,,ontario ,,teachers' ,,manuals ,,literature ,illustration ,,authorized ,,by ,,the ,,minister ,,of ,,education ,,toronto ,,the ,,copp1 ,,clark ,,company1 ,,limited ,,copyright1 ,,canada1 #aiaf1 ,,by ,,the ,,minister ,,of ,,education ,,for ,,ontario ,,reprinted1 #aiaf1 #aiag4 ,,contents ,,page ,,course ,,of ,,study--,,details #a ,,chapter ,i ,introduction ,what is ,literature8 #e ,the ,qualities that ,appeal to ,children at ,different ,ages #g ,in ,junior ,forms #g ,in ,senior ,forms 7,books ,,iii and ,,iv7 #aj ,complete ,wholes versus ,extracts #aa ,correlation of ,literature with ,nature ,study1 ,geography1 ,history1 and ,art #ab ,aims in ,teaching ,literature #ad ,general ,principles ,applicable in the ,teaching of ,literature #af ,,chapter ,,ii ,methods ,in ,junior ,forms #ai ,memorization #bj ,in ,senior ,forms #bb ,teacher's ,preparation #bb ,preparation of ,pupils #bc ,presentation #bf ,value of ,oral ,reading in the ,interpretation and ,appreciation of ,literature #bg ,development of the ,main ,thought #bi ,minute ,analysis #ca ,allusions #cb ,imagery #cc ,literature of ,noble ,thought #ce ,recapitulation #cf ,mistakes in ,teaching ,literature #cg ,extensive ,reading #ci ,,chapter ,,iii ,illustrative ,lessons ,pantomime ,little ,miss ,muffet #db ,dramatization ,little ,boy ,blue #dc ,the ,story of ,henny ,penny #dd ,wishes #df ,indian ,lullaby #dg ,,chapter ,,iv4 ,,form ,i3 ,,senior ,illustrative ,lessons ,the ,wind and the ,leaves #ej ,piping ,down the ,valleys ,wild #eb ,the ,baby ,swallow #ed ,the ,brook #ef ,,chapter ,v4 ,,form ,,ii ,illustrative ,lessons ,my ,shadow #ei ,one1 ,two1 ,three #fb ,dandelions #fd ,the ,blind ,men and the ,elephant #fg ,the ,lord is my ,shepherd #ga ,,chapter ,,vi4 ,,form ,,iii ,illustrative ,lessons ,hide and ,seek #gd ,an ,apple ,orchard in the ,spring #gf ,little ,daffydowndilly #gh ,moonlight ,sonata #hc ,lead1 ,kindly ,light #hg ,lead1 ,kindly ,light #hi ,,chapter ,,vii4 ,,form ,,iv ,illustrative ,lessons ,judah's ,supplication to ,joseph #ic ,mercy #ih ,morning on the ,lievre #aja ,dickens in the ,camp #aje ,dost ,thou ,look ,back on ,what ,hath ,been #aab ,waterloo #aag ,three ,scenes in the ,tyrol #abb ,,chapter ,,viii ,supplementary ,reading ,south-,west ,wind1 ,esq4 #aca ,a ,christmas ,carol #ace ,the ,lady of the ,lake #aci ,,chapter ,,ix ,selections for ,memorization #ade ,,literature ,,public ,,and ,,separate ,,school ,,course ,,of ,,study ,,details ,,form ,i ,a4 ,,selections ,,from ,,the ,,ontario ,,readers ,b4 ,,supplementary ,,reading ,,and ,,memorization3 ,selection may be made from the following3 ,i4 ,to be ,read to ,pupils3 #a4 ,,nursery ,,rhymes3 ,sing a ,song of ,sixpence2 ,i ,saw a ,ship a-,sailing2 ,who ,killed ,cock ,robin2 ,simple ,simon2 ,mary's ,lamb1 etc4 ,consult ,verse and ,prose for ,beginners in ,reading2 ,riverside ,literature ,series1 ,no4 #ei1 #ae cents4 #b4 ,,fairy ,,stories3 ,briar ,rose1 ,snow-white and ,rose-red--,grimm2 ,the ,ugly ,duckling--,andersen2 ,cinderella1 ,the ,sleeping ,beauty in the ,wood--,perrault2 ,beauty and the ,beast--,madame de ,villeneuve2 ,the ,wonderful ,lamp--,arabian ,nights' ,entertainments4 ,consult ,fairy ,tales ,every ,child ,should ,know1 by ,h4 ,w4 ,mabie4 ,grosset ,dunlap1 #ej;c4 #c4 ,,folk ,,stories3 ,whittington and ,his ,cat2 ,the ,three ,bears4 #d4 ,,fables3 ,selections from ,a,esop and ,la ,fontaine4 ,consult ,fables and ,folk ,stories1 by ,scudder1 ,parts ,i and ,,ii2 ,riverside ,literature ,series1 ,nos4 #dg1 #dh1 #ae cents each4 ,,ii4 ,to be ,read by ,pupils3 ,fables and ,folk ,stories--,scudder2 ,a ,child's ,garden of ,verses 7,first ,part7--,stevenson2 ,readers of a similar grade4 ,,iii4 ,to be ,memorized by ,pupils3 #a4 ,,memory ,,gems3 ,specimens of these may be found in the ,public ,school ,manuals on ,primary ,reading and ,literature4 #b4 ,,from ,,the ,,readers3 ,morning ,hymn2 ,evening ,prayer2 ,the ,swing2 ,what ,i ,should ,do2 ,alice4 ,,form ,,ii ,a4 ,,selections ,,from ,,second ,,reader ,b4 ,,supplementary ,,reading ,,and ,,memorization3 ,selection may be made from the following3 ,i4 ,to be ,read to ,pupils3 #a4 ,,narrative ,,poems3 ,john ,gilpin--,cowper2 ,lucy ,gray--,wordsworth2 ,wreck of the ,hesperus--,longfellow2 ,pied ,piper of ,hamelin--,browning2 ,may ,queen--,tennyson2 etc4 ,consult ,the ,children's ,garland1 ,patmore4 ,the ,macmillan ,co41 #ce cents4 #b4 ,,nature ,,stories3 ,wild ,animals ,i ,have ,known1 ,lives of the ,hunted--,thompson-,seton2 ,the ,watchers of the ,trails--,roberts4 #c4 ,,fairy ,,stories3 ,fairy ,tales ,every ,child ,should ,know--,h4 ,w4 ,mabie4 #d4 ,,other ,,stories3 ,selections from the ,wonder ,book--,hawthorne2 ,jungle ,book--,kipling2 ,gulliver's ,travels--,swift2 ,alice in ,wonderland--,carroll2 ,robinson ,crusoe--,defoe2 ,the ,hall of ,heroes--,royal ,treasury of ,story and ,song1 ,part ,,iii1 ,nelson ,sons4 ,,ii4 ,to be ,read by ,pupils3 ,a ,child's ,garden of ,verses--,stevenson2 ,the ,seven ,little ,sisters--,jane ,andrews2 ,fifty ,famous ,stories ,retold--,baldwin4 ,,iii4 ,to be memorized by ,pupils3 7,a minimum of six lines a week7 ,,from ,,the ,,reader3 ,a ,wake-up ,song2 ,love2 ,the ,land of ,nod2 ,one1 ,two1 ,three2 ,march2 ,abide with ,me2 ,the ,new ,moon2 ,the ,song for ,little ,may2 ,the ,lord is my ,shepherd2 ,lullaby--,tennyson2 ,indian ,summer2 proverbs1 maxims1 and short extracts found at the bottom of the page in the ,readers4 ,,form ,,iii ,a4 ,,selections ,,from ,,third ,,reader ,b4 ,,supplementary ,,reading ,,and ,,memorization3 ,selection may be made from the following3 ,the ,king of the ,golden ,river--,ruskin2 ,tanglewood ,tales--,hawthorne2 ,the ,heroes--,kingsley2 ,adventures of ,ulysses--,lamb2 ,squirrels and ,other ,fur-bearers--,burroughs2 ,ten ,little ,boys who ,lived on the ,road from ,long ,ago till ,now--,jane ,andrews2 ,hiawatha--,longfellow2 ,rip ,van ,winkle--,irving2 ,water ,babies--,kingsley4 ,to be ,memorized by ,pupils3 7,a minimum of ten lines a week7 ,,from ,,the ,,reader3 ,to-day--,carlyle2 ,the ,quest--,bumstead2 ,hearts of ,oak--,garrick2 ,a ,farewell--,kingsley2 ,an ,apple ,orchard in the ,spring--,martin2 ,the ,charge of the ,light ,brigade--,tennyson2 ,lead1 ,kindly ,light--,newman2 ,the ,bugle ,song--,tennyson2 ,crossing the ,bar--,tennyson2 ,the ,fighting ,temeraire--,newbolt2 ,afterglow--,wilfred ,campbell2 proverbs1 maxims1 and short extracts4 ,,form ,,iv ,a4 ,,selections ,,from ,,fourth ,,reader ,b4 ,,supplementary ,,reading ,,and ,,memorization3 ,selections may be made from the list prepared annually by the ,department of ,education4 ,,literature ,,chapter ,i ,,introduction ,it is the purpose of this ,manual to present the general principles on which the teaching of literature is based4 ,it will distinguish between the intensive and the extensive study of literature2 it will consider what material is suitable for children at different ages2 it will discuss the reasons for various steps in lesson procedure2 and it will illustrate methods by giving1 for use in different ,forms1 lesson plans in literature that is diverse in its qualities4 ,this ,manual is not intended to provide a short and easy way of teaching literature nor to save the teacher from expending thought and labour on his work4 ,the authors do not propose to cover all possible cases and leave nothing for the teacher's ingenuity and originality4 ,,what ,,is ,,literature8 ,good literature portrays and interprets human life1 its activities1 its ideas and emotions1 and those things about which human interest and emotion cluster4 ,it gives breadth of view1 supplies high ideals of conduct1 cultivates the imagination1 trains the taste1 and develops an appreciation of beauty of form1 fitness of phrase1 and music of language4 ,the term ,literature as used in this ,manual is applied especially to those selections in the ,ontario ,readers which possess in some degree these characteristics4 ,such selections are unlike the lessons in the text-books in grammar1 geography1 arithmetic1 etc4 ,in these the aim is to determine the facts and the conclusions to which they lead4 ,even in the ,readers1 there are some lessons of which this is partly true4 ,for instance1 the lesson on ,clouds1 ,rains1 and ,rivers1 by ,tyndall1 is such as might be found in a text-book in geography or science4 ,here the information alone is viewed as valuable1 and the pupil will probably supplement what he has learned from the book by the study of material objects and natural phenomena4 ,when this lesson is to be studied1 the pupil should be taught not only to understand thoroughly what the author is expressing by his language1 but also to appreciate the clearness and force with which he has given his message to the world4 ,the pupil should be called upon to examine the author's illustrations1 his choice of words1 and his paragraph and sentence structure4 ,each literature lesson in the ,reader has some particular force1 or charm of thought and expression4 ,there is found in these lessons1 not only beauty of thought and feeling1 but artistic form as well4 ,in the highest forms of literature1 the emotional element predominates1 and it should be one to which all mankind1 to a greater or less degree1 are subject4 ,it is the predominance of these emotional and artistic elements which makes literature a difficult subject to teach4 ,the element of feeling is elusive and can best be taught by the influence of contagion4 ,there is usually less difficulty about the intellectual element1 that is1 about the meaning of words and phrases1 the general thought of the lesson1 and the relation of the thoughts to one another and to the whole4 ,,the ,,qualities ,,that ,,appeal ,,to ,,children ,,at ,,different ,,ages ,this is a psychological problem which can be solved only by a study of the interests and capacities of the children4 ,these interests vary so greatly and make their appearance at such diverse periods in different individuals and in the two sexes1 that it is a difficult matter to say with any definiteness just what qualities of literature appeal to children at any particular age4 ,moreover1 the children's environment and previous experiences have a great deal to do in determining these interests and capacities4 ,there are1 however1 certain characteristics of different periods of childhood which are fairly universal1 and which may1 therefore1 be taken as guiding1 determining factors in the selection of suitable literature4 ,,junior ,,forms #a4 ,one of the most striking characteristics of young children is the activity of their imagination4 ,they endow their toys with life and personality2 they construct the most fantastic and impossible tales2 they accept without question the existence of supernatural beings4 ,the problem for the teacher is to direct this activity of imagination into proper fields1 and to present material which will give the child a large store of beautiful images--images that are not only delightful to dwell upon1 but are also elevating and refining in their influence upon character4 ,the fairy tale1 the folk tale1 and the fable1 owe their popularity with young children to the predominance of the imaginative element4 ,the traditionary fairy tales and folk stories are usually more suitable than those that appear in teachers' magazines and modern holiday books for children4 ,the hardest thing for the educated mind to do is to write down to the level of children without coddling or becoming cynical4 ,the old tales are sincere1 simple1 and full of faith4 ,they are not written for children1 but are the romance of the people with whom they came into existence1 and they have stood the test of ages4 ,the myth is usually not suitable for young children1 as it is a religious story having a symbolic meaning which is beyond their interpretation4 ,if it is used at all1 only the story in it should be given4 #b4 ,stories of adventure1 courage1 and the defence of the helpless appeal very strongly to young children4 ,even the cruelties and crudities of ,bluebeard1 ,ali ,baba and the ,forty ,thieves1 and ,aladdin and his ,wonderful ,lamp do not alarm or repel children very much1 owing to their lack of experience in these matters4 ,stories based on the love of the sexes are unsuitable for children of this age1 although it constitutes the chief element in stories for older people4 #c4 ,the child is also interested in stories of simple games1 of animals and birds1 and of the material world on which so much of his happiness depends4 ,these stories are corrective of the desire which characterizes some children for too many fairy stories4 ,the fairy story and the nature story should be alternated1 so that the child's interests may be imaginative without becoming visionary1 and practical without becoming prosaic4 #d4 ,most children have a keen sense of the musical qualities of verse4 ,the child of two years of age will give his attention to the rhythm of the nursery rhyme when the prose story will not interest him4 ,the consideration and analysis of these musical qualities should be deferred for years2 but it is probable that the foundation for a future appreciation of poetry is often laid by an acquaintance with the rhymes of childhood4 #e4 ,the element of repetition appeals strongly to children4 ,in this lies the attractiveness of the cumulative story1 in which the same incident1 or feature1 or form of expression is repeated again and again with some slight modification2 for example1 the story of ,henny ,penny1 ,the ,gingerbread ,boy1 and ,the ,little ,red ,hen4 ,the choruses and the refrains of songs are pleasant for this reason4 ,silverlocks and the ,three ,bears is an example of a story that has many attractive features4 ,silverlocks is an interesting girl1 because she is mischievous and adventurous4 ,the pupils know a good deal about bears and wild animals from picture books1 stories1 and perhaps the travelling menageries4 ,the bears have all proper names--,rough ,bruin1 ,mammy ,muff1 and ,tiny2 this gives an air of reality to the story4 ,the bears speak in short1 characteristic sentences4 ,silverlocks runs away from home1 goes into the woods1 and finds a lonely house which is the home of the bears4 ,they are not at home1 so she enters4 ,these actions suggest mystery and adventure4 ,the construction of the story shows two chief divisions1 with three subdivisions4 ,the second division begins with the return of the bears4 ,they find the soup has been tasted1 the chairs disturbed1 and the beds rumpled2 their conversation is interesting1 and their tones characteristic4 ,tiny1 the little bear1 suffers most2 he enlists the sympathy of the children1 as he has lost his dinner and his chair is broken4 ,he discovers ,silverlocks1 but she escapes and never runs away from home any more4 ,,senior ,,forms 7,,books ,,iii ,,and ,,iv7 #a4 ,in these ,forms1 the pupil's imagination is still strong1 though less fantastic and under better control1 and hence stories involving a large element of imagination retain their charm at this stage4 ,the myth1 and longer and more involved fairy tales1 such as ,ruskin's ,king of the ,golden ,river1 ,hawthorne's ,wonder ,book1 and ,kingsley's ,greek ,heroes1 are read with avidity4 #b4 ,stories involving a number of incidents are wonderfully attractive4 ,this is due to the pupil's instinctive interest in action and personality4 ,children are more deeply interested in persons who do things than in those who become something else than they were4 ,a description of some evolution of character very soon palls1 but a stirring tale of heroic deeds exerts a powerful fascination4 ,this explains the attractiveness of the hero tale1 the story of adventure1 and the stirring historical narrative4 ,the action should have the merit of artistic moderation4 ,stories in which there is a carnival of action1 for example1 the dime thriller1 under whose spell so many boys fall1 must be avoided4 ,literature that leaves the mind so feverish that the pupil loses interest in other subjects is worse than no literature4 ,the easiest way to prevent a taste for this injurious kind1 is to give the pupil an acquaintance with works descriptive of noble deeds and virile character4 ,an interest in epic poetry or the historical novel may be developed from the child's instinctive interest in action4 ,tennyson's ,passing of ,arthur1 ,arnold's ,sohrab and ,rustum1 ,longfellow's ,evangeline and ,king ,robert of ,sicily1 and ,scott's ,ivanhoe will be read with keen enjoyment4 ,the force and beauty of the language1 the faithfulness of the descriptions to life1 the historical setting1 the lofty imagery1 and the logical development will arouse a healthy mental appetite that will find no pleasure in the worthless story of sensation and vulgar incident1 or even in some badly constructed compositions of historical adventure4 #c4 ,the pupils of the ,senior ,forms show even more striking interest in animals1 pets1 and wild creatures than do the pupils of the ,junior ,forms4 ,to this natural interest is due the engrossing character of nature study4 ,to it is also due the satisfaction arising from the reading of some of the many nature stories that have appeared in recent years4 ,thompson-,seton's ,wild ,animals ,i have ,known and ,lives of the ,hunted1 and ,roberts' ,the ,watchers of the ,trails are excellent examples of this class4 ,,complete ,,wholes ,,versus ,,extracts ,scattered throughout the ,ontario ,readers are to be found extracts from larger works4 ,these extracts are placed there primarily because they have some special literary value4 ,they have fairly complete unity in themselves and can be treated in detail in a way that would be impossible with a whole story4 ,the extract has an advantage over the whole1 in that it repays intensive study1 while1 in many cases1 such study of the whole work would not be worth while4 ,it is considered better to give the pupil many of these passages where the author has shown his greatest art1 rather than to allow one long work to absorb the very limited time which the pupil can devote to this subject4 ,the study of the extract will have accomplished its mission if it induces the pupil to read the larger work for himself in later years4 ,if the treatment by the teacher is made as interesting as it should be1 it is hoped that the pupil will obtain such delight from1 and be inspired to such enthusiasm by1 these glimpses of literary treasures1 that he will not be satisfied until he has enjoyed in their entirety such works as ,the ,lady of the ,lake1 ,pickwick ,papers1 ,lorna ,doone1 ,the ,mill on the ,floss1 ,julius ,caesar1 and ,it is ,never ,too ,late to ,mend4 ,an extract may serve as an introduction to the choicest work of an author1 may arouse an interest in his writings1 and give the pupils a taste of his quality1 but1 unless it whets their appetites for the work as a whole1 its chief purpose will not have been accomplished4 ,these extracts cannot give a panoramic view of a great historical epoch4 ,they do not require that sustained attention that relates to-day's readings with that of yesterday1 and that takes a wider survey of many parts in their relation to a central theme4 ,the larger work gives a culture and a liberal education1 when it is treated in the proper manner1 that is very different from the fragmentary knowledge of an author that would be gained by even the intensive study of many short extracts4 ,the treatment of the extract1 as we have said1 must be minute2 while the whole work should be subsequently read in a method that will be outlined later on under the head of ,supplementary ,reading4 ,,correlation ,,of ,,literature ,,with ,,nature ,,study1 ,,geography1 ,,history1 ,,and ,,art ,many of the lessons in the ,ontario ,readers should be preceded by preparatory work in geography1 history1 or nature study4 ,poems such as ,jacques ,cartier1 ,the ,charge of the ,light ,brigade1 ,the ,burial of ,sir ,john ,moore1 and ,the ,armada cannot be fully appreciated unless the historical setting is known4 ,there are famous pictures that will increase the pupil's interest in these poems4 ,in the lessons on art1 there are studies of pictures that suggest feelings and thoughts characterized by universality1 permanency1 and nobility--pictures that stir men to nobler thought and higher aspiration4 ,often1 such pictures are the painter's method of expressing in colours1 thoughts that the poet has expressed in words4 ,lessons such as ,dandelions1 ,bob ,white1 and ,the ,sandpiper require a preliminary acquaintance with certain facts of nature1 and therefore should be taken1 if possible1 when these can be obtained through personal observation by the pupils4 ,wolfe and ,montcalm and ,drake's ,voyage ,around the ,world demand1 in addition to historical facts1 certain geographical data4 ,these facts and data should be communicated at some time before the lessons in literature are taken1 in order that the latter may not descend into lessons in history1 geography1 or natural science4 ,the extracts mentioned above are not placed in the ,readers to teach certain historical1 geographical1 or scientific facts4 ,they are placed there1 as has been said1 primarily because they have some value as literature4 ,hence the literature lesson should require few digressions1 the necessary preparatory work having been done in previous periods4 ,but while history1 geography1 nature study1 and art frequently assist in the interpretation of a poem or prose selection1 these subjects1 on the other hand1 may be reinforced and strengthened by selections drawn from the fields of literature4 ,the facts of the history lesson will be given an additional attractiveness if the pupil is directed to some well-written biography or drama embodying the same facts1 or if the teacher reads or recites to the class some spirited ballad1 such as ,bonnie ,dundee1 bearing upon the lesson4 ,the interest in the observations made in nature study will be intensified by reading some nature story written in good literary form4 ,while these studies may go hand in hand with literature1 it is not necessary that they should be always taken on the same day or even in the same week4 ,the literature lesson may be an effective agent in the recall of ideas that have had time to be assimilated from previous nature study1 history1 or geography lessons4 ,in our enthusiasm for literature we must not make these subjects the mere soil and fertilizers out of which the flowers of poetry will spring4 ,each of these subjects has its proper sphere1 but that teacher misses many golden opportunities who does not frequently take a comprehensive survey of his material in all these studies in order to find the element that will give a unity to all our knowledge and experience4 ,the lessons in the ,reader may be taken according to the conditions existing in the class or the inclination of the teacher4 ,by no means is it necessary to follow the order in the book4 ,,aims ,,in ,,teaching ,,literature ,the teacher should always have a clear and definite aim in view in teaching a selection in literature1 but different teachers may have different aims in teaching the same selection4 ,there should1 of course1 always be the general aim to create a taste for good literature by leading the pupils to appreciate the beauty and power of clear and artistic expression of thought and feeling2 but this aim must be specific according to the nature of the selection to be taught4 ,some specific aims may be given as suggestive3 #a4 ,to appeal suitably to such instinctive tastes and interests of childhood as are already awake and active2 for example1 ,second ,reader1 p4 #c1 ,my ,shadow2 p4 #ahe1 ,a ,visit from ,st4 ,nicholas2 p4 #abe1 ,little ,gustava2 p4 #bae1 ,the ,children's ,hour4 #b4 ,to awaken and develop interests and tastes that are as yet dormant2 for example1 ,second ,reader1 p4 #db1 ,a ,song for ,little ,may2 p4 #hh1 ,the ,brown ,thrush4 #c4 ,to develop and direct the imagination2 for example1 ,second ,reader1 p4 #gb1 ,the ,new ,moon2 p4 #aag1 ,little ,sorrow2 p4 #de1 ,the ,little ,land2 p4 #agb1 ,the ,wind4 #d4 ,to arouse and quicken the sense of beauty2 for example1 ,second ,reader1 p4 #ib1 ,mother's ,world2 p4 #aee1 ,lullaby4 #e4 ,to exercise and cultivate the emotions2 for example1 ,second ,reader1 p4 #id1 ,androclus and the ,lion2 p4 #ace1 ,ulysses2 p4 #ajg1 ,a ,night with a ,wolf4 #f4 ,to develop manners and morals through examples of character and conduct in action2 for example1 ,second ,reader1 p4 #aad1 ,joseph ,,ii and the ,grenadier4 #g4 ,to develop appreciation for the well-told story2 for example1 ,second ,reader1 p4 #e1 ,the ,pail of ,gold2 p4 #ab1 ,how ,i ,turned the ,grindstone2 p4 #ef1 ,the ,blind ,men and the ,elephant2 p4 #baa1 ,how the ,greeks ,took ,troy4 #h4 ,to develop a true sense of humour2 for example1 ,second ,reader1 p4 #ej1 ,change ,about4 #i4 ,to develop a sense of reverence2 for example1 ,second ,reader1 p4 #bjc1 ,the ,lord is my ,shepherd2 p4 #bah1 ,abide ,with ,me4 ,,general ,,principles ,,applicable ,,in ,,the ,,teaching ,,of ,,literature ,there are four outstanding principles of general method that apply particularly in the teaching of ,literature4 ,i4 ,the pupil must1 at the outset1 be placed in a receptive attitude toward the lesson if the best results are to be secured4 ,he must have some purpose in view if he is to be induced to concentrate his attention upon it4 ,his purposes determine his interests1 and hence the lesson must1 in some way1 be related to interests that already exist in his mind4 ,frequently his instinctive interest in action1 in personality1 or in excitement is sufficient incentive to secure his attention4 ,a suspicion that a lesson contains a good story is often sufficient to ensure a careful reading of it1 and a curiosity as to the writer's devices to make the story interesting will lead to a closer examination of it4 ,but more frequently some special interest resulting from the time of year1 the surroundings1 or the work taken in some other subject1 may be effectively utilized by the teacher4 ,these interests of children are so numerous and so varied that there are few lessons in the ,readers for which a receptive attitude of mind cannot be secured4 ,it will be observed that the principle here enunciated corresponds to the statement of the aim in the ,herbartian ,formal ,steps4 ,,ii4 ,the pupil's mind must be suitably prepared for the assimilation of the ideas contained in the lesson1 by recalling old ideas and feelings that are related to those to be presented in the selection to be studied4 ,he must be placed in a proper intellectual attitude to interpret the ideas and in a proper emotional attitude to appreciate the feelings4 ,neglect of the former may make the selection wholly meaningless to the pupil2 neglect of the latter may result in entire indifference toward it4 ,a proper intellectual attitude is necessary in any lesson1 but in a lesson in grammar or arithmetic the emotional attitude may be almost completely absent4 ,in literature1 however1 this emotional attitude is often of the greatest importance1 and the neglect of it may mean an utter lack of appreciation of some literary masterpiece4 ,this preparatory work may take the form of a recall of some of the common experiences of the pupil's life or a review of some facts taken1 for instance1 in a previous geography1 history1 or nature study lesson4 ,the apperceptive power of the pupil's mind takes the new material of thought and feeling contained in the selection and weaves it into the web of his previous ideas and emotions4 ,,iii4 ,the mind always proceeds from a vague and indistinct idea of a new presentation to a clear and defined idea of it4 ,the process is always analytic-synthetic4 ,in a literature lesson the order of procedure must be3 7#a7 ,let the pupil get that somewhat indistinct grasp of the thought and feeling which comes from a preliminary reading of it2 7#b7 make this more definite by a process of analysis1 by concentrating attention on the details2 7#c7 make the idea completely definite by a clear grasp of the relations existing among the various details1 that is1 by a process of synthesis4 ,,iv4 ,no impression is complete without some form of expression4 ,an idea or emotion is a very incomplete and useless thing until it is worked out in practice and conduct4 ,the thoughts and feelings gained from the literature lesson must be given some kind of expression if they are to be fully realized4 ,this expression may take many different forms4 ,the pupils may merely read the selection1 showing to the listeners their understanding and appreciation of it4 ,if it is a story1 they may reproduce it in their own words orally or in writing4 ,they may sketch a scene or a situation with pencil1 or with brush and colours4 ,they may dramatize it1 or act it in pantomime4 ,they may create a story with a similar theme1 or imitate a poem by a creation of their own4 ,the expression may not be immediate but may be delayed for days or even years1 and come in some modification of future conduct4 ,,chapter ,,ii ,,methods ,,in ,,junior ,,forms ,to introduce children to the world of literature1 it is not necessary to wait until they have mastered the art of reading4 ,the introduction should come long before they have learned to read1 through listening to good stories told or read to them by others1 through hearing suitable poems read or recited with spirit and feeling1 and by memorizing nursery rhymes and gems of poetry4 ,the material to be used in primary grades has already been described4 ,early work in literature should be correlated with oral composition4 ,as to the comparative merits of reading and telling1 much may be said on each side4 ,in the early stages1 telling must1 of course1 be the predominant if not the exclusive means of communicating the story4 ,the matter and language can thus be better adjusted to the capacity of the individual pupil4 ,the teacher who is familiar with the pupil's home life and surroundings has within his power a means of adapting the story to the attainments of the pupil that even the best writer of children's stories can hardly command4 ,a situation in a story can frequently be made intelligible by reference to the pupil's own experience4 ,moreover1 in telling the story1 the teacher's gestures1 facial expression1 and tone of voice are likely to be more spontaneous and natural than would be the case in reading1 and this gives immense assistance in interpreting aright the meaning and spirit of the selection4 ,some teachers say that the incident1 as in the case of ,hawthorne's ,tales1 is so meagre and the language so exquisite1 that the telling seems to be quite inadequate and inferior to the reading of the story4 ,in such cases1 variety may be afforded by reading1 but generally speaking1 it is more effective to tell the story4 ,the teacher should strive to become a good story-teller4 ,this requires a good voice1 animated gesture and facial expression1 a good command of ,english words1 power of graphic description and narration1 restraint from digression and superfluous detail1 and concentration of aim upon some definite point4 ,in teaching poetry to primary classes1 the main object is to lead the pupils to feel the music and realize the imagery4 ,to attain this end1 the best beginning is made by a sympathetic and expressive rendering of the passage by the teacher4 ,it can be recited many times incidentally1 while he is asking the pupils to look at the pretty pictures suggested by the text4 ,it is not necessary to enter at any length into an analysis of the poem1 unless the pictures are arranged in an easy order1 such as spring1 summer1 autumn1 winter4 ,,memorization ,one of the most valuable means of securing an appreciation of literature is the memorization of fine passages of prose and poetry4 ,pupils from the primary grades upward should be required to memorize systematically several lines of prose and poetry every week of the school year4 ,during childhood the mind is at its most impressionable stage1 and what is committed to memory is then retained longer and more accurately than what is memorized at any later period4 ,the passages should be carefully selected and should be suited to the capacity and interests of the pupils4 ,nothing should be memorized that has not some meaning for them1 but it would be impossible to require that every selection should be fully understood4 ,the selections which children commit to memory in the most plastic period of their lives will often reveal a new and unexpected meaning and beauty in later years and will be a source of keen delight and satisfaction4 ,the passages memorized will form a standard1 unconscious it may be1 by which to test the excellence of other selections4 ,it is of the greatest importance that the passages chosen should have artistic excellence in thought1 feeling1 music1 imagery1 and language4 ,moreover1 these qualities must be present in such a form that they will1 when properly presented by the teacher's reading or reciting1 appeal1 in some considerable measure1 to the pupils' capacities and interests4 ,since there are so many noble passages in ,english literature1 nothing of doubtful value should be memorized4 ,it is also very important that the teacher himself should have committed to memory and be able to recite freely and expressively every selection he requires his pupils to memorize4 ,it is clear that1 if he has memorized it himself1 the pupils will be more likely to feel it worth while to do the same4 ,in conducting a lesson in memorization1 it is well for the teacher to arouse the interest of the pupils in the selection as a whole by reciting it himself with expression4 ,next1 he should see that the pupils understand as clearly as possible the meaning1 and realize and appreciate1 as far as they are able1 the feeling of the passage4 ,it should be treated first as an ordinary literature lesson1 after the manner already described4 ,it should then be read aloud several times by individual pupils1 all trying meanwhile to commit it to memory by concentration of attention on the ideas and their relations1 the words and their meanings4 ,the principles of all habit formation apply here--attention to the thing to be learned1 so as to get a clear understanding of it1 and then repetition with attention4 ,when it has been read several times1 individual pupils should be asked to recite it without any aid4 ,it will be found more satisfactory to memorize a complete stanza at a time1 or at least a part that expresses a complete thought1 rather than to commit to memory a line at a time4 ,with young pupils1 however1 it is well to take small units and let the children repeat one or two lines at a time till they can give the whole stanza with ease and accuracy4 ,it is important that all repetition should be individual1 not simultaneous4 ,where the latter method is in use1 it is noticeable that pupils adopt a uniform tone and measured rhythm1 both of which are undesirable4 ,moreover1 especially with young pupils1 there is a danger that absurd blunders made by individuals may pass unnoticed1 because the teacher has not the opportunity of detecting them4 ,when the passage has been memorized1 it should be repeated daily for a time and then repeated at longer intervals1 until there is little probability of its being forgotten4 ,,in ,,senior ,,forms ,,the ,,teacher',s ,,preparation ,the teacher must make himself thoroughly acquainted with the lesson that he has to teach4 ,when it is an extract1 he should be familiar with the longer work from which it is taken4 ,he cannot teach the lesson ,maggie ,tulliver with the highest appreciation if he has not read ,the ,mill on the ,floss4 ,but there is more than mere information required for successful teaching4 ,in poetry the teacher should feel delight in the music1 the expression1 the emotion1 till he is eager to communicate his feelings to the pupils4 ,this enthusiasm1 however1 should not have in it any insincerity1 or extravagant commendation of the poem or the author4 ,the teacher who has wide information and genuine interest in his work will seldom fail to arouse a real pleasure in the literature lesson4 ,the relationship between the teacher and the pupils must be cordial if the lesson is to be successful4 ,this is true in any subject1 but the sympathetic bond must be especially strong in the literature lesson4 ,,preparation ,,of ,,pupils ,it has already been pointed out that it is frequently necessary to give preliminary lessons in nature study1 science1 history1 or geography before the lesson in literature is presented4 ,the pupil must have the right information before the literature lesson can arouse the emotion that the author wishes him to feel4 ,not only is the possession of the right information necessary1 but the pupil should be in the right mood for the lesson4 ,a class that has just returned to the room after the games at recess is not in the proper state of mind to appreciate1 at once1 the recitation by the teacher of1 ,break1 break1 break1 ,on thy cold gray stones1 ,o sea6 ,even the enthusiasm and scholarship of the teacher will fail to be effective under these circumstances4 ,he should arouse in the pupils the proper mental and emotional state by a very short talk on friendship4 ,he can refer to the well-known stories of ,david and ,jonathan1 or ,damon and ,pythias1 and tell them of the friendship existing between ,arthur ,hallam and ,alfred ,tennyson4 ,before studying ,lead1 ,kindly ,light 7p4 #cae1 ,third ,reader7 the teacher might ask the pupils to picture a solitary traveller in the desert far from home4 ,night is approaching2 the darkness gathers1 and the air grows chill4 ,what would be the nature of his feelings8 ,away in the distance he discovers a faint light glimmering as from a lantern4 ,now1 how would he feel8 ,continue till the pupils can see each part of the picture1 the spiritual significance of which they are to learn through the poem4 ,to give an extended account of the author's life is a poor introduction1 unless there is something of unusual interest about his personality or achievements4 ,the pupils usually do not know anything about him1 and the teacher's aim1 in this preparatory work1 is to relate the thought and feeling of the poem to the properly assimilated knowledge and experience of the pupils4 ,in some cases1 they may have made a favourable acquaintance with the author in another poem1 and this may give the necessary stimulus to their interest in his life4 ,the best time1 however1 to give a biography of an author1 when that is helpful1 is after the lesson has been studied1 for then the pupils will appreciate what the teacher has to say about him personally4 ,in some poems1 the circumstances under which they are written will be the only introduction necessary1 as in the case of ,break1 break1 break or ,the ,recessional4 ,there is often an appropriate time for the teaching of a literature lesson4 ,sometimes it is the season of the year4 ,the lesson on ,an ,apple ,orchard in the ,spring should come when the blossoms are stimulating every bird and child with their loveliness1 fragrance1 and promise4 ,the ,first ,ploughing and the various poems on birds and flowers should come at this season4 ,they can be followed1 in turn1 by ,a ,midsummer ,song and ,the ,maple4 ,there are poems in the ,readers for ,september1 ,november1 ,indian ,summer1 and ,winter2 and a wealth of material for the ,christmas season4 ,yet the season may not always determine the time for such lessons4 ,the pupil who has observed again and again an apple orchard in the spring1 and who knows birds and trees1 has a store of memories that will enable him to picture vividly what he reads about these at any time4 ,it may be objected that these methods of introduction make the pupil depend too much on the teacher1 and do not throw him sufficiently on his own resources4 ,it is to be remembered1 however1 that the great object of teaching literature is to cultivate a taste for it4 ,when the pupil approaches a selection with ideas and feelings which are already1 in his consciousness1 related to those presented in the poem1 he is in the best possible mental attitude to appreciate it1 and the probability of his liking it is much greater than if it were presented without any such introduction4 ,the pupil's first impressions of a poem are all-important1 and it is essential that his first introduction to it should be made under the most favourable circumstances4 ,if his first acquaintance with poetry is made under pleasant conditions1 he will inevitably develop a taste for poetical literature1 and that is the object which the teacher has in view4 ,when this taste has been formed1 it will not be necessary that the teacher should be at hand in order to recall the proper experiences for the interpretation of a passage4 ,the pupil will read appreciatively on his own account1 without any such assistance4 ,in all cases1 the preparation of the pupils for the lesson must be short4 ,nothing more should be given than will suffice to bring them into a suitable mood2 usually some simple experience of their lives is ample4 ,the time for the lesson is always limited1 and the proportion between the introduction and the main theme must always be maintained4 ,,presentation ,the next step in the development of the lesson is the presentation4 ,how shall this be done8 ,there are three ways3 ,the teacher may ask the pupils to read the lesson silently at their seats or at home and come prepared to participate in the discussion2 or he may ask some of them to read the lesson aloud2 or he1 himself1 may read it to the pupils4 ,the merits of each of these methods will be considered4 ,in prose1 it is advisable to let the pupils read the selection before the lesson is taken up by the teacher4 ,the pupils must have practice in getting the thought from the symbols on the printed page and in grasping the general trend of the story1 the description1 or the argument4 ,the work will be mainly intellectual1 but the pupils may also1 at this stage1 have practice in discovering the emotional elements in some of the prose extracts4 ,in the higher ,forms1 the teacher may occasionally allow some of his best readers to read a poem aloud1 where the emotion is evident or the narrative plain4 ,the ,barefoot ,boy1 p4 #aah1 ,fourth ,reader2 ,the ,homes of ,england1 p4 #cge2 and ,bernardo del ,carpio1 p4 #aca1 are examples of this kind4 ,it is usually a better plan for the teacher to read the poem to the pupils4 ,with many poems of exquisite music and imagery1 such as ,the ,bugle ,song1 p4 #ccg1 ,third ,reader1 the reading by a pupil who has not yet caught the meaning and spirit will be a failure1 and the teacher will see that the mood that he has prepared with care at the opening is so certain to be dissipated that he must intervene in order to prevent the spoiling of the lesson4 ,but the teacher who has studied the poem and whose feelings have been deeply stirred by its music and pictures can1 through his reading1 communicate to his pupils his own appreciation2 and it will be a dull pupil who does not feel the contagion4 ,it is1 however1 not well to insist on too great uniformity in method2 the spirit rather than the form is vital4 ,,value ,,of ,,oral ,,reading ,,in ,,the ,,interpretation ,,and ,,appreciation ,,of ,,literature #a4 ,to the reader himself4 ,poetical literature is akin to music4 ,poetry was originally sung by the minstrel1 and the thought and feeling were communicated to the audience solely by the ear4 ,the study of poetry by the eye is artificial1 modern1 and contrary to our hereditary instincts4 ,we should not argue that the best way to appreciate music is found in following the symbols on the music sheet4 ,it is only the highly educated musician who can imagine the delights of music by an examination of the written text4 ,to some degree1 it is the same with poetry4 ,the music of the words and the appropriateness of the rhythm cannot be fully perceived by merely silent reading4 ,the eye alone would never detect the exquisite music of such a poem as ,hide and ,seek1 ,third ,reader1 p4 #ej1 or ,break1 break1 break1 p4 #bja4 ,nor could it perceive the suitability of the rhythm to the theme1 as exhibited in ,how ,they ,brought the ,good ,news from ,ghent to ,aix1 ,fourth ,reader1 p4 #cea4 ,in this poem1 we can hear in the rhythm the hoof beats of the horses as they gallop along4 ,how often have we felt a new meaning and appropriateness that our voice alone has suggested6 #b4 ,to the listeners4 ,the contagious nature of emotion has already been pointed out4 ,the good reader1 by his sympathetic and expressive rendering of the poem1 may reveal to his listeners depths of feeling1 the existence of which they had not before suspected4 ,we have often been thrilled by a new emotion1 upon hearing a familiar passage read by another4 ,every teacher should be a good reader4 ,his tone of voice1 his movement1 his gestures are the signs by which the pupils interpret his emotional attitude4 ,if he is not already a good reader1 he should bend all his energies to become one4 ,persevering practice1 attention to mechanical features1 such as distinct articulation1 pausing1 flexibility of voice1 and1 above all1 a sympathetic appreciation of the author's thought and feeling1 will soon convert a poor reader into a good one4 ,he will soon find that his voice will accommodate itself insensibly in pitch1 tone1 and movement to the changing emotions of the poem4 ,the delight of the lesson will be greatly enhanced where the reader lends to the rhyme of the poet the music of his voice4 ,the reading reveals the general thought of the poem4 ,in simpler poems1 the pupils will recognize in the reading the relationship and the intent of many of the subordinate parts4 ,but the intellectual side is only secondary4 ,literature1 in its finer forms1 is not primarily an intellectual subject1 such as grammar or mathematics4 ,the emotional tone1 the spiritual meaning1 and the artistic form--these are the main elements1 and these can be best developed by good reading4 ,the teacher should acquire the habit of reading poetry aloud in his home1 and should induce his pupils to follow his example4 ,further1 as two senses will give a more vivid realization of thought than one1 the pupil1 in the class1 should follow with his eye the reading of the teacher2 and it is helpful for a church congregation to follow with the eye the reading of the scripture lesson by the minister4 ,,the ,,development ,,of ,,the ,,main ,,thought ,the teacher should next assist the pupils to discover the main thought of the lesson4 ,in many cases the meaning will be very vague1 and the pupils will have difficulty in formulating a terse and comprehensive statement of the subject of the poem4 ,if the question is asked in a stereotyped form1 such as ,what is the main thought of the poem8 the enthusiasm of the pupils is often chilled4 ,the teacher may1 if it is a narrative poem1 ask for the main points in the story1 and may assist the pupils by calling attention to some pertinent passage1 or by removing difficulties by means of questions or explanations4 ,in all cases1 it is well to accept a partially correct answer by the pupils1 and to try to improve its imperfection by questioning1 until a fairly complete and substantial statement has been given4 ,every answer which contains even a fragment of sound thought should receive due recognition4 ,in some cases it is sufficient1 at the outset1 to take an imperfect statement of the main thought1 since the study of the poem will reveal its defects4 ,the teacher must keep before his pupils this statement1 so that at the conclusion of the lesson they will be quite ready to replace it by a more accurate one4 ,the teacher should be careful that the emotions aroused by the poem are not unduly weakened or dissipated by the analysis of its intellectual content4 ,many lessons by young teachers fail just at this point1 by reason of questioning unskilfully or by rejecting answers that do not correspond to their own cut-and-dried preconceptions4 ,the teacher should follow a similar method in discovering the leading thought of the subdivisions of the poem4 ,these often correspond to the stanza forms1 but the lesson may become very wearisome by insisting on too great detail4 ,the poem often falls into two or three main divisions1 into which the various stanzas may be grouped4 ,with ,senior ,forms it is a good exercise to ask the pupils to make this grouping1 but1 with those not so advanced1 the teacher himself may make it and ask the pupils for the central thought in each group4 ,in the teacher's anxiety to have these subjects clearly stated1 he runs the risk of wasting time and1 worse than that1 of killing whatever interest the pupils may have had up to this point4 ,if the pupils could give these subjects with perfect clearness now1 there would be little else to do4 ,the greatest care must be exercised to prevent the work becoming mechanical1 thus destroying the interest and making the selection distasteful4 ,with some pupils1 the logical sense is quite strong1 and they find their greatest delight in seeing the purpose of each part in a complex mechanism4 ,with others1 this work does not afford much pleasure4 ,these are children who1 later1 can take delight in the flimsy plot of a musical comedy4 ,such pupils should be encouraged to do their best to discover some points of beauty or skill in the arrangement of the selection4 ,in different lessons there is a difference in construction4 ,in some1 the logical connection and development is so important that this quality must be stressed1 but the works of some authors have merits which throw the arrangement into a very subordinate position2 for example1 ,ring out1 ,wild ,bells1 from ,in ,memoriam4 ,,minute ,,analysis ,the next stage in the analysis is the examination of the passage minutely4 ,there is always a place in the lesson for the study of words and phrases4 ,the teacher should ask questions on these1 in order to ascertain if the pupils have felt their force and vitality4 ,they are to be taken up only to illuminate and impress the main thoughts and emotions of the poem4 ,in some cases1 as in prose lessons1 the pupils may acquire the dictionary habit4 ,this develops and cultivates a studious disposition and accuracy of statement4 ,but in poetry there are many subtle meanings that the dictionary will not give1 but which the pupil has learned through contact with educated people and acquaintance with books4 ,most of the words that people use have not been learned from the dictionary1 but from their context in reading or conversation4 ,on the other hand1 many lessons are spoiled by too constant inquiry into meanings4 ,there is much mere learning of meanings without reference to the thought or emotion that they are intended to explain4 ,many words are explained that are already understood4 ,the fault may be due to the teacher's experience with annotated text-books of literature4 ,the teacher1 who has been prepared for his examination by this method1 is disposed to carry it into ,elementary ,school work1 till even ,the ,recessional becomes merely a theme for learning verbal meanings4 ,,allusions ,there are many references in the text-books to geographical1 scientific1 and historical matters4 ,if these allusions4 ,in poems such as ,the ,armada there must be a preliminary lesson such as has been indicated4 ,very often the enthusiast in these subjects will make literature a mere peg on which to hang much information4 ,teachers often make long digressions in connection with these allusions1 till the mood of the poem is completely lost in the mist of the disquisitions4 ,the same method should be adopted in teaching allusions as in teaching the meanings of words4 ,only such explanation is necessary as will show the purpose of the author in introducing the allusions4 ,in poems such as ,the ,armada there must be considerable explanation given1 before the pupils will feel the emotion that the author hopes to kindle by the mention of the names that are used in it4 ,with ,canadian children1 the effect in the case of this poem cannot be so great as with ,english children1 who are more familiar with the special geographical and historical associations4 ,the teacher of young people cannot hope1 by explanation of the allusions1 to arouse all the pleasure and the vitality of emotion that will be induced in the reader who has the culture that comes of wide reading2 nor can the teacher communicate this emotion when the information is new4 ,the pleasure comes1 later on1 from the recall of information that was assimilated in earlier years4 ,,the ,,imagery ,the language of poetry is generally concrete4 ,the artist may wish to give expression to a general truth1 or philosophical principle1 or ethereal fancy4 ,these appear very abstract1 but the artist embodies in material forms the idea he wishes to convey4 ,the poet expresses his thought by the suggestion of material imagery1 and emotion is most readily aroused by these images4 ,antony1 in his funeral oration after ,caesar's death1 knew how to arouse his audience to fury by showing them ,caesar's wounds and holding before them ,caesar's mantle with its rents4 ,not always can the real object be produced for these emotional effects1 but the teacher can sometimes bring into the class-room1 for the benefit of young pupils1 concrete material such as pictures and work in manual training4 ,he can also call attention1 at times1 to the falling snow or the colour of the leaves or the sky1 by asking the pupils to look out of the class-room windows4 ,but in most cases1 he has to be content with trying to recall the memory of these natural things4 ,this shows how valuable has been the excursion of the boy into the country1 and his experience on holidays by the river and in the harvest field4 ,the nature study lesson furnishes the material for future enjoyment of poetry4 ,the pupils in our schools are very capable in realizing visual imagery4 ,they can see the visual image very readily with its colour1 form1 and movement4 ,they can arrange the objects in the picture with foreground1 background1 light1 and shade4 ,but it is quite a different matter when they try to realize auditory imagery4 ,in the poem ,waterloo1 ,fourth ,reader1 p4 #caa1 they can see the picture in bright the lamps shone o'er fair women and brave men4 ,they see the large ball-room with its glass chandeliers1 the costumes of handsome ladies1 the scarlet uniforms and the decorations of the officers and the nobility4 ,but can they realize the next imagery1 that of sound1 and when music arose with its voluptuous swell8 ,do they hear the squeaking of one or two fiddles or do they hear the voluminous sound of regimental bands8 ,do they notice the varying metre from the stately iambic to the sudden voluptuous swell of the foot of three syllables in waltz time8 ,these images of sight and sound picture the gaiety and magnificence of this festive scene1 in order to make more marked the contrast with the fear and pathos of the farewells4 ,this contrast is enforced by the two auditory images3 ,and all went merry as a marriage bell2 ,but hush6 hark6 a deep sound strikes like a rising knell6 ,can your pupils image the wedding-bells chiming from the cathedral some afternoon in ,june1 when suddenly the ear catches the sound of a death-bell tolling from another church8 ,any reader who cannot realize the sounds of those two bells with their discordant effects will miss the intention of ,byron4 ,the pupils1 through the stimulation of their senses1 must have experienced the luxurious effects of orchards1 flower gardens1 and clover fields2 the odours of apple blossoms and the smell and taste of the full-juiced apple waxing over-mellow2 the perfumes and temperatures of spring1 midsummer1 and winter if they are to read nature literature intelligently and feel its charm4 ,the words must have meaning if they are to awaken the feeling that was part of the original experience4 ,,the ,,literature ,,of ,,noble ,,thought ,in literature1 as in other arts1 there is a great deal that is merely decorative4 ,it is not the purpose here to disparage this form of art4 ,a thing of beauty is a joy for ever4 ,its loveliness increases4 ,some of the most famous portraits and landscapes in the picture galleries afford infinite pleasure to the student of art by the technique in colour1 drawing1 and arrangement4 ,they are greater than photography4 ,the light that never was on sea or land1 the consecration and the poet's dream have given them a beauty that is greater than the realism of the actual person or natural scene4 ,it is the same in literature4 ,the author's feelings1 his language1 the rhythm of his words1 and his delicate fancy afford the reader greater delight than he has ever known when he has met similar persons1 scenes1 or actions in real life4 ,this is genuine aesthetic pleasure1 similar to the pleasure that people derive from china1 music1 or landscape gardening4 ,there is1 however1 a higher form of art in both pictures and literature4 ,there are pictures that suggest some noble aspiration1 some great universal truth1 some great conflict between duty and interest4 ,we feel instinctively that these are greater than pictures possessing mere masterly technique4 ,it is the same in literature4 ,there are poems in which we feel that the thoughts and feelings are sublime4 ,perhaps the technique of these is not equal to that of the poetry described in the preceding paragraph1 but the experienced teacher has felt his pupils lifted above mundane affairs1 when they begin to grasp the true significance of such poems4 ,the youngest pupils show their appreciation by wide open eyes1 when these are read4 ,they instinctively feel that this work is better than the merely pretty and dainty things in poetry4 ,in the ,ontario ,readers we have numerous poems of this nature4 ,in the ,first ,reader1 the pupils instinctively feel that ,piping ,down the ,valleys ,wild is of different calibre from ,three ,little ,kittens4 ,the ,lord is my ,shepherd1 ,lead1 ,kindly ,light1 and ,to a ,waterfowl1 are examples of this class4 ,in teaching these lessons1 the spiritual meaning should be constantly emphasized4 ,the mere statement of the thought is not impressive4 ,it is the presentation of it in poetical form that makes its effect impressive and lasting4 ,the pupils may be led to discover how the author has accomplished this by means of the concrete embodiment of imagery1 language1 metaphor1 and music4 ,,recapitulation ,the lesson is often dropped just at this time1 leaving an impression somewhat like that of a science room1 with the petals and leaves on the desks and the floor1 after the class in botany has been dismissed4 ,no act of analysis is complete without a final synthesis4 ,the examination of the various phases of the whole must be followed by a reconstruction in which are perceived the relations of the various phases to each other and to the unity of the whole4 ,these various parts must be closely related to one another if the final conception of the poem is to be definite4 ,when the analysis is in progress1 the teacher should not1 of course1 take each part by itself and examine it as if it were an isolated thing1 but its relation to what has gone before should be more or less clearly perceived4 ,when the analysis is complete1 there should be a final synthesis in which the relations of the various parts stand out definitely4 ,this can be done by means of a statement of the main thought in concise but comprehensive terms4 ,if the teacher has accepted an imperfect statement at the beginning1 the pupils will now be in a position to discover its inadequacy and supply the part that is lacking4 ,then the subjects of the various subdivisions or stanzas can be restated in suitable terms that will show the proper relationships4 ,this reconstruction may also take the form of oral or written reproduction of the selection4 ,this is especially valuable after the prose lessons4 ,there should follow an oral reading of the passage by the pupils1 which will serve to show the teacher how much of the feeling of the poem has been absorbed1 how clearly the pupils have understood the meaning1 and what misconceptions have arisen in their minds4 ,,mistakes ,,in ,,teaching ,,literature ,there are some mistakes in teaching literature that are noted here1 in order that they may be avoided3 #a4 ,teaching pupils about literature1 instead of teaching literature itself2 for example1 teaching biography1 etymology1 history1 geography1 or science in the literature lesson1 because some feature of one or more of these may be suggested by the language of the lesson4 ,a knowledge of such subjects is merely preparatory to the study of literature itself4 #b4 ,teaching merely the meanings of words and phrases1 and omitting the greater things of imagery1 thought1 beauty of language1 and the spirit of the writer4 #c4 ,trying to force appreciation by telling the pupils they must learn to like such and such works because educated people like them4 ,it is useless1 at this time1 to try to develop the critical spirit1 as the pupil has not a sufficiently wide acquaintance with literary works on which to form a judgment4 #d4 ,doing for the pupil what he should be led to do for himself4 ,a literature lesson1 in which the teacher has been doing all the talking1 or both asking and answering questions1 will be barren of good results4 #e4 ,paraphrasing4 ,short passages may be paraphrased1 in order to show whether the pupil has understood the force and vitality of the metaphor or the condensed expression4 ,but paraphrasing must be used with great discretion4 ,the teacher will not make the pupils appreciate the beauty of a fine literary selection by converting refined gold into low grade ore4 #f4 ,attempting to draw some moral from every lesson4 ,not all lessons are didactic4 ,if the pupils have sympathized with what is noble and just in the story1 the statement of a moral at the conclusion is unnecessary4 ,yet in poems that are plainly didactic1 for example1 ,to a ,waterfowl1 ,fourth ,reader1 p4 #cgg1 the moral lesson must occupy the first place4 ,there the teacher should show how the author has enforced the lesson of confidence in ,god's guidance by the incident of the migrating waterfowl1 the imagery1 the music1 the arrangement of parts1 and the similarity of his own position to that of the bird4 #g4 ,dwelling unnecessarily on the intellectual side of a poem that is mainly emotional and musical2 for example1 ,the ,bugle ,song1 ,third ,reader1 p4 #ccg1 and ,the ,solitary ,reaper1 ,fourth ,reader1 p4 #bfa4 ,in the former case1 the pupils should be led to realize the visual imagery1 should hear1 in imagination1 the bugle calls and fading echoes1 and enjoy the rare and appropriate music4 ,in the second case1 the teacher should call attention to the artistic suggestions of loneliness1 distance1 antiquity1 sadness1 and vagueness that are suggested by old1 unhappy1 far-off things1 and battles long ago1 and by such possible situations of ,english travellers in remote parts of the world1 and should show that these elements are suitable for the circumstances under which the poet sees the girl4 ,he who questions merely to find out the meaning of the poem1 the relation to that of its subordinate parts1 and the meaning of the words and phrases1 is using a very heavy tool on a very delicate mechanism4 ,such works must be treated deftly and lightly4 ,,extensive ,,reading ,the class of literature that we have described in the preceding methods is condensed literature1 where thought is large in proportion to the number of the words4 ,it must be read by a process of close thinking1 in an analytic1 exhaustive manner4 ,there must be a clear comprehension of the central ideas1 and a strong grasp of minor thoughts or details1 and the relation of these to the central ideas4 ,while this power to grasp thought intensively is very valuable1 we should also have the power to grasp the thought rapidly and comprehensively4 ,in some works1 the thought is not so condensed and confined4 ,here1 the main effort of the reader is to grasp the thoughts successively in a rapid1 clear1 and comprehensive manner4 ,he must be able to read a book chapter by chapter and grasp the central ideas1 to hold paragraph after paragraph1 chapter after chapter1 in his consciousness1 so that each gives added illumination to the main thought and1 at the end1 the whole of the work stands out in its entirety4 ,he must learn to grasp the central thought in each section as he proceeds--to sift the wheat from the chaff4 ,the minor details have been of value in giving him the main thought1 but the real ability of the good reader consists in dropping these minor details from the mind and holding steadily on to the more important facts4 ,this method gives a greater power of sustained attention and a wider acquaintance with good literature4 ,most of our reading is done in this way4 ,it would be impossible otherwise to get a wide range1 as time does not permit of minute analysis1 and many of our longer works are so diffuse that they would not repay such careful study4 ,the supplementary1 or extensive1 reading may be given as seat work or home work4 ,as seat work1 it can come as a grateful relief from the arduous tasks in the ungraded school and will keep many an active mind from getting into mischief4 ,by questioning about the main facts the teacher can assure himself that the work has actually been done4 ,this questioning should not be used only to catch the negligent2 it should give pleasure to the pupils as a conversation with them about their pleasant occupation4 ,it should be done very informally1 often as two intelligent people would discuss a book4 ,the questions should be broad in their scope and should not dwell on matters of detail4 ,if it is a story that is to be considered1 it should be examined as follows3 ,discover what are the difficulties set up2 how they are brought about2 how they are overcome2 how many threads of interest there are2 why certain characters are introduced2 what would be the effect if certain parts were omitted2 to what extent the final solution is logical4 ,when the examination is finished1 a series of compositions might be written on topics connected with the story4 ,for instance1 if ,rip ,van ,winkle has been studied1 a series of three compositions might be assigned3 7#a7 ,rip's domestic life2 7#b7 his adventure in the mountain2 7#c7 his return to the village4 ,three compositions would be better than a single one on the whole story1 because too great condensation usually detracts from the value1 and because the excellence of a school composition is usually in inverse proportion to its length4 ,it is exceedingly important that the teacher should see that these written exercises are not made distasteful to the pupil4 ,they are very valuable if they are not considered irksome4 ,the object is not so much to give skill in composition as to create a taste for wide and excellent reading4 ,it would be better to allow this written reproduction to drop rather than to associate the pleasures of literature with something disagreeable4 ,,chapter ,,iii ,,illustrative ,,lessons ,in the lessons that follow1 the answers given to questions are those which pupils may be expected to give after corrections and additions have been made by themselves and the teacher4 ,professor ,alexander has said3 ,it is impossible to exemplify on paper actual teaching4 ,actual teaching1 as all other practical matters1 is in large measure determined by circumstances and conditions which are never twice the same4 ,a large part of a teacher's skill lies in the sympathetic perception of these conditions and in the power of adapting himself to them on the spur of the moment4 ,the teacher should have a definite aim in view1 and a general conception of the proper method to be followed2 but these will be modified by the character of the pupils before him1 of the answers given1 of the manifestation of interest1 and the comprehension of the various points brought forward4 ,a question quite proper in one case will be quite out of place in another4 ,what knowledge should be imparted by the instructor1 what elicited from the pupils themselves1 what matters dwelt upon1 what lightly passed over--these things can only be determined by the actual circumstances4 ,,pantomime ,,little ,,miss ,,muffet 7,primer1 page #ge7 ,little ,miss ,muffet sits on a low chair eating from an imaginary dish4 ,the spider comes creeping softly behind her4 ,when he reaches her side1 he sits quietly down4 ,then she sees him and1 in a great fright1 jumps up and runs away4 ,,dramatization ,,little ,,boy ,,blue 7,primer1 page #fh7 ,the senior division of the primary class had read the story of ,little ,boy ,blue4 ,norman asked3 ,may we play it8 ,may ,i be ,little ,boy ,blue8 ,allan said3 ,i'd like to be the farmer4 ,dorothy wished to be the farmer's wife4 ,clara asked if the pupils of the highest class might be the cows and the sheep4 ,as ,norman was enthusiastic and eager to express himself1 he was permitted to direct the movements of the different characters4 ,the farmer selected a horse and prepared to take him to market1 while ,little ,boy ,blue could be seen tramping along the road 7the front part of the room74 ,the cows and sheep were grazing quietly near by4 ,as ,little ,boy ,blue approached the farmer1 he removed his cap and said3 ,good morning1 sir1 do you want a boy8 ,farmer3 ,yes1 ,i want one to watch the cows and the sheep4 ,little ,boy ,blue3 ,i can do that1 sir4 ,farmer 7handing ,little ,boy ,blue a toy horn that had been brought to school for use during a drawing lesson73 ,here is a horn1 then4 ,if they try to go away1 blow this1 and they will come back4 ,little ,boy ,blue3 ,i will1 sir4 ,the farmer drove away1 and ,little ,boy ,blue watched the cows and the sheep4 ,once they were about to wander away 7among the aisles71 but ,little ,boy ,blue blew the horn1 and they immediately returned4 ,he soon grew tired of watching them2 they seemed to be content to graze quietly where they were4 ,he leaned against a haystack 7a chair7 and fell asleep4 ,the cows were soon in the corn and the sheep in the meadow1 where the farmer saw them as he was driving home4 ,but he could not see ,little ,boy ,blue4 ,he called3 ,little ,boy ,blue1 ,come blow your horn1 ,the sheep are in the meadow1 ,the cows are in the corn4 ,farmer3 ,wife1 where is ,little ,boy ,blue8 ,wife3 ,he is under the haystack1 fast asleep4 ,farmer 7going to haystack73 ,little ,boy ,blue1 ,come blow your horn4 ,the boy jumped up1 blew a blast on the horn1 and the sheep and cows immediately came back4 ,little ,boy ,blue3 ,it was my fault and ,i'm sorry4 ,farmer3 ,all right1 you'll take better care of them next time4 ,,the ,,story ,,of ,,henny ,,penny 7,primer1 page #dh7 ,when the teacher suggests that a game be played1 many pupils fairly project themselves backward in an effort to look so well that they may be chosen to take part in it4 ,the teacher wrote ,dorothy on the black-board4 ,dorothy whispered that she would like to play the story of ,henny ,penny4 7,the adventures of ,henny ,penny had been recounted the day before47 ,the teacher wrote the story of ,henny ,penny4 ,as ,dorothy had sufficient self-confidence and a good memory1 she was allowed to choose her part1 which was certain to be that of the principal character4 ,had she not possessed these qualities1 she would have been assigned a minor part during the first attempt at dramatizing this story4 ,the teacher wrote ,rooster ,pooster on the black-board4 ,i should like to be ,rooster ,pooster1 said ,albert4 ,turkey ,lurkey1 wrote the teacher4 ,i'd like to be ,turkey ,lurkey1 said another4 ,in this or some similar way1 the parts were assigned4 ,as the play began1 ,henny ,penny was discovered pecking at imaginary worms in the garden2 suddenly she jumped up in a great fright4 ,oh1 the sky is falling6 she said1 ,i must run and tell the king4 ,she ran down the road 7an aisle7 till she met ,rooster ,pooster4 ,when he saw her coming1 he stopped crowing and asked1 ,where are you going1 ,henny ,penny8 ,oh1 she said1 the sky is falling1 and ,i am going to tell the king4 ,i will go too1 said ,rooster ,pooster4 ,they ran down the road till they met ,turkey ,lurkey gobbling contentedly4 ,the usual formula was repeated1 and ,turkey ,lurkey ran on with them4 ,but the fox 7villain7 was waiting around the corner4 ,where are you going1 ,henny ,penny1 ,rooster ,pooster1 and ,turkey ,lurkey8 said he4 ,oh1 ,fox ,lox1 they said1 the sky is falling and we are going to tell the king4 ,i will show you the way4 ,oh1 no1 ,fox ,lox1 we know you4 ,we will not go with you4 ,so they ran and ran1 but had to return home because they did not find the king's house4 ,,wishes 7,primer1 page #eb7 ,the pupils knew by the pictures on page #eb that the lesson would be a delightful one1 but when they attempted to read it1 they found difficulties that lessened their pleasure somewhat4 ,they enjoyed reading ,i wish ,i could find a little fat fly1 but sad little sigh and an odd little shrug were very difficult to say and were meaningless until the children imitated the teacher's sad little sighs and odd little shrugs4 ,the pupils were then asked which little chicken they would like to be4 ,the first pupil to respond was chosen4 ,he went to the front of the room1 which was then a garden1 and with a much bigger sigh than was necessary1 complained3 ,i wish ,i could find a little fat fly4 ,the other pupils then eagerly studied the page1 that they might learn what the next little chicken said and did4 ,the teacher was always ready to tell them any words they could not discover for themselves4 ,one pupil could make a shrug but could not remember the second little chicken's words1 so another was found who could say what the second little chicken said in just the way he would say it if he could talk4 ,the other little chickens and the mother hen were chosen in a similar manner4 ,the mother hen could be seen busily scratching at one end of the garden1 while her little chickens were walking aimlessly about4 ,first ,chicken 7after sighing73 ,i wish ,i could find a little fat fly4 ,second ,chicken 7with a shrug73 ,i wish ,i could find a fat little bug4 ,third ,chicken 7with a squeaky voice73 ,i wish ,i could feel some corn in my beak4 ,fourth ,chicken 7sighing73 ,i wish ,i could find a fat worm on a leaf4 ,mother ,hen 7impatiently73 ,see here1 if you want things to eat1 just come here and scratch4 ,,indian ,,lullaby ,rock-a-bye1 my little owlet1 ,in the mossy1 swaying nest1 ,with thy little woodland brothers1 ,close thine eyes and take thy rest4 ,hush-a-bye1 my little owlet1 ,many voices sing to thee2 ,hush-a-bye1 the water whispers1 ,hush6 replies the tall pine tree4 --,,longfellow ,there had been language lessons on the habits of the ,indians2 their way of living had been worked out1 as far as possible1 on the sand-table1 and pictures representing ,indian life had been shown4 ,the pupils had eagerly constructed an ,indian home--,dark behind it rose the forest 7twigs from the pine and other evergreen trees71 ,bright before it beat the water4 ,the lessons in drawing1 painting1 end modelling had been connected with this work4 ,from their boxes of coloured crayons1 the pupils had selected the colours used in making the pine trees1 the grass1 the bark of the trees1 the owl in the tree1 the wigwams1 etc4 ,from the many beautiful ,indian lullabies that would have been suitable1 the teacher selected the ,indian ,lullaby by ,longfellow4 ,during the periods set apart for music1 the pupils had been taught the desired melody with the syllable loo4 ,teacher4 ,how does your mother put baby to sleep8 ,pupils4 ,my mother rocks the baby in her arms4 ,mine puts him on the bed and he falls asleep4 ,we rock our baby in a cradle1 etc4 ,teacher4 ,the picture ,i give you will show you what the ,indian mother does with her baby4 ,each pupil was given a small picture showing an ,indian baby in his cradle suspended from a tree4 ,these pictures had been cut from a supplement to ,primary ,education4 ,teacher4 ,what has the mother done8 ,pupils4 ,she has put her baby in a basket and hung it on a tree4 ,teacher4 ,is the baby in the picture awake or asleep8 ,pupils4 ,he is asleep4 ,teacher4 ,what could the baby see before he went to sleep8 ,here a picture--fourteen by twenty inches--was shown4 ,it was a good representation of an ,indian home and its surroundings4 ,the pupils had made use of this picture when working at the sand-table4 ,pupils4 ,he could see the pine trees1 the water1 the wigwams1 the canoes1 the ,indians1 etc4 ,teacher4 ,what could the baby hear while swinging in his cradle8 ,pupils4 ,he could hear the ,indians talking4 ,he could hear the wind among the trees2 the water2 the birds singing in the woods2 the cry of an owl2 perhaps wolves1 bears1 etc4 ,teacher4 ,what other babies lived in the woods8 ,pupils4 ,birds1 squirrels1 owls1 wolves1 etc4 ,teacher4 ,a man once wrote what he thought an ,indian mother might have sung to her baby4 ,this is what he thought she would sing4 7,the teacher recited the ,indian ,lullaby47 ,individual pupils then repeated one stanza at a time with the assistance of the teacher4 ,the pupils sang softly the melody they had learned to loo2 then all tried to sing the words with the teacher4 ,the purpose was to emphasize the rhythm and interpret the spirit of the poem4 ,the lesson occupied twelve to fifteen minutes4 ,at another time1 hectographed copies of the poem were given to the pupils1 and as they had already partly memorized it1 they soon learned to read it4 ,,chapter ,,iv ,,form ,i3 ,,senior ,,grade ,,the ,,wind ,,and ,,the ,,leaves 7,first ,reader1 page #di7 ,it is the aim of this lesson to help the pupils to appreciate imaginative descriptions of some natural phenomena4 ,this lesson will be best appreciated if taken some day in autumn when the leaves are falling4 ,if the pupils have recently noticed the wind rushing through the trees1 scattering the many-coloured leaves and driving them before it along the ground1 they will be in the best mood to enter into the spirit of the poem4 ,what is the time of the year that the poem speaks about8 ,the autumn4 ,select all the things that tell you this4 ,the leaves have dresses of red and gold2 summer is gone2 the days grow cold2 the leaves come fluttering down2 the fields are brown4 ,what did the wind mean by ,come o'er the meadows with me1 and play8 ,it meant that they should come down from the trees and be blown away by the wind across the fields4 ,what does it mean by ,put on your dresses of red and gold8 ,before they fall1 the leaves have many beautiful colours4 ,what was the colour of their dresses in summer8 ,when do they begin to change colour very quickly8 ,what leaves show the most beautiful colours8 ,what different colours have you noticed that leaves have8 ,when does the wind call8 ,when it blows loudly or whistles4 ,do you know what the wind says when it calls8 ,why not8 ,we do not understand the language that it speaks4 ,how did the leaves show that they understood8 ,they obeyed at once and came down from the trees4 ,what is meant by fluttering down8 ,they came down slowly1 moving from side to side1 and turning over and over as they fell4 7,this could be shown in the class-room quite easily47 ,which line in the first stanza corresponds in meaning with the third line of the second8 ,the second line4 ,what makes the fields brown8 ,it is the end of the summer1 and the grass and the plants have dried up4 ,what colours have the fields at other seasons of the year8 ,green in the spring1 golden in the summer1 white in the winter4 ,what are the soft little songs of the leaves8 ,the rustling sounds they make as they are blown about by the wind4 ,why do we not understand their songs8 ,for the same reason that we do not understand the call of the wind--their language is not ours4 ,winter had called them4 ,what is the voice of winter8 ,the cold winds that roar and whistle4 ,what is meant by content8 ,the leaves were quite glad to answer the call4 ,why were they content8 ,the work that they had been doing all summer long was done2 they were tired and sleepy and glad to go to bed4 ,when may it be said that the leaves are fast asleep8 ,when they lie quietly on the ground1 no longer blown about by the wind4 ,how were they kept warm during their long sleep8 ,the snow came and covered them up warmly1 like a blanket4 ,what does the whole lesson describe8 ,the falling of the leaves4 ,what does the first stanza speak of8 ,the call of the wind4 ,the second8 ,the answer of the leaves4 ,the third8 ,the leaves asleep4 ,tell the story of the poem in your own words4 ,,piping ,,down ,,the ,,valleys ,,wild 7,first ,reader1 page #eb7 ,,aim ,to enable the pupils to appreciate the pretty pictures and the music1 and to learn how their pretty songs were written4 ,,preparation ,in far-away countries there are many sheep1 and they require shepherds4 ,these shepherds1 as they can rest while their sheep feed1 sometimes amuse themselves by cutting oat straws and making them into little flutes4 ,they cut holes in the straws1 just as you see holes in flutes or in tin whistles4 ,they learn to play very pretty tunes4 ,david1 king of ,israel1 was1 in his youth1 a shepherd boy1 and he learned to play beautiful music while he watched his sheep4 ,the ,psalms that you find in the ,bible were composed by him4 ,,presentation ,now let us read about a shepherd who was playing music4 7,the teacher reads the poem47 ,while he was playing1 what did he see8 ,he saw a little child sitting on a cloud4 ,what was the child doing8 ,he was laughing4 ,why8 ,he liked the music4 ,what kind of music was it8 ,it was pleasant1 full of joy4 ,where was the shepherd8 ,in a valley4 ,tell what the valley was like4 ,it was wild4 ,it had big rocks and hills on each side1 and a cloud was over the valley4 ,what did the child ask him to do8 ,to play a song about a ,lamb4 ,why did he do that8 ,because the sheep were pretty and he thought he should like to hear pretty music about them4 ,how did the child like it8 ,he asked the shepherd to play the tune again1 and it was such beautiful music that the keen enjoyment of it made the tears come to his eyes4 ,what did the child next ask8 ,he wished to have the music put into words1 so he asked the shepherd to sing it4 ,how did the child enjoy it8 ,it was so lovely that he wept with joy4 ,what did he ask the shepherd to do8 ,to write it down4 ,why8 ,the child thought it was so lovely that he wanted other children to hear it1 too4 ,yes1 that is the way that we come to have all these pretty poems in our books4 ,if they were only played or sung1 not so many children could have the opportunity of enjoying them4 ,what do you need when you write8 ,we need pens1 and paper1 and ink4 ,the shepherd had not steel pens1 and white paper1 and black ink4 ,he may have used the bark of trees to write on4 ,how did he get a pen8 ,he plucked a hollow reed1 and he made a rural pen4 ,what does that mean8 ,he took a hollow stalk1 such as an oat straw or a weed1 and cut it in the form of a pen4 ,what is a rural pen8 ,rural means belonging to the country4 ,the pen was not made as ours are4 ,the shepherd wrote about sheep and other things belonging to country life4 ,how did he get any ink8 ,he took water from the stream and stained it so that it would leave a mark something like our ink4 ,yes1 the paper1 the pen1 and the ink would not be so good as at present1 but they would serve as a beginning4 ,,reproduction #a4 ,where was the musician8 #b4 ,what kind of instrument was he playing8 #c4 ,where was the child8 #d4 ,what was the child's second request8 #e4 ,what was his third request8 #f4 ,how was the shepherd able to write8 #g4 ,why did the child wish him to write8 7,the pupils may not understand rural1 valley1 pipes1 so the teacher should give such further explanation as the different cases demand47 ,,the ,,baby ,,swallow 7,first ,reader1 page #ajc7 ,the aim of this lesson is to teach1 by means of a story1 the moral of trusting in ,god and trying to do one's best4 ,the teacher should introduce the lesson by inquiring of the pupils if they have ever watched a young bird learning to fly4 ,its timidity and the anxiety of the mother-bird should be especially emphasized4 ,a brief reference to the swallow might also be in place1 though this is not essential1 as the poet has selected it merely as a type of birds in general1 and almost any other bird would answer his purpose as well4 ,the rapidity and grace of the swallow's flight1 and its habit of constructing its nest of mud under the eaves and in other sheltered places about buildings1 are the main points to be noted4 ,what is the lesson about8 ,about a baby swallow learning to fly4 ,what do the first four stanzas tell us8 ,his fears4 ,and the last three8 ,the success of his effort4 ,what do you see in the picture8 ,a tower with a bell in it4 ,what name is given here for tower8 ,turret 7,turret means a little tower47 ,from its sound1 what do you think belfry means8 ,the place where the bell is4 ,what1 then1 is a belfry turret8 ,a tower where a bell is hung4 ,on what part of the tower had the bird its nest8 ,the front4 ,what word does the poet use to express that8 ,breast4 ,what has been beating against the tower for years8 ,the wind1 sun1 rain1 snow4 ,what one word would stand for all these8 ,weather4 ,explain weather-beaten4 ,in perching on its nest1 what does the baby swallow seem ready to do8 ,to fly4 ,what other words might the ,mother-,bird use instead of courage8 ,don't be afraid4 ,how many wings are meant by either wing8 ,in this stanza1 what is the ,mother-,bird doing8 ,giving the little bird instructions in the way to begin flying4 ,describe how he is to begin4 ,how does the baby feel about it8 ,he feels afraid4 ,what word tells you this8 ,pauses4 ,what does he think is deep8 ,the distance between the tower and the ground4 ,why is the bird afraid to attempt to fly8 ,it is so far to the ground and his wings seem very small4 ,why is the ,mother not afraid to let her baby try8 ,she knows that ,god will carry him safely4 ,how does she know this8 ,because ,he had carried her4 ,when8 ,when she was as small as the baby swallow is now4 ,why does the ,mother tell him this8 ,to encourage him to make the attempt4 ,how does the baby swallow make his start8 ,he spreads out his wings as far as he can and springs out4 ,which stanza has almost the same form as this8 ,the second4 ,what is he surprised to find8 ,that he is able to fly4 ,how does he feel after that about flying8 ,he is no longer afraid4 ,,preparation ,what is he able to do well8 ,to steer4 ,what does this mean8 ,to fly in any direction he wishes4 ,how does the ,mother feel over her baby's success8 ,she feels glad4 ,to whom does she give thanks8 ,to ,god4 ,how does she do so8 ,by singing a song of thankfulness4 ,what can we learn from this story8 ,that1 if we really try to do a difficult thing1 we can usually succeed2 that sometimes a thing that looks hard is really very easy when we try to do it4 ,tell this story in your own words4 ,tell any similar story you know4 ,,the ,,brook 7,first ,reader1 page #aaj7 ,,preparation ,you stood on the bridge and looked at the stream4 ,what did you see8 ,i saw some little fishes4 ,i saw my image4 ,i saw some bright stones4 ,it is no wonder you looked at the stream when it shows you so many things4 ,what were the fishes doing8 ,they were swimming4 ,they would dart after some crumbs that we dropped into the water4 ,why were the fishes there8 ,that is their home4 ,yes1 they like to live in the clear water4 ,mary says she saw her image4 ,what have you at home that shows you your image8 ,the mirror4 ,yes1 the brook is somewhat like the mirror4 ,did you see images of any other things8 ,yes1 ,i saw images of the trees1 and some stones1 and ,i saw the images of the ducks that were swimming4 ,willie says that he saw some pretty pebbles4 ,does the brook make any noise8 ,yes1 it seems to sing when it runs over the pebbles1 but in the deep places it does not make a noise4 ,,presentation ,now ,i shall read you a little poem about a brook4 7,read with emphasis1 even with slight exaggeration47 ,now1 where did this brook begin8 ,in a fountain4 ,what is that8 ,a spring of water4 ,where was the fountain8 ,in a mountain4 ,what is that8 ,a high hill4 ,was it very large where it started8 ,no1 the lesson says it was only ,drops of water and it trickled through the grasses4 ,what does it mean by ,trickling through the grasses8 ,it means that there was so little of it that the blades of grass seemed almost to check its source4 ,did it run very fast at first8 ,no1 the lesson says that it started ,slow4 ,did it run any faster after that8 ,yes1 ,soon it darted1 and it was ,hurrying4 ,what caused it to dart and hurry8 ,the ground was steeper1 and it had to run more quickly4 ,where was it running8 ,down to the sea1 where it would be lost in the other water4 ,did it grow any larger before it came to the sea8 ,yes1 it grew ,swift and strong1 and it widened very fast4 ,what caused it to widen8 ,other little brooks ran into it and made it wider4 ,now1 the brook is said to be like a person4 ,can you point out any words that make you think it was like a person8 ,yes1 it hurries just as children hurry4 ,in the next stanza1 the lesson says it was ,glad4 ,why was it glad8 ,it was glad that the ,children came to play on its banks4 ,yes1 it felt just as you feel when your friends come over to your house to play4 ,do you see any other words that make you think it is like a person8 ,yes1 it is ,swift and strong and happy4 ,it rushes and it sings4 ,what is it like now8 ,it is like a big1 strong1 happy boy4 ,why did the children come to play on its banks8 ,they came to pick the flowers4 ,what line shows you that8 ,blossoms floating4 ,the children picked the flowers and threw some on the stream to watch the current carry them away4 ,what else were the children doing8 ,they were sailing toy boats in the water4 ,what words show you that8 ,mimic boating4 ,what else did the children enjoy8 ,they liked to see the ,fishes darting past them4 ,the fishes were timid4 ,the brook makes some very pleasant sounds4 ,what words show you that8 ,rippling1 ,bubbling1 singing1 ringing4 ,when does the water make these sounds8 ,when it is running over pebbles or down the steep places4 ,you must fancy you hear the brook make its gentle music when it is running over the pebbles4 ,what does the water look like when it ripples8 ,it is not smooth2 it has tiny waves upon it4 ,you have heard the water bubble and gurgle1 and then1 when the stream grows large and runs faster1 you can hear it singing and ringing in the distance4 ,the poet tells us some pretty things about the brook4 ,tell me some of them4 ,it was ,cool and clear and free4 ,why was it ,cool8 ,it had flowed among the grasses and had come from a spring in a mountain4 ,why was it clear8 ,it was such pure water that you could see the stones at the bottom of the brook4 ,why does the poet say it was free8 ,there were no logs nor big stones to stop its course4 ,it ran freely on its way4 ,do you see any other words that describe its appearance8 ,it is ,flecked with shade and sun4 ,now ,flecked is a hard word4 ,it means spotted or striped4 ,can you tell me what that means8 ,sometimes the brook is bright and shining and1 in some places1 it is shaded by the trees or by the clouds4 ,you can see bright patches on the water4 ,now you have told me many wonderful things about this brook2 where it began and where it ended1 how it grew1 how it sang1 how glad it was to see the children1 and how the children played with it1 and how it looked4 ,what does it tell us at first8 ,it tells us where it began4 ,in the next stanza8 ,it runs a little faster4 ,in the next8 ,it was glad to see the children4 ,in the next8 ,the children were playing with it4 ,in the next8 ,it ran bubbling and singing into the sea4 ,,memorization ,now we shall learn the words of this pretty lesson1 taking the first stanza to-day4 ,let us take the first three lines4 ,now all the lines4 ,let each one be ready to repeat it4 ,see whether you can say the first stanza to-morrow1 and then we shall learn some more4 ,,chapter ,v ,,form ,,ii ,,my ,,shadow 7,second ,reader1 page #c7 ,,aim ,the aim of the lesson is to make the poem so lifelike that it will seem to each pupil as though the shadow and the words were his own4 ,,presentation ,after the poem has been read to give a general idea of the story1 the teacher should proceed with it in detail1 much in the same spirit as he would carry on a bright conversation with the pupils about something in which they were all equally interested4 ,stanza ,i ,how do ,i know my shadow is very fond of me8 ,he goes in and out with me4 ,what does that mean8 ,it means he goes wherever ,i go4 ,what is the use of him8 ,that is more than ,i can see4 ,what is he like8 ,he is just like me from the heels up to the head4 ,what does he do when ,i go to bed8 ,he jumps into bed before me4 ,,memorization ,now1 children1 four of you may each recite one line4 ,what have you1 ,susie8 ,i have a little shadow that goes in and out with me4 ,what is the use of your shadow1 ,john8 ,and what can be the use of him is more than ,i can see4 ,what is he like1 ,mary8 ,he is very1 very like me from the heels up to the head4 ,when do you see him jump ahead of you8 ,and ,i see him jump before me1 when ,i jump into my bed4 ,,note4--,each pupil's expression should reveal an active imagination and hearty response to the spirit of the selection4 ,the whole should be very lifelike and real4 ,some pupil should be asked to recite or read the whole stanza4 ,stanza ,,ii ,what is there funny about the shadow8 ,the funniest thing about him is the way he likes to grow4 ,how is that8 ,he sometimes shoots up very tall all at once1 and then he dwindles down to nothing4 ,how would you expect him to grow8 ,i would expect him to grow as ,i do4 ,how is that8 ,oh1 that is very slow4 ,the author says like proper children4 ,what does that mean8 ,that means like real children4 ,what shows that he sometimes grows up very1 very quickly8 ,the poet says he shoots up4 ,what other words tell the same thing8 ,like an india-rubber ball4 ,how is that8 ,the ball goes up quickly with a bounce1 and the shadow seems to spring up in the same way4 ,,reading ,,and ,,memorization ,let two or three children read the stanza4 ,in the first line1 the voice should show how funny it all is2 in the second1 the demureness of the proper child and the slowness of the growth should be revealed in the reading2 in the third and fourth lines1 there should be an imitative response to the sudden up-growth of the shadow and to the childish surprise at his dwindling into nothing4 ,memorization should be conducted as shown in ,stanza ,i1 above4 ,there should be no evidence of task or effort in the recitation2 it is very necessary that it be spontaneous and full of enjoyment for the pupils4 ,stanza ,,iii ,the shadow knows very little about one thing4 ,what is that8 ,he has no notion of how children ought to play4 ,how does he make a fool of me8 ,in every sort of way4 ,well1 give one way4 ,he mimics me4 ,where does he stay8 ,he stays right close beside me4 ,why does he do that8 ,he does that because he's a coward4 ,how would you feel about doing the same thing8 ,i would feel ashamed of myself4 ,reading and recitation of this stanza should now be conducted as indicated in ,stanzas ,i and ,,ii1 above4 ,stanza ,,iv ,did you ever manage to get away from your shadow8 ,yes1 ,i did4 ,tell us about how you did it4 ,well1 ,one morning1 very early1 ,i got up before the sun did1 and went out in the flower garden4 ,i looked around for my shadow1 and ,i found he had stayed at home behind me in bed4 ,what is he called for doing that8 ,he is called an arrant sleepy-head4 ,give another word in place of arrant that will mean the same thing4 ,he was a thorough and shameless sleepy-head4 ,what was the real cause of his staying behind8 ,there was none of him at all1 because the sun was not up4 ,what will happen when the sun does come up8 ,then my shadow will suddenly show himself again4 ,now1 if you would like to have another stanza1 telling about what happened when the sun came up1 just try your best to write one4 ,here is another that was written once at the end of the lesson3 ,but when the dear old sun came up above the trees1 ,my frisky little shadow came out into the breeze2 ,i didn't see him coming1 but1 when ,i turned around1 ,his head was at the window1 and he lay along the ground4 ,,one1 ,,two1 ,,three 7,second ,reader1 page #ba7 ,,aim ,to enable the pupils to understand the beauty and pathos of the selection4 ,to arouse in them a sympathy for those who are weak4 ,,preparation ,how many of you like to play games8 ,everybody4 ,name some of the games you play4 ,ball1 tag1 hide-and-seek1 etc4 ,with whom do you like to play8 ,with boys and girls of our own age4 ,,presentation ,here is a story that tells about two people playing a game4 7,the selection is read aloud by the teacher47 ,what is the story about8 ,an old lady and a little boy playing ,hide-and-,go-,seek4 ,what relation were they8 ,the old lady was the boy's ,grandma4 ,let us look at the story again1 and see if they enjoyed their game as much as you do yours4 ,is there anything in the first stanza that tells us they were having a good time8 ,the way that they played together was beautiful to see4 ,what was beautiful about it8 ,they were so kind to each other4 ,it was pleasant to see an old lady and a little boy having such a happy time playing together1 and understanding each other so well4 ,how do you feel1 as you read the second stanza8 ,i feel sorry for the boy because he is lame4 ,any other reason for feeling sorry for him8 ,he is thin1 as though he had been sick a long time4 ,in what way are he and his ,grandma alike8 ,neither of them can run or jump4 ,do you feel more sorry for the ,grandma or for the little boy8 ,i feel more sorry for the boy1 because he may never be able to run around1 and his ,grandma could when she was young4 ,describe the picture you see in the third stanza4 ,i see an old lady and a little boy sitting under the maple tree4 ,the little boy has a pair of crutches beside him4 ,the sunlight is shining through the leaves1 and it is a warm summer's day1 or they would not be sitting out4 ,there is a house near them4 ,what game were they playing8 ,hide-and-,go-,seek4 ,would you know it from looking at them8 ,no1 because they are sitting still1 and when we play the game1 we run around and hide4 ,how did they play it8 ,they thought in turn of some place to hide and imagined they were hiding in it2 they had three guesses to find out the place4 ,whose turn was it to hide8 ,the old lady's1 because the boy is guessing where she is4 ,where did he find her at last8 ,in ,papa's big bed-room1 in the clothes-press4 ,is there anything else spoken about that was in the bed-room8 ,there was a little cupboard4 ,why does he mention the cupboard8 ,he often thinks of it4 ,he likes it4 ,why8 ,his mother's things used to be in it4 ,why does he say used to be8 ,that tells us that they are not there any longer4 ,why8 ,i think his mother is dead4 ,who takes care of him now8 ,his grandmother lives with him and looks after him4 ,why does the boy say ,it can't be the little cupboard8 ,they both think too much of it to want to use it in connection with their play4 ,how did the boy enjoy the game8 ,very much1 because it says he laughed with glee4 ,how did the ,grandma enjoy it8 ,she was glad to see the boy happy4 ,do old ladies usually like to play games8 ,no1 they generally prefer to read or sew4 ,why was she playing with the boy8 ,she loved him and was sorry he was lame4 ,could he do anything for his ,grandma8 ,he could talk to her1 and keep her from being lonely4 ,when he grows older1 he can read to her4 ,describe the picture you see in the ninth stanza4 ,i see the old lady1 with her hands covering her face1 while she guesses where the boy is hidden4 ,in the last stanza1 why does the author use so many olds1 in speaking of the ,grandmother8 ,he wants to make us feel she is quite old4 ,why does he say dear so often8 ,he wants to show how very kind she was to the lame boy4 ,why does he say the boy was half-past three1 instead of three and a half years old8 ,it sounds better the way he says it4 ,it suggests the clock's time4 ,give me some other titles for this poem4 ,the ,chums1 ,a ,queer ,game1 ,the ,two ,playmates4 ,,dandelions 7,second ,reader1 page #cj7 ,,aim ,to lead the pupils to perceive and appreciate how the poet uses personification and comparison4 ,,presentation ,this poem should be studied in the spring1 when the dandelions are in bloom4 ,a nature study lesson should precede the literature lesson4 ,the pupils should be required to observe when the dandelions begin to make their appearance2 at what time of the day they are most conspicuous2 after what kind of night they are to be found in greatest profusion2 what change occurs in the structure of the flowers as they grow older2 how long a time usually elapses between the first appearance of the flowers and this change2 what the white1 downy part of the flower constitutes2 what eventually becomes of this part4 ,introduce the lesson by a brief conversation about military operations4 ,describe how one army tries to seize a strategic position1 sometimes a hill1 where the men can fix their guns and command the surrounding country4 ,if this lesson could be presented without the pupils knowing the title 7by writing the poem on the black-board1 for instance71 there would be the added interest of solving a riddle1 namely1 what the poet is describing4 ,what is a real trooper band8 ,a band of soldiers on horseback4 ,and what are real veterans8 ,old soldiers who have seen much service in war4 ,what is actually meant by the trooper band8 ,the dandelions when they first come out4 ,what is the phrase that suggests that they are dandelions8 ,yellow coats4 ,what does the author actually mean by the veterans8 ,the dandelions1 when they have gone to seed4 ,what phrase suggests this8 ,their trembling heads and gray4 ,where did the trooper band make their appearance8 ,on the hillside4 ,when8 ,on a showery night and still4 ,why is such a night selected8 ,because it makes the dandelions bloom in great numbers4 ,to what is the coming of the dandelions compared8 ,to an army taking possession of a hill4 ,what words tell how they came8 ,without a sound of warning1 surprised1 ,we were not waked by bugle notes1 ,no cheer our dreams invaded4 ,explain surprised the hill4 ,marched upon it when they were least expected1 and seized it4 ,give the meaning of held it in the morning4 ,had undisputed possession of it4 ,tell1 in your own words1 how the dandelions came4 ,suddenly and unexpectedly4 ,how did this attack differ from a real military attack8 ,there were no notes of the bugle or shouts of the soldiers to announce the capture of the hill4 ,change ,no cheer our dreams invaded into prose order1 and explain the meaning4 ,no cheer invaded our dreams4 ,our sleep was not disturbed by the victorious shouts of soldiers4 ,how did the coats of the soldiers you have seen differ in colour from those of the dandelions8 ,what is the meaning of at dawn8 ,the first appearance of light in the morning4 ,green slopes8 ,grassy hillsides4 ,paraded8 ,marched up and down4 ,about what time has elapsed between the incident of the first stanza and that of the second8 ,probably a week or thereabouts4 ,what deed is referred to in the first stanza8 ,the seizure of the hill4 ,what is meant by idly walking8 ,without any definite purpose in view4 ,marked8 ,noticed4 ,about what were the veterans probably talking8 ,about their military exploits in years gone by4 ,what words are suitably used in describing these veterans8 ,trembling and gray suggest old age4 ,arrange their trembling heads and gray in ordinary prose order4 ,their gray and trembling heads4 ,why should the veterans be filled with pride8 ,because of the brave deeds they had done4 ,why did they laugh8 ,perhaps1 because of some amusing occurrences they had seen4 ,what characteristics of the dandelions suggest these fancies regarding the veterans8 ,the heads of the dandelions are white4 ,as they sway in the breeze on their slender stalks1 they incline their heads toward one another in much the same way as people do in conversation4 ,why is the laughter said to be noiseless8 ,because human beings could not be expected to hear the laughter of the dandelions4 ,what expression would you be likely to use1 instead of welladay8 ,alas6 ,what is meant by they blew away8 ,the seeds of the flowers were scattered far and wide4 ,what do you like about this poem8 7#a7 ,its charming poetic fancies4 7#b7 ,the fitness of the comparisons4 ,point out clearly how the appearance of the dandelions resembled a military attack1 and how1 in the later stage of their life history1 they resembled veteran soldiers4 ,,the ,,blind ,,men ,,and ,,the ,,elephant 7,second ,reader1 page #ef7 ,,aim ,the aim of the lesson should be1 not only to lead the pupils to enjoy the humour of the poem1 but also to appreciate the lesson it teaches4 ,it affords a fine opportunity for the development of conversational powers in the pupils4 ,the pupils should be encouraged to talk freely1 and the questions should often call for quite lengthy answers4 ,,preparation ,who has seen an elephant8 ,you have1 ,henry8 ,well1 tell us something about him4 ,he was very large4 ,one of our barn doors is twelve feet high and six feet wide1 and father said the elephant would just be able to go through that door4 ,if he was in the school-room1 his back would reach almost to the ceiling4 ,his ears were bigger than the top of my desk4 ,his trunk was twice as long as father's cane1 and was nearly as big around at the upper end as a bag of wheat1 and the lower end was as small as my leg is below the knee4 ,his tusks were hard and white1 one on each side of his trunk1 and were longer than father's arm4 ,his tail was small4 ,it did not seem to be as long as one of his tusks4 ,his legs were larger around than the trunk of the biggest apple tree in our orchard4 ,his skin was something like a hog's skin1 only thicker1 and he had no hair4 ,his whole body was a dirty1 dark colour4 ,that is a fairly good description1 ,henry4 ,you have helped us to picture a very large elephant4 ,,presentation ,as you have read this poem to yourselves1 tell me what it is about4 ,it is about six blind men ,who went to see the elephant4 ,as they were blind1 how could they see him8 ,they couldn't see him as we do1 but they could feel him1 and that was to them what seeing is to us4 ,in what way was feeling the same to them as seeing is to us8 ,it was their way of knowing the animal1 and that is just what seeing is to us4 ,where did this happen8 ,it happened in ,indostan4 ,i told you to look for ,indostan in ,asia4 ,point it out on the map4 7,a pupil points to it47 ,what are we told about these men8 ,they gave much of their time to study4 ,what do you suppose was their favourite way of finding out things8 ,this lesson makes me think that they liked to find out things by their own efforts4 ,why do you think that8 ,because it says that they wanted to satisfy their minds by their own observations4 ,in what other ways do boys and girls satisfy their minds about new things8 ,by asking questions about them until the answers satisfy them4 ,what other way do you use sometimes8 ,we read books to learn about many new things4 ,what did the first man learn8 ,he thought he had learned that the elephant was like a wall4 ,why do you say thought8 ,he hadn't really learned it4 ,he stopped making observations just as soon as he had one idea4 ,why do you think he did that8 ,i think he was in a hurry to be the first to state what he knew4 ,what words in the poem suggest that idea to you8 ,the words ,at once began to bawl4 ,how did this man come to think the elephant was like a wall8 ,he fell against the animal's huge side1 and it made him think of a wall4 ,what was the second man's opinion about the elephant8 ,he thought the animal was like a spear4 ,account for that idea4 ,he felt one of the elephant's tusks1 and formed his opinion without going any further4 ,and what about the third man8 ,the third man put his hands on the elephant's trunk and felt it all over1 but as he did not go any further1 he declared that the elephant was like a snake1 because it was the only thing1 as far as he knew1 that squirmed about as the trunk did4 ,what did the fourth man do8 ,the fourth man felt the big front legs and declared the elephant was like a tree4 ,tell us about the fifth man4 ,the fifth man happened to touch the ear4 ,he felt all over it but nowhere else1 so he said the elephant was like a fan4 ,and what had the sixth man to say8 ,the sixth man had caught hold of the elephant's tail1 and when he had felt all over it1 he declared the elephant was like a rope4 ,what conclusion did they come to in the end8 ,they didn't come to any conclusion4 ,they argued and argued for a long time1 and each man was stubborn and stuck to his own opinion4 ,,generalization ,in what respects were they all alike8 #a4 ,each one felt just one part of the animal and took the part for the whole4 #b4 ,each was in a hurry to give his opinion and did not take time to form a good one4 #c4 ,each man was stubborn and probably refused to feel where the others had felt4 ,if they could be in your place1 how would they see themselves8 ,they would see how foolish they had been1 and each would see that the others were as nearly right as he himself was4 ,what lesson for ourselves can we learn from this8 ,it teaches us not to be in a hurry in giving our opinions4 ,what do we learn from the dispute mentioned in the last verse8 ,we learn from it that1 when our own opinions about anything are firmly fixed1 it does no good to argue about the matter4 ,in what way could they have arrived at the same conclusions8 ,if each had done all that each of the others did1 they would have agreed about the elephant4 ,in what way were these men really blind8 ,they could not1 or would not1 see the viewpoint of others4 ,there may be a mental blindness1 as well as a physical blindness4 ,here are two lines that you may memorize1 as they fit the lesson very well3 ,convince a man against his will1 ,he's of the same opinion still4 ,,the ,,lord ,,is ,,my ,,shepherd 7,second ,reader1 page #bjc7 ,,aim ,to lead the pupils to appreciate the beauty and power of the language of this ,biblical lesson1 and to feel a confidence in ,god's protection and support4 ,,presentation ,the teacher should talk with the pupils about the great flocks of sheep in ,eastern lands4 ,they require a shepherd to lead them to pastures where the grass is long and sweet1 and to protect them from the wild animals4 ,this ,psalm is called the ,shepherd ,psalm because it was written by ,david1 after he became a king4 ,he remembered the time when he was a shepherd boy and used to spend his days and nights in the fields with the sheep1 and how he once killed a lion and a bear that came to attack his flock2 and he thought to himself that ,god had cared for him all his life just as he himself used to care for his little lambs1 so at last he put his thoughts into the words of this ,twenty-third ,psalm4 ,there are two metaphors in this ,psalm4 ,in the first is developed1 through the figure of a shepherd and his flock1 ,god's care of ,his people4 ,what are the feelings of the sheep toward the shepherd8 ,they feel confident that he will supply them with food2 he will lead them to the green pastures and to the still waters by the wells and fountains1 where they will neither hunger nor thirst4 ,what does the expression lie down infer8 ,a sense of rest and security4 ,the sheep can lie down in the green pastures and feel confident that the shepherd is able and willing to protect them from danger4 ,in what way do we resemble the sheep8 ,we are dependent upon the ,lord for our supply of spiritual and material needs1 and for guidance and protection along the path of everyday life4 ,what does the ,psalmist mean when he says3 ,he restoreth my soul8 ,soul means1 in ,hebrew1 the life1 or one's self4 ,the ,lord restores and brings back ,his people1 when wandering into forbidden places4 ,explain the next line4 ,as the shepherd goes before and leads his sheep by the right paths1 avoiding all dangers1 so the ,lord leads ,his people into the paths of righteousness4 ,what does for ,his name's sake mean8 ,he has undertaken to guide ,his people safely and will do it for the honour of ,his name4 ,in the next section1 whom is the ,psalmist addressing8 ,he is speaking to the ,lord4 ,what words show that he is still using the figure of the shepherd and the sheep8 ,through the valley2 ,thy rod and thy staff4 ,what does the first line mean8 ,some paths that are right paths for us to walk in still lead through perilous places2 and this is the way the ,psalmist refers to this fact in shepherd life4 ,how should we feel8 ,the ,lord accompanies us1 and we should fear no evil4 ,the sheep follow the shepherd with absolute confidence1 and our attitude toward the ,good ,shepherd should be the same4 ,what words show that danger is sometimes close8 ,death sometimes comes so close that it almost seems to cast a shadow4 ,what does the rod represent8 ,the rod is the sign of authority1 and represents the defence and protection afforded by the shepherd to the sheep1 when in danger from robbers or wild beasts4 ,what does the staff represent8 ,the staff denotes support and guidance1 and is used for aiding the sheep in places of need1 even along peaceful ways4 ,the expression ,thy rod and thy staff covers the whole round of protecting care4 ,here the figure is changed4 ,in the second metaphor ,god is represented as a host with the ,psalmist as a guest at a banquet4 ,thou preparest a table before me4 ,the ,lord makes provision for man's needs4 ,he does so openly1 publicly 7in the presence of mine enemies74 ,in what other way does the ,lord show ,his care for ,his people8 ,the ,psalmist says3 ,thou hast anointed my head with oil4 ,to what does this refer8 ,in the ,east1 it was the custom to pour an ointment of great fragrance on the heads of the guests of honour at a feast4 ,how does the ,psalmist further picture the goodness of ,god8 ,he fills our cup till it is overflowing4 ,what is the thought in the last two lines8 ,the confidence of the ,psalmist in the ,lord1 that as ,he has led and guided him in the past1 so ,his goodness and mercy shall follow him all the days of his life1 and he will live forever in intimate communion with ,him4 ,what do you like about the selection8 ,the spirit of gratitude and confidence in those who enjoy ,god's benefits4 ,the nature of some of these benefits is made plain to us by the pictures of the green pastures1 the still waters1 the rod and staff1 and the prepared table4 ,,chapter ,,vi ,,form ,,iii ,,hide ,,and ,,seek 7,third ,reader1 page #ej7 ,,aim ,to lead the pupils to appreciate the exquisite music of the language and the pathos of the story4 ,,presentation ,what does the poem describe8 ,it describes a father's love for his son4 ,there are two distinct parts4 ,what does each part describe8 ,the first two stanzas describe a game of ,hide and ,seek between the father and the boy1 and the last two1 the father's intense longing for the boy whom he has lost4 ,what kind of day is described in the first stanza8 ,a bright and calm ,june day4 ,what things suggest this8 ,sleeping trees1 still winds1 wandering clouds1 noonday silence4 ,what does the writer represent the trees and the winds to be8 ,persons--the trees having the ability to sleep1 and the winds to move or keep still4 ,this is called personification4 ,what are fleecy clouds8 ,clouds that are white and downy4 ,the poet speaks of them as flocks4 ,what is the comparison intended8 ,the comparison of the clouds to flocks of white sheep that1 instead of wandering across a meadow1 are wandering across the sky4 ,what does the word wandered suggest8 ,that the clouds are moving along slowly and leisurely without any purpose in view4 ,they are doing this because the winds are still4 ,what is meant by saying that they ,have wandered past the hill8 ,they have gone below the horizon at the hilltop and cannot be seen4 ,the sky is thus clear of clouds4 ,what causes the noonday silence8 ,the heat of the mid-day has silenced even the songs of the birds4 ,compare ,keats3 ,when all the birds are faint with the hot sun ,and hide in cooling trees4 ,how is the silence broken8 ,by the voice of the little boy hunting for his father4 ,what do the words of the tune he is singing constitute8 ,the rules of the game4 ,the one hiding must respond ,coo-ee each time the one searching calls4 ,where is his father8 ,in a leafy nook in the woods4 ,what does the question ,shall ,i let him pass8 seem to indicate8 ,that his father hesitates for a moment to reveal himself4 ,what does he do1 however8 ,he gives the boy the signal--a low1 soft whistle4 ,he cannot let him pass4 ,what is shown in the last long line of the stanza8 ,that the man enters into the spirit of the game with the same zest as the boy4 ,what feeling exists between the two8 ,a feeling of perfect good-fellowship and affection4 ,explain1 you're it4 ,your turn to hunt1 mine to hide4 ,what further rules of the game are given here8 7,every boy and girl will know these47 ,what change in feeling is there between the first two stanzas and the last two8 ,a sudden transition from gaiety and light-heartedness to sorrow4 ,what has happened8 ,the boy is dead4 ,why is ,long ago repeated8 ,it emphasizes the idea and adds to the pathos of the line4 ,the time has seemed long because of the intensity of the father's grief4 ,happiness makes time pass quickly1 not so grief4 ,how does the poet suggest the idea that the game is still being continued though it is now an inexpressibly sad one8 ,he speaks of the boy as having left his father as if to hide1 of his father as seeking him high and low1 of his being safely hidden in some pleasant place1 of the father as being unable to hear his ,coo-ee4 ,what is really meant by seeking him high and low8 ,the thought of his boy is ever with him4 ,he unconsciously looks for his face wherever he goes4 ,what is the pleasant place8 ,paradise4 ,how could you describe the short lines1 ,far away1 etc41 down to the end of the stanza8 ,as the call of a broken heart to the boy4 ,where is the idea contained in ,far away expressed before8 ,in ,hidden safe and happy in some pleasant place4 ,and where is the thought1 ,many a day1 repeated8 ,long ago he left me1 long and long ago4 ,how is the father continually reminded of his boy8 ,by the ,birds and ,flowers--everything that he loved is charged with memories of him4 ,what light is thrown upon the little fellow's interests8 ,he loved the out-of-doors1 the things of nature4 ,what ray of sunshine breaks through the clouds of the father's grief8 ,the conviction that his boy is waiting for him till he comes4 ,what is the meaning of the line1 ,love may hide itself1 etc48 ,the little boy's love may for the moment be hidden1 but it is everlasting4 ,the father's love is likewise everlasting4 ,this is sufficient ground for believing that they will some day be united4 ,the reading of this poem by the pupils will show whether they feel its joy1 its sadness1 and its hope4 ,,an ,,apple ,,orchard ,,in ,,the ,,spring 7,third ,reader1 page #fj7 ,,aim ,to lead the pupils to appreciate the beauty of an apple orchard in the spring and the music of the language used in describing it4 ,,preparation ,this lesson should be taken when the apple orchards are in bloom4 ,the teacher should prepare the pupils for it1 by asking them to observe the blossoms1 their colours and odours1 the songs of the birds1 and the sounds of the streams4 ,,presentation ,read the poem describing these4 ,what is the main theme of the lesson8 ,the poet tells us how much we have missed if we have not seen an apple orchard in the spring4 ,what is his theme in the first three stanzas8 ,the beauty of an apple orchard4 ,what1 in the last stanza8 ,his memory of it4 ,in what order does he describe the blossoms8 ,in the first stanza1 the buds are turning white2 in the second1 they are unfolding2 and in the third1 the petals are dropping4 ,where does the author suppose the reader to be standing1 in the first stanza8 ,outside the orchard1 where it is possible to see the spreading trees and all the orchard at once4 ,where1 in the next two stanzas1 is he supposed to be8 ,he is plucking the blossoms and walking under the trees4 ,what senses are appealed to in the first stanza8 ,sight--seen an apple orchard4 ,hearing--mavis sings its story4 ,what senses are appealed to in the second stanza8 ,touch--plucked the apple blossoms1 touch them a delight4 ,smell--caught their subtle odours4 ,sight--,pink buds pouting at the light1 ,crumpled petals baby white4 ,what senses are appealed to in the third8 ,sight--pink cascades4 ,hearing--silver brooklets brawling1 cuckoo bird soft calling4 ,show the appropriateness of hoary1 wealth of promised glory1 pouting1 pink cascades1 silver brooklets brawling1 wonder of the spring1 precious1 tender4 ,what ,canadian birds could be substituted for the mavis and the cuckoo8 ,the robins1 warblers1 and goldfinches4 ,lead the pupils to examine the arrangement of the rhythm and the refrain1 so that they will appreciate the music of the verse4 ,let each pupil show his appreciation by reading the stanza he likes best4 ,,little ,,daffydowndilly 7,third ,reader1 page #bbc7 ,the teacher should require the pupils to read the lesson through and then to reproduce its main incidents without any regard to their allegorical significance4 ,such headings as the following might be suggested by the pupils1 and these would serve to guide in this reproduction3 #a4 ,daffydowndilly's dislike of the schoolmaster #b4 ,his decision to run away from school #c4 ,his meeting with the stranger who accompanies him on his journey #d4 ,the haymakers #e4 ,the carpenters #f4 ,the soldiers #g4 ,the merry-makers #h4 ,his discovery of his companion's identity #i4 ,the lesson that he learned4 ,having thus obtained the literal meaning of the story--a matter of little difficulty--it remains to get its deeper significance4 ,it is hardly probable that many pupils will be disposed to regard the story as literally true1 yet few will be likely1 upon a first reading1 to see the principle that underlies it4 ,in order to arrive at this1 the teacher may proceed as follows3 ,are there any parts of the story that strike you as improbable8 7#a7 ,the reference to ,mr4 ,toil's long residence upon the earth4 7#b7 ,the frequent meetings with ,mr4 ,toil's brothers4 7#c7 ,daffydowndilly's slowness in discovering another brother in the person of his companion4 7#d7 ,their travelling all day in a circle4 ,if the story is literally untrue or improbable1 what object might ,hawthorne have had in view in writing it8 ,perhaps he wished to teach some lesson2 perhaps there is a meaning hidden beneath the story4 ,let us discover what that hidden meaning is8 ,what does the name ,toil suggest to you8 ,work4 ,what1 then1 may ,mr4 ,toil represent8 ,work4 ,and what may his brothers represent8 ,different kinds of work4 ,with this idea in mind1 we shall now try to understand what each adventure really means4 ,how are we prepared for ,daffydowndilly's troubles with the schoolmaster and for his later unpleasant experience8 ,the author tells us that he took no delight in labour of any kind4 ,what flower did he resemble8 ,the daffodil4 ,the boy's name is another form of the name of the flower4 ,in what respect is he said to resemble a flower8 ,he loved to do only what was beautiful and agreeable1 and took no delight in labour of any kind4 ,why is ,mr4 ,toil first represented as a schoolmaster8 ,because it is at school that a boy is first introduced to real work4 7,this might be given a still more extended meaning4 ,the school represents the preparation for our future vocation1 whether it be in the school-room1 or in an apprenticeship1 or elsewhere4 ,this involves hard work1 and hence is1 to some extent1 at least1 unpleasant47 ,what is meant by saying that ,mr4 ,toil had done more good 444 than anybody else in the world8 ,work does everybody good3 7#a7 ,it keeps us out of mischief4 ,criminals often become so because of the lack of profitable employment4 7#b7 ,it improves character4 ,the people of the best and strongest character are those who have had to work hard4 7#c7 ,it makes the world happier4 ,the most miserable people are those who have nothing to do4 ,a very worthy character4 ,is character used in its usual sense here8 ,it usually means what a person really is4 7,distinguish character and reputation47 ,explain what is meant by saying that he had dwelt upon earth ever since ,adam was driven from the garden of ,eden4 ,ever since that time man has had to work4 ,god said to ,adam 7,genesis iii1 #ai71 ,in the sweat of thy face shalt thou eat bread4 ,why is ,mr4 ,toil represented as being such a disagreeable person8 ,because1 to some people1 work has many unpleasant features4 ,any activity that has no compulsory elements in it is no longer work1 but play4 ,what is the real meaning of the paragraph describing the schoolmaster's method of discipline8 ,the work of the school-room1 being compulsory1 and therefore disagreeable to idle boys1 becomes exceedingly painful when long continued4 ,contrast ,daffydowndilly's previous life with his experience at school4 ,brought up under the indulgence of his mother1 his life had been very pleasant4 ,now1 introduced to real work1 he finds life very unpleasant4 ,what gives us a suggestion as to the identity of the stranger whom ,daffydowndilly met on the road8 ,we are told that he was trudging along the road1 and that his voice seemed hard and severe4 ,why is trudging a better word than walking8 ,it suggests effort1 and hence work4 ,how does the form of the question1 ,whence do you come so early1 and whither are you going8 harmonize with the description of the stranger8 ,we are told that he had a grave and sedate appearance1 and the somewhat stilted form of the question is quite in harmony with this description4 ,why had his voice a sort of kindness in it8 ,because moderate work1 such as this walking early in the day1 is not altogether unpleasant4 ,explain ingenuous disposition4 ,how does ,daffydowndilly show this8 ,what made his discovery of ,mr4 ,toil among the labourers in the hayfield so unexpected8 ,the circumstances and surroundings--the sunshine1 the blue sky1 the singing birds1 the fragrant hay--were so pleasant that it was hard to see how anything so unpleasant as work could intrude there4 ,why is ,mr4 ,toil recognized in the owner of the field rather than among the labourers8 ,in directing the activities of the men1 as well as working himself1 he is performing the most arduous labour of all4 ,why does the stranger say the farmer is a more disagreeable man than his brother1 the schoolmaster8 ,because the activities of farm life are more laborious than those of the school-room4 ,what expression that takes the form of a proverb is used in describing this incident8 ,to make hay while the sun shone4 ,distinguish its meaning1 as the author uses it1 from its meaning as a proverb4 ,the author uses it in its literal meaning4 ,the farmer must make the most of fine weather and sunshine in curing 7making7 his hay1 for1 if rain comes after it is cut1 it will be more or less injured4 ,used as a proverb1 the expression means that one should seize the opportunities presented and make the most of them4 ,what does ,hawthorne mean by placing a ,mr4 ,toil at the head of the company of soldiers8 ,military movements1 though very attractive to the eye1 really involve work4 ,soldiers find their activities very toilsome1 especially after the novelty has worn off4 ,why is ,mr4 ,toil placed even among the dancers8 ,the pursuit of pleasure soon becomes wearisome1 and hence toilsome4 ,why is the fiddler represented as a ,frenchman8 ,france1 as a whole1 is reputed to be the gayest and sprightliest of nations4 ,what is meant by saying that those who have known him best think him still more disagreeable than his brothers8 ,those who devote themselves entirely to the pursuit of pleasure find it more toilsome and disagreeable than ordinary work4 ,people frequently say1 after a day given up to pleasure1 that they are more tired than if they had worked hard all day4 ,in which of the incidents of the story does it seem least likely that ,mr4 ,toil would be met with8 ,in the incident of the merry-makers4 ,in which1 most likely8 ,the incident of the haymakers4 ,how has ,hawthorne apparently arranged ,daffydowndilly's experiences8 ,he has so arranged them that in each successive incident we are more surprised at meeting with ,mr4 ,toil4 ,each one seems to promise less probability of his presence than the preceding4 ,why had ,daffydowndilly not recognized his companion before8 ,his voice had been kind and his manner agreeable in the early stages of the journey4 ,interpret this as has been done in the case of the other incidents4 ,the early part of ,daffydowndilly's journey had been pleasant1 owing to the freedom from school and the interesting experiences by the way4 ,but1 as the day drew on1 he gradually grew tired1 and then it was that he recognized that walking is work4 ,what lesson did he learn8 ,that he could not get away from work4 ,it is to be found everywhere1 in the most unexpected places1 and one cannot escape from it by changing his occupation4 ,what is meant by ,daffydowndilly's finding ,mr4 ,toil's ways more agreeable upon better acquaintance8 ,when he grew accustomed to his work1 he found that it was not so very unpleasant after all2 that diligence is not a whit more toilsome than sport or idleness4 ,what is ,mr4 ,toil's smile of approbation8 ,the consciousness of work well done4 ,tell the pupils that this story is an ,allegory4 ,they have probably read other stories of a similar nature1 and may be asked to frame a simple definition4 ,an ,allegory is a story1 not literally true1 containing incidents that have a deeper meaning than is apparent on the surface4 ,its purpose is to teach some moral truth or universal principle4 ,it differs from the ,parable in being longer and more complex4 ,when the pupils reproduce the story1 it will be well to adhere to the allegorical form1 and not attempt to give its significance4 ,,moonlight ,,sonata 7,third ,reader1 page #bhe7 ,,aim ,to lead the pupils to appreciate the importance of details in the construction of a story4 ,,preparation ,the teacher will have told the pupils a few facts about ,beethoven and1 if possible1 will have shown them his picture4 ,he will also have asked them to read the lesson at home and become familiar with the story4 ,,presentation ,what is the main point in the story8 ,the circumstances under which the musician wrote the ,moonlight ,sonata4 ,what is a sonata8 ,it is a musical composition which consists of movements fast or slow1 sad or playful1 according to the varying mood of the composer4 ,where was the scene8 ,in ,bonn in ,prussia4 ,when8 ,on a moonlight winter's evening4 ,who were the two persons8 ,beethoven and the writer4 ,notice that these three important facts are all told briefly at the beginning4 ,why had the writer called on the musician8 ,he wished to take him for a walk and afterwards take him home with him to supper4 ,had he any reason except the desire for ,beethoven's company8 ,yes1 ,beethoven's health was not good1 his hearing was becoming impaired1 and the writer evidently thought he needed rest and recreation4 ,these circumstances led to an important result4 ,what happened next8 ,in passing through a narrow street1 ,beethoven heard some one playing his ,sonata in ,f4 ,what were his feelings8 ,surprise to hear it in such a place and delight at the excellence of the playing4 ,how did he show his feelings8 ,by exclamations1 questions1 and short sentences4 ,what is told in the next three paragraphs8 ,they describe a conversation4 ,who are speaking8 ,a brother and sister4 ,what are they saying8 ,the sister is lamenting that she cannot go to the concert at ,cologne and her brother reminds her of their poverty4 ,then she wishes that for once in her life she could hear some really good music4 ,what happens next8 ,beethoven decides to enter the house4 ,how does the writer impress this fact on the reader8 ,by giving the argument between himself and ,beethoven4 ,what were the latter's reasons8 ,the player had feeling1 genius1 understanding1 and these qualities are so rarely found that ,beethoven could not neglect them4 ,explain these terms4 ,the player showed refined feeling in her interpretation of the music1 genius in her skill on the piano1 and thorough understanding of the composer's purposes in the composition4 ,was it only for his own pleasure that the composer entered8 ,no1 he wished to give pleasure to one who could so well appreciate his work4 ,describe the scene4 ,a young shoemaker is seated at his work4 ,he is pale from the effects of confinement and toil4 ,a young girl with an abundance of light hair is leaning on an old-fashioned piano4 ,what does this piano show8 ,that their parents had very probably been lovers of music1 and the piano may have been an heirloom4 ,what comes next8 ,the musician explains the reasons for his intrusion4 ,how did the brother look upon it8 ,the young man seemed annoyed at first4 ,how was this annoyance overcome8 ,the manner of ,beethoven was so comical and pleasant that the young man's annoyance passed away4 ,how had ,beethoven addressed the brother and sister8 ,his manner was very confused4 ,he wished to conceal his name1 and yet wished to give pleasure to the young girl4 ,how does he show his confusion8 ,the sentences ,i1 ,i also 444 play for you1 are such halting ones4 ,he does not make his sentences complete4 ,what was the next part of the conversation8 ,the young man tells ,beethoven that the piano is so wretched and they have no music4 ,what is the purpose of this statement in the story8 ,it shows ,beethoven that the young girl is blind and plays these difficult compositions by ear4 ,how had she learned to play this ,sonata8 ,she had heard a lady practising it1 and walked to and fro in front of the house in order to listen to it4 ,what does this show8 ,what a love of music and wonderful natural ability the young girl possessed4 ,what is the next action in the story8 ,beethoven plays4 ,why did he play better than he had often done before large audiences8 ,he realized how greatly his work was appreciated2 and he was deeply touched by the thought of the young girl's blindness1 her poverty1 her skill1 and her passion for good music4 ,what trifling occurrence now affects the story8 ,the last candle in the house burned out1 so the writer opened the shutters and admitted a flood of brilliant moonlight4 ,what effect had this upon the composer8 ,it changed the current of his thoughts and feelings4 ,how did he appear8 ,his head dropped upon his breast1 and his hands rested upon his knees4 ,what is the next action8 ,the young shoemaker asks ,beethoven who he is4 ,what did the composer answer8 ,he played the opening bars of the ,sonata in ,f4 ,this revealed his name4 ,the writer says that the young people covered his hands with tears and kisses4 ,what were their feelings8 ,their actions were expressions of their affection and admiration4 ,what takes place next8 ,the brother and sister beseech him to play once more4 ,what description is given here8 ,beethoven's appearance in the moonlight4 ,describe him4 ,he was very massive in size1 his head was large and his features strong1 and the light from the moon encircled his head4 7,produce a picture1 if possible1 of ,beethoven47 ,did he agree to play again8 ,yes1 he said he would improvise a ,sonata to the ,moonlight4 ,what does improvise mean8 ,he would compose the music as he played4 ,had this any relation to what goes before8 ,yes1 the writer has told us how thoughtful he had been when the moonlight first streamed into the room4 ,now he is going to express his thoughts and feelings through the tones of the piano4 ,we said at the beginning that a ,sonata was a musical composition consisting of various movements4 ,what are the movements8 ,in this case there is first1 a sad and infinitely lovely movement1 then1 a wild1 elfin passage in triple time1 and lastly1 a breathless1 hurrying1 trembling close4 ,let us examine this description of the ,moonlight ,sonata more closely4 ,what did the moonlight suggest to ,beethoven8 ,spirits dancing in the moonlight4 ,what does the first movement suggest8 ,the moonlight flowing over the dark earth4 ,what does the second movement suggest8 ,the wild dance of the spirits on the lawn4 ,what does the last suggest8 ,flight1 uncertainty1 impulsive terror4 ,what was the effect upon the listeners8 ,they were left in a state of wonder and emotion4 ,what musical terms are used to describe this music8 ,interlude1 triple time1 agitato finale4 ,explain them4 ,interlude is a piece of music played between the main parts4 ,triple time is time1 or rhythm1 of three beats1 or of three times three beats in a bar4 ,give an example of triple time4 ,it denotes sprightliness1 as in the waltz4 ,the agitato finale means the close of the passage with a hurrying movement4 ,what takes place next8 ,beethoven rose quickly1 promised to come again1 and hurried away4 ,why did he hurry8 ,he wished to write out the ,sonata while it was still fresh in his mind4 ,what does the last short paragraph state8 ,it tells that this was the origin of the ,moonlight ,sonata4 ,where is the theme of the whole lesson found8 ,in the last sentence4 ,what has the writer told us8 ,he has given us all the circumstances which combined to inspire ,beethoven to compose this great work4 ,,recapitulation ,now let us review the story and collect these details4 ,what are they8 ,the time1 place1 the persons going for a walk1 the narrow street1 the wonderful playing1 the conversation1 the appearance of the young people1 the blindness of the girl1 her eagerness to hear good music1 the moonlight admitted1 the recognition of ,beethoven4 ,yes1 all these things had a combined effect upon the musician4 ,if he had gone straight to supper1 there would probably not have been a ,moonlight ,sonata4 ,this lesson illustrates how time1 place1 persons1 and action are arranged to produce a well-told story4 ,,lead1 ,,kindly ,,light 7,third ,reader1 page #cae7 ,,aim ,to aid in the culture of a sensitive response to the spirit and language of the prayer4 ,,preparation ,the teacher should talk with the pupils about a journey through the darkness1 over dangerous bogs1 swollen streams1 and beside precipices4 ,,presentation ,read the poem4 ,in what form is this lesson8 ,a prayer4 ,what is the prayer8 ,the traveller asks for the guidance of the ,holy ,spirit4 ,see notes on this lesson in the ,manual on ,the ,ontario ,readers1 pp4 #aff-g4 ,describe his journey4 ,the night is dark1 he is far from home1 he trusts to the light shining through the darkness to keep his feet from stumbling2 he does not trouble himself about what lies far before him1 he attends only to his footsteps one by one4 ,he feels he can pass safely over the moor1 the fen1 the crag1 and the torrent1 by trusting to the guidance of the light4 ,with the dawning of the day will come the reunion with his loved ones from whom he has been separated4 ,explain the symbolism employed here4 ,the poet speaks of himself as going through life like a traveller on a long journey1 wherein he is constantly met by trials and temptations and cannot always know what is the right course to take4 ,he acknowledges that he needs some stronger power than his own to direct his life and asks for the guidance of the ,holy ,spirit1 content to trust himself to ,his leading in any dangers and difficulties that may arise in this life1 and secure in the knowledge that with the morn he shall see once more those whom he has loved and lost awhile4 ,what is the main thought of the first stanza8 ,the traveller prays for guidance4 ,of the second stanza8 ,he states that he has not always been willing to ask for guidance1 but had relied on his own reason4 ,of the third stanza8 ,he expresses his belief in the power and willingness of ,god to guide him aright4 ,what is the relation of the second stanza to the first one8 ,it contrasts the poet's earlier attitude of mind toward ,god with that of later years1 thus emphasizing the change that has taken place in his life4 ,is the poet stronger in the second case than in the first8 ,no2 in the first1 his ideal is higher and his humility greater1 as he relies absolutely on the guidance of the ,holy ,spirit4 ,in the second1 relying only on his own reasoning powers to guide him1 he made many humiliating failures4 ,image the moor1 the fen1 the crag1 the torrent1 and with the morn4 ,,recapitulation ,summarize the main thoughts and lead the pupils to bring out clearly the comparison between the traveller and the poet4 ,give a brief account of the author's life4 ,,lead1 ,,kindly ,,light 7,third ,reader1 page #cae7 ,,aim ,to aid in the culture of a sensitive response to the spirit and language of the prayer4 ,,treatment ,the teacher should read the poem aloud1 to awaken respect for the deep humility1 complete open-mindedness1 and growing faith of the poet4 ,what may this poem be called8 ,a prayer for guidance4 ,stanza ,i ,what are the poet's feelings8 ,he feels very much depressed in spirit1 as a traveller would who was far from home and alone in the gathering darkness4 ,whom does he address as ,kindly ,light8 ,why does he use the term ,light8 ,he may remember that our ,saviour called ,himself the ,light of the world1 and it is as his ,light or ,guide that the traveller feels his need of ,him4 ,he may be thinking of the ,pillar of ,fire and the ,pillar of ,cloud4 ,what image is suggested by the words ,lead1 kindly ,light8 ,it suggests something that has life 7moves on before71 and sheds a beneficent light on the travellers' path4 ,what is meant by the gloom8 ,it means the condition of his mind4 ,he is seeking ,truth and feels that he cannot rely on reason alone to guide him4 ,what do the last two lines show about him8 ,they show that he is humble and is content to be guided through the darkness one step at a time4 ,stanza ,,ii ,what more do we learn about his life in the second stanza8 ,in what language is his former pride contrasted with his present humility8 ,what is the meaning of garish8 ,what part of his life is called the garish day8 ,why is it so called8 ,,note4--,garish means dazzling1 and by garish day is meant the earlier care-free years when life seemed all brightness and the author felt perfectly certain of his ability to take care of himself4 ,what at times disturbed his life1 even in those past years8 ,what made him hide these fears8 ,what is meant by saying ,pride ruled my will8 ,what now is his prayer concerning these years8 ,why does he want them put out of remembrance8 ,what is the relation of the second stanza to the first one8 ,it contrasts the author's earlier attitude of mind toward ,god with what it is in later years1 thus emphasizing the great change that has taken place in his life4 ,compare the dependence depicted in the first stanza with the strength described in the second4 ,in which case is the man really the stronger8 ,account for the fact that when he was strong1 but not in his own strength1 he really felt his weakness more than when he was weak4 ,,note4--,the higher his ideal1 the smaller he sees himself2 and the lower his ideal1 the larger he sees himself4 ,observe also how the prayer to be led on reveals the man's progressive spirit4 ,the unprogressive man would pray simply for safety and protection4 ,stanza ,,iii ,what lesson does the poet learn from the past years8 ,what confidence does this lesson give him for the future8 ,what phases of experiences of life are suggested by moor1 fen1 crag1 and torrent8 ,,note4--,to answer this1 there should be an effort to image a moor1 a fen1 a crag1 or a torrent clearly4 ,then when the pupil sees the desolate1 lonesome moor2 the miry1 almost impassable fen2 the sharp1 out-jutting crag which makes the ascent more forbidding and difficult2 and the rushing1 unbridged torrent which must be forded or breasted1 even though it threatens destruction2 it should be easy to relate these to the experiences in life which they typify1 or represent4 ,how long does the poet believe this guidance will last8 ,in what words does he say that it will last as long as it will be needed8 ,what does he mean by the night8 ,beyond the night1 what vision does he see8 ,whose are those angel faces8 ,what is the relation of the third stanza to the second8 ,it shows how the author's confidence in the ,divine guidance to be granted him during future years is strengthened by the lessons learned in former years4 ,the teacher should again read the poem aloud4 ,this will impress upon the pupils1 not only the truth and beauty of the poem1 but also furnish an ideal to stimulate them in their preparation for the reading lesson which is to follow4 ,,chapter ,,vii ,,form ,,iv ,,judah',s ,,supplication ,,to ,,joseph 7,fourth ,reader1 page #ea7 ,,introduction ,review briefly the ,scriptural account of ,joseph's life1 and particularly the story of the visits of his brethren to ,egypt to buy corn4 ,note especially the following points3 #a4 ,the famine in the land of ,canaan2 the first visit of ,joseph's brothers to ,egypt2 their interview with ,joseph2 the detention of ,simeon2 ,joseph's demand that ,benjamin be brought down4 #b4 ,the return to ,canaan2 ,jacob's refusal to let ,benjamin go down into ,egypt2 ,judah's becoming surety for his safe return4 #c4 ,the second visit of ,joseph's brethren to ,egypt1 this time with ,benjamin2 their entertainment by ,joseph2 their homeward journey2 the discovery of the silver cup in ,benjamin's sack2 their return to ,joseph4 ,,general ,,analysis ,after the selection has been read1 the teacher should proceed by some such method as the following3 ,with what does the passage deal8 ,judah's entreaty to ,joseph for ,benjamin's safe return to his father1 and the effect it produced4 ,into how many parts is the selection naturally divided8 ,into three parts1 corresponding to the paragraphs as given in the ,reader4 ,what is the principal idea in each part8 #a4 ,joseph's decision to keep the offender as a bondman4 7,paragraph ,i7 #b4 ,judah's supplication to ,joseph that ,benjamin be permitted to return for his father's sake4 7,paragraph ,,ii7 #c4 ,joseph's revelation of his identity1 and the provision he makes for the maintenance of his kindred4 7,paragraph ,,iii7 ,,detailed ,,analysis ,paragraph ,i ,why did ,joseph's brethren fall before him on the ground8 ,prostration is the ,eastern mode of signifying profound respect1 complete submission4 ,what is the meaning of divine8 ,in this sense1 to look into the future2 to see what is hidden from ordinary people4 ,does ,joseph claim explicitly to have this ability8 ,no1 he merely suggests it1 probably to impress them with the idea of his power4 ,what does ,judah mean by the iniquity of thy servants8 ,doubtless he has in mind the wrong that they committed years before1 in selling ,joseph to the ,ishmaelites and deceiving their father4 ,verses #ba and #bb of the #dbnd chapter of ,genesis go to show that the consciousness of this sin was ever before them4 ,what was ,judah's attitude toward the accusation brought against them8 ,he frankly confesses the guilt of all--not of ,benjamin only4 ,why do you think he adopts this attitude1 when he must have been sure that all were guiltless8 ,he perhaps believes that they are victims of a conspiracy1 the object of which is to place them in the power of this ,egyptian governor1 and he thinks that this submissive attitude is best calculated to secure mercy at his hands4 ,how do you account for ,joseph's apparent desire to keep ,benjamin in ,egypt1 with himself8 ,probably he thinks this the best means of inducing his father1 ,jacob1 to come to ,egypt4 ,however1 he may not really intend to keep ,benjamin at all4 ,he may be making the threat only to test ,judah4 ,it may be remembered that it was ,judah who had counselled the selling of ,joseph years before4 ,joseph may now be trying to see if ,judah is the same kind of man he was when the selling into ,egypt took place--whether he will sacrifice ,benjamin in this extremity as he sacrificed ,joseph himself4 ,if the latter is ,joseph's object1 how does the experiment succeed8 ,it proves that ,judah is a different man1 that the years that have elapsed have produced a remarkable change in his character4 ,paragraph ,,ii ,of what does ,judah's entreaty largely consist8 ,of a recital of the governor's orders and of ,jacob's attachment to ,benjamin1 the son in whom all the thoughts1 hopes1 and desires of his old age are centred4 ,upon what does ,judah lay the greatest emphasis8 ,upon the effect that ,benjamin's detention will have upon his father4 ,evidently the brothers are very anxious to spare their father any unnecessary grief and pain4 ,for what purpose is the whole speech specially adapted8 ,to stir the emotions4 ,it is suited to appeal to the feelings of anybody1 but1 particularly1 to the feelings of ,egypt's governor1 though his identity is still unknown4 ,which are the most pathetic sentences8 ,the two beginning with1 ,and we said unto my lord1 ,we have a father1 an old man1 and ,now1 therefore1 when ,i come to thy servant1 my father1 and the lad be not with us4 ,what features of the speech would make the strongest appeal to ,joseph8 ,the reference to his father's old age and his attachment to ,benjamin2 his belief in ,joseph's untimely end2 the blow that separation from ,benjamin would involve2 ,judah's willingness to sacrifice himself4 ,what light does the speech throw upon ,judah's character8 ,it shows a capacity for intense feeling1 a deep devotion to his father1 and a spirit of self-sacrifice4 ,it might indicate also a shrewd knowledge of human nature1 for he apparently knows how to present the case in the most effective manner4 ,what is the meaning of thou art even as ,pharaoh8 ,thou art as mighty as the king of ,egypt4 ,explain thy servant became surety for the lad unto my father4 ,judah had given ,jacob a guarantee that ,benjamin should return safely4 ,select any figurative expression and give its meaning4 ,thy servants shall bring down the gray hairs of thy servant our father with sorrow to the grave4 ,the blow which separation from ,benjamin would involve will cause the aged father to die of a broken heart4 ,what are the main characteristics of the supplication8 ,the language is simple and direct1 the feeling is of the loftiest character1 and the whole speech is highly eloquent4 ,if the test of true eloquence is the intensity of the appeal it makes to worthy emotions1 this passage may well be regarded as one of the most eloquent in all literature4 ,paragraph ,,iii ,did ,joseph purposely select this as the most fitting moment to reveal himself8 ,no4 ,he revealed himself because he could not help it and because ,judah's appeal had so worked upon his feelings4 ,the first sentence of the paragraph indicates this4 ,why did he send every man away except his brothers8 ,he did not wish others to see his own lack of self-control or his brothers' shame and embarrassment4 ,moreover1 it was a solemn situation1 too sacred for vulgar eyes to gaze upon4 ,we are told that he wept aloud1 that he fell upon his brother ,benjamin's neck1 and wept1 that he kissed all his brethren1 etc4 ,is he unduly demonstrative8 ,eastern people are much more emotional and demonstrative than ,western people4 ,why did he have to repeat his assurance that he was ,joseph8 ,the first announcement was so amazing that it seemed incredible to them4 ,moreover1 all his previous communications had been through an interpreter and1 no doubt1 their amazement was increased by hearing him address them in their own tongue4 ,upon what ground did ,joseph tell his brothers that they should not blame themselves for selling him into ,egypt8 ,upon the ground that ,god had brought good out of the evil they had done4 ,is he quite right in telling them that they should not be grieved for the wrong they did him8 ,they were free agents2 ,god did not will that they should sin1 though ,he brought good out of it4 ,from this point of view ,joseph is wrong4 ,but he doubtless sees that his brothers have long ago repented their action and does not wish them to continue to blame themselves4 ,his assurance is no doubt prompted by a noble generosity induced1 to some extent1 by ,judah's appeal4 ,what seems to be ,joseph's dominating motive8 ,his love for his father4 ,his repeated references to him show this4 ,we can understand his desire to provide for his father and ,benjamin1 but why for his brothers who had wronged him8 ,partly for his father's sake1 perhaps4 ,it was natural1 in those patriarchal days1 that ,jacob1 if he migrated to ,egypt1 should wish his family to do the same4 ,besides1 ,joseph sees that his brothers are changed men4 ,what inducements does he hold out to them8 ,he shows them that his own power in ,egypt is sufficient to protect them2 he promises them the fertile land of ,goshen1 with sufficient food for themselves and their flocks and herds2 and he points out that five years of famine are yet to be in the land1 and that they must inevitably suffer if the invitation is rejected4 ,joseph frequently draws attention to his power in ,egypt4 ,is he at all vain-glorious8 ,no1 he does this to assure his brothers that the wrong done him years before has had1 through the goodness of ,god1 a beneficent result2 to show them that it has not been all suffering in his long exile2 and to induce his father to come down to ,egypt4 ,after that his brethren talked with him4 ,about what would they probably talk8 ,no doubt ,joseph would ask many things about what had occurred in ,canaan since he left1 and would give his brothers an account of his own experiences in ,egypt4 ,does it not seem strange that ,joseph1 during all these years1 should never have taken measures to find out how his kindred fared1 or to assure them that he was still alive8 ,he was probably ever looking forward to such a situation as this1 confident that the dreams of his boyhood would still be realized4 ,it was1 perhaps1 this belief in the ultimate fulfilment of his dreams that had kept him silent during these years4 ,what qualities of character does ,joseph show in his speech8 ,a spirit of noble generosity and forgiveness1 filial devotion1 and a desire to find good in the midst of seeming evil4 ,point out passages that indicate these qualities4 ,what admirable characteristics does the whole selection exhibit8 ,simplicity1 directness1 and eloquence of language1 noble emotion1 loftiness of character1 and high ideals4 ,as a final synthesis of the lesson1 let the pupils tell the story in their own words1 preserving1 as far as possible1 the same order of ideas as is followed in the extract4 ,this will reveal to the teacher whether they have grasped the ideas in their proper relationship4 ,,mercy 7,fourth ,reader1 page #hi7 ,,the ,,setting ,,of ,,the ,,selection ,this selection is taken from ,shakespeare's play ,the ,merchant of ,venice1 iv4 i4 ,in this play1 ,shylock1 a ,jew of ,venice1 had loaned ,antonio three thousand ducats1 repayable on a certain date without interest1 but if not so paid1 ,antonio was to forfeit a pound of flesh from such part of his body as pleased the ,jew4 ,antonio1 not being able to pay the money as agreed1 ,shylock sued for the fulfilment of the bond1 and in court refused to accept even three times the amount borrowed1 insisting on a pound of the merchant's flesh4 ,according to the law1 there appeared to be no help for ,antonio1 but the judge1 ,portia1 asked ,shylock to show mercy4 ,to this he answered1 ,on what compulsion must ,i8 ,tell me that4 ,this selection is part of ,portia's reply to ,shylock's question4 ,the teacher should relate to the pupils the outline given above4 ,,analysis ,,of ,,the ,,thought #a4 ,the qualities of mercy3 7#a7 ,it is not forced4 7#b7 ,it is gentle4 7#c7 ,it carries a twofold blessing4 7#d7 ,it is the most powerful attribute in men of might4 7#e7 ,it is divine in its nature4 #b4 ,where mercy is found3 7#a7 ,it is found enthroned in the hearts of kings4 7#b7 ,it is found as a ,divine attribute4 #c4 ,the results of showing mercy3 7#a7 ,it adds strength to strength4 7#b7 ,it makes man ,god-like4 ,question1 in order to develop the analysis of the thought1 and write on the board the topics1 as given by the pupils4 ,,the ,,difficulties ,quality of mercy4 ,the nature of mercy is not strained1 is not forced4 ,when the ,jew asks ,upon what compulsion must ,i81 ,portia answers that compulsion has nothing to do with mercy4 ,it is not in the nature of mercy to be a result of compulsion4 ,mightiest in the mightiest4 ,this is capable of a double interpretation--7#a7 the quality of mercy in a man of great power must be strong in proportion as his power is great4 7#b7 ,mercy is at its greatest when exhibited by the greatest4 ,portia would wish to convey the first meaning1 as that would have the more weight with ,shylock4 ,becomes the throned monarch4 ,the possession of this quality makes a man more truly kingly than the mere wearing of a crown4 ,sceptre4 ,the symbol of the monarch's authority4 ,temporal power4 ,power which belongs to this world only4 ,mercy--is enthroned in the hearts of kings4 ,the hearts of kings are for mercy what the throne itself is for a king--the most exalted position he can occupy4 ,mercy seasons justice4 ,mercy tempers justice1 rendering it less severe and making it more acceptable and pleasing4 ,develop the meaning through ,illustration1 when possible4 ,for example1 to teach the meaning of seasons in mercy seasons justice1 lead the pupils to use the word seasons in such sentences as3 ,we season our food with spices4 ,lead1 from the meaning in common or familiar use1 to its use in the lesson4 ,avoid mere dictionary meanings of words4 ,teach the use of the word where it is found1 never one of its meanings apart from its use4 ,,the ,,argument ,there is no compulsion in mercy4 ,its course is always from the higher to the lower4 ,it is a blessing to both giver and receiver4 ,the greater the mercy shown1 the greater will be the giver4 ,to show mercy does more to make a monarch kingly than does his crown4 ,the one stands for the exercise of authority and power commanding obedience and awe2 the other comes from the heart and reveals the character4 ,it is more than kingly1 it is ,god-like2 for in exercising it1 man's power becomes more like ,god's than in any other way4 ,develop the above argument by questioning4 ,sum up the result by requiring the whole argument to be given by a pupil orally in his own language4 ,finally1 require the pupils to write1 as forcibly as they can1 the whole of ,portia's argument4 ,the remainder of ,portia's speech as given in the play may also be given to the pupils4 ,in that case1 the remainder of the argument should be given as follows3 ,you demand justice1 ,jew4 ,even so1 require it as you hope ,heaven may require it of you4 ,consider that mercy is necessary to salvation1 and remember that1 as we all pray for mercy1 that fact itself requires us all to show the deeds of mercy4 ,the speech containing this part of the argument is as follows3 ,therefore1 ,jew1 ,though justice be thy plea1 consider this1 ,that1 in the course of justice1 none of us ,should see salvation3 ,we do pray for mercy2 ,and that same prayer doth teach us all to render ,the deeds of mercy4 ,we do pray for mercy1 refers to the general prayer of humanity for mercy4 ,to have limited its reference to the petition for mercy in the ,lord's ,prayer would have weakened its force to the ,jew4 ,,morning ,,on ,,the ,,lievre 7,fourth ,reader1 page #bbh7 ,,assignment #a4 ,the teacher should explain to the pupils that the ,lievre ,river 7pronounced ,lee-eh-vr7 runs through a deep gorge in the height of land on the ,quebec side of the ,ottawa ,river1 into which it flows not far from the ,capital4 ,in some places1 the banks of the ,lievre rise abruptly to a great height2 at others more gradually1 the slope being covered with a thick forest growth4 ,as the river nears the ,ottawa1 the banks become much lower4 ,the scenery1 whether viewed from the height above or from the river below1 is very beautiful4 #b4 ,the teacher should ask a few questions which can be answered easily from the pupil's own reading of the poem1 for example3 ,from what position does the author first view the scene8 ,what things in the scene appeal to each of the pupils as the most beautiful8 ,describe the incident mentioned in the last stanza4 ,state in a single sentence the subject-matter of the whole poem4 ,,treatment ,the pupils' answers to the questions given when the lesson was assigned should be dealt with first4 ,stanza ,i ,what first attracts the author's attention as he looks upward8 ,what makes us feel how high up the banks the mist extends8 ,what part of the mist appears most beautiful8 ,why8 ,to what is it compared8 ,how does this comparison affect our impression of 7#a7 the colour of the mist2 7#b7 the height of the mist8 ,does the comparison make the meaning clearer8 ,is the comparison apt8 ,is it beautiful8 ,,note4--,when a blacksmith cools the red-hot iron in a tub of water1 vapour rises to the roof of his shop4 ,the blaze from his forge shining on this mist produces the colours mentioned4 ,the amethyst is a precious stone1 clear and translucent1 with a colour inclining to purple4 ,the presence of coal dust or smoke in the vapour would help to produce the colour of amethyst4 ,the same effect would result1 if some smoke or dust were mingled with the mist where the sun's rays reach it at the top of the gorge4 ,screams his matins to the day4 ,what is meant8 ,what idea does the author wish to convey by this mention of the bird8 ,out of hearing of the clang of his hammer gives a strong impression of the great height of the gorge4 ,of what giant are we made to think8 ,what is meant by skirts of mist8 ,the teacher's reading of this stanza1 a part at a time1 if it is taken up in that way1 or all at once1 should aid much in impressing upon the minds of the pupils the wonderful beauty of the scene described1 and this is the main purpose of the lesson4 ,stanza ,,ii ,the author is paddling down the river4 ,describe the movement4 ,what shows that the mist has risen from the surface of the water8 ,what indicates the calmness of the river8 ,what things connected with himself does the author show to be in harmony with the scene8 ,how does he indicate the harmony in each of the following3 ,the motion of his canoe1 the surface of the water1 his own activity1 the force of gravity1 the character of the morning1 and the forest life8 ,we should expect him to dip his paddle very quietly1 if he felt the calmness of the morning1 but to show that the silence pervades all nature1 the very drops of water from the paddle blades seem to fall gently1 in sympathy with the spirit of silence reigning all around4 ,what are the river reaches8 ,the reach is the stretch of the river between two bends4 ,how are they borne in a mirror8 ,the high cliff-like banks are mirrored in the surface of the water4 ,explain the colour purple gray4 ,it is the colour of the image of the banks in the water4 ,what is meant by sheer away8 ,it means that the river reaches curve away like a winding road4 ,try to see the picture of the winding river1 apparently growing smaller as it passes curve after curve4 ,as it seems to recede into the distance1 the surface of the river forms a misty line of light1 just before it melts into the shadows of the forest4 ,where do the forest and the stream seem to meet8 ,what does the word plight suggest about their meeting8 ,what suggests a meeting-place out of sight8 ,why is the meeting represented as taking place in the shadow8 ,now what is described in the second stanza8 ,as a cloud1 like a dream4 ,do these make the meaning clearer8 ,explain4 ,are these comparisons apt8 ,show the fitness of silvery1 crystal deep1 asleep4 ,stanza ,,iii ,as the author goes farther and farther down the stream1 the river runs more slowly4 ,how is this shown8 ,what shows that the little creek runs very slowly into the river8 ,how does the author say the creek is winding8 ,why would not the same word curling do to show that the river was winding through the gorge8 ,what are we told about the mouth of the creek8 ,see those sunken wrecks down in the water4 ,what are they like8 ,what shows you that they are very large tree trunks8 ,what starts the ducks8 ,see them as they rise out of the water4 ,make a drawing to show their position4 ,the drawing should show them flying in the shape of a horizontal letter ,v1 as wild ducks fly4 ,what words show you that they keep this position unbroken8 ,hear them as they fly off at their utmost speed4 ,why such haste8 ,what makes the swivelling whistle8 ,this is the noise they make as they fly4 ,imagine a whistle to be set whirling around as it whistles4 ,the change in the sound due to the whirling motion of the whistle might be called a swivelling whistle4 ,see them go1 led through the shadow4 ,hear them1 as they disappear behind a rocky point ahead4 ,what is meant by their whirr8 ,what has made us forget all about the beauty of the silent morning8 ,what effect did this silence probably have on the poet's judgment of the noise made by the ducks8 ,now what is described in the third stanza8 ,consider the fitness of the words lazy1 sucks1 bleeds1 sneak1 swept1 splashy4 ,,synthesis ,,of ,,the ,,whole ,,by ,,correlating ,,the ,,lesson ,,with ,,art #a4 ,make a sketch of the scene in the first stanza1 showing the rocky1 high1 forest-covered banks1 with mist rising along the slopes1 and the man in a canoe on a small stream below4 #b4 ,make a sketch of the scene described in the second stanza1 showing the winding river1 with its high banks appearing to meet in the distance1 the man in his canoe in the foreground1 and over all the dim light of early morning4 #c4 ,make a sketch of the ducks rising from the water4 ,show the reeds at the mouth of the creek and the rocky spur toward which the birds are heading4 ,,the ,,life ,,of ,,the ,,author ,as it is not necessary to know anything about the author to fully understand this poem1 nothing should be said about his life until the pupils become interested in him through their interest in what he has written4 ,then teach the main points in his life4 ,see sketch of his life1 at the back of the ,manual on ,the ,ontario ,readers4 ,,dickens ,,in ,,the ,,camp 7,fourth ,reader1 page #bhg7 ,,introduction ,by way of introduction1 it might be well to tell the pupils something of ,bret ,harte--his residence in ,california1 his experience as a prospector in the goldfields1 his stories of the mining camps1 and his admiration of ,dickens4 7,see ,manual on ,the ,ontario ,readers1 p4 #cae47 ,these facts throw considerable light upon the poem1 and will be useful in aiding the pupils to interpret it properly4 ,this poem was written shortly after the death of ,dickens4 ,it might well follow the study of ,david ,copperfield's ,first ,journey ,alone and ,the ,indignation of ,nicholas ,nickleby4 ,,preparation ,when the poem has been read1 the teacher should1 before beginning the analysis1 ask a few general questions1 such as3 ,what has ,dickens to do with the story related in the poem8 ,he was the author of the book read in the camp1 ,old ,curiosity ,shop1 of which ,nell is the heroine4 7,a brief outline of the story1 with special reference to the feelings it arouses in the reader1 might be given here47 ,what kind of camp is referred to in the poem8 ,a mining camp4 ,the last line of the second stanza suggests this4 ,where is the scene laid8 ,apparently in ,california1 among the ,sierra ,nevada ,mountains4 ,this is indicated in the first stanza4 ,what is the leading idea of the poem8 ,the effect which the reading of a story by ,dickens produced in a ,western mining camp4 ,what are the main sub-topics8 #a4 ,the scene of the incident4 ,stanzas ,i-,,iii4 #b4 ,the reading of the story4 ,stanzas ,,iv-,,vii4 #c4 ,a lament for the death of ,dickens4 ,stanzas ,,viii-,x4 ,,minute ,,analysis ,stanza ,i ,how does the description of the scene1 as given in stanza ,i1 differ from that given in stanza ,,ii8 ,stanza ,i gives the background and the remote surroundings1 while stanza ,,ii places us in the midst of the camp4 ,what features give the story a romantic setting8 ,the stately pines1 the singing river1 the slowly drifting moon1 the snow-capped mountains4 ,from the description in the first stanza1 give as clear a picture of the location of the camp as possible4 ,it was situated on the edge of a canyon in the ,sierras1 towering pines rising round about1 the river flowing noisily beneath1 and the mountains uplifting their snow-covered peaks in the distance4 ,explain the comparison suggested in the last two lines4 ,the mountain summits1 with their everlasting snows1 resemble in the distance the minarets1 or lofty tapering towers1 attached to ,mohammedan mosques4 ,which is preferable1 minarets of snow1 or snow-covered peaks8 ,the former1 because it is a more unusual expression and because of what it suggests4 ,stanza ,,ii ,why is the camp-fire represented as a rude humorist8 ,it causes faces and forms that are haggard and care-worn to appear fresh and healthy1 thus playing a grim jest upon those gathered round it4 ,explain the significance of fierce in the last line4 ,in the mad rush for gold1 all the worst elements of man's nature are brought to the surface--disregard for the rights of others1 contempt for law and order1 and even carelessness with regard to human life4 ,consider the fitness of the words rude1 painted1 race1 as used here4 ,stanza ,,iii ,what indicates the value that the owner places upon this book8 ,the words treasure and hoarded suggest that it is one of his most highly prized possessions4 ,what suggests that this is not the first time the story has been read in camp8 ,the word anew4 ,how does the poet indicate the absorbing interest that the story has for these men8 ,he says the fascination is so great as to draw the attention of these rough miners even from their card-playing4 ,explain listless leisure4 ,stanza ,,iv ,explain the firelight fell4 ,the fire gradually died down1 because1 absorbed in their interest in the story1 the miners forgot to put on fresh fuel4 ,why is ,dickens called the ,master8 ,a master is one who attains the highest degree of skill in some art4 ,dickens was master of the art of story-telling1 a master of vivid narration1 a master of pathos and humour4 ,stanzas ,v and ,,vi ,is there anything in these stanzas which might throw light upon the identity of the reader8 ,he is probably the poet himself4 ,his familiarity with the fancies of the reader seem to indicate this4 ,besides1 the reader is kept very much in the background--we are told only that he was young--and this seems to be in keeping with the modesty of the poet as shown elsewhere in the poem4 ,at any rate1 we must admit that the reader was a poet1 for he indulges in fancies of a highly poetical nature4 ,what are those fancies8 ,such is the absorbing interest of the story that even the pines and cedars seem to stand silent to listen1 and the fir trees gather closer in order that nothing may escape their hearing4 ,what is the poetic element in these fancies8 ,ascribing to inanimate objects the power of human interest and sympathy4 ,what effect does the poet secure by picturing the trees as listeners8 ,it enhances our idea of the absorbing interest of the story4 ,mention any other illustrations of a poet's use of this device of attributing human sympathies to inanimate objects4 ,many might be given1 for example3 ,byron's ,waterloo3 ,and ,ardennes waves above them her green leaves1 ,dewy with ,nature's tear-drops1 as they pass1 ,grieving1 if aught inanimate e'er grieves1 ,over the unreturning brave4 ,longfellow's ,evangeline describing the song of the mocking-bird3 ,shook from his little throat such floods of delirious music1 ,that the whole air and the woods and waves seemed silent to listen4 ,mrs4 ,hemans' ,the ,landing of the ,pilgrim ,fathers3 ,amidst the storm they sang1 and the stars heard1 and the sea4 ,what experience of ,nell is alluded to in the last two lines of stanza ,v8 ,she and her grandfather had been lost on their journey from ,london4 ,why does the poet say that the whole camp lost their way with ,nell on ,english meadows8 ,the narrative was so vivid that the miners1 in spirit1 accompanied her in her wanderings4 ,stanza ,,vii ,what is meant by ,their cares dropped from them8 ,they forgot themselves1 their cares and privations1 and realized the hopes and fears1 the joys and sorrows of ,little ,nell4 ,how was this result brought about8 ,it was due to the fascination of the story4 ,to what does the poet compare this8 ,to some spell divine1 some supernatural influence1 which causes their own troubles to disappear for the time being4 ,give1 then1 the meaning of o'ertaken as by some spell divine4 ,they are brought1 as it were1 under the influence of some magician1 who1 by the exercise of his power1 transports them from their own world to that in which ,nell lives and moves4 ,show the beauty of the comparison in the last two lines of this stanza4 ,as the needles of the pine1 through the action of the wind1 fall silently and almost unperceived1 so the cares of the miners were forgotten in the all-compelling interest of the story4 ,compare ,longfellow3 ,the cares that infest the day ,shall fold their tents like the ,arabs1 ,and as silently steal away4 ,why is this comparison more appropriate than1 for example1 like the leaves from the trees in autumn1 or1 like snow-flakes from the clouds in winter8 ,because it is drawn from the objects at hand1 not from more remote things--an example of local colour4 ,explain gusty pine4 ,a pine exposed to the mountain blasts4 ,stanza ,,viii ,who is referred to by he in the second line8 ,dickens--not the reader of the story4 ,what is meant by wrought that spell8 ,produced that magic influence4 ,state the question in full4 ,is he who wrought that spell lost1 too8 ,what tale has the towering pine to tell8 ,that the mining camp has disappeared4 ,and what the stately ,kentish spire8 ,that ,dickens has gone4 7,dickens' home was at ,gadshill1 in ,kent47 ,what is the one tale that both have to tell8 ,a tale of disappearance and death4 ,is the question asked in the second line answered8 ,not directly1 though the answer is implied4 ,state the substantial meaning of the stanza4 ,the towering pine of the ,sierras tells of the disappearance of the mining camp2 the stately spire of ,kent tells of the death of ,dickens2 both bear witness to the potent influence of ,dickens4 ,stanza ,,ix ,what is the fragrant story of the ,western mining camp8 ,the tribute that the incident related in the poem pays to the magical power of ,dickens as a story writer4 ,why is it called a fragrant story8 ,the author poetically conceives of it as being laden with the fragrance of the fir1 the pine1 and the cedar--a sort of incense to the memory of the ,master4 ,what is incense8 ,the odours of spices and gums burned in religious rites4 ,what poetic idea does the author express in the last two lines8 ,the hopvines of ,kent are represented as uniting with the pine1 fir1 and cedar in sending forth their fragrance as incense4 ,what is the meaning1 then1 of the whole stanza8 ,let the fragrance of the pine1 the cedar1 and the fir1 mingled with the odours of the ,kentish hopvines1 be as incense to the memory of the ,master4 ,stanza ,x ,does the poet mean that the grave of ,dickens is literally adorned with oak1 holly1 and laurel wreaths8 ,no2 he is speaking figuratively4 ,what do these typify8 ,the tributes of admiration1 reverence1 and love that are paid to the memory of ,dickens in his own country4 ,of what is each emblematic8 ,the oak is emblematic of ,england1 the life of whose people he so vividly depicted2 the holly suggests his charming ,christmas stories2 the laurel signifies his mastery of the art of writing4 ,what does the poet mean by ,this spray of ,western pine8 ,this poem was written in the ,western ,world1 as a tribute to the memory of the great novelist4 ,what personal characteristic does the poet show in the third line8 ,a sense of humility1 which leads him to suggest that this poem is unworthy of a place among the tributes paid to the name and fame of the great artist4 ,stripped of its figurative significance1 what is the meaning of the whole stanza8 ,to the many tokens of love and admiration that are offered to the memory of ,dickens1 may ,i be permitted to add this poem--a ,western tribute to the worldwide influence of the famous author4 ,,reconstruction ,tell the story of the poem in your own words4 ,in a canyon of the ,sierras1 a group of rough miners were gathered about a camp-fire4 ,around them stood the stately pines1 above which the moon was slowly rising2 below1 at the bottom of the canyon1 a river sang1 as it threaded its way among the boulders2 and1 far in the distance1 the mountains reared their snow-covered summits to the evening sky4 ,the flickering camp-fire played strange tricks upon those gathered round it1 for it gave to the care-worn faces and bent forms of the miners the appearance of freshness and health4 ,one of the miners1 a mere youth1 opened his pack1 drew therefrom a copy of ,dickens' ,old ,curiosity ,shop1 and began to read aloud4 ,at once1 all other occupations were suspended1 and everybody drew near to listen to the story4 ,the whole camp yielded itself to the fascination of the tale1 and in its absorbing interest they forgot themselves and their surroundings1 their ills1 their hardships1 and their cares4 ,one might almost fancy that the very pines and cedars became silent1 and that the fir trees drew closer to hear the story of ,little ,nell4 ,dickens1 the ,master1 has gone1 but1 among the many tributes that are paid to his power as a writer1 let this little tale of the ,western camp be added1 to illustrate the universal nature of his influence4 ,,dost ,,thou ,,look ,,back ,,on ,,what ,,hath ,,been 7,fourth ,reader1 page #bhi7 ,,preparation ,this lesson should be preceded by a suitable preparatory lesson on the life of some man1 for example1 ,peel1 ,disraeli1 or ,lincoln1 who1 in spite of all obstacles1 rose to eminence in the nation and lived ,to mould a mighty state's decrees4 ,,introduction ,tennyson and ,arthur ,hallam1 as young men at college1 were great friends4 ,the bond of affection between them was probably as strong as it was possible for friendship between two men to be4 ,when ,hallam died in #ahcc1 at twenty-two years of age1 ,tennyson said of him3 ,he was as near perfection as a mortal man could be4 ,from time to time during the next seventeen years1 ,tennyson wrote short poems on themes which occurred to him in connection with his thoughts of ,hallam4 ,these he finally collected and published in one volume1 called ,in ,memoriam4 ,,purpose ,the purpose of this lesson should be in harmony with the purpose of ,in ,memoriam4 ,it should1 therefore1 be a study of life within the comprehension of the pupils4 ,the lesson should aid in securing the development of character and an appreciation of worthy ambition and enduring friendship4 ,,assignment ,the lesson should be assigned in such a way as to encourage the pupils' natural desire to learn something through their own efforts4 ,a few questions should be given to be answered from their own study1 for example3 #a4 ,what does the first line show regarding ,tennyson's present thought of ,hallam8 #b4 ,what stanzas describe the progress of the man who reminds him of ,hallam8 #c4 ,what is described in the remaining stanzas8 #d4 ,what lines suggest something about this man's feelings toward the scenes and friends of his youth8 #e4 ,in what respect1 according to the last stanza1 does ,tennyson show that one of these old-time friends is like himself8 ,,class ,,work ,what does ,tennyson describe in the first four stanzas8 ,stanza ,i ,why does he call the man divinely gifted8 ,because he has had great natural gifts4 ,when should we call a man of only ordinary ability divinely gifted8 ,what have you read that illustrates this8 7,if the pupils cannot answer this question1 the teacher should tell briefly the parable of the talents47 ,what is meant by ,whose life in low estate began8 ,why are the details about his early life mentioned8 ,state briefly the thought contained in this stanza4 ,stanza ,,ii ,what was the effect of his humble birth on his progress in early life8 ,in what ways did it act as a bar3 7#a7 upon his own mind2 7#b7 upon the good-will of others toward himself8 ,which of these two do the following lines from ,,oenone indicate that the poet would say must be overcome first8 ,self-reverence1 self-knowledge1 self-control1 ,these three alone lead life to sovereign power4 ,state in your own words1 the full meaning of breaks his birth's invidious bar4 ,,note4--,invidious means likely to incur1 or bring on envy1 ill-will1 or hatred4 ,what idea is suggested in the second line as to the opportunities which come to such a man8 ,imagine him grasping these fleeting chances4 ,what were his probable feelings toward those things which eluded his grasp8 7,be careful in answering this4 ,remember that the man has gained the mastery of himself47 ,what is meant by blows of circumstance8 ,what were some of these difficulties8 ,what does the action-word breasts suggest3 7#a7 about the character of these difficulties1 7#b7 about the character of the man8 ,explain grapples with his evil star4 ,what is the allusion8 ,tell1 in the poet's own words1 what this evil star was4 ,imagine this man grappling with it4 ,what term do boys often use for a similar action8 ,which is going to win this wrestling match8 ,give reasons1 from what the man has already done1 for thinking that he will win4 ,what does this action show about his belief in luck8 ,what do the action-words in this stanza suggest about the man's character8 ,what sounds in each of the words help to emphasize this grim determination8 ,state briefly the relation of the thought of this stanza to that of the first4 ,stanza ,,iii ,what effect did the man's early struggles have on his mental power and character8 ,what does ,tennyson call this increased energy and strength of character8 ,he calls it force4 ,now1 explain makes by force his merit known4 ,what position in the gift of the nation do the next three lines show that he gained at last8 ,what words indicate the emblem of the ,premier's power8 ,clutch the golden keys4 ,what does this action suggest as to his character8 ,what word is generally used to denote such determination to gain power and influence8 ,what makes such ambition lawful8 ,what use does ,tennyson show this man made of his ambition8 ,what is meant by mould a mighty state's decrees8 ,as ,premier1 to whom would it be his duty to give advice8 ,the people know that the sovereign must act on the advice of his ministers1 of whom the ,premier is the most influential2 but they believe that the judgment of the sovereign often modifies and improves this advice4 ,to the nation1 this influence of the sovereign is a silent force1 but1 like the silent forces in nature1 they believe it to be powerful4 ,in what words does ,tennyson express this mutual influence of the ,king and the ,premier8 ,what features of this influence are expressed respectively by the words shape and whisper8 ,what action-words in this stanza suggest the relation 7#a7 of effort1 7#b7 of time1 to the magnitude of the work8 ,state in a single sentence the thought of this stanza4 ,stanza ,,iv ,what is the final test of the value of a law8 ,its effects on the people4 ,in what words does ,tennyson show the effect on the people of the laws made through this man's influence8 ,explain how this man became ,the pillar of a people's hope4 ,what words show the far-reaching extent of his influence8 ,which shows the more force in the man1 his influence with the ,king or his later influence in the whole nation8 ,in what words does ,tennyson show which he thinks the greater8 ,to which do high and higher respectively refer8 ,what does ,fortune's crowning slope suggest about 7#a7 the honour which the man has now gained1 7#b7 the nature of the road he has travelled8 ,stanza ,v ,picture the man as he looks back after having reached the height of his ambition4 ,describe his mood4 ,at what times does he indulge in these dreamy memories8 ,what does he seem to see in these quiet hours8 ,what hill and stream does the poet mean8 ,what feeling does each awaken8 ,why is the sweetness called secret8 ,why is the dearness called distant8 ,stanza ,,vi ,what part of his life is meant by his narrower fate8 ,with what is he comparing that early life1 when he calls it his narrower fate8 ,using similar language1 what might his present position of great influence be called8 ,some think that the first line of this stanza refers to the limitations or restrictions of his early life1 while others say the poet was thinking simply of the stream1 as the limit or boundary of the things that influenced his childhood4 ,which view is to be preferred8 ,which meaning agrees with the use of the word its in the next line8 ,would this man now look back on those difficulties of his early life as limitations and hindrances1 or as things which helped to make him what he is8 ,now explain ,the limit of his narrower fate4 ,compare the direction in which he looks in his day dreams now1 with the direction in which he looked in those of his boyhood4 ,what is meant by vocal springs8 ,in what way were the games of his youth prophetic of his future work as a man8 ,what do people mean by saying1 ,the boy is father of the man8 ,stanza ,,vii ,describe the present occupation of the friend of his boyhood4 ,what information about his friend does the word native give us8 ,what phrases show how he does his work8 ,compare the farmer's query in the last line with that in the first line of the poem4 ,,synopsis ,,of ,,details ,under the following heads1 point out the resemblance of ,hallam to the statesman and of ,tennyson to the farmer3 #a4 ,early friendship #b4 ,their separation #c4 ,progress since parting #d4 ,memories of each other4 ,it is hoped that no teacher will use these questions as a substitute for his own questioning4 ,if they are accepted as suggestive in regard to both interpretation and method1 they may be of real service1 otherwise they will be almost valueless4 ,,waterloo 7,fourth ,reader1 page #caa7 ,,aim ,to lead the pupils to appreciate the music and imagery of the poem4 ,,preparation ,where is ,waterloo situated8 ,in ,belgium4 ,what two armies were engaged in this battle8 ,the ,french and the ,english2 with the latter were some ,prussian allies4 ,who were the ,french and the ,english commanders8 ,napoleon and ,wellington4 ,what was the result of the battle8 ,the overthrow of ,napoleon and his banishment to ,st4 ,helena4 ,what would have been the consequence if ,wellington had been defeated8 ,napoleon would possibly have had complete mastery of ,europe4 ,picture this struggle of great commanders and disciplined armies1 while ,europe waited breathlessly for the outcome4 7,the pupils should read some good history of this battle47 ,,presentation ,read the poem to the pupils in such a way as to make vivid the scenes depicted4 ,,development ,what has the poet described in this poem8 ,some of the events preceding the battle4 ,what are the main pictures found in each stanza8 7,write on the black-board47 #a4 ,the ball #b4 ,the sound of the enemy's cannon #c4 ,the ,duke of ,brunswick #d4 ,the farewells #e4 ,the muster #f4 ,the gathering of the ,highlanders #g4 ,the march to battle #h4 ,summary of pictures and the result4 ,do you see any stanza that interferes with the progress of the action8 ,the third stanza anticipates the battle and destroys the continuity between the sounds of the approaching enemy and the hurried farewells4 ,why does the poet devote a special stanza to the ,highlanders8 ,were they more worthy of mention than the ,english and ,irish regiments8 ,the author1 ,george ,gordon1 ,lord ,byron1 belonged to a ,scotch family4 ,the muster of the ,highlanders at midnight1 combined with their stirring music1 made a very picturesque incident4 ,consider the elements which contribute to the various scenes3 ,stanza ,i ,what is described8 ,the ball given by the ,duchess of ,richmond4 ,what is the emotion of this stanza8 ,pleasure1 gaiety4 ,what is the picture in the first line8 ,the arrival of the guests1 the welcomes1 and the revelry of the assembly4 ,why does the author say ,belgium's capital rather than ,brussels8 ,it suggests the capital of a nation with a noble people4 ,who were the ,beauty and the ,chivalry8 ,the ladies1 the officers of the army1 and the nobility4 ,describe the picture you see in bright the lamps shone o'er fair women and brave men4 ,the large ball-room1 the brilliantly lighted chandeliers1 the beautiful costumes of the ladies1 the uniforms and decorations of officers and nobles4 ,describe the images that are suggested by and when music arose with its voluptuous swell4 ,the bands of the regiments are playing the music of the dance4 ,notice how the poet changes the rhythm to the foot of three syllables1 to indicate the music of the waltz4 ,what contrast do you find in the last two lines8 ,marriage bell and rising knell4 ,what was the purpose of this8 ,to show the contrast between pleasure and fear4 ,stanza ,,ii ,what is the theme8 ,the sound of the enemy's cannon4 ,why does the author use the dramatic form8 ,a conversation between two people of opposite temperaments gives greater reality to the picture4 ,the first seems to expect danger1 but is1 for a moment1 silenced by the other's upbraiding him for attempting to spoil the pleasure of the evening4 ,a repetition of the heavy sound proves that he is right4 ,the second is a lover of pleasure1 who would not have the first speaker alarm the guests by his gloomy anticipations4 ,show how the second speaker indicates his impatience4 ,his answers are short1 he speaks in ellipses4 ,on with the dance1 and ,no sleep till morn4 ,notice the positive tone of the first speaker in the repetition1 ,it is--it is4 ,stanza ,,iii ,what is described here8 ,the fate of ,brunswick8 ,why does the author single out ,brunswick from all the others who died8 ,one specific case appeals to the reader more effectually than the report of the death of unknown thousands4 ,brunswick's father had been a noted general in the war with ,napoleon4 ,explain1 ,death's prophetic ear4 ,this refers to a common superstition that the veil of the future is lifted to those near to death4 ,show how the poet has broken the order of succession of the pictures4 ,brunswick's death is recorded before the breaking up of the ball is described4 ,stanza ,,iv ,what is the theme8 ,the farewells4 ,what is the emotion8 ,fear and anguish4 ,what words show this8 ,gathering tears1 tremblings of distress1 cheeks all pale1 sudden partings1 etc4 ,give a line in a preceding stanza that expresses the same thought as mutual eyes4 ,soft eyes looked love to eyes which spake again4 ,stanza ,v ,what is described8 ,the muster of the troops4 ,what is the prevailing feeling8 ,the haste of the soldiers and the terror of the citizens4 ,how does the poet show this haste8 ,by the use of such phrases as hot haste1 mustering squadron1 clattering car1 impetuous speed1 swiftly forming1 as well as by the rapid movement of the verse4 ,why did the citizens of ,brussels fear1 since they had not to fight8 ,they dreaded the pillage and ruin which would follow a ,french victory4 ,describe the scene in your own words--the cavalry forming in line1 the movements of the artillery1 the noise of distant cannon1 the alarming drum1 and the panic of the citizens4 ,stanza ,,vi ,the gathering of the ,highlanders4 ,does the poet address the ear or the eye in this description8 ,only the sound of the bagpipes is described1 though it may suggest a picture of the ,highland regiments4 ,what words describe the music8 ,wild and high1 war-note1 thrills savage and shrill4 ,why does the poet mention proper names--,lochiel1 ,evan1 ,donald8 ,the bagpipes recall stirring memories of these men1 which inspire the clansmen to prove worthy of their ancestors4 ,what is the ,cameron's gathering8 ,the war-song of the ,cameron clan4 ,were there only ,camerons in the ,highland regiments8 ,no1 the ,camerons were only one famous clan1 but are taken here as representative of the heroism of all the ,highlanders4 ,again1 the use of individual specific cases produces a greater impression than a more general term4 ,what was the pibroch8 ,a wild1 irregular species of music played on the bagpipes1 adapted particularly to rouse a martial spirit among troops going to battle4 ,stanza ,,vii ,what is described in this stanza8 ,the march to the battle-field4 ,what words show that8 ,as they pass4 ,they were going through the forest of ,ardennes4 ,what is the mood of this stanza8 ,sadness4 ,the trees are represented as shedding tears when ,nature thinks of the sad fate awaiting so many brave men4 ,what were those tears8 ,the expression refers to the dew of the early morning on the leaves of the trees1 but the poet has called it ,nature's tear-drops4 ,it is only a fanciful presentation of a natural phenomenon4 ,explain1 if aught inanimate e'er grieves4 ,if inanimate nature1 such as trees or grass1 can express sorrow4 ,nature cannot grieve1 but we appreciate the beauty of the imagery4 ,point out a contrast in this stanza4 ,this fiery mass of living valour1 and shall moulder cold and low4 ,stanza ,,viii ,what is the purpose of this stanza8 ,it gives a summary of the preceding ones4 ,which stanza corresponds to line #b8 ,stanza ,i4 ,which corresponds to line #c8 ,stanzas ,,ii1 ,,iii1 and ,,iv4 ,which stanzas picture the marshalling in arms8 ,stanzas ,v and ,,vi4 ,what stanzas picture ,battle's magnificently stern array8 ,stanzas ,v and ,,vii4 ,now contrast all these pictures with the last4 ,the story is epitomized1 and the end described--friend1 foe1--in one red burial blent6 ,the pupils should now read the poem1 in order that the teacher may judge by the varying tones and movements whether it has been properly appreciated4 ,,three ,,scenes ,,in ,,the ,,tyrol 7,fourth ,reader1 page #ccf7 ,,aim ,to lead the pupils to appreciate the thrilling pictures and to understand the means by which the author has produced this vividness4 ,,preparation ,the pupils have been required to read this lesson at their seats or at home4 ,where is the ,tyrol situated8 ,it is a province in the ,austrian ,alps directly east of ,switzerland4 7,show its position on the map47 ,the mountains are majestic1 high1 precipitous2 the people daring and independent4 ,the ,tyrol is noted for the many accidents which happen to mountain-climbers4 ,who are the chief persons concerned in these three scenes8 ,maximilian ,i1 ,charles ,v1 and ,napoleon4 ,the author wishes to give1 amid the most impressive surroundings1 three stirring events in the lives of three great ,emperors4 ,state briefly the first story4 ,the ,emperor ,maximilian was hunting a chamois1 when he slipped on the edge of the precipice1 rolled helplessly over1 and caught a jutting ledge of rock1 which interrupted his descent4 ,an outlaw hastened to his assistance and guided him to safety4 ,,presentation ,i ,yes1 this story is often called ,the ,rescue4 ,let us note how the author helps us to see the picture4 ,where does he place the spectator8 ,on a thread-like road running between the rocky bank of the ,inn ,river and the foot of the precipice of the ,solstein4 ,what does the author ask you1 as the imaginary spectator1 to do8 ,to throw your head back and look upward4 ,why8 ,the precipice towers perpendicularly many hundred feet above you4 ,he wishes you to imagine you are standing on this road and the scene is taking place before your eyes4 ,what do you see8 ,a hunter in pursuit of a chamois4 ,describe this hunter4 ,he is lofty and chivalrous in his bearing4 ,what happens8 ,he is bounding on after a chamois toward the edge of a precipice1 when he loses his footing and falls4 ,how does the author make you see this plainly8 ,he uses the present tense1 as if the scene were happening now--is bounding1 loses his footing1 rolls helplessly4 ,any other way8 ,yes1 he utters exclamations1 ,mark6 ,ah6 ,every act is told in the form of an exclamation4 ,what is it that arrests him8 ,this is a question4 ,does the author expect an answer8 ,no1 he asks the question as ,i would ask it of myself if ,i saw the hunter stopped in his descent4 ,why does he not tell you who this hunter is8 ,i see now for the first time that it is the great ,emperor ,maximilian who is in such peril4 ,does any one else see him8 ,yes1 the ,abbot1 or head of a neighbouring monastery4 ,why does the author mention him8 ,to indicate that1 apparently1 human aid could not save the ,emperor4 ,what has been told us in this first paragraph8 ,the peril of the ,emperor4 ,what is told us in the next8 ,his rescue4 ,who else sees the danger8 ,zyps of ,zirl4 ,who is he8 ,a famous hunter and outlaw4 ,do you see him at first8 ,no1 ,i hear his cry4 ,the author says ,hark6 there is a wild cry6 ,then ,i recognize the outlaw4 ,why does he utter the cry8 ,to encourage the ,emperor and let him know there is some one coming to his rescue4 ,again how does the author make the picture vivid8 ,by the use of the present tense1 by commands1 questions1 and exclamations1 and by making the spectator1 in his excitement1 address the mountaineer directly2 for example1 thou hunted and hunting outlaw1 art thou out upon the heights8 etc4 ,by what means does the author show how the outlaw comes to the ,emperor's aid8 ,by comparing him with the chamois1 the insect1 and the squirrel4 ,this man combines in himself all their powers of movement4 ,what does the spectator now do8 ,he fears that all may yet be lost1 so he shouts to the ,emperor to have courage1 that the hunter is coming4 ,how does the author show his relief from the strain of the last few moments8 ,his sentences are now longer and smoother4 ,how was this event afterwards regarded8 ,the peasants maintained that an angel came down to their master's rescue4 ,what does the author seem to think8 ,that his rescue was due to the interposition of ,providence4 ,what is told in the next paragraph8 ,zyps' reward4 ,what did he receive8 ,he was created a ,count and received a pension from the ,emperor4 ,what was his title8 ,count ,hallooer von ,hohenfeldsen4 ,to what does this refer8 ,to his wild cry from the high peaks1 when he saw the ,emperor in danger4 ,how can you prove that this story is true8 ,by inspecting the pension list of the ,royal ,house of ,hapsburg and by looking at a cross in the mountains that has been erected on the very spot where ,maximilian was rescued4 ,,ii ,whom do you see in the second vision8 ,the ,emperor ,charles ,v4 pursued by his enemies4 ,who was he8 ,one of the greatest monarchs in ,europe1 greater even than his grandfather1 ,maximilian ,i4 ,in this scene he is ill2 his army has met with reverses2 he has made his escape from ,innsbruck1 the capital of the ,tyrol1 and is being conveyed through the mountains to a place of safety1 closely pursued by ,maurice of ,saxony4 ,describe the scene4 ,it is at night1 the wind is high1 and is driving the rain against the ,emperor's litter1 which is borne by mountaineers and surrounded by his faithful officers4 ,what is given in the first paragraph8 ,a description of the storm4 ,how does the author prepare you for the scene8 ,the night suggests danger and mystery1 and the moon looks out from a cloud1 as though at something taking place in the gorge4 ,the spectator hears something besides the roar of the wind4 ,select all the words that show what a fearful night it is4 ,night1 dark1 wild1 gusty winds1 howling1 sheets of blinding rain1 whirling1 hissing eddies1 rent asunder1 ravings of the tempest4 ,notice all the details the author has made use of to convey the idea of terror and danger4 ,what is described in the next paragraph8 ,the passage of the litter through the dark gorge4 ,is the spectator forgotten in this scene8 ,no1 he first hears the tramp of feet1 then he sees the torches1 and1 lastly1 the ,emperor's litter surrounded by his attendants4 ,what words show you the difficulty of their situation8 ,hurried1 crowding1 crushing1 steep and narrow gorge1 suppressed voices1 fitful glancing of torches1 anxiously shielded1 melee1 struggle onward4 ,why are their voices suppressed8 ,as a natural result of their perilous position4 ,why do they keep their torches burning8 ,to find their way through the enemy's country amid the dangers by which they are surrounded4 ,what do the lamps look like8 ,a constellation of stars moving on in the same relative position4 ,does the author still refer to the storm8 ,yes1 in derisive laughter1 rude wrath of the tempest1 and plumes streaming on the wind4 ,the author wishes to picture continuously the fitting surroundings for this adventure1 and so emphasizes these details4 ,why does he speak of the derisive laughter of the storm8 ,he compares it to a fiend who mocks the attempts of man to battle against his power4 ,who is described in the third paragraph of this vision8 ,the ,emperor himself4 ,why is he not described before1 as he is more important than either the storm or his comrades8 ,the story runs in a natural order4 ,first are seen the figures surrounding the litter1 and1 as it approaches1 the ,emperor's face is distinguishable4 ,what is first mentioned in connection with him8 ,his firmly set teeth4 ,what does this indicate8 ,his great physical pain1 and his determination of character4 ,what is mentioned next8 ,his age2 he is but fifty-three1 but his wrinkles are deep and his hair turning gray4 ,what are next described8 ,his forehead1 his nose1 his eye1 his underlip4 ,why does the author picture these features in such detail8 ,to show the character of the ,emperor4 ,what are we led to infer are some of his characteristics8 ,a strong intellect1 imperious manner1 cruelty1 and stubborn pride4 ,what strong contrast is drawn8 ,the fugitive invalid is the great ,emperor4 ,the author first discusses his illness1 his flight1 his suffering in the storm1 his adverse fortune1 and then gives him his full titles--,emperor of ,germany1 ,king of ,spain1 ,lord of the ,netherlands1 of ,naples1 of ,lombardy1 and the proud chief of the golden ,western ,world4 ,where does the author place the blame for his present sufferings8 ,on ,charles himself1 whose sufferings1 humiliation1 and ultimate deliverance were perhaps intended as a discipline to lead him to repent for past cruelties4 ,what is described in the last paragraph of this scene8 ,the escape4 ,who is first mentioned8 ,the pursuer1 ,maurice of ,saxony4 ,describe him4 ,he is first compared to an avenger of blood in pursuit of a man fleeing to the cities of refuge referred to in ,joshua xx4 #c4 ,he is next compared to the hound relentlessly following his prey4 ,who wins in this race8 ,charles eludes his pursuer4 ,to whom should he show gratitude for his escape8 ,to ,providence4 ,does he acknowledge ,god's protection8 ,no1 he gives all the credit to his lucky star4 ,explain this4 ,astrologers had said that the ,star of ,austria was always at the highest point in the heavens2 and of this favoured ,house of ,austria1 ,charles was ,archduke4 ,,iii ,the first scene is called ,the ,rescue2 the second1 ,the ,run2 and the last1 ,the ,ruin4 ,what is described in the last scene8 ,the destruction of the ,french ,army4 ,where is the scene laid8 ,in the ,tyrol1 beside the ,river ,inn4 ,what is described in the first paragraph8 ,bonaparte's decree that the strongholds of his enemies--the ,tyrolese warrior hunters--shall be destroyed4 ,why should he wish to do this8 ,the ,tyrolese were an independent people1 who would not submit to conscription and taxation at the hands of the ,bavarians4 ,by what names does the author call ,napoleon8 ,bonaparte4 ,that was his surname4 ,the ,french ,emperor had no hereditary right to the throne1 but he wished to be called ,napoleon1 instead of ,bonaparte1 just as we speak of our ,king as ,george ,v4 and rarely refer to his surname of ,guelph4 ,who advised ,napoleon8 ,his own will is his sole adviser4 ,he ruled arbitrarily1 consulting no one4 ,what does he do in this case8 ,he sends ten thousand ,french and ,bavarian soldiers to crush the ,tyrolese4 ,why were the ,bavarians taking part in the struggle8 ,they were at this time allies of ,france1 and ,napoleon had given to their ,elector possession of this new but hostile province4 ,what does the second paragraph describe8 ,the army entering the narrow gorge in the mountains4 ,how does the author give vividness to this picture8 ,he endows inanimate things such as the gorge and the river with human attributes4 ,the gorge looks gloomy1 forbidding1 and unfriendly1 and the river seems to roar indignantly1 as though at the attempt of the mountain walls to impede its progress4 ,the next sentence is in the form of a question and its answer4 ,who is supposed to ask this question8 ,this is the question the leader of the army would ask and the answer he would make when he discovered the narrow road4 ,the construction of the sentence suggests the idea of danger4 ,why does the next sentence begin with ,but8 ,but the glittering array winds on4 ,it suggests that some precautions for the safety of the army should have been observed2 but it may have been impossible to take these precautions1 and the orders of ,bonaparte had to be obeyed at all hazards4 ,what is described in the next sentence8 ,the author gives full details of the progress of this imposing army4 ,the ,river ,inn seems to share the feelings of the ,tyrolese themselves and protest angrily against this invasion by a foreign power4 ,how is the next sentence related to the preceding8 ,but marks a contrast4 ,the noise of the army and the river is contrasted with the silence on the heights4 ,why are the eagles mentioned8 ,the silence is rendered more impressive by the occasional shrill cry of the eagles1 and the wings of the eagles hovering above are an omen of the coming disaster which is to overtake the gilded eagles of ,france below4 ,what is described in the next paragraph8 ,the voice from the heights4 ,how does the author make this paragraph impressive8 ,as he wishes to indicate the critical moment1 he still uses the present tense1 direct narration1 short sentences1 exclamation1 and interrogation2 he suggests1 through a mysterious voice far up the heights1 that supernatural agents are at work4 ,the army1 in its helpless length1 is compared to an uncoiled serpent4 ,what is the subject of the next paragraph8 ,the destruction of the entire army4 ,how is this ruin accomplished8 ,unseen in the heights above1 the ,tyrolese peasantry hurl down rocks1 roots1 and trunks of pine trees1 as well as sending a deadly hail from their rifles along the whole line of the defenceless army below4 ,notice the richness of detail4 ,what words help to make the description of their destruction more vivid8 ,bounding1 thundering1 gathering speed1 headlong way1 launched down1 powerless foe1 deadly hail1 fearful storm1 crushed to death1 tumbled1 horse and man1 into the choked and swollen river4 ,notice the contrast of this paragraph with the picture in the second paragraph of this vision of the gallant invading army4 ,what is the subject of the last paragraph8 ,the reflections of the author4 ,of what does he speak8 ,of the wonders and beauties of creation and the sad power that man possesses of spoiling and staining these wonders by giving rein to his own evil ambitions and fierce revenges4 ,how has he emphasized this8 ,by the use of exclamation1 question1 ellipses1 and the mention of the serpent as the symbol of evil4 ,how does the interrogative form of the sentence give it vividness8 ,contrast the effect of saying1 ,who would willingly linger on the hideous details8 with ,no one would willingly linger1 etc4 ,the author does not expect an answer1 he throws the sentence into the question form for the rhetorical effect4 ,the reader pays more attention to the thought by trying to find an answer to the question4 ,what is the value of the ellipses in ,sorrowful that man 444 should come8 ,it is stronger than saying1 ,it is sorrowful that man 444 should come4 ,the subject and verb are omitted1 as they are not strong words1 and ,sorrowful is placed in the most prominent position on account of its importance4 ,,summary ,in these three pictures1 what is the constant element8 ,the scene used as the background4 ,all three visions take place in the ,tyrol1 two of them on the banks of the ,inn ,river4 ,they are three companion pictures of this historic mountain province4 ,how does this style compare with that which you find in other lessons8 ,it is abrupt and abounds in many rhetorical forms--ellipses1 use of the present tense1 exclamation1 direct address1 and accumulation of details4 ,would it be suitable for all prose expression8 ,no2 it is impassioned prose1 full of emotion and picturesque detail4 ,the smoother1 more regulated sentence-structure1 such as is in place in ordinary narration1 would be too cold for these descriptions4 ,on the other hand1 this style is not suitable for expressing a quiet mood or giving a clear explanation4 ,it is too turbulent1 and would pall upon the reader if continued at too great length1 but it is often very suitable in an oratorical selection4 ,the pupils should finally read the lesson aloud1 to show how they have appreciated the story4 ,,chapter ,,viii ,,supplementary ,,reading ,before studying these lessons in supplementary reading1 it is suggested that the teacher read again what has been said on ,extensive ,reading1 p4 #ci of this ,manual4 ,,south-,,west ,,wind1 ,,esq4 7,third ,reader1 page #hf7 ,you have read the story of ,south-,west ,wind1 ,esq41 in the ,third ,reader4 ,who were the persons mentioned in this story8 ,three brothers1 ,schwartz1 ,hans1 and ,gluck4 ,what were their characters8 ,schwartz and ,hans were rich but very miserly2 they were quarrelsome1 drunken1 and cruel4 ,gluck was kind1 polite1 and unselfish4 ,how did ,gluck show these qualities8 ,he admitted the stranger into the house for shelter from the rain1 when he knew his brothers would punish him for so doing2 he asked politely to take the stranger's cloak1 when the water dripping from it was putting the fire out2 and he offered him his share of the mutton1 although he knew it meant that he must go without his own supper4 ,when the older brothers returned what did they do8 ,they tried to punish ,gluck and to force the stranger out of the house4 ,what happened8 ,they were hurled to the ground by the stranger1 who was much stronger than they supposed4 ,what other punishment did they receive8 ,the roof was blown off the house while they slept1 and their beautiful valley1 together with their crops and cattle1 was utterly destroyed by the heavy rains4 ,who was the stranger8 ,he left his card with ,south-,west ,wind1 ,esq4 written on it4 ,now the story in the ,reader is only the first chapter of a longer story1 which relates what fortune came to the three brothers4 ,what should you expect would happen to them8 ,i should expect that ,schwartz and ,hans would have more troubles1 and that ,gluck would be rewarded for his kind-heartedness4 ,,chapter ,,ii ,read the second chapter of this longer story called ,the ,king of the ,golden ,river4 ,give me the main points in this chapter8 #a4 ,the valley was turned into a desert4 #b4 ,the brothers became goldsmiths4 #c4 ,the mug #d4 ,gluck's wish that the river would turn into gold #e4 ,the voice from the furnace #f4 ,the dwarf #g4 ,the ,king told ,gluck how the river could be turned into gold4 ,what are the characters of the two brothers in this chapter8 ,they were very dishonest and even tried to mix copper with the gold4 ,they were drunken and wasted their money1 and they were lazy and cruel4 ,describe the mug that was being melted4 ,it had been given to them by their uncle1 and ,gluck was very fond of it4 ,it was made of gold almost in the form of a human face4 ,the face was fierce and red1 the eyes were bright1 the beard and whiskers were of fine gold1 and the hair was of fine spun gold1 forming the handle of the mug4 ,while the mug was being melted in the furnace1 what did ,gluck see as he looked out of the window8 ,the range of mountains overhanging ,treasure ,valley1 with the mountain tops shining in the sunset4 ,this is a lovely description of a sunset in the mountains4 ,pick out the details of the picture4 ,rocks 444 all crimson and purple with the sunset1 bright tongues of fiery cloud1 the river 444 a waving column of pure gold1 the double arch of a broad purple rainbow1 flushing and fading alternately in the wreaths of spray4 ,what words suggest colours8 ,crimson1 purple1 fiery1 pure gold1 purple rainbow1 flushing1 fading4 ,what did this picture suggest to ,gluck8 ,it made him wish that the river were really gold4 ,describe the dwarf who came out of the furnace4 ,he was a foot and a half high2 his hair and beard were long1 curled1 and delicate1 and his face was copper-coloured4 ,account for the dwarf being in such a place4 ,it was owing to the malicious enchantment of a king stronger than himself that he had been turned into the golden mug1 and1 when the mug was melted1 ,gluck poured out the metal1 and1 thus freed the ,king of the ,golden ,river from the power of his enemy4 ,how did the ,king show his gratitude8 ,he told ,gluck how the river could be turned into gold4 ,what must ,gluck do in order to gain this end8 ,he must climb to the top of the mountain and cast three drops of holy water into the stream at its source4 ,,chapter ,,iii ,what are the main facts in this chapter8 #a4 ,the brothers returned and beat ,gluck because the mug was a total loss4 #b4 ,schwartz and ,hans fought4 #c4 ,schwartz was arrested4 #d4 ,hans stole a cupful of holy water4 #e4 ,hans taunted ,schwartz4 #f4 ,hans attempted to change the river to gold4 7#a7 ,the dog2 7#b7 the fair child2 7#c7 the old man4 #g4 ,hans was changed into the ,black ,stone4 ,what characteristics of the older brothers are shown in this chapter8 ,they were drunken1 brutal1 quarrelsome1 dishonest1 malicious1 and selfish4 ,why are the dog1 the child1 and the old man introduced into the story8 ,to show how indifferent ,hans was to the suffering of animals1 children1 and aged people4 ,the sight of these helpless creatures should have aroused his pity4 ,were there any indications in the story that ,hans would be unsuccessful8 ,yes1 there was a strange shadow2 the air seemed to throw his blood into a fever2 a dark gray cloud came over the sun2 long1 snake-like shadows2 leaden weight of the dead air2 flash of blue lightning2 tongues of fire2 flashes of bloody light4 ,why was ,hans unsuccessful8 ,he had led a bad life1 had been dishonest1 and had been selfish to the dog1 the child1 and the aged man4 ,show that it was an appropriate punishment that ,hans should be turned into a ,black ,stone4 ,his heart was as hard as stone1 and his deeds were black4 ,,chapter ,,iv ,what is the main theme of this chapter8 ,schwartz's attempt to turn the river into gold4 ,what are the chief incidents recorded8 #a4 ,gluck paid ,schwartz's fine4 #b4 ,schwartz refused water to the child1 the old man1 and to the spirit of ,hans4 #c4 ,he was also changed to a ,black ,stone4 ,what were the indications that ,schwartz would be unsuccessful8 ,there was a black cloud rising out of the ,west2 a mist of the colour of blood2 waves of the angry sea2 bursts of spiry lightning2 the sky was like 444 a lake of blood2 its waves were black1 like thunderclouds2 their foam was like fire2 the lightning glared into his eyes4 ,,chapter ,v ,what is the theme in the last chapter8 ,gluck's attempt to turn the river into gold4 ,give the main incidents4 #a4 ,the priest gave him holy water4 #b4 ,he gave water to the aged man and the child4 #c4 ,he gave his last drop of water to the dying dog4 #d4 ,the dog was transformed into the ,king of the ,golden ,river4 #e4 ,he gave ,gluck three drops of dew4 #f4 ,gluck cast the water into the river4 #g4 ,treasure ,valley again became a fertile garden1 and ,gluck became very rich4 ,what were the indications that ,gluck would be successful8 ,after giving the old man some water1 the path became easier2 grasshoppers began singing2 there was bright green moss2 pale pink starry flowers2 soft belled gentians2 pure white transparent lilies2 its waves were as clear as crystal4 ,what strong contrast is brought out in this story8 ,there is a contrast between this chapter and the two preceding ones4 ,gluck's conduct is so different from that of ,schwartz and ,hans2 and the aspect of nature1 as it appears to him1 is very different from the scenes viewed by his brothers4 ,describe ,treasure ,valley after it was changed4 ,the fresh grass sprang beside the new streams2 creeping plants grew2 young flowers opened2 thickets of myrtle and tendrils of vine cast lengthening shadows2 his barns became full of corn and his house of treasure4 ,why did ,gluck deserve so much kindness8 ,he had been hospitable to ,south-,west ,wind1 ,esq42 had suffered hunger and punishment on his account2 had been industrious2 had freed the ,king of the ,golden ,river from his enchantment2 had obeyed his instructions2 had felt sorry for ,hans2 had paid ,schwartz's fine2 and had shown mercy to animals and helpless people4 ,was there anything said about the two older brothers8 ,yes1 there are two black stones1 which people still call ,the ,black ,brothers1 at the top of the cataract4 ,this story tells how these stones came to be there4 ,a ,,christmas ,,carol 7,fourth ,reader1 page #ci7 ,the pupils have read ,scrooge's ,christmas1 in the ,fourth ,reader4 ,they have also read the synopsis of ,a ,christmas ,carol at the beginning of the lesson4 ,if they have read the first four staves of the carol in a general way1 they will be in a better position to study intensively the last stave1 or chapter1 which is the lesson in the ,reader4 ,they will understand the causes that have changed this covetous old sinner to the man who knew how to keep ,christmas ,day well4 ,this lesson should be taken up near ,christmas4 ,the pupils will discuss ,stave ,i1 after having read it at home4 ,stave ,i ,what is the title of this work8 ,a ,christmas ,carol4 ,why is it called a carol8 ,in ,england1 it is the custom for bands of singers1 called waits1 to go from house to house on ,christmas ,eve4 ,the author calls this ghost story of ,christmas a carol in prose1 for it pictures the joys and sorrows of this season4 ,what does a stave mean8 ,it keeps up the idea of a carol4 ,each chapter is called a stave1 or stanza of the carol4 ,what is the title of the first stave8 ,marley's ,ghost4 ,who was ,marley8 ,he had been ,scrooge's partner1 but was now dead4 ,he had been as miserly as ,scrooge himself4 ,where is the scene laid8 ,in ,london4 ,when8 ,on ,christmas ,eve4 ,describe ,scrooge4 ,oh but he was a tight-fisted hand 444 one degree at ,christmas4 7,see ,stave ,i of ,a ,christmas ,carol47 ,notice the wonderful accumulation of strong adjectives and phrases in this description4 ,why does the author use so many8 ,he wishes to emphasize the cold miserliness of this man4 ,what is the first incident8 ,scrooge's treatment of his nephew1 who has invited him to dinner on ,christmas ,day4 ,what does this incident show8 ,his churlishness1 and his contempt for those who spend money freely4 ,what is the next incident8 ,his refusal to subscribe to any charities in the city4 ,what comes next8 ,the account of his treatment of ,bob ,cratchit4 ,what does this show8 ,his meanness and tyranny4 ,when he returns from his supper1 what does he encounter8 ,marley's ,ghost4 ,what does the ghost tell him8 ,how it must wander through the world without rest1 in atonement for ,marley's cruelties and his neglect of other people4 ,it laments his misspent life4 ,what does it promise to do to ,scrooge8 ,it promises to send him ,three ,spirits4 ,what good description is found in ,stave ,i8 ,besides the character sketch of ,scrooge1 there is a picture of ,christmas ,eve in the ,london streets1 in the paragraph beginning ,meanwhile the fog and darkness thickened4 ,stave ,,ii ,what is described in this chapter8 ,the visit of the first spirit4 ,what was it8 ,the ,ghost of ,christmas ,past4 ,read me a description of it4 ,it was a strange figure 444 like a child 444 which it held under its arm4 ,what does the spirit do8 ,it forces ,scrooge to accompany it and shows him former ,christmas scenes in his life4 ,what are these scenes8 ,scrooge as a solitary boy at school2 his boyhood stories1 ,ali ,baba and ,robinson ,crusoe2 his sister2 ,fezziwig's ball2 ,scrooge's sweetheart2 scenes in her married life4 ,what is the mood of these different scenes8 ,there is humour1 and a great deal of fun1 as well as some pathos4 ,it is all told in a lively style4 ,what are the best descriptions8 ,fezziwig's ball1 and the remembrance of the scenes in ,ali ,baba4 ,stave ,,iii ,what is told in this chapter8 ,the visit of the second spirit4 ,who was it8 ,the ,spirit of ,christmas ,present4 ,what does it show ,scrooge8 ,scenes of ,christmas shopping2 ,christmas out-of-doors2 the ,grocers2 ,bob ,cratchit's family1 the goose1 their dinner1 the puddings2 the miner's home2 the lighthouse keepers2 the sailors2 ,scrooge's nephew at home--blindman's bluff1 forfeits1 ,yes and ,no2 vision of ,ignorance and ,want4 ,what do all these scenes go to show8 ,how different kinds of people keep ,christmas2 how kind and merry most people are at this season of the year3 and how some have to struggle in order to get this one day's pleasure4 ,select some examples of humour4 ,peter's conceit1 some of the descriptions of the grocery stores1 the anticipations lest harm befall the goose and the pudding4 ,select any examples of pathos4 ,the references to ,tiny ,tim4 ,select and read the best descriptions4 ,the grocery stores1 the fruit stores1 the goose1 the pudding4 ,stave ,,iv ,what is told in this chapter8 ,the visit of the third spirit4 ,what was it8 ,the ,ghost of ,christmas ,yet to ,come4 ,what does it show ,scrooge8 ,a vision of his death--how he is plundered by laundress1 charwoman1 and undertaker2 the phantom of ,death2 ,scrooge's creditors2 the grave4 ,had these scenes actually taken place8 ,no1 but they will be realized if ,scrooge does not change his manner of thinking and living4 ,what is the effect of these three visions8 ,scrooge promises the ,ghost of ,christmas ,yet to ,come ,i will honour ,christmas in my heart and try to keep it all the year4 ,why are the scenes in this chapter not so pleasant as those that the two former spirits had shown him8 ,the scenes that the first spirit had brought before him were his joys at the ,christmas season before he had hardened his heart2 those that the second spirit had shown were scenes in the lives of people who do something for others and enjoy themselves in the true ,christmas spirit2 those that the last spirit had shown were the sordid scenes which would be sure to come if he did not change his attitude toward life4 ,the last scenes shown him by the third spirit furnish a strong contrast to the others4 ,stave ,v ,what does this chapter relate8 ,how ,scrooge actually kept ,christmas ,day4 ,what were the other chapters about8 ,the first and the last were the only chapters where he was awake4 ,chapters ,two1 ,three1 and ,four are visions or dreams4 ,notice how the phantom changed into the bed-post4 ,this chapter should be studied closely4 ,who wrote this story8 ,charles ,dickens1 an ,english novelist4 ,do you know any other good stories by the same author8 ,david ,copperfield1 ,the ,pickwick ,papers1 ,nicholas ,nickleby4 ,yes1 we have had extracts in the ,readers from these books4 ,what lessons are they8 ,the ,pickwick ,club on the ,ice1 in the ,third ,book2 ,david ,copperfield's ,first ,journey ,alone1 and ,the ,indignation of ,nicholas ,nickleby in the ,fourth ,book4 ,some day you must read these stories4 ,david ,copperfield tells us a great deal about ,dickens' early days4 ,the ,pickwick ,papers is full of humour in scenes such as that depicted in ,the ,pickwick ,club on the ,ice1 and has some fine characters in it1 and ,nicholas ,nickleby gives a vivid picture of the brutality existing in some schools in ,england at the time the book was written4 ,,the ,,lady ,,of ,,the ,,lake 7,fourth ,reader1 page #bgj7 ,the pupils will have read the account of the stirring combat between ,fitz-,james and ,roderick ,dhu4 ,they will be curious to know the circumstances that led up to this combat and also the conclusion of the story4 ,the aim of the teacher is to lead the pupils to appreciate the construction of the story1 the fine character sketches1 and the descriptions of natural scenery1 as well as to give them an impression of ,highland life4 ,the pupils will take delight in the rapid movement of the verse and in the deeds of valour4 ,some passages should be dwelt upon at greater length by the teacher1 and others more lightly touched upon1 so that the connections of the various parts will be understood4 ,a close and tedious consideration of all the lines would not show a good critical taste1 as some passages are very fine1 while others have only ordinary merit4 ,the teacher should disclose the identity of ,fitz-,james as ,james ,v of ,scotland and should explain the cause of the exile of the ,douglas ,family4 ,he should also sketch the life of rebellion and consequent outlawry led by some of the ,highland clans before they were reduced to submission4 ,,canto ,i ,the teacher should study with the pupils the ,invocation of the three opening stanzas and ask them to read the first canto4 ,he should next discuss it briefly1 as suggested in the following outline3 ,what are the main divisions of the first canto8 #a4 ,the chase #b4 ,description of the ,trossachs #c4 ,description of ,ellen ,douglas #d4 ,description of ,fitz-,james4 ,why is the story of the chase introduced8 ,it brings ,fitz-,james alone into the enemy's country1 where he meets ,ellen ,douglas1 and prepares the way for the adventures that follow4 ,what is the story of the chase8 ,the hundred huntsmen and the horses and the dogs become wearied in the long pursuit after the stag4 ,one huntsman alone is left to enter the deep ravine where the stag escapes4 ,this description of the ,trossachs made the spot famous1 and ever since it has been a favourite resort of tourists4 ,,canto ,,ii ,the ,island ,what are the divisions of this canto8 #a4 ,the departure of the huntsmen #b4 ,description of the minstrel #c4 ,the story of ,roderick's love #d4 ,return of the ,clan-,alpine #e4 ,malcolm ,graeme #f4 ,the quarrel4 ,what is the value of this canto8 ,it explains many facts that we did not understand4 ,among others1 it shows us the relation of the ,douglases to the ,king and to ,roderick ,dhu4 ,it tells of the love of ,malcolm ,graeme for ,ellen and of ,roderick's hopeless love for her4 ,it shows us ,roderick's noble traits of character and the fearful cruelties of which he is capable4 ,he cannot possibly win ,ellen's love4 ,,canto ,,iii ,the ,gathering ,what are the main divisions of this canto8 #a4 ,roderick's determination to renew hostilities #b4 ,brian the ,hermit #c4 ,the ceremony #d4 ,the message of the ,fiery ,cross #e4 ,roderick's devotion to ,ellen #f4 ,the gathering4 ,what are the best passages in this canto8 #a4 ,description of ,loch ,katrine #b4 ,the coronach #c4 ,hymn to the ,virgin4 ,why are funeral and wedding scenes introduced8 ,these serve to show how the message of the ,fiery ,cross was looked upon as more important than even death or marriage4 ,what insight into the life of the clansmen is furnished in this canto8 #a4 ,the superstition of the ,highlanders4 ,this is shown in ,brian's faith and in the weird ceremonies in connection with the ,fiery ,cross4 #b4 ,the method of mustering the clans by means of the message of the ,fiery ,cross4 #c4 ,their funerals and weddings4 ,notice also the vigour of the stanzas that describe the flight of ,malise4 ,,canto ,,iv ,the ,prophecy ,give the main themes in this canto4 #a4 ,return of ,malise #b4 ,norman's guard #c4 ,the augury and the prophecy #d4 ,return of ,fitz-,james to ,ellen ,douglas #e4 ,the ring #f4 ,blanche of ,devan #g4 ,death of ,murdoch #h4 ,fitz-,james meets ,roderick ,dhu4 ,what are the best stanzas8 ,the ballad of ,alice ,brand4 ,why is this ballad introduced8 ,it shows the character of ,scottish minstrelsy1 the belief in the world of fairies1 and the lesson of hope that at the darkest moment the hour of happiness may be near4 ,it furnishes another example of ,allanbane's prophetic insight4 ,the introduction3 ,the rose is fairest when it is budding new4 ,why is this stanza appropriate8 ,it shows the tenderness of ,norman's love1 as contrasted with the fierce warfare in which he is engaged4 ,why is ,blanche of ,devan introduced8 ,to furnish an example of ,roderick's cruelty1 so that ,fitz-,james should feel justified in punishing him4 ,blanche of ,devan also warns ,fitz-,james of ,murdoch's treachery4 ,this stanza explains the allusions in the lesson in the ,fourth ,book1 for example3 a braid of your fair lady's hair1 and ,there lies red ,murdoch stark and stiff4 ,what characteristics of ,roderick are shown in the canto8 #a4 ,his care for the defenceless in his clan #b4 ,his cruelty to his enemies #c4 ,his hospitality #d4 ,his superstition4 ,what was the prophecy8 ,who spills the foremost foeman's life ,that party conquers in the strife4 ,what is the value of the prophecy in the poem8 ,it furnishes a reason for the eagerness of the clansmen to take the life of the huntsman1 as the former would then conquer in the strife4 ,,canto ,v ,the ,combat ,give the main events in this canto4 #a4 ,roderick guides ,fitz-,james to neutral ground #b4 ,the combat #c4 ,douglas surrenders #d4 ,the games #e4 ,the popularity of ,douglas4 ,what is the most striking part of this canto8 ,the story of the combat4 ,why8 ,it is a fine example of ,scottish bravery and chivalry4 ,what ,scottish characteristics are found in this canto8 #a4 ,the character of ,scottish games in the city #b4 ,the fickleness of the mob #c4 ,the chivalrous conduct of the combatants4 ,,canto ,,vi ,the ,guard-room ,what are the main themes in this canto8 #a4 ,the rough soldiers #b4 ,ellen presents the ring #c4 ,the battle of ,beal' an ,duine #d4 ,death of ,roderick #e4 ,ellen's request to ,james #f4 ,happiness of the ,douglases and of ,malcolm ,graeme #g4 ,farewell to the ,harp4 ,why are the rough soldiers introduced8 ,this passage furnishes a good description of the character of the soldiers1 and shows the power of ,ellen's quiet dignity and modesty4 ,what is the value of the battle of ,beal' an ,duine8 ,it affords an opportunity to the valiant ,roderick to imagine himself in battle1 so that when death comes he does not realize that it finds him a prisoner and his clan vanquished4 ,how does the poem end8 ,ellen1 her father1 and ,malcolm ,graeme are united and happy1 and ,fitz-,james reveals his identity and shows his magnanimity4 ,what should be read in connection with the last three stanzas8 ,the first three stanzas of the poem4 ,they are an ,invocation to ,scottish minstrelsy4 ,we now have the ,farewell4 ,which cantos do you consider are the best8 ,the first and the fifth4 ,why8 ,the first contains such wonderful word-pictures and the fifth seems to be the crisis of the story4 ,the interest is not sustained in the sixth canto1 as one knows matters are sure to be adjusted4 ,,chapter ,,ix ,,selections ,,for ,,memorization ,little deeds of kindness1 ,little words of love1 ,make our earth an ,eden1 ,like the heaven above4 --,,brewer ,god make my life a little light1 ,within the world to glow1-- ,a little flame that burneth bright4 ,wherever ,i may go4 ,the world is so full of a number of things1 ,i'm sure we should all be as happy as kings4 --,,stevenson ,be kind and be gentle ,to those who are old1 ,for dearer is kindness ,and better than gold4 ,politeness is to do and say ,the kindest thing in the kindest way4 ,two ears and only one mouth have you2 ,the reason1 ,i think1 is clear3 ,it teaches1 my child1 that it will not do ,to talk about all you hear4 ,whene'er a task is set for you1 ,don't idly sit and view it1 ,nor be content to wish it done2 ,begin at once and do it4 ,work while you work1 play while you play2 ,this is the way to be cheerful and gay4 ,all that you do1 do with your might2 ,things done by halves are never done right4 --,,stodart ,five things observe with care1-- ,of whom you speak1 to whom you speak ,and how1 and when1 and where4 --,,gray ,see that little sunbeam ,darting through the room1 ,scattering the darkness1 ,lighting up the gloom4 ,let me be a sunbeam ,everywhere ,i go1 ,making glad and happy ,every one ,i know4 ,sing a song of seasons6 ,something bright in all6 ,flowers in the summer1 ,fires in the fall6 --,,stevenson ,do all the good you can1 ,in all the ways you can1 ,to all the people you can1 ,just as long as you can4 ,when you come to think of it1 ,the day is what you make it2 ,and whether good1 or whether bad1 ,depends on how you take it4 ,slumber1 slumber1 little one1 now ,the bird is asleep in his nest on the bough2 ,the bird is asleep1 he has folded his wings1 ,and over him softly the dream fairy sings3 ,lullaby1 lullaby--lullaby6 ,pearls in the deep-- ,stars in the sky1 ,dreams in our sleep2 ,so lullaby6 --,f4 ,d4 ,,sherman ,dare to be true2 nothing can need a lie4 ,the face you wear1 the thoughts you bring1 ,a heart may heal or break4 ,he who is good at making excuses is seldom good for anything else4--,,franklin ,to be good is the mother of to do good4 ,i'll not willingly offend1 ,nor be easily offended2 ,what's amiss ,i'll try to mend1 ,and endure what can't be mended4 ,a man of words and not of deeds1 ,is like a garden full of weeds2 ,for when the weeds begin to grow1 ,then doth the garden overflow4 ,little children1 you must seek ,rather to be good than wise1 ,for the thoughts you do not speak ,shine out in your cheeks and eyes4 --,,alice ,,cary ,to tell a falsehood is like the cut of a sabre2 for though the wound may heal1 the scar of it will remain4--,,sadi ,all that's great and good is done ,just by patient trying4 ',tis a lesson you should heed1 ,try1 try again2 ,if at first you don't succeed1 ,try1 try again4 ,if a task is once begun1 ,never leave it till it's done2 ,be the labour great or small1 ,do it well1 or not at all4 ,for every evil under the sun1 ,there is a remedy1 or there is none4 ,if there be one1 try to find it2 ,if there be none1 never mind it4 ,there are many flags in many lands1 ,there are flags of every hue1 ,but there is no flag in any land ,like our own ,red1 ,white1 and ,blue4 ,the inner side of every cloud ,is always bright and shining2 ,and so ,i turn my clouds about1 ,and always wear them inside out1 ,to show the silver lining4 ,i would not hurt a living thing1 ,however weak or small2 ,the beasts that graze1 the birds that sing1 ,our ,father made them all4 ,little drop of dew1 ,like a gem you are2 ,i believe that you ,must have been a star4 ,when the day is bright1 ,on the grass you lie2 ,tell me then1 at night ,are you in the sky8 --,f4 ,d4 ,,sherman ,how beautiful is the rain6 ,after the dust and the heat1 ,in the broad and fiery street1 ,in the narrow lane1 ,how beautiful is the rain6 --,,longfellow ,in spring1 when stirs the wind1 ,i know ,that soon the crocus buds will show2 ,for 'tis the wind who bids them wake ,and into pretty blossoms break4 --,f4 ,d4 ,,sherman ,o1 pause and think for a moment ,what a desolate land it would be1 ,if1 east or west1 the eye should rest ,on not a single tree6 --,,gray ,it was only a sunny smile1 ,and little it cost in the giving1 ,but it scattered the night1 ,like the morning light1 ,and made the day worth living4 ,keep pushing--'tis wiser ,than sitting aside1 ,and dreaming and sighing1 ,and waiting the tide4 ,in life's earnest battle1 ,they only prevail ,who daily march onward1 ,and never say fail4 ,one step and then another1 ,and the longest walk is ended4 ,one stitch and then another1 ,and the largest rent is mended4 ,one brick and then another1 ,and the highest wall is made4 ,one flake and then another1 ,and the deepest snow is laid4 ,speak the truth and speak it ever1 ,cost it what it will4 ,he who hides the wrong he did1 ,does the wrong thing still4 ,whichever way the wind doth blow1 ,some heart is glad to have it so2 ,then blow it east or blow it west1 ,the wind that blows1 that wind is best4 ,we should make the same use of books that the bee does of a flower3 he gathers sweets from it1 but does not injure it4 ,i smile1 and then the ,sun comes out2 ,he hides away whene'er ,i pout2 ,he seems a very funny sun1 ,to do whatever he sees done4 ,and when it rains he disappears2 ,like me1 he can't see through the tears4 ,now isn't that the reason why ,i ought to smile and never cry8 --,f4 ,d4 ,,sherman ,if fortune1 with a smiling face1 ,strew roses in our way1 ,when shall we stoop to pick them up8 ,to-day1 my friend1 to-day4 ,if those who've wronged us own their faults1 ,and kindly pity pray1 ,when shall we listen and forgive8 ,to-day1 my friend1 to-day4 ,are you almost disgusted with life1 little man8 ,i will tell you a wonderful trick ,that will bring you contentment if anything can-- ,do something for somebody1 quick4 ,are you very much tired with play1 little girl8 ,weary1 discouraged1 and sick8 ,i'll tell you the loveliest game in the world-- ,do something for somebody1 quick4 ,were it not for me1 ,said a chickadee1 ,not a single flower on earth would be2 ,for under the ground they soundly sleep1 ,and never venture an upward peep1 ,till they hear from me1 ,chickadee-dee-dee6 --,,sidney ,,dayre ,the world at noon belongs to the sun1 ,at eve to the home-coming herds2 ,but while the dew is early--very1 very early-- ,the world belongs to the birds4 ,as still as in a dream lie the meadows and the stream1 ',neath the soaring and outpouring of the birds4 --,,wetherald ,i know1 blue modest violets1 ,gleaming with dew at morn-- ,i know the place you come from1 ,and the way that you are born6 ,when ,god cuts holes in ,heaven1 ,the holes the stars look through1 ,he lets the scraps fall down to earth1-- ,the little scraps are you4 ,the blossoms1 down in the meadow1 ,in the gardens1 and woods1 and the hills1 ,are singing1 too1 with their playmates1 ,the birds1 and the breezes1 and rills4 ,and ,i think1 if you listen closely1 ,in the sweet glad days of spring1 ,with the song of the brook1 the breeze1 and the birds1 ,you can hear the flowers sing4 --,,moorehouse ,good-night1 little shivering grasses6 ',tis idle to struggle and fight ,with tempest and cruel frost-fingers2 ,lie down1 little grasses1 to-night6 ,good-night1 little shivering grasses6 ,lie down 'neath the coverlet white1 ,and rest till the cuckoo is singing2 ,good-night1 little grasses1 good-night6 --,a ,november ,good-night4--,,beers ,daffydowndilly came up in the cold1 ,through the brown mould1 ,although the ,march breezes blew keen on her face1 ,although the white snow lay on many a place4 ,i can't do much yet1 but ,i'll do what ,i can4 ,it's well ,i began6 ,for unless ,i can manage to lift up my head1 ,the people will think that the ,spring herself's dead4 ,o ,daffydowndilly1 so brave and so true1 ,i wish all were like you6 ,so ready for duty in all sorts of weather1 ,and holding forth courage and beauty together4 --,,warner ,one to-day is worth two to-morrow's4--,,poor ,,richard',s ,,almanac ,the future is purchased by the present4--,,samuel ,,johnson ,the sober second thought is always essential1 and seldom wrong4--,,martin ,,van ,,buren ,recollect that trifles make perfection1 and that perfection is no trifle4--,,michael ,,angelo ,have more than thou showest1 ,speak less than thou knowest4 --,,shakespeare ,sin has many tools1 but a lie is the handle that fits them all4--,o4 ,w4 ,,holmes ,let all the end thou aim'st at be thy country's1 ,thy ,god's and truth's4 --,,shakespeare ,our greatest glory is not in never falling1 but in rising every time we fall4 ,learn to obey and you will know how to command4--,,lubbock ,one who is contented with what he has done will never become famous for what he will do4 ,be not simply good1 be good for something4--,,thoreau ,the better part of valour is discretion4--,,shakespeare ,they that touch pitch will be defiled4--,,shakespeare ,ill blows the wind that profits nobody4--,,shakespeare ,honour and shame from no condition rise2 ,act well your part1 there all the honour lies4 --,,pope ,true happiness consists not in the multitude of friends1 but in their worth and choice4--,,ben ,,jonson ,one do is worth a thousand don'ts in the destruction of evil or the production of good4--,,hughes ,i look upon the simple and childish virtues of veracity and honesty as the root of all that is sublime in character4--,,emerson ,remember that though it is a good thing to be a great man1 it is a great thing to be a good man4 ,striving not to be rich or great1 ,never questioning fortune or fate1 ,contented slowly to earn1 and wait4 ,in the workshop1 on the farm1 ,or wherever you may be1 ,from your future efforts1 boys1 ,comes a nation's destiny4 ,it is a low benefit to give me something2 it is a high benefit to enable me to do something of myself4--,,emerson ,greatly begin6 though thou hast time ,but for a line1 be that sublime1-- ,not failure1 but low aim1 is crime4 --,,lowell ,never give up6 ',tis the secret of glory2 ,nothing so wise can philosophy preach2 ,look at the lives that are famous in story2 ,never give up is the lesson they teach4 ,it is a good thing to be rich1 and a good thing to be strong1 but it is a better thing to be beloved of many friends4--,,euripides ,do what conscience says is right2 ,do what reason says is best2 ,do with all your mind and might2 ,do your duty1 and be blest4 ,what men want is not talent1 it is purpose2 in other words1 not the power to achieve1 but the will to labour4--,,bulwer-,,lytton ,so nigh is grandeur to our dust1 ,so near is ,god to man1 ,when ,duty whispers low1 ,thou must1 ,the soul replies ,i can4 --,,emerson ,habit is a cable2 we weave a thread of it each day1 and it becomes so strong we cannot break it4--,,horace ,,mann ,ponder well1 and know the right1 ,onward then1 with all thy might6 ,haste not6 years can ne'er atone ,for one reckless action done4 --,,goethe ,our grand business is not to see what lies dimly at a distance1 but to do what lies clearly at hand4--,,carlyle ,slight is the sting of his trouble whose winnings are less than his worth3 ,for he who is honest is noble1 whatever his fortune or birth4 --,,alice ,,cary ,press on6 ,there's no such word as fail6 ,push nobly on6 ,the goal is near6 ,ascend the mountain6 ,breast the gale6 ,look upward1 onward--never fear6 ,he who has a thousand friends ,has not a friend to spare2 ,and he who has one enemy ,will meet him everywhere4 --,,omar ,,khayyam ,work for some good1 be it ever so slowly2 ,cherish some flower1 be it ever so lowly2 ,labour6--all labour is noble and holy4 --,,frances ,s4 ,,osgood ,a man should never be ashamed to own he has been in the wrong2 which is but saying in other words that he is wiser to-day than he was yesterday4--,,pope ,tender-handed stroke a nettle1 ,and it stings you for your pains2 ,grasp it like a man of mettle1 ,and it soft as silk remains4 ,fill up each hour with what will last2 ,buy up the moments as they go2 ,the life above1 when this is past1 ,is the ripe fruit of life below4 ,new occasions teach new duties2 time makes ancient good uncouth2 ,they must upward still and onward1 who would keep abreast of ,truth4 --,,lowell ,the heights by great men reached and kept1 ,were not attained by sudden flight2 ,but they1 while their companions slept1 ,were toiling upward in the night4 --,,longfellow ,nothing useless is1 or low1 ,each thing in its place is best1 ,and what seems but idle show ,strengthens and supports the rest4 --,,longfellow ,and not by eastern windows only1 ,when daylight comes1 comes in the light1 ,in front1 the sun climbs slow1 how slowly1 ,but westward1 look1 the land is bright4 --,,clough ,full many a gem of purest ray serene ,the dark unfathom'd caves of ocean bear2 ,full many a flower is born to blush unseen1 ,and waste its sweetness on the desert air4 --,,gray ,if a man empties his purse into his head1 no man can take it away from him4 ,an investment in knowledge always pays the best interest4--,,benjamin ,,franklin ,i do not know ,where falls the seed that ,i have tried to sow ,with greatest care2 ,but ,i shall know ,the meaning of each waiting hour below ,sometime1 somewhere6 ,lives of great men all remind us ,we can make our lives sublime1 ,and1 departing1 leave behind us ,footprints on the sands of time2 ,let us1 then1 be up and doing1 ,with a heart for any fate2 ,still achieving1 still pursuing1 ,learn to labour and to wait4 --,,longfellow ,begin while life is bright and young1 ,work out each noble plan2 ,true knowledge lends a charm to youth1 ,and dignifies the man4 ,then upward1 onward1 step by step1 ,with perseverance rise1 ,and emulate1 with hearts of hope1 ,the good1 the great1 the wise4 ,the night has a thousand eyes1 ,and the day but one2 ,yet the light of the bright world dies1 ,with the dying sun4 ,the mind has a thousand eyes1 ,and the heart but one2 ,yet the light of a whole life dies ,when love is done4 --,,francis ,,bourdillon ,in the darkness as in daylight1 ,on the water as on land1 ,god's eye is looking on us1 ,and beneath us is ,his hand6 ,death will find us soon or later1 ,on the deck or in the cot2 ,and we cannot meet him better ,than in working out our lot4 --,,whittier ,the ,royal ,navy of ,england hath ever been its greatest defence and ornament2 it is its ancient and natural strength--the floating bulwark of our ,island4--,,blackstone',s ,commentaries ,it is the land that freemen till1 ,that sober-suited ,freedom chose4 ,the land1 where girt with friends or foes ,a man may speak the thing he will2 ,a land of settled government1 ,a land of just and old renown1 ,where ,freedom slowly broadens down ,from precedent to precedent4 --,,tennyson ,o triune kingdom of the brave1 ,o sea-girt island of the free1 ,o empire of the land and wave ,our hearts1 our hands1 are all for thee4 ,stand1 ,canadians1 firmly stand1 ,round the flag of our ,fatherland4 --,,laclede ,sharers of our glorious past1 ,brothers1 must we part at last8 ,shall we not thro' good and ill ,cleave to one another still8 ,britain's myriad voices call1 ,sons1 be welded each and all ,into one ,imperial whole1 ,one with ,britain1 heart and soul6 ,one life1 one flag1 one fleet1 one ,throne6 ,britons1 hold your own6 --,,tennyson ,england6 ,what thou wert1 thou art6 ,gird thee with thine ancient might4 ,forth6 and ,god defend the ,right4 --,,newbolt ,believe not each accusing tongue1 ,as most weak people do2 ,but still believe that story wrong ,which ought not to be true4 --,,sheridan ,he prayeth best who loveth best ,all things1 both great and small1 ,for the dear ,god who loveth us1 ,he made and loveth all4 --,,coleridge ,for whatever men say in blindness1 ,and spite of the fancies of youth1 ,there's nothing so kingly as ,kindness1 ,and nothing so royal as ,truth4 --,,alice ,,cary ,to do something1 however small1 to make others happier and better1 is the highest ambition1 the most elevating hope1 which can inspire a human being4--,,lubbock ,small service is true service while it lasts4 ,of humblest friends1 bright creature6 scorn not one3 ,the daisy1 by the shadow that it casts1 ,protects the lingering dew-drops from the sun4 --,,wordsworth ,look up and not down2 ,look forward and not back2 ,look out and not in2 ,and lend a hand4 --,,hale ,have you had a kindness shown8 ,pass it on4 ',twas not given for you alone1 ,pass it on4 ,let it travel down the years1 ,let it wipe another's tears2 ,till in heaven the deed appears4 ,pass it on4 ,a little spring had lost its way ,amid the grass and fern2 ,a passing stranger scooped a well ,where weary men might turn4 ,he walled it in1 and hung with care1 ,a ladle on the brink2 ,he thought not of the deed he did1 ,but judged that ,toil might drink4 ,he passed again2 and lo6 the well1 ,by summer never dried1 ,had cooled ten thousand parched tongues1 ,and saved a life beside4 --,,mackay ,evil is wrought by want of thought ,as well as want of heart4 --,,hood ,nature has given to men one tongue1 but two ears1 that we may hear from others twice as much as we speak4--,,epictetus ,count that day lost whose low-descending sun ,views from thy hand no worthy action done4 ,if happiness have not her seat ,and centre in the breast1 ,we may be wise or rich or great1 ,but never can be blest4 --,,burns ,a kindly act is a kernel sown1 ,that will grow to a goodly tree1 ,shedding its fruit when time has flown1 ,down the gulf of eternity4 ,if ,i can stop one heart from breaking1 ,i shall not live in vain2 ,if ,i can ease one life the aching1 ,or cool one pain1 ,or help one fainting robin ,into his nest again1 ,i shall not live in vain4 --,,dickinson ,it is pleasant to think1 just under the snow1 ,that stretches so bleak and blank and cold1 ,are beauty and warmth that we cannot know1 ,green fields and leaves and blossoms of gold4 ,under the green hedges after the snow1 ,there do the dear little violets grow1 ,hiding their modest and beautiful heads ,under the hawthorn in soft1 mossy beds4 ,sweet as the roses1 and blue as the sky1 ,down there do the dear little violets lie2 ,hiding their heads where they scarce may be seen1 ,by the leaves you may know where the violets have been4 --,,moultrie ,the linnet is singing the wild wood through2 ,the fawn's bounding footsteps skim over the dew4 ,the butterfly flits round the blossoming tree1 ,and the cowslip and bluebell are bent by the bee2 ,all the creatures that dwell in the forest are gay1 ,and why should not ,i be as merry as they8 --,,mitford ,do the duty which lies nearest thee6 ,thy second duty will already have become clearer4 --,,carlyle ,live truly1 and thy life shall be ,a great and noble creed4 ,i slept1 and dreamed that life was ,beauty2 ,i woke1 and found that life was ,duty4 --,,hooper ,great is the art of beginning1 but greater the art is of ending4--,,longfellow ,opinions shape ideals1 and it is ideals that inspire conduct4--,,john ,,morley ,you cannot dream yourself into a character2 you must hammer and forge yourself into one4--,,froude ,not once or twice in our fair island story ,the path of duty was the way to glory4 --,,tennyson ,know thy work and do it1 and work at it like a ,hercules4 ,one monster there is in the world--an idle man4--,,carlyle ,every evil to which we do not succumb is a benefactor4 ,we gain the strength of the temptation we resist4--,,emerson ,in every common hour of life1 ,in every flame that glows1 ,in every breath of being rife ,with aspiration or of strife ,man feels more than he knows4 --,w4 ,w4 ,,campbell ,never to the bow that bends ,comes the arrow that it sends2 ,never comes the chance that passed3 ,that one moment was its last4 ,oh1 fear not in a world like this1 ,and thou shalt know ere long1 ,know how sublime a thing it is ,to suffer and be strong4 --,h4 ,w4 ,,longfellow ,sow an act1 and reap a tendency2 sow a tendency1 and reap a habit2 sow a habit1 and reap a character2 sow a character1 and reap a destiny4--,,thackeray ,the gifts that we have1 heaven lends for right using1 and not for ignoring1 and not for abusing4 ,it is not what he has1 nor even what he does1 which directly expresses the worth of a man1 but what he is4--,journal--,,amiel ,my good blade carves the casques of men1 ,my tough lance thrusteth sure1 ,my strength is as the strength of ten1 ,because my heart is pure4 --,,tennyson ,true worth is in being1 not seeming1-- ,in doing each day that goes by ,some little good--not in the dreaming ,of great things to do by and by4 ,no work which ,god sets a man to do--no work to which ,god has specially adapted a man's powers--can properly be called either menial or mean4--,,carlyle ,truth1 crushed to earth1 shall rise again2 ,th' eternal years of ,god are hers2 ,but ,error1 wounded1 writhes in pain1 ,and dies among his worshippers4 --,,bryant ,to thine own self be true2 ,and it must follow1 as the night the day1 ,thou can'st not then be false to any man4 --,,shakespeare ,no life ,can be pure in its purpose or strong in its strife ,and all life not be purer and stronger thereby4 --,,lytton ,knowledge and wisdom far from being one1 have ofttimes no connection4 ,knowledge is proud that he has learned so much2 wisdom is humble that he knows no more4--,,cowper ,wish not to taste what doth not to thee fall2 ,do well thyself1 before thou striv'st to lead1 ,and truth shall thee deliver without dread4 --,,geoffrey ,,chaucer ,oh1 many a shaft1 at random sent1 ,finds mark the archer little meant6 ,and many a word at random spoken1 ,may soothe1 or wound1 a heart that's broken4 --,,sir ,w4 ,,scott ,govern the lips as they were palace doors1 the king within4 ,tranquil and fair and courteous be all words which from that presence win4 --,,edwin ,,arnold ,whene'er a noble deed is wrought1 ,whene'er is spoken a noble thought1 ,our hearts1 in glad surprise1 ,to higher levels rise4 --,,longfellow ,love thyself last2 cherish those hearts that hate thee2 ,corruption wins not more than honesty4 ,still in thy right hand carry gentle peace1 ,to silence envious tongues2 be just1 and fear not4 --,,shakespeare ,not by the power of commerce1 art1 or pen1 ,shall our great ,empire stand1 nor has it stood1 ,but by the noble deeds of noble men-- ,heroic lives and heroes' outpoured blood4 --,f4 ,g4 ,,scott ,take up the white man's burden-- ,in patience to abide1 ,to veil the threat of terror ,and check the show of pride2 ,by open speech and simple1 ,an hundred times made plain1 ,to seek another's profit ,and work another's gain4 --,,kipling ,love thou thy land1 with love far-brought ,from out the storied ,past1 and used ,within the ,present1 but transfused ,thro' future time by power of thought4 --,,tennyson ,for as long as conquest holds the earth1 ,or commerce sweeps the sea1 ,by orient jungle or western plain ,will the ,saxon spirit be2 ,and whatever the people that dwell beneath1 ,or whatever the alien tongue1 ,over the freedom and peace of the world ,is the flag of ,england flung4 --,w4 ,w4 ,,campbell ,of old sat ,freedom on the heights1 ,the thunders breaking at her feet2 ,above her shook the starry lights2 ,she heard the torrents meet4 ,her open eyes desire the truth4 ,the wisdom of a thousand years ,is in them4 ,may perpetual youth ,keep dry their light from tears4 --,,tennyson ,if ,i have faltered more or less ,in my great task of happiness2 ,if ,i have moved among my race ,and shown no glorious morning face2 ,if beams from happy1 human eyes ,have moved me not2 if morning skies1 ,books1 and my food1 and summer rain ,knocked on my sullen heart in vain-- ,lord1 ,thy most pointed pleasure take1 ,and stab my spirit broad awake4 --,r4 ,l4 ,,stevenson ,a good book is the precious life-blood of a master-spirit1 embalmed and treasured up on purpose to a life beyond life4--,,milton ,the book which makes a man think the most is the book which strikes the deepest root in his memory and understanding4 ,men at some time are masters of their fates3 ,the fault1 dear ,brutus1 is not in our stars1 ,but in ourselves1 that we are underlings4 --,,shakespeare ,no book is worth anything which is not worth much2 nor is it serviceable until it has been read and re-read1 and loved1 and loved again2 and marked1 so that you can refer to the passages you want in it1 as a soldier can seize the weapon he needs in an armoury1 or a housewife bring the spice she needs from her store4 ,bread of flour is good2 but there is bread1 sweet as honey1 if we would eat it1 in a good book4--,,ruskin ,goodness moves in a larger sphere than justice4 ,the obligations of law and equity reach only to mankind1 but kindness and beneficence should be extended to creatures of every species4--,,plutarch ,my heart leaps up when ,i behold ,a rainbow in the sky2 ,so was it when my life began1 ,so is it now ,i am a man1 ,so be it when ,i shall grow old1 ,or let me die4 ,the child is father of the man2 ,and ,i could wish my days to be ,bound each to each by natural piety4 --,,wordsworth ,be but yourself1 be pure1 be true1 ,and prompt in duty2 heed the deep ,low voice of conscience2 through the ill ,and discord round about you1 keep ,your faith in human nature still4 --,,elizabeth ,,whittier ,four things a man must learn to do ,if he would make his record true2 ,to think1 without confusion1 clearly2 ,to love his fellow-men sincerely3 ,to act from honest motives purely2 ,to trust in ,god and ,heaven securely4 --,,henry ,,van ,,dyke ,give thy thoughts no tongue1 ,nor any unproportioned thought his act4 ,be thou familiar1 but by no means vulgar2 ,the friends thou hast1 and their adoption tried1 ,grapple them to thy soul with hooks of steel4 --,,shakespeare ,never do anything of which you will have cause to be ashamed4 ,there is one good opinion which is of the greatest importance to you1 namely1 your own4 ,an easy conscience1 says ,seneca1 is a continual feast4--,,lubbock ,there is a tide in the affairs of men1 ,which1 taken at the flood1 leads on to fortune2 ,omitted1 all the voyage of their life ,is bound in shallows and in miseries4 ,on such a full sea are we now afloat2 ,and we must take the current when it serves1 ,or lose our ventures4 --,,shakespeare ,man is his own star1 and the soul that can ,render an honest and a perfect man1 ,commands all light1 all influence1 all fate1 ,nothing for him falls early or too late2 ,our acts our angels are1 for good or ill2 ,our fatal shadows that walk by us still4 --,,beaumont ,,and ,,fletcher ,our birth is but a sleep and a forgetting2 ,the soul that rises with us1 our life's star1 ,hath had elsewhere its setting1 ,and cometh from afar1 ,not in entire forgetfulness1 ,and not in utter nakedness1 ,but trailing clouds of glory do we come ,from ,god who is our home4 --,,wordsworth ,be wise to-day2 'tis madness to defer2 ,next day the fatal precedent will plead2 ,thus on1 till-wisdom is pushed out of life4 ,procrastination is the thief of time2 ,year after year it steals1 till all are fled1 ,and to the mercies of a moment leaves ,the vast concerns of an eternal scene4 --,,edward ,,young ,build thee more stately mansions1 ,o my soul1 ,as the swift seasons roll6 ,leave thy low-vaulted past6 ,let each new temple1 nobler than the last1 ,shut thee from heaven with a dome more vast1 ,till thou at length art free1 ,leaving thine outgrown shell by life's unresting sea4 --,o4 ,w4 ,,holmes ,grow old along with me6 ,the best is yet to be1 ,the last of life for which the first was made3 ,our times are in ,his hand ,who saith1 ,a whole ,i planned1 ,youth shows but half2 trust ,god3 see all nor be afraid6 --,,browning ,were a star quenched on high1 ,for ages would its light1 ,still travelling downward from the sky1 ,shine on our mortal sight4 ,so when a great man dies1 ,for years beyond our ken1 ,the light he leaves behind him lies ,upon the paths of men4--,,longfellow ,it is not growing like a tree ,in bulk doth make man better be2 ,or standing long1 an oak1 three hundred year1 ,to fall a log at last1 dry1 bald1 and sear4 ,a lily of a day ,is fairer far in ,may1 ,although it fall and die that night-- ,it was the plant and flower of light4 ,in small proportions we just beauties see2 ,and in short measures life may perfect be4 --,,ben ,,jonson ,we shape ourselves the joy or fear ,of which the coming life is made1 ,and fill our ,future's atmosphere ,with sunshine or with shade4 ,the tissue of the ,life to be1 ,we weave with colours all our own2 ,and in the field of ,destiny ,we reap as we have sown4 --,,whittier ,heaven is not reached at a single bound1 ,but we build the ladder by which we rise ,from the lowly earth to the vaulted skies1 ,and we mount to its summit round by round4 ,i count this thing to be grandly true3 ,that a noble deed is a step toward ,god1-- ,lifting the soul from the common clod ,to a purer air and a broader view4 --,j4 ,g4 ,,holland ,let me but do my work from day to day ,in field or forest1 at the desk or loom1 ,in roaring market-place or tranquil room2 ,let me but find it in my heart to say1 ,when vagrant wishes beckon me astray1 ,this is my work2 my blessing1 not my doom2 ,of all who live1 ,i am the only one by whom ,the work can best be done in the right way4 --,,henry ,,van ,,dyke ,good name1 in man or woman1 dear1 my lord1 ,is the immediate jewel of their soul4 ,who steals my purse1 steals trash2 'tis something1 nothing2 ',twas mine1 'tis his1 and has been slave to thousands2 ,but he that filches from me my good name1 ,robs me of that which not enriches him1 ,and makes me poor indeed4 --,,shakespeare ,god give us men6 ,a time like this demands ,strong minds1 great hearts1 true faith1 and ready hands2 ,men whom the lust of office does not kill2 ,men whom the spoils of office cannot buy2 ,men who possess opinions and a will2 ,men who have honour1--men who will not lie4 --,j4 ,g4 ,,holland ,to live content with small means2 to seek elegance rather than luxury1 and refinement rather than fashion2 to be worthy1 not respectable2 and wealthy1 not rich2 to study hard1 think quietly1 talk gently1 act frankly2 to listen to stars and birds1 babes and sages with open heart2 await occasions1 hurry never2 in a word1 to let the spiritual1 unbidden and unconscious1 grow up through the common1--this is my symphony4--,,channing ,o1 may ,i join the choir invisible ,of those immortal dead who live again ,in minds made better by their presence2 live ,in pulses stirred to generosity1 ,in deeds of daring rectitude1 in scorn ,of miserable aims that end with self1 ,in thoughts sublime that pierce the night like stars1 ,and with their mild persistence urge men's minds ,to vaster issues4 --,,george ,,eliot ,a thing of beauty is a joy forever3 ,its loveliness increases2 it will never ,pass into nothingness2 but still will keep ,a bower quiet for us1 and a sleep ,full of sweet dreams1 and health1 and quiet breathing4 --,,keats ,sunset with its rosy feet ,stains the grasses low and sweet2 ,and the shadow-beeches softly fall ,across the meadows1 dark and tall2 ,o fold away ,the dusty day1 ,sweet nightfall1 in thy curtains gray4 --,,japanese ,now fades the last long streak of snow1 ,now bourgeons every maze of quick ,about the flowering squares1 and thick ,by ashen roots the violets blow4 ,now rings the woodland loud and long1 ,the distance takes a lovelier hue1 ,and drowned in yonder living blue ,the lark becomes a sightless song4 --,,tennyson ,a cloud lay cradled near the setting sun2 ,a gleam of crimson tinged its braided snow2 ,long had ,i watched the glory moving on ,o'er the still radiance of the lake below4 ,tranquil its spirit seemed1 and floated slow6 ,even in its very motion there was rest2 ,while every breath of eve that chanced to blow ,wafted the traveller to the beauteous west4 --,,wilson 99 99 99 99 99 ,transcriber's ,notes3 ,obvious punctuation errors repaired4 ,page #cb1 the first paragraph under ,,allusions contains a sentence fragment3 ,if these allusions4 ,as no meaning could be ascertained1 it was retained intact4 ,the ,,oe-ligature is denoted in this work by brackets ,,oe4