2. To awaken and develop intcrests a,ld fastes that arc
as yet dormant ; for example, Second Rcadcr, p. 42, A Song
for Little May; p. 88, Tire Brown Thrush.
3. To develop and direct the imagination; for examplc,
'') ï'he New Moon" p. 117, Little
Second Reader, p. ,,, ,
,çorrow; p. 45, Tire Little Land; p. 172, Tire llïnd.
4. To arouse and quicken the sense of heauty; for
example, Second Reader, p. 92, Mother's World; p. 155,
Lullaby.
5. To exercise and eultivate the emotions ; for example,
Second Reader, p. 9t, Androclus and the Lion ; p. 135,
Ulysses; p. 107, A Xight witlr a Wolf.
6. To develop manners and morals through examples
of character and conduct in action ; for example, Second
P, eader, p. 114, Joseph II and the Grenadier.
7. To develop apprcciation for the well-told story; for
example, Second Reader, p. 5, The Pail of Gold; p. 12,
IIow I Turned the Grindstone ; p. 56, The Blind Men and
he Elephant; p. 211, How the Greeks Took Troy.
S. To develop a true sense of humour; for example,
Second Reader, p. 50, Change About.
9. To develop a sense of reverence; for example,
Second P, eader, p. 203, The Lord is my Shepherd; p. 218,
Abide With Me.
16 LITERATURE
GENERAL PRINCIPLES APPLICABLE IN
THE TEACHING OF LITERATURE
There are ïour outstanding principles of general
method that apply particularly in the teaching of Litera-
turc.
I. The pupil must, at the outset, be placed in a re-
ceptie attitude toward the lesson if the best results arc
to be secured, tIe must bave some purpose in view if he
is fo be induced fo concentrate his attention upon it. His
purposes determine his interests, and hence the lesson
must, in some way, be related fo interests that already
exi.t in his mind. Frequently his instinctive interest in
actiou, in personality, or in excitement is sufficient incen-
tire fo secure his attention. A suspicion that a lesson
contains a good story is often sufficient fo ensure a care-
ful reading of it, and a curiositv as fo the writer's devices
fo make the story interesting will lead to a closer examina-
tion of it. But more ïrequently some special interest re-
sulting ïrom the rime of year, the surroundings, or the
work taken in some other subject, mav be effectively
utilized by the teacher. These interests of children are
.¢o numerou. and so varied that here are few lessons in
the Readers for which a receptive attitude of mind tan-
hot be secured. It will be observed that the principle here
enunciated corresponds to the "' statement of the aire" in
the Herbartian " Formal Steps"
II. The pupil's mind must be suitably prepared for
the assimilation of the ideas contained in the lesson, by
recalling old ideas and feelings that are related fo those
to be presented in the se]ection to be studied. Ite must
be placed in a proper intellectual attitude fo interpret the
ideas and in a proper emotional attitude to appreeiate the
GENERAL PRINCIPLES 17
ïee]ings. Negleet of lhc f,,rmcr may make thc selection
whol]y meaninglcss to the pupil; neglcct of the latter mav
result in entire indifference tmrard if. A proper intcl-
leetual attitu(le is neeessary in any lesson, but in a lesson
in grammar or arithmetie the emotional attitude may be
almost eompletely absent. In literature, however, this
emotional attitude is often of the greatest importanêe,
and the neeet of if may mean an utter laek of appreeia-
tion of some literary masterpiece. This preparatory work
may take the form of a recall of some of the eommon
experienees of the pupil's life or a review of some facts
taken, for instance, in a previous geography, hisIory, or
nature study /esson. The appereeptive power of the
pupil's mind takes the new material of thought and feeling
eontained in the selection and weaves if into the web of
his previous i(leas and emotions.
III. The mind always proeeeds from a vague and in-
distinct idea of a new presentation fo a elear and defined
idea of.if. The proeess is always analytie-synthetie. In
a literature lesson the ortier of proeedure must be: (1)
Let the pupil get that somewhat indistinct grasp of the
thought and feeliug which êomes ïrom a preliminary
reading of if; (2) make this more definite 1)y a proeess
of analysis, by eoncentrafin attention on the details; (3)
make the idea completely definife bv a elear grasp of the
relations existing among the various details, that is, by a
proeess of synthesis.
IV. No impression is complete without some form of
expression. An idea or emotion is a verv ineomplete and
useless thing ntil if is worked out in praetiee and eon-
duet. The thoughts and ïeelings gained f_r_o_m th__.__e litera-
ture lesson must be given some kind of expression if they
18 LITERATURE
are fo be ful]y rea]ized. This e__xpression may take many
d et forms. The pupils may merely read he }êlec-
tion, showing fo the listeners their understanding and
appreciatlon of if. If if is a story, they may reproduce if
ia their own words orallv__or in writing. They may sketch
a scene or a-sïtuation with penci], or wi[h--'r--and
colours. They may dramatize if, or actit in pantomime.
They may create a sry with a similar theme, or imitate
a poem by a creatio of their own. The expression may
hot be immediatc but may be dt.layedh-ys oreven
years, and corne in some modification of future conduct.
CHAPTER ]I
METIIODS
IN JUNIOR FORMS
To -TaOȍC children to the world of literature, if is
hot necessary fo wait uutil they have mastered the art of
reading. The introduction should cone long before they
have learned fo read, through listening to good stories
told or read fo them by others, through heariug su]table
poems read or recited with spirit and feeling, and by
memorizing nursery rhvmes and geins of poetry.
- Thê material fo be used in primary grades bas already
been described. Early work in literature should be corre-
lated with oral composition.
o As to the comparative merits of reading and telling,
much may be said on each side. In he early stages,
telling must, of course, be tbe predominant if hot the
exclusive means of communi«ating the story. The matter
and |anguage can thus be better adjusted fo he capacity -
of tbe individual pupil. The teacher who is famil]ar with
tbe pupil's home lire and surroundings bas within his
power a means of adapting the story fo the atainments
of the pupil tbat even the best writer of children's stories
can hardly command. A situation in a story can fre-
quently be ruade intelligible by reference fo the pupi's
own experience. Moreover, in telling the story, the
teacher's gestures, facial expression, and tone of voice are
likely fo be more spontaneous and natural than would be
the case in reading, and this gives immense assistance in
interpreting aright the meaning and spirit of the selection.
19
20 LITERATURE
Some teachers say that the incident, as in the case of
lIawthorne's Tales, is so meagre and the language so
exquisite, that the telling seems fo be quite inadequate
and inferior fo the reading of the story. In such cases,
varietv may be afforded by reading, but generally speaking,
if is more effective to tell the story.
The teacher should strive fo become a good story-teller.
This requires a good voice, animated gesture and facial
expression, a good command of English words, power of
graphic description and narration, restraint from digres-
sion and superfluous detail, and concentration of aire
upon some definite point.
In teaching poetry to primary classes, the main object
is to lead the pupils fo feel the music and realize the
imagery. To attain this en«l, tbe best beginning is ruade
by a sympathetic and expressive rcndering of the passage
by the teacher. It can be recited many rimes incidentally,
while he is asking the pupils fo look af the pretty picturës
suggested bv the text. It is hot necessary to enter af any
lenh into an analysis of the poem, unless the pictures
are arranged in an easy order, such as spring, summer,
autumn, winter.
ME.IORIZATIO
ç)ne of the most valuable means of securing an appre-
«iation of literature is the memorization of fine passages
of prose and poetry. Pupils from the primary grades
upward should be required to tnemorize systematically
several lines of prose and poetry every week of the school
year. During childhood the mind is at its most impres-
sionable stage, and what is committed fo memory is then
retained longer and more accurately than what is memor-
izêd af any later period. The passages should be carefully
MEMORIZATION 21
selected and should be suited fo the capacity and interests
of thc pupils. Nothing should be memorizcd that has uot
sorne meaning for thcm, but if would be impossible to
require that every selection should be fully understood.
The sclections which children commit fo memory in the
most plastic period of their lires will often reveal a new
and unexpected meaning and beauty in ]ater years and
will be a source of keen delight and satisfaction. The
passages memorized will form a standard, unconscious it
may be, by which to test the excellence of other selections.
It is of the greatest importance that the pas:ages
chosen should have artistic excellence in thought, feeling,
music, imagery, and language. Moreover, these qualifies
must be present in such a form that they will, when
properly presented by the teacher's reading or reciting,
appeal, in some considerable measure, to the pupils' capa-
eities and interests. Since here are so manv noble pas-
sages in English literature, nothing of doubtful value
should be memorized.
It is also very important that the teacher himself
should have committed to memory and be able to recite
freely and expressively every selection ho requires his
pupils fo memorize. It is clear that, if he has memorized
it himself, the pupils will be more likely fo feel it worth
while fo do the saine.
In conducting a lesson in memorization, if is well for
the teacher fo arouse tbe interest of tbe pupils in the
selection as a whole by reciting if himself with expression.
Next, he should see that the pupils understand as clearly
as possible the meaning, and realize and appreciate, as
far as they are able, the feeling of the passage. If should
be treated first as an ordinary literature lesson, after the
manner already described. If should then be rcad aloud
22 LITERATURE
several times by individual pupils, all trying meanwhile
to commit if fo memory by concentration of attention on
the ideas and their relations, the words and their meanings.
The principles of all habit formation apply here--atten-
tion fo the thing to be learned, so as to get a clear under-
standing of it, and then repetition with attention. When
if has been read several rimes, individual pupils should be
asked fo reeite if without any aid. It will be found more
satisfactoç- fo momorize a complete stanza at a rime, or
af least a part that expresses a complete thought, rather
than to commit fo memory a line af a rime. With young
pupils, however, it is well fo take small units and let the
children repeat one or two lines at a rime till they can
give the whole stanza with case and aceuracy.
It is ilnportant that all repetition should be individua],
not simultaneous. Where the latter naetbod is in use, it
is noticeable that pupils adopt a uniform tone and
measured rlaythm, both of whieh are undesirable. More-
over, especially with young pupils, there is a danger that
absurd blunders ruade by individuals may pass unnoticed,
because the teacher bas hot the opportunity of detecting
thenl. When the passage bas been menaorized, if should
be repeatcd dailv for a rime and then repeated af longer
intervals, until there is little probability of its being for-
gotten.
IN SENIOR FORMS
THE TEACttEII'S PREPARATION
The teacher must make himself thoroughly acquainted
with the lesson tiret he has fo teach. qaen it is an ex-
tract, he should be familiar with the longer work from
which if is taken. He cannot teach the lesson "' Maggie
Tulliver" with the highest appreeiation if he has hot
PREPARATION OF PUPILS 2
read The Mill on the Floss. But thcre is more than mere
information required for successful teaching. In poetry
the teacher should feel delight in the music, the expres-
sion, the emotion, till he is eager fo communicate lais
feelings fo the pupils. This enthusiasm, however, should
hot have in it any insincerity, or extravagant commenda-
tion of the poem or the author. The teacher who has
wide information and genuine interest in lais work will
seldom fail to arouse a real pleasure in the literature
lesson.
The relationship between the teacher and the pupils
must be cordial if the lesson is fo be successful. This is
truc in any subject, but the sympathetic bond must be
especially strong in the literature lesson.
PREPRATION OF PUPILS
If has already been pointed out that if is frequent]y
necessary fo give preliminary lessons in nature study,
science, history, or geography before the lesson in litera-
turc is presented. The pupil must bave the right informa-
tion before the ]iterature lesson can arouse the emotion
that the author wishes him to feel.
Xot only is the possession of the right information
necessary, but the pupil should be in the right mood for
the lesson. A class that bas just returned fo the room
after the gaines af recess is hot in the proper state of
mind fo appreciate, af once, the recitation by the teacher
of,
Break, break, break,
On thy cold gray stones, 0 sea!
Even the enthusiasm and scho]arship of the teacher
will ïail to be effective under these circumstances. He
24 LITERATURE
should arousc in the pupils ihe proper mental and emo-
tional state by a erv short talk on friend»hip. IIe tan
refer to the well-known stories of David and Jonathan, or
Damon and Pythias, and tell them of the friendship
existing betreen Arthur ttaIlam and Alfred Tennyson.
Belote studying Lead, t(indl!! Ligltt (p. 315, Third
P, eader) the têacher might ask the pupils to picture a
solitarv traveller in the desert far from home. Night is
approaching; the dark-ness gathers, and the air grows
chill. What would be the nature of his feelings? Away
in the distance he discovers a faint light glimmering as
from a lantern. Now, how would he feel? Continue till
the pupils tan sec each part of the picture, the spiritual
significance of whieh they are to learn through the poem.
To give an extended account of the author's life is a
poor introduction, unIess tbere is something of unusual
interest about his personality or achierements. The pupils
usually do not know anything about him, and the teaeher's
aire, in this preparatory work, is to relate the thought
aud feeling of the poem fo the properly assimilated
knowledge and experience of the pupils. In some cases,
they may hare ruade a favourable acquaintance with the
author in another poem, and this may give the necessary
stimulus to their interest in his life. The best time, how-
ever, fo give a biography of an author, when that is help-
ful, isàter the lesson bas been studied, for then the
pulfl- will appreciate what the teacher bas to say about
him pe_rsonally.
In some poem, the circumstances under which they
are written will be the on]v introduction necessary, as in
the case of Break, breal', break or T]te Recessional.
There is often an appropriate time for the teaching
of a literature lesson. Sometimes it is the season of the
PREPARATION OF PUPILS 25
year. The lesson on A t, .lpple Orcl, ard in the JS'pri,g
should corne when the blossoms are stimulating every bird
and child with their loveliness, fragrance, and promise.
T]e First PIÇughing and the various poems on birds and
flowers should corne at this season. They can be followed,
in turn, by A Midsummer So,g and Tl, e Mal»le. There
are poems in the :Readcrs for Scptembcr, Novcmbcr,
Indian Summer, and Winter; and a wealth of material
for the Christmas season. YeL the season may noL always
deLermine the Lime for such lessons. The pupil who lins
observed again and again an apple orchard in the sprinz,
and who knows birds and trees, has a store of memories
that will enable him fo picture vividly what he rends about
these af any Lime.
If may be objected t]laL these met],ods of introduction
make the pupil depend too much on the teacher, and do
hot throw him sufiïciently.on his own resources. It is
to be remembered, however, that the great object of
teaching literature is fo cultivate a Laste for if. When
the pupil approaches a selcction with ideas and fee]ings
wbich are already, in his consciousness, related fo those
presented in Lhe poem, he is in the bcst possible mental
attitude fo appreciate if, and the probability of his liking
if is much greater than if if were presented without any
such introdtmfion. The pupil's first impressions of a
poem are ail-important, and if is essential Llat his first
introduction fo it should be ruade under the most favour-
able circumstances. If his first acquaintance wifh poetry
is ruade under pleasant conditions, he will inevitably
develop a faste for poefical literature, and that is the
object which the teacher bas in view. When this faste
has been formed, if will hot be nece.sary that the teacher
should be at hand in order fo recall the proper experiences
26 LITERATURE
for the interpretation of a passage. The pupil will read
apprcciatively on his own account, without any such
assistance.
In all cases, the preparation of the pupils for the
lcsson must be short. :Nothing more should be given
than will suffice to bring them into a suitable mooà;
usually some simple experience of their lires is ample.
The rime for the lesson is always ]imited, ,nd the propor-
tion between the introduction and the ,nain theme rnust
always be maintaineà.
PRESENTATION
The next sep in the development of the lesson is fle
prcsentation. How shall flis be donc ? There are thrëe ways :
The teacher rnay ask the pupils fo read the lesson silently
at their seats or at home and corne prepared to participate
in the discussion; or he rnay ask some of them to read the
lesson aloud; or he, himself, may read if to the pupils.
The merits of each of these methods will be considered.
In prose, if is advisable fo let the pupils read the selec-
tion before the ]esson is taken up by the teacher. The
pupils mu.st have praetiee in getting the thought from
the symbols on the printed psge and in grasping the
general trend of the story, the description, or the argu-
ment. The work will be mainly intellectual, but the pupils
may aIso, af this stage, bave practice in discovering the
emotiona] e]ernents in some of the prose extracts.
In the higher Forms, the teacher may occasionally
allow some of his best readers to read a poem aloud, where
the emotion is evident or the narrative plain. T],e Bare-
foot. Boy, p. ] 18, Fourth ]eader : The Homes of Englad,
p. 375; and Bernardo del Carpio, p. 131, are examples of
this kind.
VALUE OF ORAL READIN(] 27
If is usually a better plan for the teacher fo read the
poem fo the pupils. With many poems of exquisite music
and imagery, such as The B.uglc Song, p. 337, Third
leader, the reading by a pupil who bas not yot caught
the meaning and spirit will be a failure, and the tcaeher
will see that the mood that he has prepared with care at
the opening is so certain to be dissipated that he nmst
intervene in order to prevent the spoiling of the lesson.
But the teacher who bas studied the poem and whose
feelings have been deeply stirred by-its music and pichres
can, through his reading, communieate fo his pupils iris
own appreeiation; and it will be a. dull pupil who does
hot feel the contagion. If is, however, hot well fo insist
on too great uniformity in method; the spirit rather than
the form is vital.
VALUE OF ORAL READING IN
THE INTERPRETATION AND APPRECIATIO.N OF LITER.-TURE
1. To the reader himself. Poetical literature is akin fo
music. Poetry was originally sung by the minstrel, and
the thought and feeling were conmunicated fo the
audience solely by the ear. The study of poetry by the
eye is artificial, modern, and contrary fo our hereditary
instincts. We should not argue that the best way to
appreciate music is found in following the symbols on
the music sheet. If is only the highly educated nmsician
who can imagine the delights of music by an examination
of the written text. To some degree, if is the saine with
poetry. The music of the words and the appropriateness
of the rhythm eannot be fully perceived by mere]y silent
reading. The eye alone would never detect the exquisite
music of sueh a poem as Hiàe and ,çeek, Third Reader,
p. 50, or Break, break, break, p. 201. Nor eould if per-
28 LITERATURE
ceive the suitability of the rhythm fo the theme, as ex-
hibited in t[ov They Brought the Good .Veu,s from Ghent
to Aix, Fourth Reader, p. 351. In this poem, we ean
]lear in the rhvthm the hoof beats of the horses as they
gallop along. IIow often bave we felt a new meaning and
appropriateness that our voice alone lins suggested !
2. To the listeners. The eontagious nature of emo-
tion has already been pointed out. The good reader, by
his sympathetic and expressive rendering of the poem,
may reveal to his listeners depths of feeling, the existence
of which they had hot before suspecte& We bave often
been thrilled by a new emotion, upon hearing a familiar
passage read by anothcr.
Every teaeher should be a good reader. His forte of
voice, his movement, his gestures are the signs by which
the pupils interpret his emotional attitude. If he is not
already a good reader, he should bend ail his energies to
become one. Persevering practice, attention fo mechanical
features, such as distinct articulation, pausing, flexibility
of voice, and, above ail, a sympathetic appreciation of the
author's thought and feeling, will soon convert a poor
reader into a good one. He will soon flnd that his voice
will accommodate itself insensibly in pitch, tone, and
movement fo the changing emotions of the poem. The
delight of the lesson will be eatly enhanced where the
reader lends fo the rhyme of the poet the music of his
voice.
The reading reveals the general thought of the poem.
In simpler poems, the pupils will recogqaize in the reading
the relationship and the intent of many of the subordinate
parts. But the intellectual side is only secondary. Litera-
turc, in ifs flner forms, is hot primarily an intellectual
subjeet, such as grammar or mathematics. The emo-
DEVELOPMENT OF THE MAIN THOUGHT 29
tional forte, the spiritual meaning, and the artistic form--
these are the main elemênts, and these can be best de-
veloped by good reading. The teacher should acquire
the habit of reading poetry aloud in his home, and should
induce his pupils fo follow his example. Further, as two
senses will give a more vivid rêalization of thought than
one, the pupil, in the class, should follow with his êye
the reading of the teacher; and it is helpful for a church
congregation to follow with the êye the rêading of the
scripture ]esson by the minister.
THE DEVELOP:[ENT OF TIIE :[AIN TIIOUGHT
The têacher sbould nêxt assist the pupils to discovêr
the main thought of the lesson. In many cases the
meaning will be vêry vague, and the pupils will have
diflïculty in formulating a terse and comprehensive state-
ment of the subject of the poem. If the question is askêd
in a stereotyped form, such as "What is the main thought
of tbe poem ?" the enthusiasm of thê pupils is often chilled.
The teacher may, if it is a narrative poem, ask for the
main points in the story, and may assist the pupils by
calling attention to some pertinent passage, or by removing
dilïicultiês by means of questions or explanations. In
all cases, if is wêll to accept a partially correct answêr by
the pupils, and to try to improve is imperfection by
questioning, until a fairly complete and substantial state-
ment ]las been given. Erery answer whic]l contains even
a fragment of sound thought should receive due recogni-
tion. In some cases it is sufficient, at the outset, fo take
an imperfect statement of the main thought, since tbe
study of the poem will reveal ifs defects. The teacher
must keep before his pupils this statement, so that at the
conclusion of the lesson they will be quite rêady to replace
3L
0 LITERATURE
if by a more accurate one. The teacher should be careful
that the emotions aroused by the poem are hot unduly
weakened or dissipated by the analysis of ifs intellectual
content. Many lessons by young teachers fail just at this
point, by reason of questioning unskilfully or by rejecting
answers that do not c_o.rrespond fo their own cut-and-dried
preconceptions.
The teacher should follow a similar method in dis-
covering the leading thought af the subdivisions of the
poem. These often correspond fo the stanza forms, but
the lesson may become vcry wearisome by insisting on too
great detail. The poem often falls into two or three main
divisions, into which the various stanzas may be grouped.
With Senior Forms if is a good exercise to ask the pupils
fo make tMs grouping, but, with those not so advanced,
the teacher hinself may make if and ask the pupils for
the central thought in each group. In the teacher's
anxiety fo bave these subjects clearly stated, he runs the
risk of wasting rime and, worse than that, of killing what-
crer interest the pupils may have had up fo this point.
I f the pupils could give these subjects with perfect clear-
aess now, there would be little else fo do. The greatest
tare must be exercised fo prevent the work becoming
mcchanical, thus destroying the interest and makng the
sclection distasteful.
With some pupils, the logical sense is quite strong,
and they final their greatest delight in seeng the purpose
of each part in a complex mechanism. With ohers, this
work does hot afford much pleasure. These are ch]ldren
who, later, can take delight in the flimsy plot of a musical
comedy. Such pupils should be encouraged to do their
MINUTE ANALYSIS
best fo discover somc points of beauty or skill in the
srrangement of the selection. In different lessons there
is a difference in construction. In some, the logical con-
nection and development is so important that this quality
must be stressed, but the works of some authors have
merits which throw the arrangement into a very subor-
dinate position; for example, "Iing out, Wild Bells ",
from In Memoriam.
:IINUTE ANALYSIS
The next stage in the analysis is tire examination of
the passage minutely. There is always a place in the
lesson for the study of words and phrases. The teacher
shold ask questions on these, in ordcr to asccrtah} if the
pupils have felt ther force and vtality. They arc fo be
taken up only fo illumnate and impress the main thoughts
and emotions of the poem.
In some cases, as in prose lcssons, the pupils may
acqure the dictonary habit. Ths develops and culti-
rates a studious disposition and accuracy of statcment.
But in poetry there are many subtle meanngs that the
dictionary will not gve, but wMch the pupl has learned
through contact with educated people and acquaintance
with books. Iost of the words that people use have not
been learned from the dictionary, but from their context
in reading or conversation.
On the other hand, many lessons are spoiled by too
constant inqury into meanings. There is much mere
learning of meanings without reference fo the thought
or emotion that they are ntended to explain. Iany
words are explained that are already understood. The
fault may be due fo the teacher's experience wth annotated
text-books of literature. The teacher, who has been prc-
32 LITERATURE
pared for his examination by this rnethod, is disposed fo
carry iV into Elernentary School work, till even The
Recessional bccomes rnerely a thenae for learning verbal
rneanings.
ALLUION
There are nany references in the text-books fo geo-
graphical, scientific, and historical rnatters. If these
allusions. In poerns such as The Arnaàa there rnust be
a prclirninary lesson such as bas been indicated. Very
often the enthusiast in these subjects will make literature
a mere peg on which 4o bang mucb information. Teachers
often make long digressions in connection witl these
allusions, till the mood of the poem is completely lost in
the mist of the disquisitions. The sarne rnethod should
be adopted in tcaching allusions as in teaching the
meanings of words. Only such explanation is necessary
as will show the purpose of the author in introducing the
allusions. In pOCheS such as Tire Armaàa there rnust be
considerablc explanation given, before the pupils will feel
the emotion that the author hopes to kindle by the men-
tion of the narnes that are used in it. With Canadian
children, the effect in the case of this poern cannot be so
great as with Englisb children, who are more familiar
with the special geographical and historical associations.
The teacher of young people cannot hope, by explana-
tion of thc allu.ions, fo arouse all fle pleasure and the
vitality of emotion that will be induced in the reader who
bas the culture that cornes of wide reading; nor can
teacher communicate this ernotion when the information
is new. The pleasure cornes, later on, from the recall of
information that was assimilated in earlier years.
THE CONCRETE IN POETRY 33
THE IIAGERY
The language of poetry is generally concrete. The
artist may wish fo give expression fo a general truth, or
philosophical principle, or ethereal fancy. These appear
very abstract, but the artist embodies in material forms
the idea he wishes fo convey. The poet expresses his
thought by the suggestion of material inmgery, and en, o-
tion is most readily aroused by these inmges.
Antony, in his funeral oration after Coesar's death,
knew how fo arouse his audience fo fury by showing them
Cesar's wounds and holding before them ('oesar's mantle
with ifs rents. Not always can the real object be pro-
duced for these emotional effect.% but the teacher can
sometimes bring into the class-room, for the benefit of
young pupils, concrete material such as pictures and
work in manual training. IIe can also call attention, af
rimes, fo the ïalling ShOW or the colour of the ]eaves or
the sky, by asking the pupils fo look out of the class-room
windows. But in most cases, he has to be content with
trying fo recatl the memory of these natural things. This
shows how valuable has been the excursion of the boy
into the country, and his experience on holidays by the
river and in the harvest field. The nature study lesson
furnishes the mhterial for future enjoyment of poetç'.
The pupils in our schools are very capable in realizing
visual imagery. They can see the visual image very
readily with its colour, ïorm, and movement. They can
arrange the objects in the picture with foreground, back-
ground, light, and shade.
But it is quite a different marrer when they try fo
realize auditory imagery. In the poem Waterloo, Fourth
Reader, p. 311, they can sec the picture in "l)right the
4 LITERATURE
lamps shone o'er fair women and brave men ". They see
the large ball-room with ifs glass chandeliers, the cos-
tumes of handsome ladies, the scarlet uniforms and the
decorations of the oflàcers and the nobility. But can they
realize the next imagery, that of sound, "and when music
arose with ifs voluptuous swell"? Do they hear the
squeakiilg of one or two fiddles or do they hear the
voluminous sound of regimental bands? Do they notice
the varying mctre from thc stately iamhic to the suddên
" voluptuous swell" of the foot of three syllables in waltz
rime ?
These images of sight and sound picture the gaiety
and magnificence of this festi-e scene, in order fo make
more marked thê contrast with the fear and pathos of
the farewells. This contrast is enforced by the two
auditorv images :
And all went merry as a marriago bell;
But hush! hark! a deep sound strikes liko a rising knell!
('an your pupils image the wedding-bells chiming from
the cathêdral some afternoon in June, when suddenly the
êar catches the sound of a death-bell tolling ïrom another
church? An.), reader who cannot realize the sounds of
those two bells with their discordant effects will miss the
intention of Byron.
The pupils, through the stimulation of their senses,
must have experiencêd the luxurious effects of orchards,
flower gardens, and clover fields; the odours of apple
blossoms and the smell and faste of the "' full-juiced apple
waxing over-mellow"; the perfumes and têmperatures of
spring, midsummer, and winter if they are fo read nature
literature intelligently and feel ifs eharm. The words must
have meaning if they are fo awaken the feeling that was
part of the original experience.
LITERATURE OF NOBLE THOUGHT 35
TItE LITERATURE OF NOBLE THOUGIIT
In literature, as in otber arts, tbere is a great deal
that is merely decorative. It is not the purpose here fo
disparage this form of art. "A thing of beauty is a joy
Sf t-ê-e most
for ever. Ifs loveliness ncrease.
famo" portraîs and landscape-in the picture galleries
afford infinite pleasure fo the tudent of ar by the
technique in colour, drawing, and arrangement. They
are greater than photography. " The light that never
was on sea or land, tlle consecration and the poet's drcam "
havc ven them a beauty that is greater than the realism
of the actual person or natural scene. It is the saine in
literature. The author's feelings, his language, the
rhvthm of his words, and his delicate fancy afford the
reader greater delight than he bas ever known when he has
met similar persons, scenes, or actions in real life. This
is genuine oesthetic pleasure, similar to file pleasure that
people àerive from china, music, or landscape gardening.
There is, however, a higher form of art in both pic-
tures and literature. There are pictures that suggest
some noble aspiration, some great universal truth, some
eat confiict between duty and in/erest. We feel in-
stinctively that these are greater than pictures possessing
mere masterly technique. It is the saine in literature.
There are poems in which we feel tllat the thoughts and
feelings are sublime. Perhaps the technique of these is
not equal fo that of the poetry described in the preceding
paragraph, but the experienced teacher bas felt his pupils
]ifted abore mundane affairs, when they begin fo grasp
file true significance of such poems. The youngest pupils
show their appreciation by wide open eyes, when these
are read. They instinctively feel that this work is better
than the merely pretty and dainty things in poetry.
6 LITERATIYRE
In the Ontario Readers we have numerous poems of
this nature. In the First Reader, the pupils instinctively
feel that Piping Down the Valleys Wild is of different
calibre from Three Liltle Kittens. The Lord is my
Shepherd, Lead, Kindly Light, and To a Waterfowl, are
exanlples of this class.
Ia teaching these ]essons, the spiritua] meaning should
be constantly emphasized.
The mere statement of the thought is not impressivc.
If is thc presentation of it in poefical form that makes
ifs effcct imprcssive and lasting. The pupils mav be led
fo discover how the author bas accomplished ttfis by
means of the concrete embodiment of imagery, language,
metaphor, and music.
RECAPITULATION
The lesson is often dropped just at this rime, leaving
an impression somewhat like that of a science room, with
the petals and leaes on the desks and the floor, after
the class in botany has been dismissed. No act of ana]ysis
is complete without a final synth_esis. The e." 'amination of
the various phases of the whole must be followed by a
reconstruction in whieh are perceived the relations of the
various phases to each other and to the unity of the
whole. These various parts must be closely related to
one another if the final conception of the poem is fo be
definite. When the analysis is in progress, the teacher
should hot, of course, take each part by itse]f and examine
if as if if were an isolated thing, but ifs relation fo what
has gone bcfore should be more or less clearly perceived.
When the analysis is complete, there should be a final
synthesis in which the relations of the various parts stand
out definitely. This can be done by means of a statement
MISTAKES IN TEACHING LITERATURE 37
of the main thought in concise but comprehensive terres.
If the teacher has accepted an imperfect statement af
the beginning, the pupils will now be in a position fo
diseover ifs inadequacy and supply file pari bat ïs ]acking.
Then the subjects of the various sui)divisions or stanzas
tan be restated in suitable terres that will show the proper
relationships. This reconstruction may also take the form
of oral or written reproduction of the selection. This
is espeeially valuahle after the prose lcssons. There should
follow an oral reading of fhe passage by the pupils, which
will serve fo show the teacher how much of the feeling
of the poem has been absorbed, how clearly the pupils
have understood the meaning, and what miseonceptions
have arisea in their minds.
X[ISTAKES LN r TEACtIING LITEIATURE
There are some mistakes in teaching literature fhat
are noted here, iii order that they may be avoided:
1. Teaching pupils about literature, instead of
teaching llègahre itself; for example, teaching bioaphy,
etTm:ology; h]stsry-geography, or science in the litera-
turc lesson, because some feature of one or more of these
may be suggesed by the language of the lesson. A
knowledge of such subjects is merely preparatory fo the
study of literature itself.
2. Tea__ching_m_ere__l:[ t_he meanings of words and phrases,
and omitting the greater things of imagery, flmught,
beauty of language, and the spirit of the writer.
3. Trying fo force appreeiation by telling the pupils
they must learn fo like such and such works because
educated people like them. If is useless, af this rime,
fo try fo develop the critieal spirit, as the pupil has hot
38 LITERATURE
a sufficiently wide m.quaintance with literary works on
which fo forma judgment.
4. Doing for the pupil what he should be led fo do
for himself. A literature lesson, in which the teacher
bas been doing all the ta|king, or both asking and an-
swering questions, will be barren of good results.
5. Paraphrasing. Short passages may be paraphrased,
in order fo slô-w-Twlether the pupil bas understood the
force and 'itality of the metaphor or the condensed ex-
pression. Iut paraphrasing must be used with great
discretion. The teachcr will not make 4he pupils appre-
ciate the beauty of a fine literary selection by converting
refined gold into low grade ore.
6. Attempting fo draw some .moral from every lesson.
Not all lessons are d'. °' If the pupils have sym-
pathized with what is noble and just in the story, the
statement of a moral af the conclusion is unnecessary.
Yet in poems that are plainly didactic, for example, To
a Waterfo«l, Fourth I{eader, p. 377, the moral lesson
nmst occupy the first place. There the teacher should
show how the author bas enforced the lesson of con-
fide,._c_e_ i____(_God's guidance by the incident of the migrating
waterfowl, the imagery, t]e music, the arran_g_ç_ment of
and__t_e--similarity of his own positinto that of
the bird.
7. Dwelling unnecessarily on the intellectual side of
a poem that is mainly emotional and musical ; for example,
Tle Bugle ,',ong, Third leader, p. 337, and Tlie ,_olffary
I:eaper, Fourth Reader, p. 261. In the former case, the
1)upils should be led to realize the visual imagery, should
hear, in imagination, the bugle calls and fading echoes,
and enjoy the rare and appropriate music. In the second
case, the teacher should call attention fo the artistic sug-
EXTENSIVE READING 39
gestions of loneliness, distance, antiquity, sadncss, and
vagueness that are suggested by "old, uuhal)py, far-off
things, and battles long ago", and by such possible situa-
tions of English travellcrs in remote parts of the world,
and should show that these elcments are suitable for tbe
circumstances undcr which the poet sees the girl. IIc
who questions merely to find out the meaning of the poem,
the relation fo that of ifs subordinate parts, and the
meaning of the words and phrases, is using a very heavy
tool on a very delieate meHanism. Sm'h works must be
treated deftly and lightly.
EXTENSIYE READING
rThe class of literature that we have described in the
p eceding methods is condensed literature, where thought
is large in proportion fo the number of the words. It must
be read by a process of close thinking, in an analytic,
exhaustive manner. There must be a clear comprehen-
sion of the central ideas, and a strong grasp of minor
thoughts or details, and the relation of these fo the central
ideas. While this power to grasp thought intensively is
very valuable, we should also bave the power to grasp
the thought rapidly and comprehensively.
In somê works, the thought is hot so condensed and
confined. Here, the min effort of the reader is to grasp
the t.houely i_n ara_pi, and eompre-
he_nsivê mannêr. IIe must be able fo read a book cha'pfC
by chapter and grasp thê central ideas, fo hold paragraph
after pargraph, chapter after chapter, in his conseious-
nêss, so that each gives added illumination to thê main
thought and, at the end, the whole of thê work stands
out in its entirety. Hê must learn fo grasp the central
thought in each section as he proceeds--to sift the wleat
40 LITERATURE
from tbe chaff. The minor details have been of value in
giving him the main thougbt, but tb real abflity of the
good reader consists in dropping tbse mnor details from
tbe mind and holding steadily on fo the more important
facts.
Tlfis method gives a greater power of sustained atten-
tion and a vider aequaintance with gooà literature. :Most
of out reading is doue in this way. It would be mpos-
sible otherwise fo get a wide range, as rime does hot
permit of rainure analysis, and many of our longer works
are so diffuse that they would hot repay such careful
stldy.
oE-The suçplementar:y, or extensiveaa___me
.:ç_as_se_t _-ork or_ho e _ork. As seat work, if eau
corne as a grateful relief from the arduous tasks in the
ungraded schoo] and will keep many an active mind from
getting into misehief. By_ questioning about the main
ïacts,_thr__can assure himse]f that the work bas
uallybeen donc. This question[ug should ot be used
only to catch the negligent; if should give pleasure fo
the pupils as a conversation vith them about their
p]easant occupation. If should be donc very inïormally,
often as tvo intelligent peop]e would discuss a book. Th.e
shou]d be broad in their s«_o_pe____and
dwell on a store- that is fo be
considered, if shou]d be examined as follows: Discover
what are the diflïculties set up; how they are brought
about; how they are overcome; how many threads of
iterest there are; wby eerfain characters are introdueed;
what wou]d be tbe effect if certain parts were omitted;
to what extent the final solution is logica].
When the examination is finisheda series of composi-
tions might be written on topics connected with the story.
EXTENSIVE READING 41
For instance, if Rip l'an Winkle has been studied, a series
of three compositions might he assigned : (I) lip's
domestic life; (2) his adventure in the mountain; (3) his
return to tbe village. Three compositions would be better
than a single one on the whole story, because too great con-
densation usually detracts from the value, and because the
excellence of a school composition is usually in inverse
proportion fo ifs length.
If is exceedingly important fhat fhe teaehcr should
sec that these written exercises are hot ruade distasteful
fo the pupil. They are verv va]uable if they are hot con-
sidered irksome. The object is not so much fo -ive skill
in composition as fo create a faste for wide and excellent
reading. If would be better fo allow this written repro-
duction fo drop rather than fo associate the pleasures of
literature with something disagreeable.
CHAPTER III
ILLUSTlïATIVE LESTONS
In TtE lessons that follow, the answers given fo questions
are those which pupils majz be expected fo give after cor-
rections and additions have been ruade by themselves and
the teacher.
Professor Alexander has said:
It is iml)ossible to exemplify on pal)er actual teaching.
Actual teaching, as all other practical matters, ls in
large measure determined by circumstances axd condi-
tions 'hich are never twice the same. A large part of
a teacter's skill lies in the sympathetic l)erception of
theso conditions and in the l)ower of adapting himself
to them on the spur of tte moment. The teacher should
bave a definite alto in view, and u general conception
of the proper method to be followed; but these will be
modified by tho character of the l)upils before him, of
the answers given, of the manifestation of interest, and
the comprehension of the varlous points brought for-
ward. A question quite proper in one case will be quito
out of place in another. What knowledge should be
imparted by the instructor, what elicited from the l)ul)ils
themselves, what matters dwelt upon, vhat lightly l)assed
over--these things can only be determined by the actual
circumstances.
PANTOMIME
LITTLE MISS MUFFET
(Primer, page 75)
Little Miss Muffet sits on a ]ow chair eating from
an imagnary dish. The spider cornes creeping softly
behind her. When he reaches her side, he sits quietly
down. Then she sees him and, in a great fright, jumps
up and runs away.
ILLUSTRATIVE LESSONS 43
DRAMATIZATION
LITTLE BOY BLUE
(Primer, page 68)
The senior division of the primary class had read the
story of Little Boy Blue. Norman asked: " May we play
it? May I be Little Boy Blue?"
Allan said : '" I'd like fo be the fariner"
Dorothy rished to be the farmer's 'ife.
Clara asked if the pupils of the highest c/ass might
be the cows and the sheep.
As Norman was enthusiasfie and eager fo express
himself, he was permitted to direct the movements of the
different eharacters.
The fariner selectcd a horse and prcpared fo take hirn
fo market, while Little Boy Blue could be seen tramping
along the road (the front part of the room). The cows
and sheep were grazing quietly ncar by.
-As Little Boy Blue approached the fariner, he removed
his cap and sa/d: "Good rnorning, sir, do you want a
boy ?"
Fariner: "Yes, I want one fo watch the eows and
the sheep."
Liltle Boy Blue: "I can do that, sir."
Farrner (handing Little Boy Blue a toy horn that
had been brought to school for use during a drawing
lesson) : " YIere is a horn, then. If they try to go away,
b]ow this, and they will corne back."
Little Boy Blue : "I will, sir."
The famer drove away, and Little Boy Blue watched
the eows and fhe sheep. Once they were about fo wandcr
away (among the aisles), but Little Boy Blue blew the
b.gr_n, and they immediately returned. He soon grew tired
44 LITERATURE
of watching them: they seemed fo be content fo graze
quietly where they were. ]le leaned against a haystack
(a chair) and fell asleep. The cows were soon in the
corn and the shecp in the meadow, where the farmer saxe'
thcm as he was driving home. But he could hot sec
Little Boy Blue. :lle called:
Llttlo Boy Blue,
Corne blow your horn.
Tho sheep are In tho meadow,
The cows are in tho corn.
Former: "Wife, where is Little Boy F, lue?"
Hïfe: '" He is une]er the haystack, ïast asleep."
Former (going to haystack) :
Llttlo Boy Blue,
Corne blow your horn.
The boy jumped up. l,lew a hlast on the horn, and the
sheep and cows immediately came hack.
Liltle Boy Blue: " It was my fault and I'm sorry."
Fariner: "Ail right, you'll take better care of them
next rime."
THE STORY OF' HENNY PENNY
(Primer, page 48)
When the techer sug.ests that a gaine be played,
many pupils fairly project themselves backward in an
effort fo look so well that they may be chosen fo take part
in if.
The teacher wrote '" Dorothy" on the black-board.
Dorothy whispered that she would like to play the story
of Henny Penny. (The adventures of Henny Penny
had been recounted the day beïore.) The teacher wrote
DRABIATIZATION 45
the story of IIenny Penny. As Dorothy had suflïcient
self-confidence and a good mcmory, she was a]lowed fo
choose her part, which was certain fo be that of the prin-
cipal character. IIad she no/ possessed these qualifies,
she would bave been assigned a minor part during fhe
first attempt at dramatizing this story. The tcachcr
wrote " Iooster Pooster" on the black-board. "I shoul,l
like fo be P, ooster Pooster", said Albert. "Turkey
Lurkey", wrofe the feacher. " I'd }ike fo be Turkey
Lurkey", said another. Iu this or some similar way, the
parts were assigned.
As fhe play began, IIenny Penny was discovered
pecking t imaginary worms in the garden; sudden]y she
jumped up in a great fright. " Oh, the sky is falling!"
she said, " I must run and tell the king". She ran down
the road (an aisle) till she met Rooster Pooster.
When he saw ber coming, he stopped crowing and
asked, "Where are you going, IIenny Penny?" '" Oh",
she said, "the sky is falling, and I ara going fo têll the
king". "I will go too", said ]ooster Pooster. Thêy
ran down the road till they met Turkey Lurkey gobbling
eontentedly. The usual fornmla was repeated, and
Turkey Lurkey ran on with thêm.
But the fox (rillain) was waiting around the corner.
"Where are you going. Henny Penny, P, ooster Pooster,
and Turkey Lurkcy?" said he. " 0h, Fox Lox", thcv
said, " the sky is falling and we are going fo tell the king"
"I will show you the way." " Oh, no, Fox Lox, we know
you. We will not go with you."
So they tan and tan, but had fo return home beeause
they did not find the kins house.
4 .
46 LITERATURE
WISHES
(Primer, page 52)
The pupfls knew by the pictures on page 52 that the
lesson would be a de]ightful one, but when they attemptec]
fo read if, they founc] c]ifficulties that lessenec] their
pleasure somewhat.
They enjoyed reading "I wish I could final a little
fat fly ", but "sac] little sigh" and '" an oc]d little shrug"
were very c]ifficult fo say anti were meaningless until the
chilc]ren imitated the teacher's "sac] litt]e sighs" and
"oc]d little shrugs".
The pupils were then askec] which little chicken they
wou]d like fo be. The first pupil fo respond was chosen.
He went fo the front of the room, which was then a
garden, and with a mucb bigzer sigh than was necessary,
complainec]: "I wish I couhl finc] a little fat fly"
The other pupils then eagerly stuc]iec] the page, that
they might learn what the next little chicken sait] anti
dic]. The teacher was a]wavs ready fo tell them any
words they coule] not c]iscover for themselves. One pupil
coule] make a sbrug but could hot remember the seconc]
little chicken's words, so another was founc] who couhl
say what the second lttle chicken said in just the way he
woulc] sav if if he coule] talk. The other little chickens
and the mother hen were chosen in a similar manner.
The mother hen coule] he seen busilv scratching at one
enc] of the garden, while ber little chickens were walking
aimlessly about.
First ('hicken (after sighin.z) :
"I wish I could finc] a little fat fly."
,qecond Chicl«en (with a shrug) :
"I wish I eould find a fat little bug."
INDIAN LULLABY 47
Th{rd Chicl«en (with a squcaky voice) :
"I wish I could feel some corn in my beak."
Fourtk Chicken (sighing) :
"I wish I eould tïnd a fat worm on a leaf."
Mother IIen (impatiently) :
" See here, if you want things fo eat, just corne here
end scratch." "
INDIAN LULLABY
Rock-a-bye, my little owlet,
In the mossy, swaying nest,
With thy little woodland brothers,
Close rhino eyes and take thy rest.
Hush-a-bye, my littlo owlet,
Many voices sing to thee;
"Hush-a-bye," tho water whispers,
"Hush!" replies the tall pine tree.
--LoNGFELLOW
There had been lang-uage lessons on the habits of the
Indians; tbeir way of living had been worked out, as
far as possible, on the sand-table, and pietures repre-
senting Indian life had been shown. The pupils had
eagerly construeted an Indian home---" Dark behind it
rose the forest" (twigs from the pine and other ever-
green trees), " Bright before if beat the water ".
Tbe ]essons in drawing, painting, nrl motle]]ing had
been connected with this work. From their boxes of
coloured crayons, the pupils had selected the colours used
in making the pine trees,.the grass, the bark of the trees,
file ou-1 in the tree, the wigwams, etc.
From the many beautiful Iw_lian lullables that would
have been suitable, the teacher selected the Indian Lullabj
by Longfellow. During the periods set apart for music,
48 LITERATURE
the pupils had been taught the desired melody with the
syllable "loo ".
Teacher. " How does your mother put baby te sleep?"
Pupils. "My mother rocks the baby in her erres." " Mine
purs him on the bed and he relis asleep." "We rock our baby
in a eradle," etc.
Teacer. "The plcture I glve you will show you what
the Indien mother does wlth her baby."
Eaeh pupil was given a small picture showing an
Indian i,aby in his cradle suspended from a tree. These
pictures had been cut frein a supplement te Primary
Educalion.
Teace.r. "What bas the mother donc?"
Pupils. "She has put her baby in a basket and hung It
on a tree."
Teacer. " Is the baby In the pieture awake or asleep?"
Pupils. «, tte is asleep "
Teacer. "What could the baby sec before he went te
sleep?"
Here a picture---ïourteen by twenty inches--was
shown. It was a good representation of an Indian home
and ifs surroundinz. The pupils had ruade use of this
picturc when working at the sand-table.
Pupils. "He ¢ould see the pine trees, the water, the
wigwams, the canoes, the Indians," çt¢.
Teacher. "What could the baby hear whilo swinging la
his cradle ?"
Pt«pils. "Ho could hear the Indians talking? Ho could
hear the wind among the trees; the water; the birds singing
in tho woods; the cry of an owl; perhaps wolves, bears," etc.
Teacher. "What other babies llved in tho woods?"
Pupils. " Birds, squirrels, owls, wolves," etc.
INDIAN LULLABY 49
Teacher. " man once wrote what he thought an Indian
mother might have sung to her baby. This is what he
thought she would sing." (The teacher recited the Indien
Lztllb. )
Indiri3ual pupi]s the repeated one stanza af a tine
with the assistance of the teaeher.
The pupils sang softly the melody they had learned
fo "1oo"; then all tried fo sing the words with the
teaeher. The purpose was fo emphasize the rhythn and
interpret the spirit of the poem. The ]esson oeeupied
twel.'e fo fifteen minutes. Af another rime, heetographed
copies of the poem were given fo the pupils, and as they
llacl already partly memorized if, they soon learned to
read if.
CIIAPTEI IV
F(}RM I: SENIOR GRADE
THE WIND AND THE LEAVES
(First Reader, page 49)
|T IS the aire of flfis lesson to hc]p the pupi]s fo appreciate
imaginative descriptions of some natural phenomena.
This lcsson will be ))est appreciated if taken some day
in autumn when the leaes are falling. If tle pupils
have recentlv noticed the wind rushing through the trees,
scattering the manv-colourcd leaves and drNing fhem
before it along the grouml, they will be in the best mood
to enter into the spirit of the potin.
What is th tim of the year that th poem speaks about?
Tho autumn.
Select all the things that tell you this. The leaves hav
"dresses of red and gold "; "summer ls gono"; " the days
grow eold "; the leaves corne " fluttering" down; the " fields"
are " brown ".
What did th wind mean by "Com o'er th meadows
with me, and play"? It meant that they should eom clown
from the trees and be blown away by the wind across the
fields.
What does it mean by " Put on your dresses of red and
gold"? Befor they fall, th leaves have many beautiful
eolours.
What was th colour of their dresses in summer? When
do they begin to chang colour very quickly?
What leaves show th most beautiful colours? What
different colours hav you noticed that leaves bave?
When does th wind oall? When it blows loudly or
whistles.
50
THE WIND AND THE LEAVES 51
Do you know what the wind says when It ealls? Why
not? We d<) hot understand the language that It speaks.
How did th leaves show that they understood? They
obeyed st <)nce and came down from the trees.
What is meant by "fluttering" down? They came down
slowly, moving from side to side, and turning over and over
as they fell. (This could be sh<)wn in the class-room quite
easi]y. )
Which line in the first stanza corresponds in meaning
with .the third line of the second? The second line.
What makes the fields "brown"? It is the end of the
summer, and the grass and the plants bave dried up.
What colours have the fields at other seasons of the year?
Green in the spring, golden in the summer, white in the
winter.
What are "the sort little songs" of the leaves? The
rustling sounds they make as they are blown about by the
Why do we hot understand their songs? For the saine
reason that we do hot understand the call of the wind--
their language is hot ours.
« Winter had called them." What is the voice of winter?
The cold winds that r.oar and whistle.
What is meant .by ".content"? The leaves were quite
glad fo answer the ca]l.
Why were they content? The work that they had been
doing ail summer long was donc; they were tired and sleepy
ad glad o go to bed.
When may it be said that the leaves .are °' fast asleep
When they lie quietly <)n the grotmd, no longer blown about
by the wind.
How were they kept warm during their long sleep? The
show came and covered them up wamly, like a "blanket"
What does the whole lesson describe? The falling of the
leaves.
What does the first stanza speak of? The call of the wind.
The second? The answer of the leaves.
Tho third? The leaves asleep.
Tell-the story of tho poem in your own word-s.
52 LITERATURE
PIPING DOWN THE VALLEYS WILD
(Firat Reetder, petge 52}
Te enable the pupils o apprcciatc the pretty pictures
and the music, and te learn how their pretty songs were
written.
PREPAIATION"
In far-away countries there are many sheep, and they
require shepherds. These shepherds, as they can rest while
their sheep feed, sometimes etmuse themselves by cutting
oat straws and making them into little flutes. They cut
holes in the straws, just as you see holes n flutes or in tin
:histles. They learn te play very pretty tunes. David,
king of Israel, was, in his youth, a shepherd .boy, and he
learned te play beautiful music while he watched his sheep.
The Psalms that you flnd in the Bible were composed by him.
PI1ESENTATION
New let us read about a shepherd who wets .playing music.
(The teacher reads the poem.} While he was playing, what
did he see? He setw a little child sitting on a cloud.
What wets the child doing? He was letughing.
Why? He liked the music.
Whett kind of music wets it? It wets pleetsetnt, full of joy.
Where was the shepherd? In a valley.
Tell wh'ett the vetlley wets .like. It-wets wild. It had big
rocks etnd hills on eetch side, etnd et cloud wets over the vetlley.
Whett did the child etsk him te de? Te plety "et song etbout
a Lamb "
Why did he de that? Because the sheep were pretty and
he thought he should like .te hear çretty music etbout them.
How did the child Iike it? He asked the shepherd te
plety the tune etgain, etnd it was such beautiful music thett
the keen enjyment of it ruade the tears corne te his eyes.
What did the child next ask? He wished te have the
music put into words, 6o he asked the shepherd te '° sing" it.
PIPING DOWN THE VALLEYS WILD 3
How tlitl the child enjoy it? It was se lovely that ho
"wept with joy ".
What did he ask the shepherd te de? Te "write" it
down.
Why? Tho chi]d thought it was se lovely lhat he wanted
other children o hear it, too.
Yes, that Is the way that we corne te bave al] these pretty
poems in out books. If they were only played or sung, net
se many children cou]d bave the opportunity of enjoying
them.
What de you need when you write? W need pens, and
paper, and ink.
Tho shepherd had net steel pens, and whito paper, and
black tnk. He may bave used the bark of trees te write on.
How did he get a pen? He "'plucked a hollow reed ", and
he "marie a rural pen ".
What does that mean? He took a hollow stalk, such as
an oat straw or a weed, and eut it in the ferre of a pen.
What ls a "rural pen"? "Rural" means be]onging te
the country. The pen was net ruade as ours are. The shep-
herd wrote about sheep and other things belonging te country
life.
How did he get any ink? He took "water" frein the
stream and " stained " it se that it would 1cave a mark some-
thing like our ink.
Yes, the paper, the pen, and the ink would net be se good
as at prescrit, but they would serve as a beginning.
P, EPRODUCTION
1. Where was the musician?
2. What kind of instrument was ho p]aylng?
3. Where was the chiRl?
4. What was the child's second request?
5. What was lais third request?
6. How was the shepherd able te write?
7. Why did the child wish him te write?
(Tho pupils may net understand "rural", "valley",
°' pipes", se the teacher should give such further explana-
tion as the different cases demand.)
54 LITERATURE
THE BABY SWALLOW
(First Reader, page 103)
The aire of this lesson is to teach, by means of a story,
the moral of trusting in God and tr)'ing fo do one's best.
Ehe teacher should introduce the lesson by inquiring
of lhe pupils if thcy have ever watched a young bird
lcarning fo fly. Ifs timidity and the anxiety of the mother-
bird should be especially cml»hasized. A brief reference
to the swallow might also be in place, though this is not
essential, as the poet has selccted if merely as a type of
l,irds in gencral, and almost any other bird would answer
his purpose as well. The rapidity and grace of the
swallow's fiizht, and its habit of constructing its nest
of mud under the caves and in other sheltered places
about buildings, are the main points fo be noted.
What is the lesson about? About a baby swallow learning
to fly.
What do the first four stanzas tell us? Hls fears.
And the last three? The sueeess of his effort.
What do you see in the pieture? A tower with a bell in it.
What naine is given bere for tower? Turret (" Turret"
means a little tower.)
From its sound, what do you think "belfry- means?
The place where the bell is.
What, then, is a " belfry turret"? A tower where a bell
is hung.
On what part of the tower had the bird its nest? The
front.
What word does the poet use to express that? " Breast".
What has been beating against the tower for years? The
wind, sun, rain, snow.
What one word would stand for all these? Weather.
Explain « weather-beaten ".
In perehing on its nest, what does the baby .wallow .eem
ready to do? To fly.
THE BABY SWALLOW 55
What other words might the lIother-Bird use instead of
" courage"? " Don't be afraid."
How many wings are meant by " either wing "?
In this stanza, what is the " lIother-Bird " doing? Giving
the iittle bird instructions in the way to b.egin flying.
Describe how he is to begin.
How does the baby feeI about it? He feels afraid.
What word tells you this? «Pauses."
What does he think ts deep? The distance between the
tower and the ground.
Why is the bird afraid to attemlt to fly? Itis so far
to the ground and his " wings " seem very "small ".
Why is the "lIother" hot afraid to let her baby try?
She knows that God will carry him safely.
How does she know this? Because "He "had "carried "her.
When? When she was as small as the baby swallow is now.
Why does the " lIother" tell him this? To encourage
him to make the attempt.
How does the baby swallow make his start? He " spreads
out his wings "' as far as he can and '" springs " out.
Which stanza has almost the saine form as this? The
second.
What is he surprised to find? That he is able to fly.
How does he feel after that about flylng? He is no
longer afraid.
PIEPAIATION
What is he able to do wel]? To steer.
What does this mean? To fly in any direction he wishes.
How (loes the "Mother" feel over her baby's success?
She feels glad.
To whom does she give thanks? To God.
How does she do so? By singing a song of thankfulness.
What can we Iearn from this story? That, if we really
try to do a difficult thing, we can usually succeed; that some-
rimes a thing that looks hard is really very easy when we
try to do it.
TeI! thia story in your own words. Tell any similar $tory
you know.
56 LITERATURE
THE BROOK
(First Reader, page 110)
PREPARATION
You stood on the bridge and looked at the stream. What
dld you see? I saw seine little fishes. I saw my image. I
saw seine brlght stones.
It is no wonder you looked at the stream when it shows
you se many things. What were the fishes doing? They
were swimming. They would dart after seine crumbs that
we dropped into the water.
Why were the fishes there? That is their home.
Yes, they like te lire in the clear water. Mary says she
saw ber image. What have you at home that shows you
your image? The mirror.
Yes, the brook is somewhat llke the mirror. Did you see
images of any other things? Yes, I saw knages of the trees,
and seine stones, and I saw the images of the ducks that
-ere swimming.
Willie says that he saw seine pretty pebbles. Does the
brook make any noise? Yes, It seems te sing when it runs
over the pebbles, but in the deep places it does net make a
noise.
PRESENTATION
New I shall read you a little poem about a brook. (Read
with emphasis, even with slight exaggeratton.) New, where
did this brook begin? In "a fountain".
What is that? A spring of water.
Where was the fountain? « In a mountain".
What is that? A high hill.
Was it very large where it started? No, the lesson says
it vas only " Drops of w.ater" and it trickled '° through the
grasses "
What does tt mean by "Trickling through the grasses"?
It means that there was se little of tt that the blades of grass
seemed almost te check lts source.
THE BROOK 57
Did it run very fast at first? No, the lesson says that
it "started .... Slow"
Did it run any faster after that? Yes, "Soon it darted",
and It was '" Hurrying".
What caused it te dart and hurry? The ground was
steeper, and it had te run more quickly.
Where was it running? Down "te the sea", where it
would be lest in the other water.
Did it grow any larger before it carne te the sea? Yes,
it grew "Swift and strong", and it widened " very fast ".
What caused it te widen? Other little brooks tan into it
and rnado it wider.
New, the brook is said te be like a person. Can you
point out any words that rnake you think it was like a
person? Yes, it hurries just as children hurry.
In the next stanza, the lesson says it was " Glad ". Why
was it glad? It was glad that the "Children " carne te play
on its banks.
Yes, it felt just as you feel when your friends corne over
te your bouse te play. De you see any other words tLat
rnake you think it is like a person? Yes, it is "Swift and
strong and happy". It rushes and it sings.
What is it like new? It is like a big, strong, happy boy.
Why did the children corne te play on its banks? They
carne te pick the flowers.
What line shows you that? "Blossorns floating." The
children plcked the fiowers and thre' sorne on the strearn
te watch the current carry thern away.
What else were the children dolng? They were sailing
toy boats in the water.
What words show you that? " Mirnic boating."
What else did the children enjoy? They liked te see the
"Fishes darting past" thern. The fishes were tirnid.
The brook rnakes sorne very pleasant sounds. What
words show you that? " Rippling", "" Bubbling ", "singing',
"rlngirg ".
When does the water rnake these sounds? When it ls
running "over pebbles" or down the steep places.
58 LITERATURE
You must fancy you hear the brook make its gentle
music when it is running over the pebbles. What does the
-ater look like when it ripples? Itis hot smooth; it has
tiny waves upon it.
You bave heard the water bubble and gurgle, and then,
when the stream grows large and runs faster, you can hear
it " singing" and " ringing" in the distance. The poet tells
us some pretty things about the brook. Tell me some of
them. It was " Cool and clear and free".
Why was it " Cool"? It had flowed among the gras'ses
and had corne from a spring in a mountain.
Why was it " clear"? It was such pure water that you
could see the stones at the bottom of the brook.
Why does the poet say it was '" free"? There were no
logs nor big stones fo stop its course. It tan freely on its
way.
Do you see any other words that describe its appearance?
It ls " Flecked wIth shade and sun".
Now " Flecked" is a hard word. It means spottcà or
striped. Can you tell me what that means? Sometimes the
brook ls bright and shining and, in some places, it is shaded
by the trees or by the clouds. You can see bright patches
on the. water.
Now you have to]d me many wonderful thIngs about this
brook; where it began and where it ended, how It grew, how
It sang, how glad it was to see the children, and how the
chlldren played with it, and how it looked. What does it
tell us at first? It tells us where it began.
In the next stanza? It runs a little faster.
In the next? It was glad to see the children.
In the next? The children were playing with it.
In the next? It tan bubbling and singing into the sea.
]IE]IO12IZATION
Now we shall learn the words of this pretty lesson, taking
the first stanza to-day. Let us take the flrst three lines.
Now all the lines. Let each one be read'y to repeat it. See
whether you can say the flrst stanza to-morrow, and then
we shall learn some more.
CIIAPTER V
FOI [ Il
MY SHADOW
(Second Rentier, page 3)
AI,f
THF airn of the lesson is fo raake tbe poem so ]ife]ike tiret
if will seem to each pupil as though the shadow anO the
words were his own.
PRESENTATIOI
After the poem has been rcad fo gie a general idea
of the story, the teaeher should proeeed with if in detail,
much in the saine spirit as he would-carry on a bright
conversation with the pupils about something in which
they were all equally interested.
Stanza I
How do I know my shadow is very fond of me? He
"goes in and out with me".
What does that mean? It means he goes wherever I go.
What is "the use of him"? That " is more than I tan
see ".
ha£ |s he Hke? He s just " Hke me from the heels up
to the head ".
What does ho do when I go to bed? He jumps into bed
" before me".
IEMORIZATION
Now, children, four of you may each recite one line
What bave you, Susie? "I have a little shadow that goes
in and out with me."
60 LITERATURE
What is the use of your shadow, John? "And what can
ho the use ol' hlm is more than I can sec."
What is he like, Mary? " He is very, very like me from
the heels up to the head."
When do you sec him jump ahead of you? "And I sec
him jump belote me, when I jump into my bed."
NoTE.--Each pupil's expression should reveal an
a«.tive imagination and heartv response fo the spirit of
the sclection. The whole should be very lifelike and real.
Some pupil should be asked fo recite or read the whole
stanza.
Stanza II
What ls there funny about the shadow? " The funniest
thing about him is the way he likes to grow."
How ls that? "'He sometimes shoots up" very tall ail
at once, and then he dwindles down to nothlng.
How would you expect him "to grow"? I would expect
him " to grow" as I do.
How is that? Oh, that is "very slow".
The author says "liko proper chiIdren ". What does that
mean? That means liko rem children.
What shows that he sometimes grows up very, very
quickly? Tho poet says ho "shoots up".
What other words tell the saine thing? i, Like an india-
rubber ball."
How fs that? The ball goes up qulckly with a bounce,
and the shadow seems fo sprlng up in the saine way.
IEADING AND ]IESfORIZ_.TION
Let two or three children read the stanza. In the
first line, tle voice siould show how funny it all is; in
the second, the demureness of the " proper" child and
thc slowness of the growtl should be revealed in the
rcading; in the third and fourth lines, there should be
an imitative r.esponse fo the sudden up-growth of the
MY SHADOW 61
shadow and te the ehildish surprise af his dwindling into
nothing.
lIemorization should be conducted as shown in
Stanza I, above. There should be no evidence of task or
cffort in the recitation; it is very necessary that if be
spontaneous and full of enjoyment for the pupils.
Stanza III
The shadow knows very little about one thing. What
ls that? He has no "notion of how ehildren ought te play".
How does he "make a fool of me"? '°In every sort of
Well, give one way. tte mlmies me.
Where does he stay? He stays right " close beside me"
rhy does he de that? He does that because "he's a
coward "
How would you feel about doing the saine thing? I
would feel ashamed of myself.
Reading and recitation of this stanza should new be
conducted as indicated in Stanzas I and II, above.
Stanza IV
Dld you ever mariage te get away from your shadow?
Yes, I did.
Tell us about how you did it. Well, "0ne morning, very
early", I got up "before the sun" did, and went out in the
flower garden. I looked around for my shadow, and I round
he "had stayed at home behind me " in bed.
What ls he called for doing that? He is called "an
arrant sleepy-head "
Give another word in place of " arrant" that wlll mean
tho same thing. He was a thorougll and shameless "sleepy-
head "
What was the real cause of his staying behlnd? There
was "none of him at all ", because the sun was net up.
5L
62 LITERATURE
What will happen when the sun does corne up? Then my
shadow will suddenly show himself again.
Now, if you would like to bave another stanza, telling
about what happened when the sun came up, just try your
best to write one.
IIere is anothêr that was written once af the end of
the lesson :
But when the dear old sun came up above the trees,
My frisky little shadow came out into the breeze;
I didn't see him ioming, but, when I turned around,
His head was at the window, and he lay along the ground.
ONE, TWO, THREE
(Second Reader, lage 21)
To enable the pupils fo undcrstand the beauty and
pathos oï the selcction,
To arou.e in thcm a sympathy for those who are weak.
REIAI/ATIO.N "
How many of you liko to play gaines? Everybody.
Name somo of the gaines you play. Ball, tag, hide-and-
seek, etc.
With whom do you like to play? With boys and girls of
out own age.
PII, ESENTATIO_N"
Here ts a story that tells about two people lalaying a
game. (The selection is read aloud by the teacher.}
What is the story about? An "old lady" and a little
boy playing " Hide-and-Go-Seek".
What relation were they? Tle old lady was the boy's
" Grandma %
Let us look at the story again, and see if they enjoyed
their gaine as much as you do yours. Is there anything in
ONE, TWO, THREE 63
the first stanza that tells us they were having a good time?
"The way that they played together was beautiful to see."
What was beautiful about it? They were so kind to each
other. It was pleasant to see an old lady and a little boy
havng such a happy rime p]aying together, and understanding
each other o well.
How do you feel, as you read the second stanza? I feel
sorry for tho boy becauso ho is ]ame.
Any other reason for feeling sorry for him? He is '° rhin ",
as though he had been sick a long rime.
In what way are he and his Grandma a]ike? Neither of
them can run or jump.
Do you feel more sorry for the Grandma or for the little
boa'? I ïee! more sorr} ïor the boy, becauso he may nerer
be able to run around, and his Grandma could when she was
young.
Describe tbe picturo you see in the tird stanza. I see
an old lady and a little boy sitting " under the maple tree"
The little boy bas a pair of crutches beside him. The " sun-
light" is shining through the leaves, and it is a warm
summer's day, or they would hot be sitting out. There i a
house near them.
What game were they playing? "Hide-and-Go-Seek."
Would you know it from looking at them? No, because
they are sitting still, and when we play the gaine, we run
around and hideo
How did they play it? They thought in turn of some
place to bide and imagined they were hiding in it; they had
threo guesses to find out the place.
Whose turn was it to hide? The old lady's, because the
boy is guessing whero sho is.
Where did he final her at ]ast? In " Papa's big bed-room ",
in " tho clothes-press".
Is there anything else spoken about that was in the bed-
room? Thero was "little cupboard".
Why does he mention the cupboard? He often thinks of
it. He likes it.
Why? His mother's "things used to be" in
64 LITERATURE
Why does he say "used te be"? That tells us that they
are net there any longer.
Why? I think his mother is dead.
Who takes care of him new? His grandmother lires with
him and looks after him.
Why does the boy say " It can't be the little cupboard"?
They both think too much of it te want te use it in connec-
tion "«ith their play.
How did the boy enjoy the gaine? Very much, because
it says he laughed " with glee".
How did the Grandma enjoy it? She was glad te see the
boy happy.
De old ladies usually like te play games? No, they gen-
erally prefer te read or sew.
Why was she playing with the boy? She loved him and
was sorry he was lame.
Could he de anything for his Grandma? He could talk
te her, and keep her from being lonely. When he grows
older, ho can read te ber.
Describe the picture you see in the ninth stanza. I see
the old lady, with her hands covering her face, while she
guesses where the boy is hidden.
In the last stanza, why does the author use se many
"olds", in speaking of the Grandmother? He wants te
mako us feel sho is quito old.
Why does he say "dear" se often? He wants te show
how very kind she was te the lame boy.
Why does he say the boy was "half-past three", instead
of three and a half years old? It sounds better the way he
says it. It suggests the clock's time.
Give me seine other titles for this poem. " The Chums",
"A Queer Game", "The Two Playmates"
DANDELIONS
(Second Reader, page 30)
ABI[
To lead the pupils fo perceive and appreeiate how the
poet uses persoificati, and comparison.
DANDELIONS 65
PRESETATIO'IV
This poem should be studied in the spring, when the
dandelions are in bloom. A nature study lesson should
precede the literature lesson. The pupils should be rc-
quired fo observe when the dandelions begin fo make
their appearance; at what time of the day they are most
conspicuous; after what kind of night they are to be
round in greatest profusion; what change occurs in the
structure of thc flowers as they gro" older; ]lOW long" a
rime usually elapses betwcen the first appcarance of the
flowers and this change; what the white, d,wny part
of the flower constitutes; what eventually becomes of this
part.
Introduce the /esson by a bricf conversation about
military operations. Describe how one arny tries fo seize
a strategic position, sometimcs a hi]l, wbere tbe men
tan fix their guns and command the surrounding country.
If this lesson could be presented withofit the pupils
knowing the fit]e (by writing the poem on the black-
board, for instance), there would be the added interest
of solving a riddle, namely, what the poet is describing.
What is a real "trooper band"? A band of soldiers on
horseback.
And what are real " veterans"? Old soldiers who bave
seea much service in war.
What is actually meant by the " trooper band"? The
dandelions when they first corne out.
What is the phrase that suggests that they are dande-
lions? "Yellow coats."
What does the author actually mean by the "veterans"9
The dandelions, when they bave gone to seed.
What phrase suggests this? "Their trembling heads and
66 LITERATURE
Where did the "trooper hand " make their appearanee?
On the hillside.
When? On a " shoxvery night and still".
Why is such a night selected? Because it makes the
dandelions bloom in great numbers.
To what is the coming of the dandelions compared? To
an army taking possession of a bill.
What words tell how they came? "Without a sound of
warning", "surprised", "We 'ere hot waked by bugle
notes", " No cheer our dreams invaded "
Explain "surprised the bill ". Marched upon it when
they were least expected, and seized it.
Give the meaning of "held it in the morning". Had
nndisputed possession of it.
Tell. in your own words, hov the dandelions came. Sud-
denly and unexpectedly.
How did this attack differ from a real-military attack?
There were no notes of the bugle or shouts of the soldiers
to announce the capture of the bill.
Change " No cheer our dreams invaded " into prose ortier,
and explain the meaning. No cheer invaded our dreams.
Out sleep was hot dis/ur.bed hy the vict<)rious shouts of
soldiers.
How did the coats of the soldiers you bave seen differ in
colour from those of the dandelions?
Y'hat is the meaning of " at dawn"? The first appear-
ance of light it the morning.
" Green slopes"? Grassy hillsides.
" Paraded "? Marched up an.d down.
About what time bas elapsed between the incident of the
first stanza and that of the second? Probably a week or there-
abouts.
What deed is referred to in the first stanza? Tlae seizure
of tho hill.
What is meant .by " idly walking"? Without any definite
purpose in view.
" lIarked "? Noticed.
About what were the veterans probably " talking"? About
their military exploits in years gone by.
THE BLIND MEN AND THE ELEPHANT 67
What words are suitably used in describing these veterans?
°' Trembling" and " gray" suggest old age.
Arrange " their trembling heads and gray" in ordinary
prose order. Their gray and trembling heads.
Why should the veterans be filled with °'pride"? Be-
cause of the brave deeds they had done.
Why did fttey laugh? Perhaps, because of some amusing
occurrences they had seen.
What characteristics of the dandelions suggest these
fancies regarding the veterans? The heads of the dandelions
are white. As they sway in the breeze on ttteir slender
stalks, they incline their heads toward one another in much
the saine way as people do in conversation.
Why s the " laughter" said to be " noiseless"? lecause
human beings could hot be expected to hear the laughter of
the dandelions.
What expression would you be ]ikely to use, instead of
"welladay "? Alas!
What is meant by "they blew away"? OEhe seeds of the
flowers were scattered far and wide.
What do you like about this poem? (1) Its charming
poetic fancies. (2) The fitness of the comparisons.
Poin out clearly how the appearance of the dandclions
resembled a military attack, and how, in the later stage
of their lire history, thcy resemblcd vetcran soldiers.
THE BLIND MEN AND THE ELEPHANT
(Second Reader, page 56)
AII"
The aire of the lesson should be, hot only fo lead the
pupils fo enjoy the humour of the poem, but also to
appreciate the lesson it teachcs. It affords a fine oppor-
tunity for the dcvelvpment of conversational powers in
the pupils.
68 LITERATURE
The pupils should ho encouraged fo talk freely, and
the questions should oftcn call for quite lengthy answers.
PItEPARATION
Who bas seen an elephant? You bave, Henry? Well,
tell us sometlaing about laim. He was very large. One of
our barri doors is twelve feet high and six feet wide, and
father said the elephant would just be able to go through
that door. If he was in the school-room, his back would
reach almost to th« ceiling. His ears were bigger than the
top of my desk. His trunk was twice as long as father's
cane, and was nearly as big around at the upper end as
bag of wheat, and the lower end was as small as my leg is
below tlae knee. His tusks were hard and wlaite, one on each
slde of hls trunk, and were longer than father's arm. His
tail was small. It did hot seem tobe as long as one of lais
tusks. His legs were larger around than the trunk of the
biggest apple tree in out orchard. His skin v¢as something
like a hog's skin, only thicker, and he had no hair.
whole body was a dirty, dark colour.
That is a fairly good description, Henry. You bave helped
us to picture a very large elephant.
PI/,ESENTATION
As you bave rend this poem to yourselves, tell me what
itis about. It is about six blind men "Who went to sec the
elephant °'
As they were blind, law could they sec him? They couldn't
sec him as 'e do, but t, hey could feel him, and that was to
them what seeing is to us.
In wlaat way was feeling the same to them as seeing is
to us? It was tlaeir way of knowing the animal, and that is
just what seeing is totrs.
Where did this happen? It happened in Indostan.
I told you to look for Indo.stan in Asia. Point it out on
the map. (A pupil points to it.)
What are we told about these men? Tlaey gave much of
their rime to study.
THE BLIND MEN AND THE ELEPHANT 69
What do you suppose was their favourite way of finding
out things? This lesson makes me think that they liked to
find out things by their own efforts.
Why do you think that? Because it says that they wanted
to "satisfy" their minds by their own " observations"
In what other ways do boys and girls satisfy their minds
about new things? By asking questions about them until
the answers satisfy them.
What other way do you use sometimes? We read books to
learn about many new things.
What did the first man learn? He thought he had learned
that the elephant was " like a wall "
Why do you say thought? He hadn't really learned it.
I-Ie stopped making observations just as soon as he had one
ldea.
Why do you think he did that? I think he was in a hurry
to be the first to state what he knew.
What words in Che poem suggest that tdea to you? The
words "At once bec, an to bawl ".
I-Iow did this man tome to think the elephant was "like
a wall "? He fell against the animal's huge side, and it ruade
him think of a wall.
What was the second man's opinion about the elephant?
He thought the animal was " like a spear "
Accourir for that idea. He felt one of the elephant's
tusks, and formed his opinion without going any further.
And what about the third man? The third man put his
hands on the e]ephant's trunk and felt it ail over, but as he
did hOt go any further, he declared that the elephant was
"like a shake", because it was the only thing, as far as he
knew, that squirmed about as the trunk did.
What did the fourth man do? The fourth man felt the
big front legs and declared the elephant was "like a tree".
Tell us about the fifth man. The fifth man happened to
touch the ear. He felt all over it but nowhere else, so he said
the elephant was " like a fart ".
And what had the sixth man to say? The sixth man had
caught hold of the elephant's tail, and when he had felt all
over it, he declared the elephant was "like a rope".
70 LITERATURE
What conclusion did they corne to in the end? They
didh't corne to any conclusion. They argued and argued for
a long rime, and each man was stubborn and stuck to " his
own opinion ".
GENEIIALIZATION
In what respects were they all alike?
1. Each one felt just one lart of the ahimal and took the
lart for the whole.
2. Each was in a hurry to give his opinion and did hot
take rime to form a good ohe.
3. Each man was stubborn and lrobably refused fo feel
where the others had felt.
If they could be in your place, how would they see them-
selves? They would see how foolish they had been, and each
would see that the others were as nearly right as he himself
was.
What lesson for ourselves can we learn from this? It
teaches us hot to be in a hurry in giving our Olinions.
What do we learn from the dispute mentioned in the last
verse? We learn from it that, when our own opinions about
anything are firmly fixed, it does no good to argue about the
matter.
In what way could they have arrived at the saine con-
clusions? If each had done ail that each of the others did,
they would have agreed about the elelhant.
In what way were these men really blind? They could
hot, or would hot, see the viewloint of others. There may
bo a mental blindness, as well as a physical blindness.
Here are two lines that you may memorize, as they fit the
lesson very well:
Convince a man against his will,
He's o the saine opinion still.
THE LORD IS MY SHEPHERD 71
THE LORD IS IIY SHEPHERD
(Second Reader, page 203)
To lead thc pupils fo appreciate file bcauty and power
of the language of this Biblical lesson, and fo ïeel a con-
fidence in God's protection and support.
PRESENTATION
The teacher sbould falk with fbe pupils about the
great flocks of sheep in Eastern ]and.. They require a
shepherd to lead them to pastures wherc the grass is l,»ng
and sweet, and fo protcct them from the wild animals.
This Psahn is callcd tle " Shepherd Psalm " because
if was written by David, after he beeame a king. Fie
remelnbercd the time when he was a shepherd boy and
uscd fo spcnd his days and nights in the fields with the
shcep, and how ho once killcd a lion and a bear that came
to attaek lais floek; and he thought fo himself that God
had cared for him all lais lire just as he himself used fo
care for his littlc lambs, so af last he put lais thoughts into
the words of this Twentv-third Psalm.
There are two mctapbors in this Psalm. In the first
is developed, through the figure of a shepherd and his
flock, God's care of Ilis people.
What are the feelings of the sheep toward the shepherd?
They feel confident that he will supply them with food; he
will lead them to the "green pastures" and to the "still
waters" by the wells and fountains, where they will neither
hufager nor thirst.
What does the expression "lie down" infer? A sense of
rest and security. The sheep can lie down in the green
72 LITERATURE
pastures" .and feel confident that the shepherd is able and
willing to protect them from danger.
In "chat way do we resemble the sheep? We are dependent
ni)on the Lord for pur snpply of spiritual and material needs,
and for guidance and I)rotection along the path of everyday
lire.
What does the Psalmist mean when he says: "He re-
sioreth my soul"? "Soul" means, in Hebrew, the "life,"
or "one's self". The Lord restores and brings back His
people, when wandering into forbidden places.
Explain the next line. As the shepherd goes before and
leads his sheep by the right paths, avoiding all dangers, so
the Lord leads His people into " the paths of righteousness".
What does "for His name's sake" mean? He has under-
taken to guide His people safely and will do it for the honour
of His name.
In the next section, whom is the Psalmist addressing?
]e is speaking to the Lord.
What words show that he is still uslng the figure of the
shepherd and the sheep? " Through the valley"; "Thy rod
and thy staff".
Wbat does the first line mean? Some paths that are right
paths for us to walk in still lead through perilous places; and
this is the way the Psalmist refers to this fact in shepherd Iife.
How should 'e feel? The Lord accomi)anies us, and we
should " fear no evil". The sheep follow the shepherd with
absolute confidence, and pur attitude toward "the Good Shep-
herd " should be the same.
What words show that danger is sometimes close? Death
sometimes cornes so close that it almost seems to cast a
shadow.
What does the "rod" represent? The rod is the sign of
authority, and represents the defence and protection afforded
by the shepherd to the sheep, when in danger from robbers
or wi]d beasts.
What does the " staff" represent? The staff denotes sup-
port and guidance, and is used for aiding the sheep in places
of need, even along peaceful ways. The expression " Thy rod
and thy staff" covers the whole round of protecting care.
THE LORD IS MY SHEPHERD 73
Herc the figure is changcd. In the second ruerai»hot
Çod is rcprcsentcd as a lmst with the l'salmist as a gucst
at a banquet.
"Thou preparest a table before me." The Lord makes
provision for man's needs. He does so openly, publicly (°'in
the presence of mine enemies ").
In what other way does the Lord show His care for His
people? The Psalmist says: "Thou hast anointed my head
To what does this refer? In the East, it was the custom
to pour an ointment of great fragrance on the heads of the
guests of honour at a feast.
I-Iow does the Psalmist further picture the goodness of
God? He fills our " cup" till it is overflowing.
What is the thought in the last two lines? The con-
fidence of the Psalmist in the Lord, that as He bas led and
guided him in the past, so His "goodness and mercy .... shall
follow" him " all the days of his ]ife," and he will live for-
ever in intimate communion with Him.
What do you like about the selection? The spirit of grati-
tude and confidence in those who enoy God's benefits. The
nature of some of these benefits is ruade plain to us by the
pictures of the "green pastures ", the "stil! waters ", °' the
rod and staff ", and the prepared " table ".
CHAPTER ¥I
FOI«M ]II
HIDE AND SEEK
{Third l=teader, page
AIhl
"l'«» LF..D thc pupi]s t, appre«iatc the cxquMte music
of the lanzuagc and the pathos of thc story.
PRESEXTATION
What does the poem describe? It describes a father's love
for his son.
There are two distinct parts. What does each part
describe? The first two stanzas describe a gaine of " Itide
and Seek" between the father and the boy, and the last
two, the father's intense longing for the boy whom he bas
lost.
What kind of day is described in the first stanza? A
bright and calm June day.
What things suggest this? Sleeping trees, still winds,
wandering clouds, " noonday silence".
What does the writer represent the trees and the winds
to be? Persons--the trees having the ability to sleep, and
the winds to rnove or keep still. This is called personifica-
tion.
What are "fleecy clouds"? Clouds that are white and
downy.
The poet speaks of thern as "flocks". What is the corn-
parison intended? The comparison of the clouds to flocks
of white sheep that, instead oî wandering across a meadow,
are wandering across the sky.
What does the word " wandered " suggest? That the clouds
are mov'lng along slowly and leisurely without any purpose
in view. "I'hey are doing this because the " wlnds are still".
74
HIDE AND SEEK 75
What is meant by saying that they "Have wandered past
the bill "? They bave gone below the horizon at the hilltop
and cannot be seen. The sky is thus clear of clouds.
What causes «'the noonday silence"? The heat of the
mid-day bas silenced even the songs of the birds. Compare
Keats:
When all the birds are faint with the hot sun
And bide in cooling trees.
How is the silence broken? By the voice of the little boy
hunting for his father.
What do the words of the tune he is singing constituteï
Tho rules of the gaine. The one hiding must respond
"Coo-ee'" each rime the one searching calls.
Where is his father? In a " leafy nook" in the woods.
What does the question " Shall I let him pass?" seem to
indicate? That ,his father hesitates for a moment to reveal
himself.
What does he do, however? He gives the boy the signal-
a "low, soft whistle". He cannot "let him pass".
What is shown in the last long line of the stanza? That
the man enters into the spirit of the gaine with the saine
zest as tho boy.
What feeling exists between the two? A feeling of per-
fect good-fellowship and affection.
Explain, "you're it". Your turn to hunt, mine to hide.
What further rules of the gaine are given here? (Every
boy and girl will khow these.)
What change in feeling is there between the first two
stanzas and the last two? A sudden transition from gaiety
and light-heartedness to sorrow.
What bas happened? The boy is dead.
Why is «, Long ago "' repeated? It emphasizes the idea and
adds to the pathos of the line. The rime bas seemed long
because of the intensity of the father's grief. Happiness
makes time pass quickly, hot so grief.
How does the poet suggest the idea that the game is stiH
belng continued though it is now an inexpressibly sad one?
He speaks of the boy as having left his father as if to bide,
76 LITERATURE
of his father as seeking him " high and low", of his being
safely " hidden .... in some pleasant place", of the father as
being unable to hear his " Coo-ee".
What is really meant by seeking him "high and low
The thought of his boy is ever with him. He unconsciously
looks for his face wherever he goes.
What is the " pleasant place"? Paradise.
How could you describe the short lines, " Far away", etc.,
down to the end of the stanza? As the call of a broken heart
te the boy.
Where is the idea contained in "iar away" ixpressed
before? In " Iidden safe and happy in some pleasant place'.
And where is the thought, "iIany a day", repeated?
" Long ago he left me, long and long
How is the father continually reminded of hls boy? By
the " Birds" and " Flowers"--everything that he loved
charged with memories of him.
What light is thrown upon the little fellow's interests?
He loved the out-of-doors, the things of nature.
What ray of sunshine breaks through the clouds of the
father's grief? The conviction that his boy " is wa'iting" for
him till he cornes.
What is the meaning of the line, "Love may bide itself",
etc.? The little boy's love may for the moment be hidden,
but it is everlasting. The father's love is likewise everlastig.
This is sufficient ground for believing that they will some
day be united.
The reading of this poem by the pupils will show
whether they feel ifs joy, ifs sadness, and ifs hope.
AN APPLE ORCHARD IN THE SPRING
(Third Reader, page 60)
AI3f
To leafl the pupi]s fo appreciate the beauty of an
pp]e or«]mrd in the spring and the music of the language
used in deseribin if.
AN APPLE ORCHARD IN THE SPRING 77
PREPARATION
This lesson shou/d be taken when the app/e orchards
are in bloom, q'he tcacher should prepare the pupils for
if, by asking them fo observe the blossoms, their colours
and odours, thc songs of the birds, and the sounds of the
streams.
PRESENTATION
Read the poem describing these. What is the main theme
of the lesson? The poet tells us how much we have missed
if we have hot " seen an apple orchard in the spring".
What is his theme in the first three stanzas? The beauty
of an apple orchard.
What, in the last stanza? Hls memory of it.
In what order does he describe the blossoms? In the first
stanza, the buds are turning white; in the second, they are
unfoldlng; and in the third, the petals are dropping.
Where does the author suppose the reader to be standing,
in the first stanza? Outside the orchard, where It fs possible
to see "the spreadin'g trees" and all the orchard at once.
Where, in the next two stanzas, is he supposed to be? He
is plucking the blossoms and walking under the trees.
What semses are appealed to in the first stanza? Sight--
"seen an apple orchard ". Hearing--" mavis sings its story ".
What senses are appealed to in the second stanza? Touch
--" plucked the apple blossoms", "touch them a delight".
Smell--" caught their subtle odours". Sight--" Pink buds
pouting at the light"i "Crumpled petals baby whlte".
What senses are appealed to in the third? Sight--" plnk
cascades". Hearing--" silver brooklets brawling", " cuckoo
bird soft calling".
Show the appropriateness of " hoary ", "wealth of promtsed
glory ...., pouting", " pink cascades", "silver brooklets
brawling ", " wonder of the spring ", " precious ", " tender"
What Canadian birds could be substituted for the maria
and the cuckoo? The robins, warblera, and goldfinchea.
78 LITERATURE
Lcad the pupils to exanfine the arrangement of the
rhythm and thc refrain, so that they will appreciate the
music of the verse. Let each pupil show his appreciation
by rcading the stanza he likes best.
LITTLE DAFFYDOWNDILLY
{Third Reader, page 223)
The teaeher should rcquirc the pupils to read the
lesson through and then to reproduce ifs main incidents
without any regard fo their allegorical significance. Such
headings as tbe following might be suggested by the
pupils, and these would serve to guide in this reproduc-
tion :
1. Daffydowndilly's dislike of the sehoolmaster
2. IIis dccision to run away from school
3. IIis meeting with tire stranger who accompanies
him on his journey
4. The havmakers
5. The earpenters
6. The soldiers
7. Thê merry-makers
8. lïIis discovery of his eompanion's identity
9. The lcsson that ho learned.
Having thus obIained thc literal meaning of the story
--a mattcr of little diffieultv--it remains fo get its deeper
significance. It is hardly probable that nmny pupils will
be disposed fo regard the storv as literally truc, yet few
will bc likcly, upon a first reading, fo see the principle
that underlies it. In order fo arrive af this, the feacher
may proceed as follows:
LITTLE DAFFYDOWNDILLY 79
Are there any parts of the story that strike you as im-
probable? (1) The reference fo Mr. Toil's long residence
upon the earth. (2) The frequent meetings with Mr. Toil's
brothers. (3) Daffydowndilly's slowness in discovering
another brother in the lerson of his companion. (4) Their
travelling all day in a circle.
If the story is literally untrue or improbable, what object
might Hawthorne have had in view in writing it? Perhaps
he wished to teach some lesson; perhaps there ls a meaning
hidden beneath th story.
Let us discover what that hidden meaning is? What
does the naine "Toil " suggest to you? Work.
What, then, may Mr. Toil represent? Work.
And what may his brothers represent? Different kinds
of work.
With this idea in mind, we shall now try fo understand
what each adventure really means. How are we prepared
for Daffydowndil]y's troubles with tbe schoolmaster and for
his later unpleasant experience? The author tells us that he
" took no delight in labour of any kind "
What flower did he resemble? The daffodil. The boy's
naine is another form of the naine of the flower.
In what respect is he said to resemble a flower? He
"loved to do only what was beautiful and agreeable, and
took no lelight in labour of any kind".
Why is Mr. Toil first represented as a schoolmaster? Be-
cause it is at school that a boy is first introduced to real
work. (This might be given a still more extended meaning.
The school represents the preparation for our future vocation,
whether it be in the school-room, or in an apprenticeship, or
elsewhere. This involves hard work, and hence is, to some
extent, at least, unpleasant.}
What is meant by saying that Mr. Toil "had donc more
good than anybody else in the world"? Work does
everybody good: (1) It keeps us out of mischief. Criminals
often become so because of the lack of profitable employment.
(2) It improves character. The people of the best and
strongest claracter are those who have had fo work hard.
80 LITERATURE
(3) It makes the world happier. The most miserable people
are those who have nothing to do.
"A very worthy character." Is " character" used in
usual sense here? It usually means what a person really
(Distinguish " character" and " reputation ".)
Explain what is meant by saying that " he had dwelt upon
earth ever since Adam was driven from the garden of Eden ".
Ever since that time man has had to work. God said to
Adam (Genesis iii, 19), " In the sweat of thy face shalt thou
eat bread ".
Why is Mr. Toil represented as being such a disagreeable
person? Because, to some people, work bas many unpleasant
features.
Any hctivity that bas no compulsory elements in it is no
longer work, but play. What is the real meaning of the
paragraph describing the schoolmaster's method of discipline?
The work of the school-room, being compulsory, and there-
fore disagreeable to idle boys, becomes exceedingly painful
when long continued.
Contrast Daffydowndilly's previous life with his experience
at school. Brought up under the indulgence of his mother,
his life had been very pleasant. Now, introduced to real
vork, he finds life very unpleasant.
What gives us a suggestion as to the identity of the
stranger whom Daffydowndilly met on the road? We are
told that he was " trudging .... along the road ", and that his
voice "' seemed hard and severe".
Why is " trudging" a better word than "walking"? It
suggests effort, and hence work.
How does the form of the question, "Whence do you corne
so early, and whither are you going?" harmonize with the
description of the stranger?
We are told that he had a "grave and sedate appearance",
and the somewhat stilted form of the question is quite in
harmony with this description.
Why had his voice "a sort of kindness in it"? Because
moderate work, such as this walking early in the day, is hot
altogether unpleasant.
LITTLE DAFFYDOWNDILLY 81
Explain " ingenuous disposition ". How does Daffydown-
dilly show this?
What ruade his discovery of hlr. Toil among the labourers
in the hayfield so unexpected? The circumstances and sur-
roundings--"the sunshine", "the blue sky", the singing
birds, the fragrant hay--were so pleasant that it was hard
to sec hov anything so unpleasant as work could intrude
there.
Why is Mr. Toil recognized in the owner of the field
rather than among the labourers? In directing the activities
of the men, as well as working himself, he is performing the
most arduous labour of all.
Why does the stranger say the farmer is a " more dis-
agreeable man" than his brother, the schoolmaster? Be-
cause the activities of farm lire are more laborious than those
of the school-room.
What expression that takes the form of a proverb is used
in describing this incident? °' To make hay while the sun
shofle."
Distinguish its meaning, as the author uses it, frona ifs
meaning as a proverb. The author uses it in its literal
meaning. The farmer must make the most of fine weather
and sunshine in curing (" making") his hay, for, if rain
cornes after it is cut, it will be more or less injured. Used
as a lroverb, the expression means that one should seize
the opportunities presented and make the most of them.
What does Hawthorne mean by placing a Mr. Toil at the
head of the company of soldiers? i%Iilitary movements,
though very attractive to the eye, really involve work.
Soldiers find their activities very toilsome, especially after
the novelty bas worn off.
Why is lIr. Toil placed even among the dancers? The
pursuit of pleasure soon becomes wearisome, and hence toil-
soie.
Why |s the fiddler represen(ed as a Frenchman? France,
as a whole, is reputed to be the gayest and spright]iest of
nations.
What ls meant by saying that " those who bave known
him best think him stil] more disagreeabIe than his brothers "?
82 LITERATURE
Those who devote themselves entirely to the pursuit of
pleasure find it more toilsome and disagreeable than ordinary
work. People frequently say, after a day given up to pleasure,
that they are more tired than if they had worked hard all
day.
In which of the incidents of the story does it seem least
likely that Mr. Toil would be met with? In the incident of
the merry-makers.
In which, most likely? The incident of the haymakers.
How has Hawthorne apparently arranged Daffydown-
dilly's experiences? He bas so arranged them that in each
successive incident we are more surprised at meeting with
Mr. Toil. Each one seems to promise less probability of his
presence than the preceding.
Why had Daffydowndilly hot recognized his companion
before? His voice had been kind and his manner agreeable
in the early stages of the journey.
Interpret this as bas been done in the case of the other
incidents. The early part of Daffydowndilly's journey had
been pleasant, owing to the freedom from school and the
interesting experiences by the way. But, as the day drew
on, he gradually grew tired, and then it was that he recog-
nized that walking is work.
What ]esson did he learn? That he could hot get away
from work. It is to be round everywhere, in the most un-
expected places, and one cannot ecape from it by changing
his occupation.
What is meant by Daffydowndilly's finding Ir. Toil's
ways more agreeable upon better acquaintance? When he
grew accustomed to his work, he round that it was hot so
very unpleasant after all: " that diligence is hot a whit more
toilsome than sport or idleness".
What is Mr. Toil's "smile of approbation"? The con-
sciousness of work well done.
Tell the pupils that this storv is an Allegory. They
]lave probably read other stories of a similar nature, and
mav he asked to frame a simple definition. An Allegory
is a story, hot literally trne, containing incidents that
MOONLIGHT SONATA 83
have a deeper meaning than is apparent on the surface.
Ifs purpose is fo teach some moral truth or universal
principle. It differs ïrom the Parablc in being longer
and more complex.
When the pupils reproduce the story, if wil] be well
fo adhere to the allegorical form, and hot attempt to give
ifs significance.
MOONLIGHT SOXATA
(Third Reader, page 285)
A
To ]ead the pupils fO appreeiate the importance of
details in the construction oï a stor3".
PREPARATION
The teachcr will have told the pupils a few facts about
Beethoven and, if possible, will bave shown thcm his
picture. He will also bave asked thcm to read the lcsson
at home and become familiar ith the story.
PRESENTATION
What is the main point in the story? The circumstances
under which the musician wrote the « Moonlight Sonata".
What is a sonata? It is a musical composition which
consists of movements fast or slow, sad or playful, accordlng
to the varying mood of the composer.
Where was the scene? In Bonn in Prussia.
When? On a moonlight winter's evening.
Who were the two persons? Beethoven and the writer.
Notice that these three important facts are ail told briefly
at the beginning.
Why had th writer called on the musician7 He wished
to take him for a walk and afterwards take him home with
him to supper.
84 LITERATURE
Had he any reason except the desire for Beethoven's com-
pany? Yes, Beethoven's health was not good, his hearing
was becoming impaired, and the writer evidently thought he
needed rest and recreation. These circumstances led to an
important result.
What happened next? In passing through a narrow street,
Beethoven heard some one playing his "Sonata in F".
What were his feellngs? Surprise to hear it in such a
place and delight at the excellence of the playing.
How did he show his feelings? By exclamations, ques-
tions, and short sentences.
What is told in the next three paragraphs? They decribe
a conversation.
Who are speaking? A brother and sister.
What are they saying? The sister is lamenting that she
cannot " go to the concert at Çologne" and ber brother re-
minds ber of their poverty. Then she wlshes that " for once
in her lire " she " could hear some really good music "
What happens next? Beethoven decides to enter the house.
How does the writer impress this fact on the reader? By
giving the argument between himself and Beethoven.
What were the latter's reasons? The player had "feeling,
genius, understanding", and these qualities are so rarely
found that Beethoven could not neglect them.
Explain these terres. The player showed refined feeling
in ber interpretation of the music, genius in ber skill on
the piano, and thorough understanding of the composer's
purposes in the composition.
Was it only for his own pleasure that the composer
entered? No, he wished to give pleasure to one who could
so well appreciate his work.
Describe the scene. A young shoemaker is seated at his
work. He is pale from the effects of confinement and toil.
A young girl with an abundance of light hair is leaning on
an " old-fashioned piano".
What does this piano show? That thelr parents had very
probably been loyers of music, and the piano may bave been
an heirloom.
MOONLIGHT SONATA 85
What cornes next? The musician explains the reasons for
his intrusion.
How did the brother look upon it? The young man
seemed annoyed at first.
How was this annoyance overcome? The manner of
Beethoven was so comical and pleasant that the young man's
annoyanco passed away.
How had Beethoven addressed the brother and sister?
His manner was very confused. He wished to conceal his
naine, and yet wished to give pleasure to the young girl.
How does ho show his confusion? The sentences " I, I
also play for you ", are such halting pries. He alpes
hot make his sentences complete.
What was the next part of the conversation? The young
man tells Beethoven that the " piano is so wretched " and
they " bave no music".
What is the purpose of this statement in the story? It
shows Beethoven that the young girl is blind and plays these
dilïïcult compositions by car.
How had she learned to play this Sonata? She had heard
a lady " practising" it, and "walked to and fro" in front of
the bouse in ortier "fo listen to it ".
What alpes this show? What a love of music and wonder-
ful natural ability the young girl possessed.
What is the next action in the story? Beethoven plays.
Why did he play better than he had offert donc before
large audiences? He realized how greatly his work was
appreciated; and he was deeply touched by the thought of
the young girl's blindness, ber poverty, ber skill, and ber
passion for good music.
What trifling occurrence now affects the story? The last
candle in the bouse burned out, so the writer opened the
shutters and admitted "a flood of brilliant moonlight"
What effect had this upon the composer? It changefl the
current of his thoughts and feelings.
YIow did he appear? "His head dropped upon his breast ",
and "his hands rested upon his knees".
What is the next action? The young sho'emaker asks
Beethoven who he ls.
86 LITERATURE
What did the composer answer? " He played the opening
bars of the Sonata in F." This revealed his naine. The
writer says that the young people " covered his hands with
tears and kisses ".
What were their feelings? Their actions were expressions
of their affection and admiration.
What takes place next? The brother and sister beseech
him to play « once more %
What description is given here? Beethoven's appearance
in the moonlight.
Describe him. He was very " massive" in size, lis head
was large and his features strong, and the light from the
moon encircled his head. (Produce a picture, if possible, of
teethoven. )
Did he agree to play again? Yes, he said he would "im-
provise a Sonat to the Moonlight".
What does "improvise" mean? He would compose the
music as he played.
Had this any relation to what goes before? Yes, the
writer has told us how thoughtful he had been when the
moonlight first streamed into the room. Now he is going
to express his thoughts and feelings through the fortes of
the piano.
We said at the beginning that a Sonata was a musical
composition consisting of various movements. What are the
movements? In this case there is first, "u sad and infinitely
lovely movement", then, "a wild, elfin passage in triple
time", and lastly, "u breathless, hurrying, trembling" close.
Let us examine this description of the "Moonlight Sonata "
more closely. What did the moonlight suggest to Beethoven?
" Spirits" dancing in the moonlight.
What does the first movement suggest? The " moonlight"
flowing " over the dark earth ".
What does the second movement suggest? The wild dance
of the " spirits on the lawn".
What does the last suggest? "Flight", " uncertainty",
" impulsive terror"
What was the effect upon the listeners? They were left
in a state of " wonder" and " emotion "'.
LEAD, KINDLY LIGHT 87
What musical terms are used to describe this music?
lnterlade, triple tme, agitato finale.
Explain them. IMerhde is a piece of music played be-
tween the main parts. Triple rime is rime, or rhythm, of
three beats, or of three tiraes three beats in a bar.
Give an example of triple time. It denotes sprightliness,
as in the waltz. The agitato fitalc means the close of the
passage with a hurrying movement.
What takes place next? Beethoven rose quickly, promised
to corne again, and hurried away.
Why did he hurry? He wished to write out the "Sonata"
while it was still fresh in hls mind.
What does the last short paragraph state? It tells that
this was the origin of the " Moonlight Sonata"
Where is the theme of the whole lesson found? In the
last sentence.
What bas the writer told us? He bas given us all the
circumstances which comblned to inspire Beethoven to com-
pose this great work.
ItECAPITULATION
Now let us review the story and collect these details.
What are they? The time, place, the persons going for a
walk, the narrow street, the wonderful playing, the conversa-
tion, the appearance of the young people, the blindness of
the girl, ber eagerness to hear "good music", the moon-
light admitted, the recognition of Beethoven.
Yes, all these things had a combined effect upon the
musician. If he had gone straight to supper, there would
probably hot bave been a " Moonlight Sonata". This lesson
lllustrates how time, place, persons, and action are arranged
to produce a well-told story.
LEAD, KINDLY LIGHT
(Third Reader, page 315)
To nid in the culture of a sensitLe response fo the
spirit and language of the prayer.
88 LITERATURE
PREPARATI0.'q
The teacher slmuhl talk with the pupils al»out a
journey through the darkness, over dangerous bogs,
swollen strcams, anti bcside precipices.
PRESENTATION
Read the poem. In what form is this lesson? A prayer.
What is the prayer? The traveller asks for the guidance
of the Holy Spirit. See notes on this lesson in the Manual on
The Ontario Readers, pp. 166-7.
Describe his journey. "The night is dark", he is "far
from home", he trusts to the light shining t.hrough the dark-
ness to keep his feet from stumbling; he does hot trouble
himself about x'hat lies far belote him, he attends only to his
footsteps one by one. He feels he tan pass safely over the
"moor", the "ïen", the " crag", and the "torrent", by
trusting to the guidance of the light. 'ith the dawning of
the day will corne the reunion with his loveà ones from
whom he has been separated.
Explain the symbolism employed here. The poet speaks
of himself as going through life like a traveller on a long
journey, wherein he is constantly met by trials and tempta-
tions and cannot always know what is the right course to
take. He acknowledges that he needs some stronger power
than his own to direct his life and asks for the guidance of
the Holy Spirit, content to trust himself to His leading in
any dangers and difficulties that may arise in this lire, and
secure in the knowledge that "with the morn" he shall see
once more those whom he has " loved " and " lost awhile".
YChat is the main thought of the first stanza? The
traveller prays for guidance.
Of the second stanza? He states that he bas hot always
been willing tÇ ask for guidance, but had relied on his own
reason.
Of the third stanza? He expresses his belief in the power
and willingness of God to guide him aright.
LEAD, KINDLY LIGHT 89
What is the relation of the second stanza to the first
one? It contrasts the poet's earlier attitude of mind toward
Goal with that of later years, thus emphasizing the change
that has taken place in his lire.
Is the poet stronger in the second case than in the first?
No; in the ïrst, hls ideal is higher and his humility greater,
as he relies absolutely on the guidance of the Holy Spirlt.
In the second, relying only on his own reasoning powers to
guide him, he ruade many humiliating failures.
Image the " moor % the "' fen "', the '" crag ", the "torrent ",
and " with the morn".
RECAPITULATION
Summarize the main flwutzhts and lead the pupils fo
bring out clearly the COlnparison between the traveller
and the poet.
Give a brief account of the auth.r's lire.
LEAD, KINDLY LIGHT
(Third Reader, page 315)
AI]I
To aid in fhe culture of a sensitive response fo the
spirit and language of the prayer.
TREATIJ[ENT
The teacher shou]«] rea«] the poem a]oud, fo awaken
respect for the deep humility, complete open-mindedness,
and growing faith of the poet.
What may this poem be called? A prayer for guldance.
Stanza I
What are the poet's feelings? He feels very much de-
I)ressed in sptrit, as a traveller would who was far from
home and alone in the gathering darkness.
90 LITERATURE
Whon] does he address as "Kindly Light"? Why does
he use the tern] "Light"? He may ren]ember that our
Saviour called Hin]self "the Light of the world ", and itis
as his " Light" or Guide that the traveller feels his need of
Hin]. He may be thinking of the Pillar of Fire and the Pillar
of Cloud.
What in]age is suggested by the words "Lead, kindly
Light"? It suggests son]ething that bas lire (n]oves on be-
lote), and sheds a beneficent light on the travellers' path.
What is n]eant by the " gloom :'? It means the condition
of his n]ind. Pie is seeking Truth and feels that he cannot
rely on reason alone to guide hin].
What do the last two lines show about hin]? They show
that he is hun]ble and is content to be guided through the
darkness "one step " at a tin]e.
Stanza II
What n]ore do we learn about his life in the second
stanza? In 'hat lan'uage is his forn]er " pride " contrasted
with his present humility? What is the n]eaning of " garish "?
What part of his lire is called " the garish day"? Why ls it
so called?
NOTE.--"(;arish" means dazzling, and by "garish
da)'" is meant thc earlicr care-free years whcn life seemed
all brightless and the author felt perfectly certain of his
ability to take «arc of himself.
What af times disturb4d his life, even in those "past
years"? What ruade him hide these fears? What is n]eant
by saying " Pride ruled n]y wiIl"? What now is his prayer
concerning these years? Why does he want them put out
of ren]embrance?
What is the relation of tbe second stanza to the first one?
It contrasts the author's earlier attitude of n]ind toward
God with what it is in later years, thus emphasizing the
great change that has taken place in his life.
LEAD, KINDLY LIGHT 91
Compare the dependence depicted in the first stanza with
the strength described in the second. In which case is the
man really the stronger? Account for the tact that when
he was strong, but hot in his own strength, he really felt
his weakness more than when he was weak.
NOTE.--The highcr lais ideal, the smallcr lac sees him-
self; and the lower lais ideal, the largcr he sees himself.
Observe also how the prayer to be led "on" reveals the
man's progressive spirit. The unprogressie man would
pray simply for safety and protection.
Stanza
What lesson does the poet learn from the "past years"?
What confidence does this lesson give him for the future?
What phases of experiences of life are suggested by "moor",
" fen "', "crag ", and " torrent "?
*OTE.--To answer this, there should be an effort to
inaage a moor, a fen, a crag, or a torrent clcarly. Then
when the pupil sees the desolate, lonesome lnoor; the
mir) , almost impassable fen ; thc sharp, out-jutting crag
which makes the ascent more forbidding and difficult;
and the rushing, unbridged torrent which must be 5)rded
or breasted, even though it threatens destruction ; if should
be easy fo relate these fo the experiences in life which
they t)'pi', or represent.
ttow long does the poet believe this guidance will last?
In what words does he say that it wil! Iast as long as it will
be needed? What does he mean by "the night"? Beyond
"the night", what vision does he see? Whose are "those
ange! faces"?
What is the relation of the third stanza to the second?
It shows how the author's confidence in the Divine guidance
92 LITERATURE
te ho granted hlm durtng future years is strengthened by
the lessons learned in former years.
The teacher should again read the poem aloud. This
will impress upon the pupils, net only the truth and
beauty of the poem, but also furnish an ]deal te stimulate
them in their preparation for the reading lesson which
is to follow.
CHAPTER VII
FORM IV
ffUDAH'S SUPPLICATION TO JOSEPH
(Fourth Reader, page 51)
INTRODUCTION
]EVIEW briefly the Scriptural account of Joseph's life,
and particularly the story of the visits of his brethren
to Egypt fo buy corn. Note especial]y the following
points :
1. The famine in the land of Canaan; the first visit
of Joseph's brothers to Egypt; their interview with
Joseph; the detention of Simeon; Joseph's demand that
Benjamin be brought down.
2. The return to Canaan; .lacob's refusal to let
Benjamin go down into Egypt; Judah's becoming surety
for his sale return.
3. The second visit of Joseph's brethren o Egyp{,
this rime with Benjamin; their entertainment by Joseph;
their homevard journey; the discovery of Che sitver cup
iu Benjamin's sack; their return fo Joseph.
GENERAL ANALYSIS
After the selection ]as been read, the teacher should
proceed by some such method as the foltowing:
With what does the passage deal? ffudah's entreaty to
$oselh for Benjamin's sale return to his father, and the
effect it produced.
93
7
4 LITERATURE
Into how many parts is the selection naturally divided?
Into three parts, corresponding fo the paragraphs as given
in the Reader.
What is the principal ldea in each part?
1. :Ioseph's decision to keep the offender as a bondman.
{Paragraph I)
2. Judah's supplication fo Joseph that Benjamin be per-
mitted to return for his father's sake. (Para-
graph II)
3. Joseph's revelation of hls identity, and the provision
he makes for the maintenance of his kindred.
(Paragraph III)
DET.ILED ANALYSIS
Paragraph I
Why did Joseph's brethren rail "before him on the
ground"? Prostration is the Eastern mode of siguifying pro-
round respect, complete submission.
What is the meaaiag of " divine"? In this sense, to look
into the future; fo see what ls hldden from ordinary people.
Does Joseph claire expllcitly to bave this ability? No, he
merely suggests it, probably to impress them with the ldea
of his power.
What does Judah mean by "the intquity of thy servants"?
Doubtless he bas In miad the wrong that they committed
years before, in selling Joseph to the Ishmaelites and decelvlng
their father. Verses 21 and 22 of the 42nd chapter of Genesis
go to show that the consciousness of this sin was ever belote
them.
What was Judah's attitude toward the accusation brought
against them? He frankly confesses the guilt of ail--hot of
Benjamin only.
Why do you thtnk he adopts thls attitude, when he must
have been sure that all were guiltless? tte perhaps be-
lieves that they are victims of a conspiracy, the object of
which ls to place them in the power of this Egyptlan governor,
,UDAH'S SUPPLICATION TO JOSEPH 9
and he thinks that this submtssive attitude ls best ealeulatecl
to secure mercy at his hands.
I-Iow do yo aceount for Joseph's apparent desire to keep
Benjamin in Egypt, with himself? Probably he thinks this
the best means of inducing his father, Jacob, to corne to
Egypt. However, he may hot really intend to keep Benjamin
at all. He may be making the threat only to test Judah.
It may be remembered that it was Judah who had counselled
the selling of Joseph years before. Joseph may now be trying
to see if Judah is the saine kind of man he was when the
selling into Egypt took p]ace--whether he will sacrifice
Benjamin in this extremity as he sacrificed Joseph himself.
If the latter is Joseph's object, how does the experiment
succeed? It proves that Judah is a different man, that the
years that bave elapsed bave produced a remarkable change
in hi character.
Paragraph II
Of what does Judah's entreaty largely consist? Of a
recital of the governor's orders and of Jacob's attachment
to Benjamin, the son in whom all the thoughts, hopes, and
desires of his old age are centred.
Upon what does Judah lay the greatest emphasis? Upon
the effect that Benjamin's detention will have upon his father.
Evidently the brothers are very anxious to spare their father
any unnecessary grief and pain.
For what purpose is the whole speech specially adapted?
To stir the emotions. It is suited to appeal to the feelings
of anybody, but, particularly, to the feelings of Egypt's
governor, though his identity is still unknown.
Which are the most pathetic sentences? The two be-
ginning with, "And 'e said unto my lord, We bave a father,
an old man", and "Now, therefore, when I corne to thy
servant, my father, and the lad be hOt with us"
What features of the speech would make the strongest
appeal to Joseph? The reference to his father's old age and
his attachment to Benjamin; his belief in Joseph's untimely
end; the blow that separation from Benjamin would involve;
Judah's willingness to sacrifice himself.
96 LITERATURE
What light does the speech throw upon Judah's character?
It shows a capacity for intense feeling, a deep devotion to hts
father, and a spirit of self-sacrifice. It might indicate also
a shrewd knowledge of human nature, for he apparently
knows how to present the case in the most effective manner.
What is the meaning of "thou art even as Pharaoh"?
Thou art as mighty as the king of EgyPt.
Explain " thy servant became surety for the lad unto my
father". Judah had given Jacob a guarantee that Benjamin
should return safely.
Select any figurative expression and give its meaning.
" Thy servants shall bring down the gray hairs of thy servant
our father with sorrow to the grave." The blow which
separation from Benjamin would involve will cause the aged
father to die of a broken heart.
What are the main characteristics of the supplication?
The language ls simple and direct, the feeling is of the loftiest
character, and the whole speech is highly eloquent. If the
test of true eloquence is the intensity of the appeal it makes
to worthy emotions, this passage may well be regarded as
one of the most eloquent in ail literature.
Paragraph III
Did Joseph purpose]y select this as the most fitting moment
to reveal himself? N'o. He revealed himself because he
could hot help it and because Judah's appeal had so worked
upon his feelings. The first sentence of the paragraph in-
dicates this.
Thy did he send every man away except his brothers?
He did not wish others to see his own lack of self-control or
his brothers' shame and embarrassment. Moreover, it was
a solemn situation, too sacred for vulgar eyes fo gaze upon.
We are told that he "wept aloud", that "he fell upon
his brother Benjamin's neck, and wept ", that "he kissed all
his brethren", etc. Is he unduly demonstrative? Eastern
people are much more emotional and demonstrative than
Western people.
JUDAH'S SUPPLICATION Te JOSEPH 97
Why did he have te repeat his assurance that he was
Joseph? The first announcement was se amazing that it
seemed incredible te them. Moreover, all his previous com-
munications had been through an interpreter and, no doubt,
their amazement was increased by hearlng hlm «ddress them
in their own tongue.
Upon what ground did Joseph tell his brothers that they
should net blame themselves for seHing him into Ept?
Upon the ground that Goal had brought good out of the evll
they had done.
Is he quite rlght in telling them that they should net be
grieved for the wrong they did him? They were free agents;
God did net will that they should sin, though He brought
good ou¢ of lt. Frein this .point of view Joseph is wrong.
But he doubtless sees that his brothers have long ago re-
pented their action and does net wish them te continue te
blame themselves. His assurance is no doubt prompted by
a noble generosity induced, te seine extent, by Judah's appeal.
What seems te be Joseph's domlnatlng motive? His love
for his father. His repeated references te him show this.
We can understand his elesire te provide for his father
and Benjamin, but why for his brothers who had wronged
him? Partly for his father's sake, perhaps. It was natural,
in those patriarchal days, that Jacob, if he migrated te
Egypt, should wlsh his family te de the saine. Besicles,
Joseph sees that his brothers are changed men.
What inducements does he hold ut te them? He shows
them that his own power in Egypt is sufficient te protect
them; he promises them the fertile land of Goshen, with
sufiïcient food for themselves and their flocks and herds; and
he points out that flve years of famine are yet te be in the
land, and that they must inevitably surfer if the invitation
is rejected.
Joseph frequently draws attention te his power in Egypt.
Is he at all vain-glorious? No, he does this te assure his
brothers that the wrong done him years before has had,
tbrough the goodness of God, a beneficent result; te show
them that it bas net been all suffering in his long exile;
and te induce his father te corne down te Egypt.
98 LITERATURE
"After that his brethren talked with him." About what
would they probably talk? No doubt Joseph ¢ould ask many
things about what had occurred in Canaan since he left, and
would give his brothers an account of his own experiences in
Egypt.
Does it hot seem strange that Joseph, during all these
years, should never have taken measures to find out how his
kindred fared, or to assure them that he was still alive? He
was probably ever looking forward to such a situation as this,
confident that the dreams of his boyhood would still be
realized. It was, perhaps, this belief in the ultimate fulfil-
ruent of his dreams that had kept him silent during these
years.
What qualities of character does Joseph show .in his
speech? A spirit of noble generosity and forgiveness, filial
devotlon, and a desire to find good in the midst of seeming
evil.
Point out passages that indicate these qualities. What
admirable characteristics does the whole selection exhibit?
Simplicity, directness, and eloquence of language, noble
emotion, loftiness of character, and high ideals.
As a final synthess oï the lcsson, let the pupils tell
the story in their own words, prcserving, as ïar as pos-
siblc, the saine order oï ideas as is followed in the extract.
This will reveal to the teachcr whether they have grasped
thc ideas in their 1)roper relationship.
MERCY
(Fourth Reader, page 89)
TtIE SETTI,NG OF TIIE SELECTION
This selection is taken from Shakespeare's play Te
Merclant of'Veice, iv. i. In this p]ay, Shylock, a Jew
of Venice, had loaned Antonio three thousand ducats, re-
payable on a certain date without interest, but if not so
paid, Antonio was fo forfeit a pound of flesh from such
MERCY 99
part of his body as loleased the Jew. Antonio, not being
able fo pay the money as agreed, Shyloek sued for the fui-
filment of the bond, and in court refused fo aecept even
three rimes the amount borrowed, insisting on a pound
of the merchant's flesh. Aecording fo the law, there
appeared fo be no help for Antonio, but the judge, Portia,
asked Shylock fo show merey. To this he answered, " On
what compu]sion must I? Tell me that." This seleetion
is part of Portia's rêply fo ShvIock's question. The
teacher should relate to the pupils the outline given above.
ANALYSIS OF THE THOUGHT
1. The qualittes of merey:
(1) It is hot forced.
(2) It is gentle.
(3) It earries a twofold blessing.
(4) It is the most powerful attribute in men of
might.
(5) It is divine in its nature.
2. Where mercy is round:
(1) It is round " enthroned in the hearts of kings'.
(2) It is round as a Divine attribute.
3. The results of showing mercy:
(1) It adds strength to strength.
(2) It makes man God-like.
Question, in order to develop the analysis of the thought,
and write on the board the topies, as given by he pupils.
TIIE DIFFICi'LTIES
Quality of mercy. The nature of mercy is hOt strained,
is hot forced. When the Jew asks "Upon what compulsion
must I?", Portla answers that compulsion has nothing to do
with mercy. It is not in the nature of mercy to be a result
of compulsion.
100 LITERATURE
Mightlest in the mlghtIest. This Is capable of a double
interpretation--(1) the quality of mercy in a man of great
power must be strong in proportion as his power is great.
(2} Mercy is at its greatest when exhibited by the greatest.
Portia would wish to convey the first meaning, as that would
bave the more weight with Shylock.
Becomes the thronèd monarch. The possession of this
quality makes a man more truly kingly than the mere wearing
of a crown.
Sceptre. The symbol of the monarch's authority.
Temporal power. Power whlch belongs to this world only.
Mercy--ls enthronèd In the hearts of kings. The '° hearts
of kings" are for mercy what the throne itself Is for a klng--
the most exalted position he can occupy.
Mercy seasons justice. Mercy tempers justice, rendering
it less severe and making it more acceptable and pleasing.
Develop he meaning through illustration, when possible.
For example, to teach the meaning of "' seasons" tri "mercy
seasons justice", lead the pupils to use the word seasons in
such sentences as: We season our food with spices. Lead,
from the meaning in common or familiar use, to its use in
the lesson. Avoid mere dictionary meanings of words. Teach
the use of the word where It
meanings apart from its use.
THE AIIGU .IENT
There ts no compulsion in mercy. Ifs course is always
from the higher to the lower. It is a blessing to both giver
and receiver. The greater the mercy shown, the greater will
be .the giver. To show mercy does more to make a monarch
kingly than does his crown. The one stands for the exercis -
of authority and power commanding obedlence and awe; the
other cornes from the heart and reveals the character. It is
more than kingly, itis God-like; for tn exercising it, man's
power becomes more Hke God's than in any other way.
Develop the above argument by questlonlng. Sure up the
result by requiring the whole argument tobe given by a pupil
orally in his own language. Finally, require the pupils fo
write, as forcibly as they can, the whole of Portia's argument.
MORXING ON THE LIËVRE 101
The remainder of Portia's speech as given in the play may
also be given to the pupils. In that case, the remainder of
the argument should be given as follows:
You demand justice, Jew. Even so, require it as you hope
Heaven may require it of you. Consider that mercy is neces-
sary to salvation, and remember that, as we all pray for
mercy, that fact itself requires us ail to show the deeds of
mercy.
The speech containing this part of the argument is as
follows:
Therefore, Jew,
Though justice be thy plea, consider this,
That, in the course of justice, none of us
Should see salvation: We do pray for mercy;
And that saine prayer doth teach us ail to tender
The deeds of mercy.
"We do pray for mercy", refers to the general prayer of
humanity for mercy. To have limited its reference to the
petition for mercy in the Lord's Prayer would bave weakened
its force to the Jew.
MORNING ON THE LIËVRE
(Fourth Reader, page 228)
ASSIGNSIENT
1. The teacher should explain to the pupils that the
Lièvre River (pronounccd Lee-eh-vr) runs through a deep
gorge in the height of land on the Quebec side of the
0ttawa P, iver, into whieh it flows hot far from the
Capital. In some places, the banks of the Lièvre rise
abruptly to a great height; af others more gradually, the
slope being covered with a thick forest owth. As the
river nears the 0ttawa, the banks become nmch lower.
The scenery, whethcr viewed from he height above or
from the river below, is verv beautiful.
102 LITERATURE
2 The teaeher should ask a few questions which van
bc answcred easily frein the pupil's o,'n reading of the
poem, ft, r examplc:
FronI what position docs the author first viev thc
sccnc? What things in the scenc appeal te each of thc
pupils as thc most bcautiful? Deseribe thc incident men-
tioned tu thc ]ast stanza. State in a singlc sentence the
sul,jcet-mattcr of Clic wholc poem.
TREATM ENT
The pupils' answers te thc questions given when Clic
lesson was assigned should be dealt wilh flrst.
Stanza I
What first attracts the author's attention as he looks Ul-
ward? What makes us feel how high up the banks the mist
extends? What 13art of the mist al3pears most beautiful?
'hy? Te what is it cornpared? How does this comparison
affect our impression of (1) the colour of the mist; (2) the
height of the mist? Does the comparison make the meaning
clearer? Is the comparison al)t? Is it beautiful?
NOTE.--When a blacksmith cools the red-hot iron in
a Cul» of water, vapeur rises te the roof of his shop. The
blaze frein his forge shining on this mist produces the
colours mentioned. The amethvst is a precious stone,
elear and translucent, with a colour inclining te purple.
The presenee of eoal dust or smoke in the vapeur would
help Ce produee the colour of amethyst. The saine effeet
would result, if seine smoke or ¢lust were mingled with
the raist where tl,e su,'s ravs reach it af the top of the
gorge.
"Screams hls marins te the day." What is meant? What
idea does the author wish te convey by this mention of Che
bird? Out of hearing "of the clang of his hammer" gives
MORNING ON THE LIÈVRE 103
a strong impression of the great height of the gorge. Of
what "giant" are we ruade to think? What is meant by
"skirts of mist"?
The teacher's rcading of this stanza, a part af a time,
if if is taken up in that way, or all af oncc, should aid
much in imprcssing upon the minds of the pupils thc
wondcrful beauty of ihe scene dcscribcd, and this is the
maia i)urlose of thc ]csson.
Sianza Il
The author is paddling down the river. Describe the
movement. What shows that the mist has risen from the
surface of the water? What indicates the calmness of the
river? What things connected with himself does the author
show to be in harmony with the scene? How does he indicate
the harmony in each of the foIlowing: The motion of his
canoe, the surface of the water, his own activity, the force
of gravity, the character of the morning, and the forest life?
We should expect him to dip his paddle very quietly, if he
felt the calmness of-the morning, but" to show that the
"silence" pervades all nature, the very drops of water from
the paddle blades seem to fall gently, in sympathy with the
spirit of silence reigning all around. What are the " river
reaches"? The reach is the stretch of the river between two
bends. How are they "borne in a mirror"? The high cliff-
like banks are mirrored in the surface of the water. Explain
the colour "purple gray". Itis the colour of the image of
the banks in the water. What is meant by "sheer away"?
It means that the °' river reaches" curve away like a winding
road. Try to see the picture of the winding river, apparently
growing smaller as it passes curve after curve. As it seems
to recede into the distance, the surface of the river forms
a "misty line of light ", just before it melts into the shadows
of the forest. Where do the forest and the stream seem to
meet? What does the word "plight" suggest about their
meeting? What suggests a meeting-place out of sight? Why
is the meeting represented as taking place in the shadow?
Now what ls described in the second stanza?
104 LITERATURE
"As a cIoud", "Iike a dream". Do these make the
meaning clearer? Explain. Are thee comparisons al)t?
Show the fitness of " sllvery ", " crystal deep ", "asleep ".
Stanza III
As the author goes farther and farther down the stream,
the river runs more slowly. How is this shown? What shows
that the little creek runs very slowly into the river? How
does the author say the creek is winding? VChy would hot
the same word "curltng'' do to show that the river was
winding through the gorge? What are 'e told about the
mouth of the creek? See those sunken wrecks down in the
water. What are they like? What shows you that they are
very large tree trunks? What starts the ducks? See them
as they fise out of the water. Make a drawing to show their
l)osition. The drawing shouId show them flying in the shape
of a horizontal Ietter V, as wild ducks fly. What words show
you that they keel) this position unbroken? Hear them as
they y off at their utmost sl)eed. Why such haste? What
makes the "swivel]ing whistle"? This is the noise they
make as they fly. Imagine a vhistle to be set vThirling around
as it whist]es. The change in the sound due to the whirling
motion of .the whistle might be called a swivelling whistle.
See them go, led through the shadow. Hear them, as they
disal)l)ear behind a rocky point ahead. 'hat is meant by
their " whirr"? What has ruade us forger all about the beauty
of the silent morning? What effect did this silence l)robably
bave on the l)oet's judgment of the noise ruade by the ducks?
Now what is descrtbed in the third stanza?
Consider the fitness of the words «' lazy ", "sucks
" bleeds ", "sneak ", '" swept ", "sl)lashy ".
SYTHESIS OF TYIE WYIOLE BY CORRELATI'G
THE LESSO" WITYI ART
1. lake a sketch of the scene in the first stanza, showIng
the rocky, high, forest-covered banks, with mist rising along
the slol)es, and the man in a canoe on a small stream below.
DICKENS IN THE CAMP 105
2. Make a sketch of the scene described in the second
stanza, showing the winding river, with its high banks
appearing to meet in the distance, the man in his canoe
in the foreground, and over all the dira light of early morning.
3. Make a sketch of the ducks rising from the water.
Show the reeds at the mouth of the creek and the rocky spur
toward which the birds are heading.
TttE LIFE OF TIIE AUTIIOR
As it is hot necessary to know anything about the author
to fully understand this poem, nothing should be said about
his life until the pupils become interested in him through
their interest in what he bas written. Then teach the main
points in his life. See sketch of his life, at the back of the
Manual on The Ontario Readers.
DICKENS IN THE CAMP
(Fourth Reader, page 257)
INTRODUCTION
P,y way of introducti«n, if might be weII fo telI the
pupils something of Bref IIarte---his residcnee in Ca|i-
fornia, his experienee as a prospeetor in the g,|dfield.% his
stories of the mining eamps, and his admiration of
Diekens. (See Manual on Tlte Otario Rcadcrs, p. 31.5.)
These faets throw eonsiderable light upon the poem, and
will be useful in aiding thc pupi|s fo interpret if properly.
This poem was written shortly after the death of Diekens.
It might well follow the study of David Copperfield's First
Journey Alone and The Indignation of Xicholas Xicl«lc5y.
PREPARATION
When the poem has been read, the teacher should, be-
fore beginning thc analysis, ask a few general questions,
such as :
106 LITERATURE
What bas Dickens to do with the story related in the
poem? He was the author of the book read in the camp,
Curiosity Shop, of which "Nell" is the heroine. (A brief
outline of the story, with special reference to the feelings it
arouses in the reader, might be given here.)
What kind of camp is referred to in the poem? A mining
camp. The last line of the second stanza suggests this.
Where is the scene laid? Apparently in California, among
the Sierra Nevada Mountains. This is indicated in the tirst
stanza.
What is the leading idea of the poem? The effect which
the readlng of a story by Dickens produced in a Western
mining camp.
What are the main sub-topics?
1. The scene of the incident. Stanzas I-III.
2. The reading of the story. Stanzas IV-VIL
3. A lament for the death of Dickens. Stanzas VIII-X.
MINUTE AN),LYSIS
Stanza I
How does the description of the scene, as given in stanza I,
differ from that given in stanza II? Stanza I gives the back-
ground and the remote surroundings, while stanza II places
us in the midst of the camp.
What features give the story a romantic setting? The
stately " pines", the singing " river", the "slowly drifting
moon ", the snow-capped mountains.
From the description in ¢Ehe first stanza, give as clear a
picture of the location of the camp as possible. It
situated on the edge of a cation in the Sierras, towering ptnes
rising round hbout, the river fiowing noisily beneath, and
the mountains upllfting their snow-covered peaks in the
distance.
Explain the comparison suggested in the last two lines.
The mountain summits, with their everlasttng snows, re-
semble in the distance the minarets, or lofty tapering towers,
attached to Mohammedan mosques.
DICKENS IN THE CAMP 107
Which is preferable, "minarets of SHOW", or "snow-
covered peaks"? The former, because It is a more unusual
expreeslon and because of what it suggess.
Stanza II
Why is the camp-tire represented as a rude humorist? It
causes faces and forms that are haggard and eare-worn to
appear fresh and healthy, thus playing a grim est upon those
gathered round it.
Explain the stgniticance of "'tierce'" in the last line. In
the mari rush for gold, all the worst elements of man's nature
are brought to the surfaee--disregard for the rights of others,
contempt for law and order, and even carelessness with regard
to human life.
Consider the fitness of the words " rude", "painted",
"race", as used here.
Stanza III
What indicates the value that the owner places upon this
book? The words "treasure" and " hoarded" suggest that
it is one of his most highly prized possessions.
What suggests that this is hot the first time the story ha.
been rend in camp? The word "anew "
How does the poet indicate the absorbing lnterest that
the story bas for these men? He says the fascination is so
great as to draw the attention of these rough miners even
from their card-playing. Explain "listless leisure"
Stanza IV
Explain "the firelIght fell". The tire gradually died do n,
because, absorbed in their interest in the story, the miners
forgot to put on fresh fuel.
Why ls Dickens called the " Master"? A toaster is one
who attains the highest degree of skill in some art. Dickens
was toaster of the art of story-telling, a toaster of vivid
narration, a mast¢r Of pathos and humour.
108 LITERATURE
Stanzas V and VI
Is there anything in these stanzas which might thro,
light upon the identity of the reader? He is probably th
poet hlmself. I-Ils famillarity wlth the fancies of the reade
seem to indicate this. Besicles, the reader is kept very muc
in the background--we are told only that he was young-
and this seems tobe in keeping with the modesty of the poe"
as shown elsewhere in the poem. At any rate, we mu.
adroit that the reader was a poet, for he indulges in faneie
of a highly poetlcal nature.
What are those fancies? Such is the absorbing interes
of the story that even the pines and cedars seem to statu
silent to listen, and the tir trees gather closer in order tha
nothing may escape their hearing,
What is the poetic element in these fancies? Ascribin
to inanimate objects the power of human interest an«
sympathy.
What effeet does the poet seeure by picturing the trees a
listeners? It enhances our idea of the absorbing interest o
the story.
Mention any other illustrations of a poet's use of thi:
device of attributing human sympathies to inanimate objects
hIany might be given, for example:
Byron's Waterloo:
And Ardennes waves above them ber green leaves,
Dewy with Nature's tear-drops, as they pass,
Grieving, if aught inanimate e'er grieves,
Over the unreturning brave.
Longfellow's Et'angeline, describing the song of the
mocking-btrd :
Shook from his little throat sueh floods of deltrious music,
That the whole air and the woods and waves seemed silent
to listen.
bits. Hemans' The Landing o! the Pilgrim Fathers:
Amidst the storm they sang, and the stars heard, and the sea.
DICKENS IN THE CAMP 1{)9
What experience of "Nell" is alluded to tri the last two
lines of stanza V? She and ber grandfather had been lost on
their Journey from London.
Why does the poet say that the whole camp "lost thetr
way" with "Nell" on English meadows? The narrative was
so vivid that the miners, in spirit, accompanied her in ber
wanderings.
Stanza VII
What is meant by "Their cares dropped from them"7
They forgot themselves, thetr cares and privations, and
realized the hopes and fears, the joys and sorrows of « Little
Nell
I-Iow was this result brought about? If was due to the
fascination of the story.
To what does the poet compare this? To some "spell
divine", some supernatural influence, which,causes their own
troubles to disappear for the rime being.
Give, then, the meaning of "o'ertaken as by some spe]l
divine". They are brought, as It were, under the influence
of some magician, who, by the exercise of his power, trans-
Ports them from their own world to that in which "Nell"
lires and moves.
Show the beauty of the comparison fa the last two lines
of this stanza. As the needles of the pine, through the action
of the wind, fall silently and almost unperceived, so the
cares of the miners were forgotten in the all-comlelling
terest of the story.
Compare Longfellow:
The cares that nfest the day
Shall fold their tents like the Arabs,
And as sflently steal away.
Why ts this comparison more appropriate than, for
ample, like the leaves from the trees in autumn, or, like snow-
flakes from the clouds in win.ter? Because it ls drawn from
the objects at hand, hOt from more remote things--an example
of local colour.
Explain "gusty pine". ,4 pine exposed to the mountaln
blasts.
110 LITERATURE
Stanza VIII
Who is referred to by "he" in the second line? Dtckens-
not the reader of the story.
What is meant by " wrought that spell"? Produced tha
magic influence.
State the question in full. Is "he who wrought that spell'
Iost, too?
What talc bas the " towering pine" to tell? That th
mining camp bas disappeared.
And what the "stately Kentish spire"? That Dtckens ha:
gone. (Dickens' home was at Gadshill, in Kent.)
What ts the one talc that both bave to tell? A talc ot
disappearance and death.
Is the question asked in the second line answered? No{
directly, though the answer is tmplied.
State the substantial meaning of the stanza. The
'° towering pine" of the Sierras tells of the disappearance oJ
the mining camp; the "stately spire" of Kent tells of the
death of Dickens; both bear witness to the potent influence
of Dlckens.
Stanza IX
What is the "fragrant story" of the Western mining
camp? The tribute that the incident related in the poem
pays to the magical power of Dickens as a story writer.
Why is It called a " fragrant story"? The author poetic-
ally conceives of it as being laden with the fragrance of the
tir, the pine, and the cedar--a sort of "incense" to the
memory of the " Master "
What is incense? The odours of spices and gums burned
in religious rites.
What poetic idea does the author express in the last two
lines? The hopvines of Kent are represented as uniting with
the pine, tir, and cedar in sending forth their fragrance as
incense.
What is the meaning, then, of the whole stanza? Let the
fragrance of the pine, the cedar, and the tir, mingled with
the odours of the Kentish hopvines, be as incense to the
memory of the " 1iaster ".
DICKENS IN THE CAIIP 111
Stanza X
Does the poet mean that the grave of Dickens is literally
adorned with oak, holly, and laurel wreaths? No; he ls
speaking figuratively.
What do these typify? The tributes of admiration, re-
verence, and love that are paid to the memory of Dickens in
his own country.
Of what is each emblematic? The oak is emblematic of
England, the life of whose people he so vividly depicted; the
holly suggests his charming Christmas stories; the laurel
signifies his mastery of the art of writing.
What does the poet mean by "This spray of Western
pine"? This poem was written in the Western World, as a
tribute to the memory of the great novelist.
What personal characteristic does the poet show in the
third line? A sense of humility, which leads him to suggest
that this poem is unworthy of a place among the tributes
paid to the naine and faine of the great artist.
Stripped of its figurative significance, what is the meaning
of the whole stanza? To the many tokens of love and admira-
tion that are offered to the memory of Dickens. may I be
permitted to add this poem--a Western tribute to the world-
wide influence of the famous author.
RECOXSTRUCTIO
Tell the story of the poem in your own words.
In a cation of the Sierras, a group of rough miners were
gathered about a camp-tire. Around them stood the stately
pines, aboçe which the moon was slowly rising; below, at the
bottom of the cation, a river sang, as if threaded its way
among the boulders; and, far in the distance, the mountains
reared their snow-covered summits to the evening sky. The
flickering camp-tire played strange tricks upon those gathered
round it, for it gave to the care-worn faces and bent forms of
the miners the appearance of freshness and health.
One of the miners, a mere youth, opened his pack, drew
therefrom a copy of Dickens' Old Ctriosity 8hop. and began
112 LITERATURE
to read aloud. At once, all other occupations were suspended,
and everybody drew near fo listen to the story. The whole
camp yielded itself to the fascination of the tale, and tri its
absorbing interest they forgot themselves and thetr sur-
roundings, their ills, their hardshlps, and their cares. One
might almost fancy that the very pines Rnd cedars became
silent, and that the tir trees drew closer to hear the story of
" Little Nell ".
Dickens, the " Master", has gone, but, among the many
trlbutes that are paicl to his power as a wrlter, let thts llttle
tale of the Western cRmp be added, to illustrate the universal
nature of his influence.
DOST THOU LOOK BACK ON WHAT HATH BEEN
(Fourth Reader, page 289)
PEPAIIATION
This ]esson should be preceded by a suitab]c prepara-
tory lêsson on the life of somc man, for e.xample, Peel,
Disracli, or Lincoln, who, in spire of all obstaclês, rose fo
eminence in the nation and lived "To mould a mighty
state's decrees"
INTROD['CTION
Tennyson and Arthur Hallam, as young men af
col]cge, were great friends. The bond of affection between
thcm was probably as strong as it was possible for friend-
ship between two mên fo be. When Hallam diêd in 1833,
af twenty-two years of age, Tennyson said of h]m: "He
was as near perfection as a mortal man could be ". From
rime to rime during the next seventeen years, Tcnnyson
wrote short poems on themes which occurred to him in
connection with his ihoughts of Hallam. These he finally
collectêd and published in one volume, called In Mem.oram.
DOST THOU LOOK BACK ON WHAT HATH BEEN 113
PUIPOSE
The purpose of this lesson sbould be in harmony with
the purpose of In Memoriam. It shoulcl, therefore, be a
study of life within the comprehension of the pupils. The
lesson should aid in securing the development of character
and an appreciation of worthy ambition and enduring
friendship.
ASSIGN]IENT
The lesson should be assigned in such a way as to
encourage the pupils' natural desire fo learn something
through their own efforts. A few questions should be
given to ])e answered from their own study, for examplc:
1. What does the first line show regarding Tennyson's
present thought of Hallam?
2. What stanzas describe the progress of the man who re-
minds him of Hal]am?
3. What is described in the remaining stanzas?
4. What lines suggest something about this man's feelings
toward the scenes and friends of his youth?
5. In wha.t respect, according to the last stanza, does
Tennyson show that one of these old-time friends is
like himself?
CLASS ORK
What does Tennyson describe in the first four stanzas?
Stanza I
Why does he eall the man « divinely gifted"? Because
he has had great natural gifts.
When should we call a man of only" ordinary ability
"divinely gifted"? What have you read that illustrates this?
{If the pupils cannot answer this question, the teacher should
tell briey the parable of the talents.}
114 LITERATURE
What is meant by "Whose life in low estate began"?
Why are the details about his early life mentioned? State
briefly the thought contained in this stanza.
What was the effect of his humble birth on his progress
in early life? In what ways did itact as a bar: (1} upon
his own mind; (2) upon the good-will of others toward him-
self? Which of these two do the following lines from OEnone
indicate that the poet would say must be overcome first?
Self-reverence, self-knowledge, self-control,
These three alone lead life to sovereign power.
State in your own words, the full meaning of "breaks
birth's invidious bar ". N0'E.--" Invidious" means likely to
incur, or bring on envy, ill-will, or hatred.
What idea is suggested in the second line as to the oppor-
tunities which corne to such a man? Imagine him grasping
these fleeting chances. What were his probable feelings
toward those things which eluded his grasp? (Be careful in
answering this. Remember that the man has gained the
mastery of himself.)
What is meant by " blows of circumstance"? What were
some of these diflîculties?
What does the action-word "breasts'" suggest: (1) about
the character of these diflîculties, (2) about the character
of the man? Explain "grapples with his evil star". What
is the allusion? Tell, in the poet's os'n words, what this
" evil star" s'as. Imagine this man grappling with it. What
terre do boys often use for a similar action? Which is going
to win this wrestling match? Give reasons, from what the
man has already done, for thinking that he will win. What
does this action show about his belief in luck?
What do the action-words in this stanza suggest about
the man's character? What sounds in each of the words help
fo emphasize this grim determination?
State briefly the relation of the thought of this stanza to
that of the first.
DOST THOU LOOK BACK ON WHAT HATH BEEN 115
Stanza II[
What effect did the man's early struggles have on his
mental power and character? What does Tennyson call this
increased energy and strength of character? He calls it
"force". Now, explaln "makes by force his merlt known ".
What position in the gift of the nation do the next three
lines show that he gained at last? What words indicate the
emblem of the Premier's power?
"Clutch .the golden keys." What does this action suggest
as to his character? What word is generally used to denote
such determination to gain power and influence? What
makes such ambition lawful? What use does Tennyson show
this man ruade of his ambition? What is meant by " mould
a mighty state's decrees"? As Premier, to whom would it
be his duty to give advice?
The people know that the soverelgn must act on the
advice of his ministers, of whom the Premier is the most in-
fluential; but they believe that the judgment of the sovereign
often modifies and improves this advice. To the nation, this
influence of the sovereign is a silent force, but, like the silent
forces in nature, they believe it to be powerful.
In what words does Tennyson express this mutual influence
of the King and the Premier? What features of this influence
are expressed respectively by the words "shape'' and
" whisper"? What action-words in this stanza suggest the
relation (1) of effort, (2} of rime, to the magnitude of the
work?
State in a single sentence the thought of this stanza.
Stanza IV
What ls the final test of the value of a law? Its effects
on the people. In what words does Tennyson show the effect
on the people of the laws ruade through this man's influence?
Explain how this man became "The pillar of a people's
hope". What words show the far-reaching extent of his in-
-fluence? Which shows the more force in the man, his in-
fluence with the King or hls later influence in the whole
116 LITERATURE
nation? In what words does Tennyson show which he thinks
the greater? To which do "high " and "higher » respectively
refer? What does "Fortune's crowning slope" suggest about
(1) the honour which the man bas now gained, (2) the nature
of the road he has travelled?
Stanza V
Picture the man as he looks back after having reached
the height of his ambition. Describe his mood. At what
times does he indulge in these dreamy memories? What
does he seem to see in these quiet hours? What bill and
stream does the poet mean? What feeling does each awaken?
Why is the "sweetness" called "secret"? Why is the
" dearness" called '"distant "?
Stanza VI
What 13art of his lire is meant by "hls narrower rate"?
With what ls he comparing that early lire, when he calls it
" his narrower fate"? Using similar language, what mlght
hls present 13osltlon of great influence be called?
Some think that the first line of this stanza refers to the
limitations or restrictions of his early lire, while others say
the 13oet was thinking siml31y of the stream, as the limit or
boundary of the things that influenced his childhood. Which
view ls to be preferred? Which meaning agrees with the use
of the word "its" in the next line? Would this man now
look back on those dltculties of his early lire as limitations
and hlndrances, or as things whlch helped to make him what
he ls?
Now explain "The limit of his narrower rate". Compare
the direction in which he looks in his day dreams now, with
the direction In which he looked In those of hls boyhood.
What is meant by " vocal springs"?
In what way were the gaines of hls youth prophetic of his
future work as a man? What do peol31e mean by saying,
« The boy ls father of the man
WATERLOO 117
Stanza VIl
Describe the present occupation of the friend of his boy-
hood. What information about his friend does the word
native" give us? What phrases show how he does his work?
Compare the farmer's query in the last line with that in
the first line of the poem.
SYNOPSIS OF DETAILS
Under the followlng heads, point out the resemblance of
Hallam to the statesman and of Tennyson to the fariner:
1. Early friendship
2. Their separatlon
3. Progress since parting
4. Memories of each other.
It is hoped that no teacher will use these questions as
a substitute for his own questioning. If they are accepted
as suggestive in regard fo both interpretation and method,
they may be of real service, otherwise they will be almost
valueless.
WATERLOO
(Fourth Reader, page 311)
To lead the pupils to appreeiate the music and imagery
of the poem.
PREPARATION
Where ls Waterloo sttuated? In Belgium. What two
armles were engaged in this battle? The French and the
English; with the laCter were some Prussian allies. Who
were the French and the Engltsh commanders? Napoleon
and Welltngton. What was the result of the battle? The
overthrow of Napoleon and his banishment to St. Helena.
What would have been the consequence if Wellington had
115 LITERATURE
been defeated? Napoleon would possibly bave had complete
mastery of Europe. Picture this struggle of great com-
manders and disciplined armies, while Europe waited breath-
lessly for the outcome. (The pupils should read some good
history of this battle.)
PRESEXTATIO.NI
Read the poem to the pupils in such a way as to make
vivid the scenes depicted.
DEVELOPIENT
What has the poet described in this poem? Some of the
eents preceding the battle.
What are the main pictures round in each stanza? (Write
on the black-board.)
1. The ball
2. The sound of the enemy's cannon
3. The Duke of Brunswick
4. The farewells
5. The muster
6. The gathering of the Highlanders
7. The march to battle
8. Summary of pictures and the result.
Do you see any stanza that interferes with the progress
of the action? The third stanza anticipates the battle and
destroys the continuity between the sounds of the approaching
enemy and the hurried farewells.
Why does the poet devote a special stanza to the High-
landers? Were they more worthy of mention than the
English and Irish regiments? The author, George Gordon,
Lord Byron, belonged to a Scotch family. The muster of the
Highlanders at midnight, combined with their stirrtng music,
ruade .a very picturesque incident.
Consider the elements which contribute to the various
scenes:
WATERLO0 119
Stanza I
What is described? The ball given by the Duches cf
Richmond. What is the emotion of this stanza? Pleasure,
. galety. What ls the plcture in the first line? The arrival
of the guests, the welcomes, and the "revelry'' of the
assembly. Why does the author say "Be]gium's capital "
rather than « Brussels"? It suggests the capital of a nation
with a noble people. Who were the " Beauty" and the
"Chivalry"? The ]adies, the ofiîcers of the army, and the
nobility. Describe the picture you see in " bright the lamps
shone o'er fait women and brave men". The large ball-room,
the briIliantly lighted chandeliers, the beautiful costumes of
the ladies, the uniforms and decorati0ns of oflïcers and nobles.
Describe the images that are suggested by "and when music
arose with ifs voluptuous swell". The bands of the regl-
ments are playing the music or the dance. Notice how the
poet changes the rhythm to the foot of three syllables, to
indicate the music of the waltz. What contrast do you find
in the last two lines? « Marriage bell" and " rising knell "
What was the purpose of this? To show the contrast between
pieasure and ïear.
Stanza II
What is the theme? The sound of the enemy's cannon.
Why does the author use the dramatic form? A conversa-
tion between two people of opposite temperaments gives
greater reality to the picture. The first seems to expect
danger, but is, 1or a moment, silenced by the other's up-
braiding him for attempting to spoil the pleasure of the
evening. A repetition of the " heavy sound" proves that he
is right. The second is a loyer of Neasure, who would not
have the first speaker alarm the guests by his gloomy antici-
pations. Show how the second speaker tndicates his im-
patience. I-Ils answers are short, he speaks in ellipses. " On
with the dance", and "No sleep till morn". Notice the
positive tone of the first speaker in the repetition, "It is--
it is ".
120 LITERATURE
Stanza ] l l
What ls deseribed here? The rate of Brunswlck? Why
does the author single out Brunswick from ail the others
who died? One specific case appeals to the reader more
effectually than the report of the death of unknown thou-
sands. Brunswick's father had been a noted general in the
war with Napoleon. Explain, " Death's prophetic car". This
refers to a common superstition that "the veil of the future
is lifted to those near to death". Show how the poet bas
broken the order of succession of the pictures. Brunswick's
death is recorded before the breaking up of the ball is
described.
Stanza IV
What is the theme? The farewells. What is the emotion?
Fear and anguish. What words show this? "Gathering
tears", " tremblings of distress "', " cheeks all pale ", "sudden
partings", etc. Give a line in a preceding stanza that ex-
presses the saine thought as "mutual eyes". "Sort eyes
looked love to eyes which spake again."
Stanza V
What fs deseribed? The muster of the troops. What is
the prevailing feeling? The baste of the soldiers and the
terror of the citizens. How does the poet show this baste?
By the use of such phrases as "hot baste", "mustering
squadron "', "clattering car", " impetuous speed ", "swiftly
forming", as well as by the rapid movement of the verse.
Why did the citizens of Brussels fear, since they had hot fo
fight? They dreaded the pillage and ruin which would follow
a French vlctory. Descrlbe the scene in your own words--
the cavalry forming in line, the movements of the artillery,
the noise of distant cannon, the "alarming drum", and the
panic of the citizens.
Stanza VI
The gathering of the Hlghlanders. Does the poet address
the ear or the eye in this description? Only the sound of
WATERLO0 121
the bagpipes is described, though it may suggest a pictu, re of
the Highland regiments. What words describe the music?
"Wild and hih", " war-note ", " thrills savage and shrill ".
Why does the poet mention proper names--" Lochiel",
"l.van", « Donald "? The bagpipes recall stirring memories
of these men, which inspire the clansmen to prove worthy
of their ancestors. What ls the "Cameron's gathering"?
The war-song of the Cameron clan. Were.there only Camerons
in the Hlghland regiments? No, Che Camerons were on]y
one famous clan, but are taken here as representative of the
heroism of all the Highlanders. Again, the use of individual
specific case produces a greater impression than a more
general terre. What was the "pibroch"7 A wild, lrregular
species of music played on the bag-pipes, adapted particularly
to rouse a martial spirit among troops going ¢o battle.
Stanza
What is described in this stanza? The match to the
battle-field. What words show that? "As they pass". They
were going through the forest of " Ardennes". What is the
mood of this tanza? Sadness. The trees are represented as
shedding tears when "Nature " thinks of the sad fate awaiting
so many brave men. What were those tests? The expression
refers to the dew of the early morning on the leaves of the
trees, but the poet bas cal]ed it "Nature's tear-drops". It
is only a fanciful presentation of a natural phenomenon.
Explain, "if aught inanimate e'er grieves". If inanimate
nature, such as trees or grass, can express sorrow. Nature
cannot grieve, but we appreciate the beauty of the imagery.
Poin¢ out a contrast in this stanza. "This fiery mv.ss of living
valour ", and "shall moulder cold and low "
Stanza VIII
What is the purpose of this stanza? It gives a summary
of the preceding ones. Which stanza corresponds to line 2?
Stanza I. Which corresponds to line 3? Stanzas II, III, and
IV. Which stanzas picture the "marshalling in arms ''ç
Stanzas V and VI. What stanzas picture "Battle's mag-
122 LITERATURE
nificently stern array"? Stanzas V and VII. Now contrast
all these lictures with the last. The story is epitomized, and
the end described--"friend, foe,--in one red burial blent!"
The pupils should now read the poem, in order that
the tcachcr may judge by thc varying tones and move-
ments whcther if has been properly appreciated.
THREE SCENES IN THE TYROL
(Fourth Reader, page
To lead thc pupils fo appreciate the thrilling pictures
and to understand the means by whieh the author lins
produeed this vividness.
PREPARATION
The pupils have been required to read this lesson af
their seats or at home.
Where is the Tyrol situated? It ls a province in the
Austrian Alls directly east of Switzerland. (Show its posi-
tion on the map.)
The mountains are majestic, high, precipitous; the people
daring and lndependent. The Tyrol is noted for he many
accidents which happen to mountain-cllmbers. Who are the
chier persons concerned in these three scenes? Maximilian I,
Charles V, and Napoleon.
The author wishes to give, amid the most impresslve sur-
roundings, OEhree stirring events in the lires of ethree great
Emperors. State briefly the first story. The Emperor Maxi-
milian was hunting a chamois, when he slipped on the edge
of the preclpice, rolled help]essly over, and caught a jutting
ledge of rock, whlch interrupted his descent. An outlaw
hastened to his assistance and guided him to safety.
THREE SCENES IN THE TYROL, 123
PRESENTATIO
!
Yes, this story ls often called "The Rescue". Let us note
how the author helps us to see the picture. Where does he
place the spectator? On a « thread-like road" running be-
tween the rocky bank of the Inn River and the foot of the
precipice of the Solstein.
What does the author ask you, as the lmaginary spectator,
to do? To throw your head back and look upward.
Why? The precipice towers perpendicularly many hun-
dred feet above you. He wishes you to imagine you are
standing on this road and the scene is taking place belote
your eyes.
What do you see? A hanter in pursuit of a chamois.
Describe this hanter. He is lofty and chivalrous in his
bearing.
What happens? He is bounding on after a chamois to-
ward the edge of a precipice, when he loses his footing and
falls.
How does the author make you see this painly? He uses
the present tense, as if the scene were happening now--" ls
bounding ", " loses his footing", " rols helplessly ".
Any other way? Yes, he utters exclamations, " Mark'."
"Ah.'" Every act is toid in the form of an exclamation.
"What is it that arrests him?" This is a question. Does
the author expect an answer? No, he asks the question as I
would ask it of myself if I saw the hanter stopped in his
descent.
Why does he not tell you who this hanter is? I see now
for the first time that it is the great Emperor llaximilian
who Is in such peril.
Does any one else see him? Yes, the Abbot, or head of
a neighbouring monastery.
Why does the author mention him? To indicate that,
apparently, human aid could hot save the Emperor.
What bas been told us in this first paragraph? The peril
of the Emperor.
124 LITERATURE
What is told u» in the next? His rescue.
Who else sees the danger? Zyps of Zirl.
Who is he? A famous hunter and outlaw.
Do you see him at first? No, I hear his cry. The author
says " Hark! there is a wild cry!" Then I recognize the
outiaw.
Why does he utter the cry? To encourage the Emperor
and let him know there is some one coming to his rescue.
Again how does the tu.thor make the picture vivid? By
the use of the present tense, by commands, questions, and
exclamations, and by making the spectator, in his excite-
ment, address the mountaineer directly; for example, " thou
hunted and hunting outlaw, art thou out upon the heights?"
etc.
By what means does the author show how the outlaw
cornes fo the Emperor's aid? By comparing him with the
chamois, the insect, and the squirrel. This man combines
in himself all their powers of movement.
What does the spectator now do? He fears that all may
yet be lost, so he shouts to the Emperor fo bave courage, that
the hunter is coming.
How does the author show his relief from the strain of
the last few moments? His sentences are now longer and
smoother.
How was this event afterwards regarded? The peasants
maintainid that an angel came down to their master's rescue.
What does the author seem to think? That his rescue
was due to the interposition of Providence.
What is told in the next paragraph? Zyps' reward.
What did he receive? He was created a Courir and received
a pension from the Emperor.
What was his title? " Courir Hallooer von Hohenfeldsen."
To what does this refer? To his "wild cry" from the high
peaks, when he saw the Emperor in danger.
How can you prove that this story is true? By inspecting
the pension list of the Royal House of Hapsburg and by
looking at a cross in the mountains that bas been erected on
the very spot where Maximilian was rescued.
THREE 8CENES IN TIIE "i'b 125
II
Whom do you sec in the second vision? The Emperor
Charles V, ptIrsued by his enemies.
Who was he? One of he greatest monarchs in Europe,
greater even than his grandfather, Maximilian I. In this
scene he is ill; his army bas met with reverses; he has ruade
his escape from Innsbruck, ihe capital of the Tyrol, and is
being conveyed through .the mountains to a place of safety,
closely pursued by Matrice of Saxony.
Describe the scene. It is at night, the wind ls high, and
is driving the rain against the Emperor's litter, which is
borne by mountaineers and surrounded by his faithful oflïcers.
What is given in the first paragraph? A description of
¢he storm.
How does the author prepare you for the scene? The
night suggests danger and mystery, and the moon looks out
from a cloud, as though at something taking place in the
gorge. The spectator hears sometbing besides he roar of the
wind.
Select all the words that show what a fearful night it Is.
« Night .... dark", " wild ", " gusty winds", " howling",
"sheet.s of blinding rain", " whirling", "hissing eddies",
" rent asunder", " ravings of the tempest"
Notice all the details the author has ruade use of to convey
the idea of terror and danger.
What is described in the next paragraph? The passage
of /he litter through the dark gorge.
Is the spectator forgotten in this scene? No, he first hears
the " tramp of feet", then he secs the torches, and, lastly,
the Emperor's Iitter surrounded by his attendants.
What words show you the diflïculty of their situation?
°' Hurried ", " crowding ", " crushing', " steep and narrow
gorge", "suppressed voices ", "fitful glancing of torches "',
"anxiously shielded ", "melée ", " struggle onward "
Why are their voices supressed? As a natural result
of their peri]ous position.
Why do they keep their torches burning? To find their
way through the enemy's country amid the dangers by which
they are surrounded.
9-
I-° LITERATURE
What do the lamps look like? A "constellation" of stars
moving on in the saine relative position.
Does the author still refer fo the storm? Yes, in "de-
risive laughter ", " rude wrath of the tempest ", and " plumes
streaming on the wind ". The author wishes to pieture con-
tinuously the fitting surroundings [or this adventure, and
so emphasizes these details.
Why does he speak of the "derisive laughter of the
storm "? He compares it to a fiend who mocks the attempts
of man to battle against lais power.
Who is described in the third paragraph of thls vision:
The Emperor himself.
Why is he hot described be[ore, as he is more important
than either the storm or his comrades? The s-tory runs i
a natural order. First are seen the figures surrounding the
litter, and, as it approaches, the Emperor's face is distinguish-
able.
What is first mentioned in connection with him?
firmly set teeth.
What does this indicate? His great physlcal pain, and hls
determination of character.
What is mentioned next? His age: he is but fifty-three,
but his wrinkles are deep and his hair turning gray.
What are next described? His forehead, his nose, his eye,
his underlip.
¥hy does the author picture these features in such detail?
To show the character o[ the Emperor.
What are e led to infer are some of his characteristics?
A strong intellect, imperious manner, cruelty, and stubborn
pride.
What strong contrast is drawn? The fugitive invalid is
the great Emperor. The author first discusses his illness, his
flight, his suffering in the storm, his adverse [ortune, and
then gives him his full titles--" Emperor of Germany, King
of Spain, Lord of the Netherlands, of Naples, of Lombardy,
and the proud chier of the golden Western World-
Where does the author place the blame for his prescrit
sufferlngs? On Charles himself, whose sufferlngs, humilia-
THREE SCENES IN THE TYROL 127
tion, and ultimate deliverance were perhaps intended as a
discipline to lead him to repent for past cruelties.
What is described in the last 1DaragralDh of this scene?
The escape.
Who is first mentioned? The pursuer, Maurice of Saxony.
Describe him. He is first compared to an " avenger of
blood" in pursuit of a man fleeing to the cities of refuge
referred to in Joshua xx. 3. He is next compared to the
hound relentlessly following his prey.
Who wins in this race? Charles eludes his pursuer.
To whom should he show gratitude for his escape? To
Providence.
Does he acknowledge God's protection? No, he gives all
the credit to his " lucky star".
Explain this. Astrologers had said that the " Star of
Austria" was always at the highest point In the heavens;
and of this favoured House of Austria, Charles was Archduke.
III
Tbe first scene is called "Tbe Rescue "; the second, " The
Run"; and the last, "The Ruin". What is described in the
last scene? The destruction of the French Army.
Where is the scene laid? In the Tyrol, beside the River
Inn.
What is described in the first paragraph? Bonaparte's
decree that the strongholds of his enemies--the Tyrolese
warrior hunters--sha]l be destroyed.
Why should he wish to do this? The Tyrolese were an
independent people, who would hot submit to conscription
and taxation at the hands of the Bavarians.
By what names does the author call Napoleon? "Bona-
parte". That was his surname. The French Emperor had
no hereditary right to the throne, bu he wished to be caIled
Napo]eon, instead of Bonaparte, just as we speak of our King
as George V, and rarely refer to his surname of Guelph.
Who advis¢d Napoleon? "His own will ls his sole ad-
viser." He ruled arbitrarily, consulting no one.
What does he do in this case? He sends ten thousand
French and Davarian soldiers to crush the Tyrolese.
128 LITERATURE
Why were the Bavarians taking part in the struggle?
They were at this rime allies of France, and Napoleon had
given to their Eiector possession of this new but hostile
province.
What does the second paragraph describe? The army
entering the narrow gorge in the mountains.
How does the author give vividness to this picture? He
endows inanimate things such as the "gorge" and the
" river" with human attributes. The " gorge " looks gloomy,
forbidding, and unfriendly, and the "river" seems to roar
indignantly, as though at the atemlt of " the mountain
xvalls" to impede its progress.
The next sentence is in the form of a question and its
answer. Who is supposed to ask this question? This is
the question the leader of the army wouid ask and the answer
he wouid make when he discovered the narrow road. The
construction of the sen-tence suggests the idea of danger.
Why does the next sentence begin with " But"? "But
the glittering array winds on." It suggests that some pre-
cautions for the safety .of the army should bave been
observed; but it may bave been impossible to take these pre-
cautions, and the orders of Bonaparte had to be obeyed at
all hazards.
What is described in the next sentence? The author gives
full details of the progress of this imposing army. The
River Inn seems to share the feelings of the Tyrolese them-
selves and protest angrily against this invasion by a foreia
power.
How is the next sentence related to the preceding? " But"
marks a contrast. The noise of the army and the river is
contrasted with the silence on the heights.
Why are the " eagles " mentioned? The silence is rendered
more impressive by the occasional "shrill cry " of the eagles,
and the " wings" of the eagles hovering above are an omen
of the coming disaster which is to overtake "the gilded
eagles of France" below.
What is described in the next paragraph? The "voice"
from the "heights"
THREE SCENES IN THE TYROL 129
How does the author make this paragraph impressive?
As ho wishes to indicate the critical moment, ho still uses
the present tense, direct narration, short sentences, exclama-
tion, and interrogation; he suggests, through a mysterious
voice far up the heights, that supernatural agents are at
work. The army, in its helpless length, is compared to an
"uncoiled serpent".
What i the subject of the next paragraph? The destruc-
tion of the entire army.
How is this ruin accomplished? Unseen in the heights
above, the Tyrolese peasantry hurl down rocks, roots, and
trunks of pine trees, as well as sending a " deadly bail " from
their rifles along the " whole line" of the deenceless army
below.
Notice the richness of detail. What words help fo make
the description of their destruction more vivid? "Bounding ",
" thundering ", "gathering speed ", "headlong way ",
"launched down ", "powerless foe ", "deadly bail ", "fearful
storm ", "crushed fo death ", "tumbled. horse and man, into
the choked and swollen river".
Notice the contrast of this paragraph with the picture
in the second paragraph of this vision of the gaIlant invadlng
army.
VThat is the subject of the last paragraph? The reflections
of the author.
Of what does ho speak? Of the wonders and beauties of
creation and the sad power that man possesses of spoiling
and staining these wonders by giving rein to his own " evil
ambitions and tierce revenges".
How has ho emphasized this? Iy the use of exclamation,
question, ellipses, and the mention of the "serpent" as the
symbol of evil.
How does the interrogative form of the sentence glve it
vividness? Contrast the effect of saylng, "Who would will-
ingly linger on the hideous details?" with "No one would
willingly linger ", etc. The author does hot expect an answer,
ho throws the sentence into the question form for the
rhotorical effect. The reader pays more attention to the
thought by trying to find an answer to the question.
130 LITERATURE
What is the "alue of the ellipses in " Sorrowful that man
should corne"? It is stronger than saying, iiIt
is sorrowful that man should corne". The sub-
ject and verb are omitted, as they are hot strong words, and
" Sorrowful" is placed in the most prominent position on
accourir of its importance.
SU]I]IARY
In these three pictures, what is the constant element?
The scene used as the background. All three visions take
place in the Tyrol, two of them on the banks of the
River. They are three companion pictures of this historic
mountain province.
How does this style compare with that which you find in
other lessons? It is abrupt and abounds in many rhetorical
forms--ellipses, use of the present tense, exclamation, direct
address, and accumulation of details.
Would it be suitable for ail prose expression? No: it is
impassioned prose, full of emotion nd picturesque detail.
The smoother, more regulated sentence-structure, such as
in place in ordinary narration, would be too cold for these
descriptions. On the other hand, this style is hot suitable
for expressing a quiet mood or giving a clear explanation.
It is too turbulent, and would pall upon the reader if con-
tinued at too great length, but it is often very suitable in an
oratorical selection.
Thc pupils shou]d ïna]lv rcad the lcsson aloud, fo show
how they have appreciatcd the story.
CHPTER ¥III
SUPPLEMESTARY READING
BEFORE studying these lessons in supplementary reading,
if is suggested that tbe teacher read again what bas bccn
said on "Extensive Reading", p. 39 of this Manual.
SOUTI-I-WEST WIND, ESQ.
(Third Reader, page 86)
You bave read the story of South-West Wlnd, Esq., in the
Third Reader.
Who were the persons mentioned in this story? Three
brothers, Schwartz, Hans, and Gluck.
What were their characters? Schwartz and Hans were
rich but very miserly; they were quarrelsome, drunken, and
cruel. Gluck was kind, polite, and unse]fish.
I-Iow did Gluck show these qua|ities? He admitted the
stranger into the house for shelter from the rain, when he
knew his brothers would punish him for so dolng; he asked
po|itely to take (he stranger's cloak, when the water dripping
from tt vas lyutting the tire out; and he offered him his
share of the mutton, although he knew it meant that he mut
go without his own supper.
When the older brothers returned what dld they do? They
trled to punish Glu¢k and to force the stranger out of the
bouse.
What happened? They were hur]ed to the ground by the
stranger, who was much stronger than they supposed.
What other punishment did they receive? The roof was
blown off the bouse while they slept, and their beautiful
valley, together with their crops and cattle, was utterly
destroyed by the heavy tains.
Who was the stranger? I-Ie left his tard with " South-
West Wind, Esq." written on it.
131
132 LITERATURE
Now the story in the Reader is only the first chapter of a
longer story, which relates what fortune came to the three
brothers. What should you expect would happen to them? I
should expect that Schwartz ahd Hans would bave more
troubles, and that Gluck would be rewarded for his kind-
heartedness.
CHAPTER II
Read the second chapter of this longer story caIled The
tginç of tIe Golden River.
Give me tlae main points in tlis chapter?
1. The valley was turned into a desert.
2. The brothers became goldsmiths.
3. The mug
4. Gluck's wish that the river would turn into gold
g. The voice from the furnace
6. The dwarf
7. The King told Gluck how the river could be turned
into gold.
What are the characters of the two brothers in thts
chapter? They were very dishonest and even tried to voix
copper with the gold. They were drunken and wasted their
money, and they were lazy and cruel.
Describe the mug that was being melted. It had been
given to them by their uncle, and Gluck was very fond of it.
It was ruade of gold almost in the form of a human face.
The face was tierce and red, the eyes were bright, the beard
and hiskers were of fine gold, and the hair was or fine spun
gold, forming the handle of the mug.
While the mug was being melted in the furnace, what
did Gluck see as he looked out of the window? The range
of mountains overhanging Trea6ure Valley, with the moun-
tain tops shining in the sunset.
This is a lovely description of a sunset in the mountains.
Plck out the detatls of he picture. "Rocks . . . all crimson
and purple with the sunset "', "brigh¢ tongues of lïery cloud ",
" the river . . . a waving co]umn of pure gold ", "the double
arch of a broad purple rainbow", "flushing and fading
alternately in the wreaths of spray".
SOUTH-WEST WIND, ESQ. 133
"What words suggest eolours? "Crimson", ':purple",
'« fiery ", "pure gold ", "purple rainbow ", "flushing ",
"' fading "'.
What did this lieture suggest to Gluck? It ruade him
wish that the river were really gold.
De.scribe the dwarf who came out of the furnace. He was
a foot and a half high; his hair and beard were long, curled,
and delicate, and his face was copper-coloured.
Account for the dwarf being in such a llace. It was
owing to the malicious enchantment of a king stronger than
hinelf that he had been turned into the golden mug, and,
when the mug was melted, Gluck loured out the metal, and,
thus freeà the King of the Golden River from the power of
his enemy.
How did the King show his gratitude? He told Gluck
hov the river could be turned into gold.
What mtmt Gluck do in order to gain this end? He must
climb to the top of the mountain and cast three drols of
holy water into the stream at its source.
i'ItAPTER III
What are the main facts in this chalter?
1. The brothers returned and beat Gluck because the
mug was a total loss.
2. Schwartz and Hans fought.
3. Schwartz was arrested.
4. Hans stoe a Culful of holy water.
5. Hans taunted Schwartz.
6. Hans attempted to change the river to gold. (1}
The dog; (2) the fair child; (3} the old man.
7. Hans was changed into the Black Stone.
What characteristics of the older brothers are shown in
this chalter? They were drunken, brutal, quarrelsome, dis-
honest, malicious, and selfish.
Why are the dog, the child, and the old man introduced
into the story? To shov how indifferent Hans was to the
suffering of animals, children, and aged leolle. The sight
of these hellless creatures should have aroused his lity.
134 LITERATURE
Were there any indications in the story that Hans would
be unsuccessful? Yes, there was "a strange shadow"; the
air "seemed to throw his blood into a fever "; "u dark gray
cloud came over the sun"; "long, snake-like shadows";
« leaden weight of the dead air"; " flash of blue lightning";
"tongues of tire"; "flashes of bloody light"
Why was Hans unsuccessful? He had led a bad lire, had
been dishonest, and had been selfish to the dog, the ehild,
and the aged man.
Show that it was an appropriate punishment that I-Ians
should be turned into a Black Stone. His heart was as hard
as stone, and his deeds were black.
CIIAPTEII ]IV
What is the main theme of thls chapter? Schwartz's
attempt to turn the river into gold.
What are the chief incidents recorded?
1. Gluck paid Schwartz's fine.
2. Schwartz refused water to the chtld, the old man,
and to the spirit of Hans.
3. He was also changed to a Black Stone.
What were the indications that Schwartz would be
successful? There was a "black cloud rising out of the
West "; " mist of the colour of blood "; "waves of the angry
sea"; " bursts of spiry lightning"; "the sky was like .
a lake of blood"; "its waves were black, like thunder-
clouds"; " their foam was like tire"; " the lightning glared
into his eyes ".
CHAPTER V
What is the theme in the last chapter? Gluck's attempt
to turn the river into go]d.
Give the main incidents.
1. The priest gave him holy water.
2. He gave water to the aged man and the chtld.
3. He gave his last drop of water to the dying dog.
4. The dog was transformed into the King of the Golden
River.
A CHRISTMAS CAROL 135
5. He gave Gluck three drops of elew.
6. Gluck cast the water into the river.
7. Treasure VaIley again became a fertile garden, and
Gluck became very rich.
What were the indications that Gluck would be success-
ful? After giving the old man some water, the "path became
easier"; "grasshoppers began singing"; there was "brtght
green moss"; "pale pink starry flowers"; "sort belled
gentians"; "pure white transparent lilles"; "its waves
were as clear as crystal".
What strong contrast is brought out in this story? There is
a contrast between this chapter and the two preceding ones.
Gluck's conduct is so different from that of Schwartz and
Hans; and the aspect of nature, as it allears to him, is very
different from the scenes viewed by his brothers.
Describe Treasure Valley after it was changed. The
"fresh grass sprang beside the new streams"; "creeping
plants grew "; °' young flowers opened "; "thickets of myrtle
and tendrils of vine cast lengthening shadows"; "his barns
became full of corn and his -bouse of treasure".
Why did Gluck deserve so much kindness? He had been
hospi.table to South-West Wind, Esq.; had suffered hunger
and punishment on his accourir; had been industrious; had
freed the King of the Golden River from his enchantment;
had obeyed his instructions; had felt sorry for Hans; had
paid Schwartz's fine; and had shown mercy to animals and
helpless people.
Was there anything said about the two older brothers?
Yes, there are two black stones, which peolle still call "The
Black Brothers", at the top of the cataract. This tory relis
hOW these stones came to be there.
A CHRISTMAS CAROL
(Fourth Reader, page 39)
The pupils bave read Scrooge's Clristmas, in the
Fourtb ]eader. Tbey bave also read the synopsis of .4
Christnas Carol at the beginning of the lesson. If they
136 LITERATURE
have read the first four slaves of the carol in a general way,
they will be in a better position fo study intensively the
last stave, or chapter, which is the lesson in the Reader.
They will understand the causes that bave changed this
"covetous old sinncr" fo the man "who kncw how fo
keep ('hristmas Day well". This lesson shoulà be taken
up near Christmas. The pupils will discuss Stave I, after
having read it at home.
Stave I
What is the titIe of this work? A Christmas Carol.
Why is it called a carol? In England, it is the custom for
bands of singers, called "waits", to go from house to house
on Christmas Eve. The author calls this ghost story of
Christmas a carol in prose, for it pictures the joys and
sorrows of this season.
What does a stave mean? It keeps up the idea of a carol.
Each chapter is called a stave, or stanza of the carol.
What is the title of the first stave? " Marley's Ghost."
Who was Marley? Fie had been Scrooge's partner, but was
now dead. He had been as miserly as Scrooge himself.
Where is the scene laid? In London.
When? On Christmas Eve.
Describe Scrooge. "Oh but he was a tight-fisted hand
one degree at Christmas" (Sec Stave I of A Christ-
as Carol.)
Notice the wonderful accumulation of strong adjectives
and phrases in this description. Why does the author use
so many? Fie wishes to emphasize the cold miserliness of this
man.
What is the first incident? Scrooge's treatment of his
nephew, who bas invited him to dinner on Christmas Day.
What does this incident show? His churllshness, and his
contempt for those who spend money freely.
What is the next incident? His refusal to subscribe to
any charities in the city.
What cornes next? The accourir of his treatment of Bob
Cratohit.
A CHRISTMAS CAROL 137
What
through
cruelties
misspent
What does this show? His meanness and tyranny.
When he returns from his supper,'what does he encounter?
lIarley's Ghost.
does the ghost tell him? How it must wander
the world without rest, in atonement for Marley's
and his neglect of other people. It laments his
lire.
What does it promise to do to Scrooge? It promises to
send him "Three Spirits".
What good description is found in Stave I? Besides the
character sketch of Scrooge, there is a picture of Christmas
Eve in the London streets, in the paragraph beginning
"Meanwhile the fog and darkness thickened ".
Stave ]I
What is descrlbed In thls chapter? The visit of the first
spirit.
What was lt? The "'Ghost of Chrlstmas Past".
Read me a description of it. "It was a strange figure
llke a child which it held under lts arm"
What does the splrit do? It forces Scrooge to accompany
It and shows him former Christmas scenes in his lire.
What are these scenes? Scrooge as a solitary boy at
school; his boyhood stories, Ali Baba and Robinson Crusoe;
his sister; Fezziwig's ball; Scrooge's sweetheart; scenes in
her marrled lire.
What ls the mood of these different scenes? There ls
humour, and a great deal of fun, as well as some pathos. It
ls all told in a lively style.
What are the best descriptions? Fezziwtg's ball, and the
remembrance of the scenes in Ali Baba.
Stave III
What ls told in this chapter? The visit of the second
spirit.
Who was it? The "Spirit of Chrlstmas Present".
What does it show Scrooge? Scenes of Christmas shop-
ping; Christmas out-of-doors; the Grocers; Bob Cratchit'.
-35 LITERATURE
famlly, the goose, their dinner, the puddings; the mlner's
home; the lighthouse keepers; the sailors; Scrooge's nephew
at home--blinlman's buff, forfeits, Yes and No; vision of
" Ignorance" and "Want ".
What do all these scenes go to show? How different kinds
of people keep Christmas; how kind and merry most people
are at this season of the year: and how some bave to struggle
in ortier to get this one day's pleasure.
Select some examples of humour. Peter's conceit, some
of the descriptions of the grocery stores, the anticipations
lest harm befall the goose and the pudding.
Select any examples of pathos. The references to Tiny
Tire.
Select and rend the best descriptions. The grocery stores,
the fruit stores, the goose, the pudding.
Stave IV
What is told in this chapter? The visit of the third slirit.
What was it? The "Ghost of Christmas Yet to Corne".
What does it show Scrooge? A vision of his death--how
he is plundered by laundress, charwoman, and undertaker;
the phantom of Death; Scrooge's creditors; the grave.
Had these scenes actually taken place? No. but they will
be realized if Scrooge does hot change his manner of thinking
and living.
What is the effeet of these three visions? Serooge promises
the "Ghost of Christmas Yet to Corne .... I will honour
Christmas in my heart and try to keep it ail the year".
Why are the seenes in thts chapter hot so pleasant as
those that he two former spirits had shown him? The scenes
that the first spirit had brought belote him were his joys at
the Chrlstmas season before he had hardened his heart;
those that the second spirit had shown were scenes in the
lires of people who do something for others and enjoy them-
selves in the truc Christmas slMrit; those that the last spirit
had shown were the sordid scenes which would be sure fo
corne if he did not change hls attitude toward lire. The last
scenes shown him by the third splrit furnish strong con-
trast to the others.
Stave V
What does this chapter relate? How Scrooge a¢tually kept
Christmas Day.
Wht were the other chapters about? The first and the
last were the only ¢hapters where he was wake. Chapters
Two, Three, and Four are vislons or dreams. Notice how the
phantom changed into the bed-post.
This chapter should be studied closely. Who wrote thIs
story? Charles Dickens, an English novelist.
Do you know any other good stories by the saine author?
David Copperficld, The Pickwick Papers, Nicholas Nfckleby.
Yes, we have had extracts in the Readers from these books.
What lessons are they? The Picku'ick Club on tre 1ce,
in the Third Book; Daffd Copperlïeld's First Journey Alone,
and TRe Indignation ol Nicholas lïckleby in the Fourth
Book.
Some day you must read these stories. Darid Copperlïeld
tells us a great deal about Dickens' early days. 7'De Pickwick
Papers is full of humour in scenes such as that depicted in
TRe Pickwick Club on the 1ce, and bas some fine characters
in it, and l¢icolas l¢ickleby gives a vivid picture of the
brutality existing in some schools in England at the time the
book was written.
THE LADY OF THE LAKE
(Fourth Reader, page 270)
Tbe pupi]s wi]] bave read tbe account of tbe stirring
combat between Fitz-James and P, oderick Dbu. Thev will
be curions fo know the circumstances tbat led up fo this
combat and al.o tbe conclusion of the story.
The aire of the teacber is fo ]ead tbe pupils fo appre-
ciate tbe construction of the story, the fine character
sketches, and tbe descriptions of natural scenery, as well
as fo give tbem an impression of Higbland life. The
pupils will take delight in the rapid movement of the
verse and in the deeds of valour.
140 IiTERATURE
S,,me passages shouhl be dvelt upon af greater lenh
by the teacher, and others more lightly touched upon, so
that the connections of the various parts will be under-
stood. A close and tedious consideration of all the lines
would hot show a good critical /aste, as some passages are
very fine, while othcrs have only ordinary merit.
The teacher should disclose the identity of Fitz-James
as James V of S.cotland and should explain the cause of
the exile of the Dou71as Family. He should also ketch
the life of rebellion and consequent outlawry led by some
of the Highland clans before they were reduced fo sub-
mission.
CANTO I
The teacher should study with the pupils the Invocation
of the three opening stanzas and .ask them to read the first
canto. He slaould next discuss it briefly, as suggested la the
following outline:
What are the main divisions of the first canto?
1. The chase
2. Description of the Trossachs
3. Description of Ellen Douglas
4. Description of Fitz-James.
Why is the story of the chase introduced? It brings Fltz-
James alone into the enemy's country, where he meets Ellen
Douglas, and prepares the way for the adventures that follow.
What is the story of the chase? The hundred huntsmen
and the horses and the dogs become wearied in the long
pursuit after the stag. One huntsman alone is left to enter
the deep ravine where the stag escapes.
This description of the Trossachs ruade the spot famous,
and ever since it bas been a favourite resort of tourists.
THE LADY OF THE LAKE 141
CANTO II
The Island
What are the divisions of this eanto?
1. The departure of the huntsmen
2. Description of the minstrel
3. The story of Roderiek's love
4. Return of the Clan-Alpine
5. Maleolm Graeme
6. The quarrel.
What ls the value of this eanto? It explains Inany faets
that we did hot understand. Among others, it shows us the
relation of the Douglases to the King and to Roderiek Dhu.
It tells of the love of Maleolm Graeme for Ellen and of
R)deriek's hopeless love for her. It shows us Roderiek's noble
traits )f eharaeter and the fearful eruelties of whieh he ls
capable. He eannot possibly win Ellen's love.
What
1.
2.
3.
4.
5.
6.
What
1.
2.
3.
Why
serve to
upon as
10 L
CANTO III
The Gathering
are the main divisions of this eanto?
Roderiek's determination to renew hostilities
Brian the Hermit
The eeremony
The message of the Fiery Cross
Roderiek's devotion to Ellen
The gathering.
are the best passages in this eanto?
Description of Loch Katrine
The eoronaeh
Hymn to the ¥rgin.
are funeral and wedding seenes lntrodueed? These
show how the message of the Fiery Cross was looked
more important than even death or marriage.
142 LITERATURE
What insight into the life of the clansmen is furnished in
this canto?
1. The superstition of the Highlanders. This is shown
in Brian's faith and in the weirfl ceremonies in
connectlon with the Fiery Cross.
2. The methofl of mustering the clans by means of the
message of the Fiery Cross.
3. Their funerals and weddings.
Notice also the vigour of the stanzas that describe the
flight of hIalise.
CA-TO I¥
Give
1.
2.
3.
4.
5.
6.
7.
The Prophecy
the main themes in this canto.
Return of ,Malise
Norman's guard
The augury and the prophecy
Return of Fitz-James to Ellen Douglas
The ring
Blanche of Ievan
Death of hIurdoch
Fitz-James meets Roderick Ihu,
What are the best stanzas? The ballad of "Alice Brand".
Why is this ballad introduced? It shows the character
of Scottish minstrelsy, the belief in the world of fairies, and
the lesson of hope that at the darkest moment the hour of
happiness may be near. It furnishes another example of
Allanbane's prophetic insight.
The introduction: °' The rose is fairest when It is budding
new." Why is this stanza appropriate? It shows the tender-
ness of Norman's love, as contrasted with the tierce warfare
in-which he is engaged.
Why is Blanche of Devan introduced? To furnish an
example of Roderick's cruelty, so that Fitz-James should feel
justified in punishing him. Blanche of Devan also warns
Fitz-James of Murdoch's treachery. This stanza explains the
THE LADY OF THE LAKE 143
allusions in the lesson in the Fourth Book, for example: "a
braid of your fait lady's hair ", and " There lies red hIurdoch
stark and stiff".
What characteristics of Roderick are shown in the canto?
1. His care for the defenceless in his clan
2. His cruelty to his enemies
3. His bospitality
4. His superstition.
What was the prophecy?
Who spiHs the foremost foeman's lire
That party conquers in the strife.
What is the value of the prophecy in the poem? It
furnishes a reason for the eagerness o the clansmen to take
the lire of the huntsman, as the former would then " conquer
in the strife
Give
1.
2.
3.
4.
5.
CA»:TO V
The Combat
the main events in this canto.
Roderick guides Fitz-James to neutral ground
The combat
Douglas surrenders
The gaines
The popularity of Douglas.
What is the most striking part of thts canto? The story
of the combat.
Why? It is a fine example of Scottish bravery and
¢hivalry.
What Scottish characteristics are round in this canto?
1. The character of Scottish gaines in the city
2. The fickleness of the mob
3. The chivalrous conduct of the combatants,
144 LITERATURE
CANTO VI
The Guard-room
What are the main themes in thls canto?
1. The rough soldiers
2. El]en presents the ring
3. The battle of Beal' an Duine
4. Death of Roderick
5. Ellen's request to James
6. Happiness of the Douglases and of Malcolm Graeme
7. Farewell to the Harp.
Why are the rough so]diers introduced? This passage
furnishes a good description of the character of the soldiers,
and shows the power of Ellen's quiet dignity and modesty.
What is the value of the battle of Beal' an Duine? It
affords an opportunity fo the valiant Rolerick fo imagine
himself in hattle, so that when death cornes he does hot
realize that it finds him a prisoner and his clan vanquished.
How does the poem end? Ellen, ber father, and Malcolm
Graeme are united and happy, and Fitz-James revea]s his
identity and shows his magnanimity.
What should be read in connection with the last three
stanzas? The first three stanzas of the poem. They are an
Invocation to Scottish minstrelsy. We now bave the Fare-
well.
Which cantos do you consider are the best? The first and
the fifth.
Why? The first contains such wonderful word-pictures
and the fifth seems to be the crtsis of the story. The interest
ls hot sustained in the sixth canto, as one knows matters are
sure to be adjusted.
CHAPTER IX
SELECTIONS FOR MEMORIZATION
Little deeds of kindness,
Little words of love,
Make our earth an Eden,
Like the heaven above.--BREWER
God make my lire a litile light,
Wi/hin the world to glow,--
A little flame that burneth brigbt,
Wherever I may go.
The world is so full of a number of things,
I'm sure we should all be as happy as kings.
--STEVE.N'SO.N"
Be kind and be gentle
To those who are o]d,
For dearer is kindness
And better than gold.
Politeness is to do and say
The kindest thing in the kindest way.
Two ears and only one mouth bave you;
The reason, I think, is clear:
It teaches, my child, that it wlll hot do
To talk about ail you hear.
Whene'er a task is set for you,
Don't idly sit and view lt,
Nor be content to wish It done;
Begin at once and doit.
Work while you work, play while you play;
This is the way tobe cheerful and gay.
_Ail that you do, do with your might;
Things done by ha]ves are never done right.
STODT
146 LITERATURE
Five things observe with care,--
Of whorn you speak, to whom you speak
And how, and when, and where.--GRAY
See that little sunbearn
Darting through the room,
Scattering the darkness,
Lighting up the gloorn.
Let rne be a sunbearn
Everywhere I go,
Making glad and happy
Every one I know.
Sing a song of seasons!
Something bright in all!
Flowers in the summer,
Fires in the falI.'--STEVESOI
Do ail the good you can,
In ail the 'ays you can,
To all the people you can,
Just as long as you can.
When you corne to think of it,
The day is what you make it;
And whether good, or whether bd,
Depends on how you take it.
Slurnber, slurnber, little one, now
The bird is as|eep in his nest on the bough;
The bird is asleep, he bas folded his wings,
And over him softly the dream fairy sings:
Lullaby, luI]aby--luIIaby!
Pear]s in the deep--
Stars in the sky,
Dreams in our sleeI);
So lullaby!--F. D. SERA
Dare tobe true; nothlng can need alle.
SELECTIONS FOR hIEMORIZATION 147
The face you wear, the thoughts you bring,
A heart may heal or break.
He who is good at making excuses is seldom good for any-
thing else.--FRA-WLI.W
TO be good is the mother of to do good.
l'Il hot willingly offend,
Nor be easily offended;
What's amiss l'll try to mend,
And endure what can't be mended.
A man of words and hot of deeds,
Is like a garden full of weeds;
For when the weeds begin to grow,
Then doth the garden overflow.
Little children, you must seek
l=tather to be good than wise,
For tbe thoughts you do hot speak
Sbine out in your cheeks and eyes.--ArcE C,R£
To te]l a falsehood is like the cut of a sabre; for though
the wound may heal, the scar of it will remain.--S.D[
Ail tbat's great and good is done
Just by patient trylng.
Fis a lesson you should heed,
Try, try again;
If at first you don't succeed,
Try, try again.
If a task ls once begun,
Never leave it till it's done;
Be the labour great or small,
Doit well, or hot at all.
148 LITERATURE
For every evil under the sun,
There is a remedy, or there is none.
If there be one, try to find it;
If there be none, ever mind lt.
There are many flags in many lands,
There are flags of every hue,
But there is no flag in any land
Like our own Red, White, and Blue.
The inner side of every cloud
Is always bright and shining;
And so I turn my clouds about,
And always 'eav them inslde out,
To show the silver lining.
I would hot hurt a living thing,
However weak or small;
The beasts that graze, the birds that sing,
Our Father ruade them all.
Llttle drop of dew,
Like a gem you are;
I believe that you
hlust bave been a star.
When the day is bright,
On the grass you lie;
Tell me then, at night
Are you in the sky?--F. D. SIEMA
How beautlful ls the rain!
After the dust and the heat,
In the broad and fiery street,
In the narrow lane,
How beautiful is the rain!Lo6-ELOW
In spring, when stirs the wind, I know
That soon the crocus buds will show;
For 'tis the wind who bids them wake
And into pretty blossoms break.--F. D.
SELECTIONS FOR MEMORIZATION 149
O, pause and think for a moment
What a desolate land it would be,
If, east or west, the eye should rest
On hot a single tree!--GRAY
It was only a sunny srnile,
And little it cost in the giving,
But it scattered the night.
Like the rnorning light,
And rnade the day worth living.
Keep pushing--'tis wiser
Than sitting aside,
And drearning and sighing,
And waiting the ride.
In life's earnest battle,
They only prevail
Who daily rnarch onward,
And never say "rail"
One step and then another,
And the longest walk is ended.
One stitch and then another,
And the largest rent is mended.
One brick and then another,
And the highest wall ls rnade.
One flake and then another,
And the deepest ShOW is laid.
Speak the truth and speak it ever,
Cost it what it will.
I-Ie w.ho hides the wrong he did,
Does the wrong thing still.
Whichever way the wind doth blow,
Sorne heart ts glad to have it so;
Then blow it east or blow it west,
The wind that blows, that wind is best.
We should make the sarne use of books that the bee does
of a flower: he gathers sweets frorn it, but does hot injure it.
150 LITERATURE
I smile, and then the Sun cornes out;
He hides away whene'er I l)out;
I-le seems a very funny sun,
To do whatever he sees done.
And wheu it tains he disappears;
Like me, he can',t see through the tears.
Now isn't that the reason why
I ought to stalle and never cry?--F. D. SrrERA
If fortune, wIth a smiling face,
Strew roses in out way,
When shall we stoop to pick them up?
To-day, my friend, to-day.
If those who've wrouged us own tleir faults,
And kindly pity pray,
When shall we listen and forgive?
To-day, my friend, to-day.
Are you almost dIsgusted with life, little man?
I will tell you a wonderful trick
That will bring you contentment if anything can--
Do somethIng for somebody, quick.
Are you very much tired vith Ilay, little girl?
Weary, discouraged, and sick?
l'll tell you the loveliest garne in the world--
Do somethtng for sornebody, quick.
"Were it hot for me",
Said a chickadee,
"Nota single flower on earth would be;
For under the ground they sound]y sleep0
And never venttre an upward Ieep,
Till they hear from me,
Ch i ckadec-dee-dee ! "--Sm.Ey D^YE
The world at noon belongs io the sun,
At eve to the home-coming herds;
But while the dew is early--very, very ear]y--
The world belongs to the birds.
As still as In a dream lie the meadows and the stream,
'Neath the soaring and outpouring of the birds.
WETHERALD
SELECTIONS FOR IIEIIORIZATION 11
I know, blue modest violets,
Gleaming with dew at morn M
I know the place you corne from,
And the way that you are born!
When God cuts holes in Heaven,
The holes the stars look through,
He lets the scraps rail down to earth,--
The little seraps are you.
The blossoms, down in the meadow,
In (he gardens, and woods, and the hills,
Are singing, too, with their playmates,
The birds, and the breezes, and rills.
And I think, if you listen closely,
In the sweet glad days of spring,
With the song of the brook, the breeze, and the blrds,
You can hear the flowers sing.--MoogElousE
Good-night, little shivering grasses!
"Tis idle to struggle and fight
With tempest and cruel frost-fingers;
Lie down, little grasses, to-night!
Good-night, little shivering grasses!
Lie down 'neath the coverlet white,
And test till the cuckoo is singing;
OEod-night, little grasses, good-night!
--A Xovember
Daffydowndilly came up in the cold.
Through the brown mould,
Although the Match breezes blew keen on ber face,
Although the white ShOW lay on many a place.
I can't do much yet, but l'll do what I can.
It's well I began!
For unless I can mariage to lift up my head,
The people wil| think that the Spring herself's dead.
0 Daffydowndilly. so brave and so true,
I wish ail were llke you!
So ready for duty in ail sorts of weather,
And holding forth courage and beauty together.
152 LITERATURE
One to-day is worth two to-morrow's.--Poon RlCnAm)'S
The future is purchzsed by the present.--S.oEL JoH.So
The sober second thouht is always essential, znd seldom
vrong.--MAT VA,W BcnEN
Recollect tht trifles mke perfection, nd tht perfection
is no trifle.--MCLL AX«LO
Have more than thou showest,
Speak less than thou knowest.--SFAKESPEARE
bas many tools, but a fie is the handle that fits them
W. HOLMES
Let all the end thou aire'st at be thy country's,
Thy God's and truth's.--SHAKESPEARE
Our greatest glory is hot in never falling, but in rislng
every rime we fall.
Learn to obey and you wlll know how to command.--
LuI313o£'K
One who is contented with what he bas done will never
become famous for what he will do.
Be hot simply good, be good for something.--TF[oREU
The better part of valour is discretion.--SFL«KESPEARE
They that touch pitch will be defiled.--SFASP.RE
Ill blows the wind that profits nobody.--SH.K'ESPEAR:
Honour and shame from no condition rise:
Act well your part, there all the honour ]ies.PoPE
SELECTIONS FOR MEMORIZATION 153
True happiness consists hot in the multitude of friends,
but in their worth and choice.--BE" Joxsot¢
One "do" is worth a thousand "don'ts " in the destruction
of evil or the production of good.--HGHES
I look upon the simple and childish virtues of veracity and
honesty as the root of all that is sublime in character.
Remember that though it is a good thing to be a great
man, itis a great thing tobe a good man.
Striving hot to be rich or great,
Never questioning fortune or fate,
Contented slowly to earn, and wait.
In the workshop, on the farm,
Or wherever you may be,
From your future efforts, boys,
Cornes a nation's destiny.
It is a low benefit to give me something; it is a high
benefit to enable me to do something of myself.--E.[zRsox
Greatly begin.' though thou hast time
But for a line, be that sublime,--
Not fallure, but low aire, is crime.--LowEL
Never give up! 'Tis the secret of glory;
Nothing so wise can phllosophy preach;
Look at the lires that are famous in story;
"Never give up " i the lesson they teach.
It is a good thing to be rich, and a good thing tobe strong,
but it ls a better thing to be beloved of many friends.--
E UIIIPIDE.
Do what conscience says is right;
Do what reason says is best;
Do with all your mind and might;
Do your duty, and be blest.
154 LITERATURE
What men want is not talent, itis purpose; in other words,
hot the power to achleve, but the will fo labour.--BuLwR
LYTTON
SO nigh is grandeur to our dust,
So near is God to man,
When Duty whispers low, Thott nust,
The soul replies I C(/.--EMERSON
Habit is a cable; we weave a thread of it each day, and it
becomes so strong we cannot break it.--HomtcE M.N
Ponder well, and know the right,
Onward then, with all thy might!
Haste not! years can ne'er atone
For one reckIess action done.--GoETtIE
Our grand business is not to see what lies dimly at a dis-
tance, but to do what lies clearly at hand.CALVLE
Slight is the sting of his trouble whose winnings are less than
his worth;
For he who is honest is noble, whatever his fortune or birth.
--ALICE CARY
Press on! There's no such word as rail!
Push nobly on! The goal is near!
Ascend the raonntain! Breast the gale!
Look upward, onward--never fear!
He who has a thousand friends
Has nota friend to spare;
And he who bas one enemy
Will meet him everywhere.--OM.çR KrA££A[
Work for some good, be it ever so slowly;
Cherish some flower, be it ever so lowly;
Labour!--all labour ls noble and holy.
FRACES S. Os(]oon
SELECTIONS FOR IIEhIORIZA'IIo, 155
A man should never be ashamed to own he has been in
the wrong; which is but saying in other words that he is
wiser to-day than he was yesterday.--PoPE
Tender-handed stroke a nettle,
And it stings you for your pains;
Grasp tt like a man of mettle,
And it sort as silk remains.
Fill up each hour with what will last;
Buy up the moments as they go;
The liïe above, when this is past,
Is the ripe fruit of lire below.
New occasions teach new duties; rime makes ancient good
uncouth;
They must upward still and onward, who would keep abreast
of Truth.--LOWELL
The heights by great men reached and kept,
Were hot attained by sudden flight;
tut they, while their companions slept,
Were toiling upward in the night.--Lo'C, FELLOw
Nothing use]ess is. or low,
Each thing in its place is best,
And what seems but idle show
Strengthens and supports the rest.--Lo.'¢«FLLOW
And hot by eastern windows only,
When daylight cornes, cornes in the light,
In front, the sun climbs slow, how slowly,
But westward, look, the land is bright.--CLouçH
Full many a gem of purest ray serene
The dark unfathom'd caves of ocean bear;
Full many a flower is born to blush unseen,
And waste tts sweetness on the desert air.--Gmv
156 LITERATURE
If a man empties his purse into hs had, no man can tak
it away from him. An investment in knowledge always pay
the best lnterest.--BE.rAX FI{AIKLIIç
I do not know
Where falls the seed that I bave tried to sow
With greatest care;
But I shall know
The meanlng of each waiting hour below
Sometime, somewhere'.
Llves of great men all remind us
We can make our lives sublime,
And, departing, leave behind us
Footprints on the sands of rime;
Let us, then, be up and doing,
With a heart for any rate;
Still achieving, still pursuing,
Learn to labour and to wait.--LoN]FELLoW
Begin whlle life is bright and young,
Work out each noble plan;
True knowledge lends a charm to youth,
And dignlfies the man.
Then upward, onward, step by step,
V¢ith perseverance rise,
And emulate, with hearts of hope,
The good, the great, the wise.
The night has a thousand eyes,
And the day but one;
Yet the llght of the bright world dies,
With the dying sun.
The mind bas a thousand eyes,
And the heart but one;
Yet the light of a vhole llfe dies
When love is done.--FlA-cIs ]0URDILLoIç
SELECTIONS FOR MEMORIZA'I'It£ 15'
In the darkness as in daylight,
On the water as on land,
God's eye fs Iooking on
And beneath us is His hand!
Death will find us soon or later,
On the deck or in the cor;
And we cannot meet him better
Than in working out our ]ot.--WHITTIER
The Royal Navy of England bath ever been its greatest
defence and ornament; it is ifs ancient and natural strength--
the floating bulwark of our Island.--BLAcKsTO-XE'S Com-
rnentarie8
Itis the land that freemen till,
That sober-suited Freedom chose,
The land, where girt with friends or foes
A man may speak the thing he wlll;
A land of settled government,
A land of just and old renown,
Where Freedom slowly broadens down
From precedent to precedent.--TE.X.,'soN
0 triune kingdom of the brave,
0 sea-girt island of the free,
O empire of the land and wave
Our hearts, our hands, are all for thee.
Stand, Canadians, firmly stand,
Round the lïag of our Fatherland.--" LAC-»E '"
Sharers of our glorious past,
Brothers, must we part at last?
Shall we hot thro' good and III
Cleave to one another still?
Britain's myriad voices call,
" Sons, be welded each and all
Into one Imperial whole,
One wtth Britain, heart and soul!
One lire, one flag, one fleet, one Throne!"
Britons, hold your own!--TENIYSON
158 LITERATURE
"England.' What thou wert, thou art!'"
Gird thee with thine ancient might.
Forth! and God defend the Right.--NEwoLv
telieve not each accusing tongue,
As most weak people do;
But still believe that story wrong
Which ought hot to be true.--SHERO
He prayeth best who loveth best
Ail things, both great and small,
For the dear God who loveth us,
I-Ie ruade and loveth alI.--CoLEmVCE
For whatever men say in blindness,
And spire of the fancies of youth,
There's nothtng so kingly as Kindness,
And nothing so royal as Truth.--ALICE CAtY
To do something, however small, to make others happier
and better, is the highest ambition, the most elevatlng hope,
whlch can inspire a human being.--LrBBOCK
Small service is true service while it lasts.
Of humblest friends, bright creature: scorn hot one:
The dalsy, by the shadow that it casts,
Protects the lingering dew-drops from the sun.
--W0RDSWORTH
Look up and hOt down;
Look forward and hot back;
Look out and hot in;
And lend a hand.--HAL]
Have you had a kindness shown?
Pass it on.
'Twas hot given for you a]one,
Pass it on.
Let it travel clown the years;
Let it wipe another's tears,
Till in heaven the deed aPlears.
Pass it on.
SELECTIONS FOR MEMORIZATION 159
]ittle spring had ]ost its way
Amld the grass and fern;
Dassing stranger scooDed a well
Where weary men might turn.
tte walled it in, and hung with care,
A ladle on the brink;
tte thought hot of the deed he did,
But judged that Toil might drink.
tte passed again; and loi the well,
By summer never dried,
Had coo]ed ten thousand parchêd tongues,
And saved a lire beside.--MAcKv
Evil is wrought by want of thought
As well as want of heart.--Hoo
Nature bas gtven to men one tongue, but two ears, that we
may hear from others twice as much as we speak.--EelcTETCS
Count that day lost whose low-descending sun
Views from thy hand no worthy action done.
If halpiness have hot her seat
And centre in the breast,
We may be wise or rich or great,
But never can be blest.--Bs
A klndly act fs a kernel sown,
That will grow to a goodly tree,
Shedding lts fruit when rime bas flown,
Down the gulf of eternlty.
If I can stop one heart from breaktng,
I shall hot lire in vain;
If I can ease one lire the achtng,
Or cool one pain,
Or help one fainting robin
Into his nest again,
I shall hot lire in vain.--DmsoN
160 LITERATURE
It ls pleasant to thlnk, just under the SHOW,
That stretches so bleak and blank and cold,
Are beauty and warmth that we cannot know,
Green fields and leaves and blossoms of gold.
Under the green hedges after the SHOW,
There do the lear little violets grow,
Hiding their modest and beautiful heads
Under the hawthorn in soft, mossy beds.
Sweet as the roses, and blue as the sky,
Down there do the dear little violets lie;
Hiding their heads where they scarce may be seen,
By the leaves you may know where the violets bave been.
--MoUL'rR1-E
The linnet ts singing the wild wood through;
The fawn's boundtng footsteps sktm over the dew.
The buttërfly flits round the blossoming tree,
And the cowslip and bluebell are bent by the bec;
All the creatures that dwell in the forest are gay,
And why should hot I be as merry as they?--MTFOn
Do the duty which lies nearest thee!
Thy second duty will already have become clearer.
--CARLYLE
Live truly, and thy life shall be
A great and noble creed.
I slept, and dreamed that life was Beauty;
I woke, and found that life was Duty.--HooPR
Great is the art of beginning, but greater the art is of
endlng.--LoI'FELLOW
Opinions shape ideals, and it is ideals that inspire con-
duct.--JoH. IORLEY
You cannot dream yourself lnto a character; you must
hammer and forge yourself into one.FRovD
SELECTIONS FOR MEMORIZATION I61
Not once or twice in our fair island story
The path of duty was the way to glory.--TErr'soN
Know thy work and doit, and work at it like a Hercule.
One n]onster there is in the world--an idle n]an.--CAr, L'LE
Every evil to which we do hot succun]b is a benefactor.
We gain the strength of the ten]ptation we resist.--E.vR.o-
In every coron]on hour of lire,
In every flan]e that glows,
In every breath of being rire
With aspiration or of strife
Man feels n]ore than he knows.--W. W. CAXt'BLL
Never to the bow that bends
Con]es the arrow that it sends;
Never con]es the chance that passed:
Thut one n]on]ent was its last.
Oh, fear not in a world like this,
And thou shalt know ere long,
Know how sublin]e a thing it is
To surfer and be strong.--H. W. LO«FLLOW
Sow an act, and reap a tendency; sow a tendency, and
reap a habit; ow a habit, and real a character; sow a
character, and real a destiny.--THACKtAY
The gifts that we have, heaven lends for right using, and
hot for ignoring, and hot for abusing.
It ls hot what he has, nor even what he does, which
directly expresses the worth of a n]an, but what he ts.
Journal--A»fEr
My good blade carves the casques of n]en,
My tough lance thrusteth sure,
My strength ls as the strength of ten,
Because n]y heart is pure.--Tv...Yso
162 LITERATURE
True worth is in beig, not seenztng,--
In doing each day that goes by
Some little good--not in the dreaming
Of great things to do by and by.
No work whtch God sets a man to do--no work to whteh
God bas specially adapted a man's powers--can properly be
called either menlal or mean.--CxRL'LE
Truth, crushed to earth, shall rtse again;
Th' eternal years of God are hers;
But Error. wonnded, writhes in pain,
And dies among his Worshippers.--BRYAT
To thine own self be true;
And it must follow, as the night the day,
Thon can'st hot then be false to any man.
æ HAKESPEAnE
0 lire
Can be pure in its purpose or strong in its strife
And all life hot be purer and stronger thereby.
--LYTTOI
Knowledge and wisdom far from being one, bave ofttimes
no connection. Knowledge is proud that he has learned so
much; wisdom is humble that he knows no more.---CowPE
Wish hot to taste what doth not to thee fall;
Do well thyself, before thou striv'st to lead,
And truth shall thee deliver without dread.
-GIOFFREY CHAUCR
Oh, many a shaft, at random sent,
Finds mark the archer little meant!
And many a word at random spoken,
IIay soothe, or wound, a heart that's broken.
--SIR W. SCOTT
Govern the ltps as they were palace doors, the king wtthtn.
Tranqull and falr and courteous be all words which from that
presence win.--EDwI AROLD
SELECTIONS FOR MEMORIZATION 163
Whene'er a noble deed is wrought,
Whene'er is spoken a noble thought,
Out hearts, in glad surprise,
To higher levels rise.--Lo.«FELLOW
Love thyself last; cherish those hearts that hate thee;
Corruption wins hot more than honesty.
Still in thy right hand carry gentle leace,
To silence envious tongues; be just, and fear hot.
SIIAKESPEARE
Not by the power of commerce, art, or pen,
Shall our great Empire stand, nor bas it stood,
But by the noble deeds of noble men--
Heroic lires and heroes' outpoured blood.
--F. G. SCOTT
Take up the white man's burden--
In patience to abide,
2"o veil the threat of terror
And check the show of pride;
By open speech and simple,
An hundred times ruade plain,
2"o seek another's profit
And work another's gain.--KrPL-«
Love thou thy land, with love far-brought
From out the storied Past, and used
'ithin the Present, but transfused
Thro' future rime by power of thought.--TE.X.xYSO.X
Fvr as long as conquest holds the earth,
Or commerce sweeps the sea,
By orient jungle or western plain
Wlll the Saxon spirit be;
And whatever the people that dwell beneath,
Or whatever the aIien tongue,
Over the freedom and peace of the world
fs the flag of England flung.--W. W.
16t LITERATURE
Of old sat Freedom on the heights,
The thunders breaking at her feet;
Above ber shook the starry lights;
She heard the torrents meet.
lier open eyes desire the truth.
The wisdom of a thousand years
Is in them. May perpetual youth
Keep dry their light from tears.--TE.-Yso
If I have faltered more or less
In my great task of happiness;
If I bave moved among my race
And shown no glorious morning face;
If beams from happy, human eyes
Have moved me hot; if morning skies,
Books, and my food, and summer rain
Knocked on my sullen heart in vain--
Lord, Thy most pointed pleasure take,
And stab my spirit broad awake.--R. L. STEVE.'SO
A good book is the precious life-blood of a mazter-spirit,
embalmed and treasured up on purpose to a life beyond life.--
I,IILT0.X
The book which makes a man think the most is the book
which strikes the deepest root in his memory and under-
standing.
bien at some rime are masters of their tares:
The fault, dear Brutus, is hot in our stars,
But in ourselves, that we are underlings.
No book is worth anything whtch is hot worth muc; nor
is it serviceable until It has been read and re-read, and loved,
and loved again; and marked, so that you tan refer to the
passages you want in it, as a soldier can seize the weapon
he needs in an armoury, or a housewife bring the spice she
needs from ber store. Bread of flour is good; but there is
bread, sweet as honey, if we would eatit, in a good book.--
RUSKIN
SELECTIONS FOR MEMORIZATION 165
Goodness moves in a larger sphere than justice. The
obligations of law and equlty reach only to mankind, but
kindniss and beneficence should be extended to creatures of
every specles.--P:rARcH
My heart leaps up when I behold
A rainbow in the sky;
So was it when my life began,
Sois it now I ara a man,
So be it when I shall grow old,
Or let me dle.
The child is father of the man;
And I could wish my days tobe
Bound each to each by natural piety.--W0avSW0aTH
Be but yourself, be pure, be truc,
And prompt in duty; heed the deep
Low volee of conscience; through the lll
And discord round about you, keep
Your faith in human nature still.
ELIZABETFI W HTrTIER
Four lhings a man must learn to do
If he would make his record truc;
To think, wlthout confusion, clearly;
To love hls fellow-men sincerely;
To act from honest motives purely;
To trust n God and Heaven securely.
Give thy thoughts no tone,
Nor any unpropoioned thought his act.
Be thou familiar, but by no means ]gar;
The friends thou hast, and their adoption tried,
Grapple them to thy soul with hooks of steel.
S ASPEARE
Never do anything of which you will bave cause to be
ashamed. There ls one good opinion which ls of the eatest
imrtance ,to you, namely, your own. "An easy conscience",
says Seneca, "ls a continual feast ".LCK
166 LITERATURE
There is tide in the affairs of men,
Which, taken at the flood, leads on to fortune;
Omitted, all the voyage of thelr lire
Is bound in shallows and in miseries.
On such a full sea are we now afloat;
And we must t«ke the current when it serres,
Or lose our ventures.--SnAXESPzA.
Man ls his own star, and the soul that can
Render an honest und a perfect man,
Commands all light, all influence, all fate,
Nothing for him falls early or too late;
Out acts out angels are, for good or ill;
Our fatal shadows that walk by us still.
--BEAUbIO'T A'D FLETCHER
Our birth is but a sleep and forgetting;
The soul that rises with us, our life's star,
Hath had elsewhere its setting,
And cometh from afar,
Not in entire forgetfulnes's,
And hot in utter nukedness,
But truiling clouds of glory do we corne
From God who is our home.WORDSWOT
Be wise to-day; 'tis madness to defer;
Next day the fatal precedent will plead;
Thus on, till wisdom is pushed out of lire.
Procrastination is the thief of time;
Year after year it steals, till all are fled,
And to the mercies of moment leaves
The vast concerns of an eteral scene.
EI)'ARD YOU.WG
Build thee more stately manstons, O my soul,
As the swift seasons roll!
Leave thy low-vaulted past!
Let each new temple, nobler than the last,
SELECTIONS FOR MEMORIZATION 167
Shut thee from heaven with a dome more vast,
Tlll thou at length art free,
Leaving thine outgrown shell by life's unresting sea.
--O. W. HOLMES
Grow old along with me!
The best is yet tobe,
The last of lire for which the first was made:
Our times are in His hand
Who saith, "A whole I planned,
Youth shows but half; trust God: see all nor be afra'id'."
--BROWNING
Were a star eluenched on high,
For ages would lts light,
Sttll travelling downward from the sky,
Shine on our mortal sight.
So when a great man dles,
For years beyond our ken,
The light he leaves behlnd him lies
Upon the paths of men.--LoNoEL:ow
It ls not growtng llke a tree
In bulk doth make man better be;
Or standing long, an oak, three hundred year,
To fall a log at last, dry, bald, and sear.
A Iily of a day
Is fairer far in May,
Although it rail and die that night,--
It was the plant and flower of light.
In small proportions we just beautles see:
And in short measures lire may perfect be.
BE JoNs0N
e shape ourselves the Joy or fear
Of which the coming life is mad.
And fill out Future's amosphere
ith sunshine or with shade.
The tissue of the Life to
Ve weave wih colours all out on;
And In the leld of Destlny
We reap as we bave sown.--W
168 LITERATURE
tteaven is hot reached at a single bound,
But we build the ladder by which we fise
From the lowly earth to the vaulted skies,
And we mourir toits summit round by round.
I courir this thing tobe grandly true:
That a noble deed is a step toward God,--
Lifting the soul from the common clod
-To apurer air and a broader view.--J. G. HOLr.A.»
Let me but do my work from day to day
In field or forest, at the desk or loom,
In roaring market-place or tranquil room;
Let me but find it in my heart to say,
When vagrant wishes beckon me astray,
°' This is my work; my b]essing, hot my doom;
Of all who lire, I ara the only one by whom
The work can best be done in the right way."
--HE.N-RY VA.N" DYKE
Good naine, in man or woman, dear, my lord,
Is the immediate jewel of their soui.
Who steais my purse, steals trash; 'ris something, nothing;
'Twas mine, 'ris his, and has been slave to thousands;
But he that fiiches from me my good naine,
Robs me of that which hot enriches him,
And makes me poor indeed.--SAIESPE.RE
God give us men! A rime like this demands
Strong minds, great hearts, true faith, and ready hands;
Men whom the lust of office does hot kill;
Men whom the spoils of office cannot buy;
Men who possess opinions and a will;
Men who have honour,--men who will hot lie.
--J. G. I-IoLLAND
To live content with small means: to seek elegance rather
than luxury, and refinement rather than fashion; to be
worthy, hot respectable; and wealthy, hOt rich; to study hard,
SELECTIONS FOR MEMORIZATION 169
thlnk eluletly, talk gently, act frankly; to listen to stars and
birds, babes and sages with open heart; await occasions,
hurry never; in a word, to let the spiritual, unbidden and
unconscious, grow up through the common,--this is my
symphony.CHil«
O, may I Join the choir invisible
Of those immortal dead who ]ive again
In minds ruade better by their preene; ltve
In pulses stirred to generosity,
In deeds of daring rectitude, in scorn
Of miserable aires that end with self,
In thoughts sublime that pierce the night like stars,
And with their mild persistence urge men's minds
To vaster issues. --Go6 EoT
A thing o beauty is a joy forever:
Its loveliness lncreases; It will never
Pass lnto nothingness; but stlll will keep
A bower quiet for us, and a sleep
Full of sweet dreams, and health, and quiet breathing.
--KEATS
Sunset with lts rosy feet
Stains the grasses low and sweet;
And the shadow-beeches softly fall
Across the meadows, dark and tall;
O fold away
The dusty
Sweet nightfall, in thy curtains
Now fades the last long streak of show,
Now bourgeons every maze of quick
About the flowering squares, and thick
By ashen roots the violets blow.
Now rings the woodland loud and long,
The distance takes a lovelier hue,
And drowned in yonder living blue
The lark becomes a sightless song.--TE.NYSo
170 LITERATURE
A cloud lay cradled near the setting sun;
A gleam of crimson tinged its braided SHOW;
Long had I watched the glory moving on
O'er the still radiance of the lake below.
Tranquil its spirit seemed, and floated slow!
Even in lts very motion there was test;
While every breath of eve that chanced to blow
Wafted the traveller to the beauteous west.
WLSO
