,,high ,,school ,,series #a4 ,,the ,,high ,,school ,,course ,,in ,,english1 by ,willard ,g4 ,bleyer1 ,ph4 ,d41 ,assistant ,professor of ,english4 #aijf4 #aijg4 #b4 ,,the ,,high ,,school ,,course ,,in ,,german1 by ,m4 ,blakemore ,evans1 ,ph4 ,d41 ,assistant ,professor of ,german4 #aijg4 #c4 ,,report ,,on ,,the ,,entrance ,,examination ,,in ,,english ,,composition1 by ,willard ,g4 ,bleyer1 ,ph4 ,d41 ,assistant ,professor of ,english4 ,in ,preparation4 #d4 ,,the ,,high ,,school ,,course ,,in ,,mathematics1 by ,ernest ,b4 ,skinner1 ,ph4 ,d41 ,assistant ,professor of ,mathematics4 ,in ,preparation4 #e4 ,,the ,,high ,,school ,,course ,,in ,,latin1 by a committee of the ,wisconsin ,latin ,teachers ,association4 ,in ,preparation4 #f4 ,,the ,,high ,,school ,,course ,,in ,,french1 by ,hugh ,a4 ,smith1 ,m4 ,a41 ,professor of ,romance ,languages4 ,in ,preparation4 ,issued bi-monthly1 and entered at the postoffice1 at ,madison1 as second-class matter4 ,,the ,,high ,,school ,,course ,,in ,,english ,,by ,,willard ,g4 ,,bleyer1 ,ph4 ,d4 ,assistant ,professor of ,english ,university of ,wisconsin ,,revised ,,edition ,,university ,,of ,,wisconsin ,,madison #aijg ,,contents ,page ,,introduction #e ,i4 ,,purpose ,,of ,,the ,,course #g ,,ii4 ,,organization ,,of ,,english ,,work #i #a4 ,length of ,course #i #b4 ,plan of ,course #aj #c4 ,arrangement of ,classes #aa #d4 ,conferences of ,teachers #ab ,,iii4 ,,composition #ac #a4 ,theme ,writing #ac #b4 ,correction of ,themes #ag #c4 ,filing of ,themes #ai #d4 ,conferences on ,written ,work #bj #e4 ,oral ,composition #bj #f4 ,principles of ,composition #ba #g4 ,use of ,text-book #bb ,,iv4 ,,reading #bc #a4 ,methods of ,teaching #bc #b4 ,reading ,aloud #bg #c4 ,choice of ,reading #bh #d4 ,library ,reading #bi ,v4 ,,first ,,year ,,english #cj #a4 ,composition #ca #b4 ,grammar #cb #c4 ,rhetorical ,principles #cc #d4 ,theme writing #cd #e4 ,reading #ce ,,vi4 ,,second ,,year ,,english #cg #a4 ,composition #cg #b4 ,reading #ci ,,vii4 ,,third ,,year ,,english #dj #a4 ,reading and ,history of ,literature #dj #b4 ,composition #da ,,viii4 ,,fourth ,,year ,,english #db #a4 ,reading #db #b4 ,the ,novel #db #c4 ,the ,drama #dc #d4 ,the ,lyric #dc #e4 ,the ,essay #dd #f4 ,library ,reading #dd #g4 ,composition #de #h4 ,writing of ,verse #df ,,ix4 ,,outline ,,of ,,high ,,school ,,course ,,in ,,english #dg ,x4 ,,list ,,of ,,readings ,,for ,,four ,,years #ej ,,xi4 ,,outline ,,for ,,the ,,study ,,of ,,composition ,,and ,,style #ec #a4 ,whole ,composition #ec #b4 ,paragraphs #ee #c4 ,sentences #eg #d4 ,words #fj #e4 ,figures of ,speech #fj #f4 ,qualities of ,style #fb #g4 ,forms of ,discourse #fb ,,xii4 ,,bibliography #fe #a4 ,the ,teaching of ,english #fe #b4 ,literature #ff #c4 ,language and ,grammar #fh #d4 ,rhetoric and ,composition #fh ,,introduction ,this bulletin has been prepared with the purpose of offering some practical suggestions in regard to the organization of the high school course in ,english and to the methods of teaching ,english4 ,as it is designed for the principals and teachers of ,wisconsin schools1 the plan and methods conform to the courses of study and conditions required of free high schools in this state4 ,the aim has not been to discuss theories or to offer novel solutions for the problems of teaching1 but rather to present ways and means of accomplishing the generally accepted purposes of the study of ,english in secondary schools4 ,all the methods and plans suggested have been shown by experience to be practical1 and are adapted to present conditions in both large and small high schools4 ,while the plan of the work has been made as flexible as possible in order to adapt it to different schools1 it has seemed desirable to indicate definitely how all of the details of the course should be organized and what methods should be used to bring about the required results4 ,the object has been to consider the purpose of each part of the ,english work1 and to show as specifically as possible what must be done and to some extent how it must be done to accomplish this purpose4 ,by having a definite aim for each year's work and by seeing clearly what is to be accomplished in each part of the subject1 the teacher of ,english feels responsible for the successful completion of a specific part of the course4 ,at the same time the originality and ability of the teacher need not be hampered by a definite plan but may be exercised in adapting the work to different conditions in different schools and classes4 ,in discussing the course in ,english1 the general aim and methods in teaching the important elements1 composition and reading1 are taken up first1 and then the particular phases of each subject to be presented in each year1 are considered4 ,what is presented under the general topics1 reading and composition1 therefore1 applies to the work of each year unless otherwise stated1 and usually is not repeated in considering each year of the course4 ,a second edition of this bulletin has made possible some revision4 ,no essential changes have been made1 but considerable new material has been added4 ,some parts have been developed at greater length in order to explain the methods more fully4 ,the most important addition is the outline for the study of composition and style1 which has been included for those teachers who desire to review the various phases of rhetorical theory in preparation for teaching composition or reading4 ,the bibliography has been extended to include a number of standard reference books on various phases of the ,english work4 ,the books have been selected on the basis of their practical value to the teacher in the work actually required in the high school course in ,english1 and of the possibility of assisting the teacher to build up for himself1 at reasonable cost1 a good working library4 ,in order to accomplish the latter purpose the less expensive reference books have1 as far as possible1 been chosen1 and the price and the publisher of each have been given4 ,i ,,purpose ,,of ,,the ,,course ,the main objects of the teaching of ,english as presented in the ,report of the ,committee of ,ten#a1 are 7#a7 8to enable the pupil to understand the expressed thoughts of others20 7#b7 to enable him 8to give expression to thoughts of his own20 7#c7 8to cultivate a taste for reading1 to give the pupil some acquaintance with good literature1 and to furnish him the means of extending that acquaintance40 ,other subsidiary objects may be accomplished by the study of ,english1 the ,report points out1 but these should never be permitted to encroach upon the main purposes4 ,while these purposes are considered separately1 and are apparently separated in arranging the course of study1 the ,report continues1 their mutual dependence must constantly be kept in mind4 ,by studying the thoughts of others as expressed in the literature read in or out of the class room1 the pupil can be led to see how to express his own thoughts more effectively4 ,all reading of good literature should tend to cultivate a taste for reading1 and all study of good literature should lead to a better appreciation of what is best in expression4 ,the survey of the history of ,english and ,american literature accompanied by the reading and study of characteristic selections of every period1 will open up to the pupil the whole field of literature in ,english and will furnish him the means of judging intelligently of what he reads4 ,this interdependence of the main purposes of the study of ,english requires the closest correlation of every phase of the ,english work4 ,footnote #a3 ,report of ,committee on ,secondary ,school ,studies1 p4 #hf4 ,since the ,english work is divided into two principal parts1 reading and composition1 it may be well to consider briefly the purpose of each in relation to the main objects just considered4 ,the first object of the work in reading must always be to have the pupil understand the thought expressed on the printed page4 ,however thorough has been his training in the grades1 the average pupil on entering high school needs to be taught how to read4 ,generally he gets but a hazy1 general idea from reading a paragraph1 either because he fails to grasp the meaning of each sentence1 or because he does not combine the sentence-thoughts in their relation to the topic4 ,the aim of the reading must be to enable the pupil to understand each idea as it is presented1 to combine these ideas to get the thought of the sentence1 and to follow the chain of thought from sentence to sentence until he grasps the meaning of the paragraph1 essay1 story1 or poem1 as a whole4 ,as rapidly as the maturity of the pupil permits1 other elements that aid in the better understanding of a piece of literature may be considered in connection with the reading4 ,the study of the structure1 the form1 the author's purpose1 his style1 the revelation of the author's personality1 the relation of the piece of literature to the age in which it was written1 and a comparison with other pieces of the same type1 all give a clearer understanding of literature4 ,the other purpose of the reading is to stimulate the pupils' interest in good literature1 and to lead them to read what is worth while1 on their own initiative4 ,if interest is aroused by the reading and study in class1 of one work of an author1 it is easy to create a desire to read other works by the same author1 outside of the class room4 ,by suggestions and advice the teacher can do much toward directing the pupils in their outside reading4 ,to lead pupils to read1 understand1 and appreciate the best of ,english literature is certainly an aim that is worth striving to accomplish4 ,to enable the pupil to give clear and effective expression to his own thoughts1 is the end and aim of the other important part of the ,english work--composition4 ,that composition is the expression of his own thoughts is the first principle that must constantly be impressed upon the pupils' minds4 ,the misconception that the only ideas worth expressing in writing themes are those derived from books1 must be corrected at once4 ,while reproductions and paraphrases of the expressed thoughts of others may sometimes be used as exercises1 the fact must be made clear to the pupils that these are not original compositions1 in as much as they are not the expression of their own ideas4 ,the relation of clear thinking to clear expression is another factor to be considered in teaching composition4 ,much of the instruction in theme writing is really concerned with training the pupils to think logically and to arrange their thoughts in an orderly manner4 ,pupils must be taught that as they can give clear expression only to those thoughts that are clear in their own minds1 the first process in theme writing is the clarifying and arranging of their ideas4 ,the mental training given by such systematic preparation for theme writing as the making of outlines or other devices for grouping thoughts in a logical plan1 is invaluable1 since1 unlike that given by other studies1 it is concerned largely with the pupil's own thoughts rather than with those acquired from books4 ,the third important element in composition is the style or form of expression4 ,the first aim of teaching composition1 whether written or oral1 must be to give the pupils sufficient command of simple1 idiomatic ,english for the needs of everyday life4 ,if the average pupil can be taught to express his ideas in clear1 correct ,english1 much will have been accomplished by the four years' training4 ,those pupils who show natural ability in expression can be encouraged to develop their talent for writing or speaking in connection with class work or with the various outside activities of the school1 and may be given considerable assistance in their efforts by the teacher of ,english4 ,it is much more important1 however1 to enable the majority of high school pupils to express themselves simply1 naturally1 and correctly1 than to attempt to develop literary style where there is little natural ability4 ,,ii ,,organization ,,of ,,english ,,work #a4 ,length of ,course ,all high schools provide four years of instruction in ,english1 and most of the schools devote five periods a week to the subject in each year4 ,the course of study outlined in this bulletin1 therefore1 is arranged on the basis of five periods a week for four years4 ,the successful completion of at least two years' work in ,english1 one-half of which shall be devoted to composition and rhetoric1 and one-half to the study of ,english classics1 is required of all students for graduation from ,wisconsin high schools1 and for entrance to the ,university of ,wisconsin4 ,the first two years of ,english are always required of all high school pupils whether they pursue an elective or a prescribed course of study4 ,in some high schools four years' study of ,english is required of all pupils1 and in most of the ,wisconsin high schools the curriculum provides for three years of ,english in all courses4 ,when the course of study is partly elective1 pupils are usually advised to continue with a third and often a fourth year of ,english after completing the two years of required work4 ,thus practically all high school pupils pursue the course in ,english for at least three years4 ,whether pupils who study ,english for three years take up the work in the third or the fourth year of their course1 is generally determined by the arrangement of the other subjects in the curriculum4 ,when a choice may be made by either third or fourth year pupils between third and fourth year ,english1 the principal and teacher of ,english can often decide for the pupil1 basing their decision in each case upon what they know of the pupil and his plans4 ,for some pupils the survey of ,english and ,american literature in the third year will be most valuable since it furnishes them the means of extending their acquaintance with literature by independent reading4 ,other pupils will doubtless derive more benefit from the intensive study of a few classics outlined for the fourth year4 #b4 ,plan of ,course ,the arrangement of the several phases of the ,english work in the course1 and the amount of time that is to be devoted to each is as follows#b3 ,footnote #b3 ,for a complete outline of the course see p4 #dg4 ,first year--#e periods a week2 one-half of the time to be given to composition1 and one-half to the reading and study of literature4 ,second year--#e periods a week2 one-half of the time to be given to composition1 and one-half to the reading and study of literature4 ,third year--#e periods a week2 from one-tenth to one-fifth of the time to be given to the history of ,english literature during the first three-quarters of the year and to the history of ,american literature during the last quarter of the year2 four-fifths of the time to be devoted to the study of the works of representative authors in each period of the history of ,english and ,american literature2 and from one-tenth to one-fifth of the time to be given to composition4 ,fourth year--#e periods a week2 four-fifths of the time to be devoted to the study of typical examples of each of the following forms of literature3 the novel1 the drama1 the lyric1 and the essay2 one-fifth of the time to be given to composition4 ,the reading and study of literature in class in each year is to be supplemented by library reading of literature1 the amount of which will be determined by library facilities and other local conditions4 #c4 ,arrangement of ,classes ,if the ,english work is being taught by several teachers1 the distribution of classes among the teachers deserves careful consideration4 ,no ,english work should be entrusted to a teacher who is not interested in the subject and who is not adequately prepared to teach it4 ,it is particularly important that the first year classes should be in charge of the best teachers of ,english that the school has in its corps4 ,the not infrequent practice of having the thoroughly prepared and experienced teachers take charge of third and fourth year ,english1 and of assigning the first year classes to the young and inexperienced ,english teacher1 or even to teachers of other subjects who have little or no interest in the work and who are compelled to take classes in first year ,english because their time is not completely occupied by their own subjects1 generally proves extremely unsatisfactory4 ,if the pupils in the high schools are to have the right attitude toward the study of ,english1 and are to begin the subject in the right way1 the best teachers must be provided for the first year work1 since much of the success of the whole high school course in ,english depends upon the manner in which the introductory work is taught4 ,the number of classes in ,english to be assigned to the teacher and the size of these classes must also be considered4 ,the teaching of ,english requires an unusual amount of work outside of class4 ,first1 the preparation for each day's teaching whether the work is in composition or reading demands much time and energy if it is to be done as it should be4 ,second1 the correction of themes is a daily task that must be done carefully and accurately and that requires the best effort of the teacher when his mind is most keen and active4 ,third1 personal conferences with each pupil on his written work are now generally conceded to be essential for successful training in writing4 ,all these elements must be considered in arranging the programme of classes for teachers of ,english4 ,teachers cannot do satisfactory work if they must prepare for five or six classes a day1 teach these classes1 correct twenty-five or thirty themes daily1 and hold conferences with pupils before and after school4 ,the teaching of many classes exhausts the energy of the teacher and makes accurate correction after school or in the evening1 as well as the careful preparation for the next day's classes1 extremely difficult if not impossible4 ,conferences on written work should be provided for in the regular programme and should not interfere with the teacher's other duties before and after school4 ,four classes a day1 two periods daily for conference with pupils1 and not more than a hundred pupils in all classes1 a number which requires the correction of one hundred themes a week1 is an arrangement of work that makes possible effective teaching4 #d4 ,conference of ,teachers ,to give unity to the four years' work in ,english1 it is essential that all the teachers of ,english in each high school meet at frequent intervals to discuss organization1 methods1 and progress of the work4 ,each teacher will thus familiarize himself with the ,english work of the whole school1 and can do his particular part of it more intelligently and more effectively4 ,as the success of high school ,english also depends in no small degree upon the character of the instruction which the pupils have received in the grades1 and particularly in the seventh and eighth grades1 it will be found very profitable to have similar conferences occasionally between the seventh and eighth grade teachers and the high school teachers of ,english4 ,a closer relation ought to exist between the ,english work of the last two grades and the high school1 and there seems to be no better way to accomplish this than to bring about cooperation between the teachers through the medium of these conferences4 ,the benefit to the teachers and the great advantage that results to the ,english work of the school repay many fold the time and effort devoted to these conferences4 ,if local conditions make these meetings of grade and high school teachers impracticable1 the high school teacher of ,english should make every effort to familiarize himself with the amount and character of the training which the pupils have had before entering the high school1 by visiting the schools and conferring with the teachers in the seventh and eighth grades4 ,the knowledge thus acquired of the earlier training of the pupils will be of great service to the high school teacher in planning his work both in reading and composition4 ,,iii ,,composition ,the ability to write clearly and accurately can generally be acquired only by practice4 ,if this practice is to be really effective it can not be confined to one semester or one year1 but must extend through the whole course in ,english4 ,training in composition naturally includes a study of the principles of the art2 and since these principles are of different degrees of difficulty1 all can not be presented in one year1 but must be developed from year to year as the ability and maturity of the pupil makes possible the comprehension and application of them4 ,practice in writing and instruction in the principles of composition1 therefore1 must form a part of all instruction in ,english throughout the four years4 #a4 ,theme ,writing ,since it is only by constant practice that the average pupil can learn to write good ,english1 it naturally follows that the essential part of the composition work is the writing of themes4 ,the methods by which the pupil is given this practice are of the greatest importance4 ,in the first place1 as has already been indicated1 it should be made clear to the pupil what original composition is1 and what it is not4 ,the belief1 all too prevalent among pupils1 that ideas for compositions are to be obtained largely if not entirely from books1 should be promptly eradicated from their minds4 ,they must be constantly impressed with the fact that the expression of their own ideas is the important factor in all original composition4 ,the direction of the pupils to a right choice of subject for their compositions is the first important consideration4 ,the possibility of writing interesting themes on the everyday incidents in the life of the pupils and the school must be made clear to them at the beginning of the course4 ,after the pupils have once been made to see the inexhaustible supply of material which their own experience affords1 there will be no temptation to turn to books for inspiration4 ,throughout the course in composition it is necessary for a teacher of ,english to have a large supply of good subjects for themes4 ,to secure these subjects the teacher must familiarize himself with local conditions1 particularly as they affect the life and interests of his pupils4 ,it is an essential part of the teacher's preparation for teaching composition that he inform himself fully upon the subjects of local interest upon which he encourages the pupils to write4 ,by his interest in the various activities of the pupils and by his sympathy in their efforts1 the teacher not only comes to know what subjects to suggest for composition1 but gains the pupils' confidence1 and arouses in them a desire to tell him of these activities in their written work4 ,with proper encouragement and interest on the part of the teacher1 pupils will soon come to take pleasure in writing of their everyday experiences1 and the themes will become a source of greater pleasure and satisfaction to both teacher and pupils4 ,it is frequently desirable that the same subject be assigned to all pupils1 so that the results may be compared and presented to the class as part of the regular instruction4 ,at other times it is necessary to give the class a number of subjects from which each pupil may select the one that suits him best2 and at still others1 to suggest general topics from which the pupil may frame his own subject4 ,in announcing and assigning a subject for compositions the teacher can be of much assistance to the pupils by discussing with the class the subject under consideration4 ,these discussions will stimulate interest in the subject1 and will arouse a desire on the part of the pupils to write upon it4 ,the teacher can direct the discussion so that the pupils will be led to consider the best method of treating the subject and can thus prevent waste of effort4 ,it is necessary1 however1 to guard against giving the pupil so many suggestions that little original thought and observation will be required in writing the theme4 ,that clear1 logical thinking is prerequisite for clear expression should also be constantly emphasized in teaching composition4 ,pupils must be made to realize1 as has already been said1 that unless thoughts are clear in their own minds1 they cannot expect to make these thoughts clear to others4 ,they should be taught1 therefore1 to get before their minds clearly what they desire to express before they undertake to express it4 ,the first step can be taken early in the course when the pupils are writing narratives1 by urging upon them the necessity of accuracy in observing what happens and how it happens1 since the degree of completeness of the remembrance of the event depends upon the character of the impression4 ,in description1 likewise1 careful observation of what is to be portrayed must be emphasized as the only means of obtaining a complete mental picture that can be described to others4 ,the methods of exposition and argumentation presented in the third and fourth years naturally involve a discussion of the methods of reasoning and as much logic as the pupils can comprehend4 ,so closely related are thinking and the expression of thought that1 as has been pointed out before1 much of the work of teaching pupils to express their thoughts clearly and accurately is really concerned with teaching them to think clearly and logically4 ,in all work of this kind the outline is of great value4 ,an outline of a paragraph analyzed in connection with the reading will make clear the manner of arranging the subtopics and details in an orderly form4 ,a similar outline of the subject of a theme1 made in class by the cooperation of teacher and pupils1 will indicate the method of grouping the pupil's own ideas in a logical manner4 ,after the process has been illustrated by such class exercises1 the pupils should be required to make outlines of their themes1 without assistance from the teacher4 ,while it is not necessary to require that a complete outline be prepared by the pupils for every theme that is assigned1 frequent exercises in outlining the material of the theme before it is written are desirable throughout the course4 ,like all formal devices1 the outline1 if made mechanically1 may tend to curb the spontaneous expression of the pupils2 but rightly employed by the teacher and pupils1 it will readily become a valuable aid to clear thinking and expression4 ,from the beginning to the end of the course in ,english1 the fact must be impressed upon the pupils' minds that the only acceptable themes are those that are the result of thought and careful effort4 ,hastily and carelessly prepared compositions and those handed in after the appointed time1 should not be accepted by the teacher4 ,promptness1 neatness1 and earnest effort are essentials for successful theme writing that pupils should never be permitted to neglect4 ,while it may seem very exacting to require that all themes be written in black ink1 on paper of uniform size1 and that they be numbered or dated and indorsed in a prescribed form1 experience has shown that these details in the organization of the work are important for economy of time and effort on the part of teacher and pupils4 ,although most of the themes will be prepared by the pupils before coming to the class room1 it is desirable to have some of them written during the recitation period in order to give the pupils practice in thinking and writing rapidly4 ,at the beginning of the course the subject may be assigned at the preceding recitation so that the pupils may consider it carefully and come prepared to write4 ,after the pupils have gained some fluency of expression1 impromptu themes will prove interesting and valuable class room exercises4 ,considerable importance should be attached to these impromptu themes and exercises as tests of the pupils' ability to write rapidly and accurately4 #b4 ,correction of ,themes ,of equal importance to the writing of themes is the prompt and careful correction of them by the teacher1 and the revision or rewriting by the pupil4 ,while doubtless the pupil will gain some facility in expression by writing frequently1 he is not likely to learn how to write clear1 accurate1 forcible ,english unless his work is carefully corrected and returned to him promptly so that it may be revised or rewritten4 ,in correcting themes the purpose should be to indicate to the pupil the errors and weaknesses of his style1 in order that he may correct these faults4 ,the teacher1 therefore1 should not correct the pupil's errors1 but should use some sign or abbreviation to indicate the character of the fault4 ,much if not all of the benefit derived by the pupil from the teacher's correction is lost if he does not have the opportunity to correct his own errors in revising or rewriting the composition4 ,not only is this correction of the pupil's mistakes by the teacher bad pedagogically1 but it takes a needless amount of the teacher's time4 ,it is desirable to have a simple but complete system of signs and abbreviations indicating the exact character of the error4 ,in this connection attention may be called to the value of having each school adopt some system of correction signs and abbreviations1 so that the same marks may be used not only by all of the teachers of ,english1 but by the teachers of all other subjects in correcting note-books1 topics1 examination papers1 and all other written exercises4 ,it is only by insisting that high school pupils be as careful of their ,english in all written work as in compositions prepared for ,english classes that the best results can be accomplished4 ,the following sign and abbreviations used in the ,english department of the ,university of ,wisconsin for the correction of themes may serve to indicate the character and scope of a system of correction marks3 amb ambiguous4 ant antecedent4 bal make elements balance4 ch coherence4 cst construction4 cst4 parallel construction4 ,d see dictionary4 ,e poor ,english4 emp emphasis4 ,f4 ,w4 fine writing4 fig figure of speech4 gr grammar4 ,h hackneyed4 ,k awkward4 ,l loose4 ,,ms manuscript4 p punctuation4 pc comma fault4 per make periodic4 rep repetition4 red redundant4 ,s sentence4 sp spelling ,th theme4 tr transpose4 ,u unity4 ,v vague4 ,w weak4 ,w4 ,w4 wrong word4 paragraph4 omit4 indention4 x obvious error4 divide4 small letter4 capital letter4 unite4 ,besides indicating all the errors in every theme1 the teacher should write a concise comment on each1 pointing out the faults and merits of the theme4 ,he should aim to make these comments as stimulating and suggestive as possible for judicious criticism must be constructive1 encouraging the pupil in that which is praiseworthy in his efforts1 as well as aiding him to eliminate that which is undesirable4 ,these comments to be most helpful should be based on the teacher's knowledge of the pupil's personality and of the character of his other themes1 for each piece of written work must be regarded as a step in the individual pupil's progress toward the more effective expression of his thoughts4 ,the teacher should also remember that firm insistence from the beginning to the end of the course on correctness in the fundamentals of expression such as grammar1 spelling1 punctuation1 capitalization1 is quite as necessary as the stimulating criticism that aims at developing more original and spontaneous thought and expression4 ,in order that the pupil may get the greatest benefit from the teacher's correction of his themes1 these should be returned for revision or rewriting as soon as possible4 ,if the pupil does not receive his theme until a week or more after he has written it1 the corrections and the revision and rewriting are much less interesting and valuable than if it is returned to him promptly4 ,it is also easier for the teacher to correct themes as soon as they are received rather than to allow them to accumulate until their number makes the correction of them an exhausting task4 ,in addition to the careful correction of compositions by the teacher1 other methods may be used to call attention to the merits and faults of the pupils' themes4 ,the teacher may have the pupils copy on the blackboard the themes which they have prepared before coming to class1 and the recitation period may be devoted to the criticism of these compositions by teacher and pupils4 ,the pupils may occasionally be required to correct each other's written work1 either in or out of the class room4 ,a recitation period can sometimes be used to advantage for the rewriting by the pupils of themes corrected by the teacher1 who by passing from one pupil to another during this exercise can assist each in correcting and improving his work4 ,while these methods often prove interesting and valuable1 they should not be regarded as an adequate substitute for the prompt and accurate correction of themes by the teacher4 #c4 ,filing of ,themes ,after themes have been either rewritten or revised by pupils1 they should be returned to the teacher1 who must glance over them to be sure that the pupils have made the necessary changes4 ,if the themes are rewritten1 the original as well as the rewritten form should be returned to the teacher for the purpose of this comparison4 ,it is also desirable to have some method of filing themes after they have been returned to the teacher4 ,a simple method of keeping them is to use looseleaf note-books similar to the laboratory note-books in science4 ,with this system the themes are first handed in on separate sheets of uniform size1 and1 after they have been corrected by the teacher and revised or rewritten by the pupil1 are fastened in the note-book4 ,if the themes are rewritten or corrected on the blank page of the note-book facing the original copy1 the teacher can readily compare the two forms and can determine the character of the revision4 ,another plan adopted by a number of schools is to have a large filing case with a compartment for the themes of each pupil in the school4 ,all the themes should be preserved until the end of the year1 when they may be returned to the pupils4 #d4 ,conferences on ,written ,work ,in order to accomplish the best results in theme writing and correcting1 it is desirable that the teacher talk over the written work with each pupil as frequently as his time permits4 ,if the ,english teacher's programme of recitations is properly arranged1 he should have sufficient time to have conferences with all his pupils once a month4 ,regular appointments should be made with each pupil for holding these conferences during those periods in which both pupil and teacher have no recitation4 ,at the conference the teacher can go over with the pupil the written work of the month1 can answer questions1 and give helpful suggestions for improving the pupil's composition and class work4 #e4 ,oral ,composition ,although the term 8composition0 as used in connection with ,english work usually refers only to written expression1 it is evident that the oral expression of the pupils' thoughts is worthy of consideration4 ,generally no particular provision is made in high school work for so-called oral composition1 nor does it seem necessary to provide a distinct place for it in the outline of the course4 ,the importance of the form of the recitation in every subject is emphasized by all good teachers4 ,the topical recitation now so frequently required in all high school studies1 if properly conducted1 is the most effective kind of oral composition that can be given4 ,a teacher of ,english1 of course1 should give especial attention to the form of recitation in ,english classes4 ,pupils1 after some encouragement1 will express their ideas freely in the course of the discussions which inevitably arise in connection with the reading and composition4 ,their attention should be directed to the fact that the same principles govern the clear and forcible expression in spoken1 as in written language4 ,the correction of common faults in recitation1 such as the 8and01 8and then0 habit1 will assist in eliminating these errors from the written work as well as in improving greatly the oral expression4 ,during the first year the pupils may be assigned simple topics in connection with the reading and should be taught how to collect the material and arrange it in an outline form from which to present it in the class room4 ,after they have acquired the ability to present topics with the aid of notes1 they should be encouraged to speak without any of these aids4 ,the same method may be applied to the daily recitation4 ,in fact1 it is often best to begin by having the pupils outline the subject matter of the lesson and come to class prepared to recite upon any topic in the outline4 ,in this manner the recitations in ,english and in practically all of the other subjects of the high school course may be used to give the pupils the necessary training in oral composition4 #f4 ,principles of ,composition ,in connection with the writing and correction of themes must be studied the principles of composition and their application4 ,these rhetorical principles may be presented either inductively or deductively4 ,the pupil may either learn them from a definite statement in the text-book1 which illustrates their application by selected examples1 or he may be led to discover the principles of effective expression from the literature that he is studying in class as a part of the work in reading4 ,while much may be said for the merits of each of these methods1 the inductive plan seems to commend itself particularly1 since it makes possible a close and effective correlation of the two elements of the ,english work--composition and reading4 ,during the first two years1 when particular attention is given to the principles of sentence and paragraph construction in the composition work1 these principles can be developed and their application readily illustrated from the selections that are read and studied in class4 ,the object of the work in reading1 as has already been stated1 is to teach the pupil to get the thought clearly from the printed page4 ,in order to do this effectively1 it is necessary to study with some degree of care the sentence and paragraph structure of the selection which he is reading4 ,to get the thought of each sentence it is necessary to understand clearly the relation of all its parts4 ,by noting the separate ideas as expressed in words1 phrases1 and clauses1 and by determining their relation in the sentence as the expression of the whole thought1 the pupil is taught the principles of sentence unity and coherence4 ,if his attention is properly drawn to these principles as they are exemplified in the literature before him1 the importance and application of them may be clearly demonstrated without spoiling the masterpiece of literature4 ,in fact the appreciation of the skill of the literary artist is thereby increased1 provided the teaching is done in a proper manner4 ,to follow the chain of thought in the paragraph1 it is necessary to see clearly the relation of each thought as expressed in the sentence to the preceding and succeeding thoughts in order that the development of the topic may be clear1 and that the pupil may grasp the subject in its entirety4 ,in teaching the pupil to get the whole thought in the paragraph1 it is necessary to consider the whole topic treated in the paragraph2 that is1 to study the unity of the paragraph2 and also to consider the relation of each thought to the one central topic2 that is1 the principle of paragraph coherence4 ,thus1 in the effort to teach the pupil how to get the thoughts of others by reading1 the essential principles of composition are absolutely necessary4 ,in a similar manner all the principles of narration1 description1 exposition1 and argumentation may be developed inductively from the reading4 ,by seeing the application of the rhetorical principles in literature1 the pupil comes to realize their importance in effective writing1 and is impressed by the varied forms of their application as he is not likely to be by selected examples isolated from their context1 in text-books4 #g4 ,use of ,text-book ,if the principles of composition may be developed from the masterpieces that are studied in class1 the question naturally suggests itself1 8,is it necessary to have a text-book at all in studying the principles of rhetoric and composition80 ,it is entirely possible to teach composition successfully without a text-book1 but owing to difficulties in the organization of the schools1 and the not infrequent change of teachers1 it is often desirable for the sake of uniformity of work to make use of a text-book4 ,it is also convenient1 even where these difficulties do not exist1 to have a good text-book to which the teacher may direct the pupil for a detailed statement of the principles after they have been developed and exemplified in the reading2 that is1 to use it as a reference book4 ,in order that it may be used thus for reference1 the text-book selected should take up the principles of composition and the forms of discourse in a logical manner1 treating each fully and systematically in a separate division4 ,text-books of this character can be used throughout the first two years at least1 and some of them are sufficiently complete to supply all the material needed for four years' study of composition4 ,it is generally conceded that text-books in rhetoric and composition have very often been used to poor advantage by having the pupils memorize the definitions and statements of principles1 and by devoting much of the period set aside for composition to recitation upon the subject matter of the text book4 ,the principles of rhetoric and composition1 of course1 have little value except as the pupil is able to apply them in his own work or to recognize the application of them in the work of others4 ,the real test of his knowledge of the subject matter of the text-book therefore is not made by having him recite what the book contains1 but by requiring him to apply it in his own work and to perceive examples of it in that of others4 ,,iv ,,reading #a4 ,methods of ,teaching ,the purposes already indicated for the reading are 8to enable the pupil to understand the expressed thoughts of others10 8to cultivate an acquaintance with good literature1 and to furnish him with a means of extending that acquaintance40 ,it is evident that the only way to teach the pupil to understand the expressed thoughts of others is to have him understand each unit of that expression4 ,the meanings of words1 allusions1 and figures of speech1 as the expressions of the idea1 must be clearly understood4 ,the intelligent use of the dictionary and the usual books of reference should therefore be taught at the very beginning of the course of reading4 ,whenever the origin and history of a word are helpful for a better understanding of its meaning1 these may be called to the pupil's attention1 and he should be encouraged to observe in the dictionary the etymology of words as he looks for their meaning4 ,while the importance of knowing the significance of proper names1 allusions1 etc41 is to be impressed on the pupil's mind1 the preparation of the reading lesson must not be allowed to degenerate into a mere searching for the meaning of all unknown terms in the assignment4 ,pupils should be warned against the practice of making a list of all the unknown words in the lesson and of consulting the dictionary and other books of reference for information1 without considering the context in which the words are used4 ,from the very beginning of the course in reading1 the teacher should make sure that each pupil gets a clear conception of the thought expressed in each sentence4 ,without undue emphasis on grammatical analysis1 the pupil should be encouraged to note the form in which the principal proposition is expressed1 and the manner in which it is modified by the subordinate elements1 for it is only by the careful consideration of the syntactical relations that the pupil can get accurately the thought expressed4 ,the development of the thought through a series of sentences constituting a paragraph must be analyzed with equal care1 so that the pupil may see clearly the development of the thought and the relation of each sentence to the preceding and succeeding ones and to the paragraph topic4 ,the amount and character of analysis in each assignment of reading should be carefully determined by the teacher as he prepares his work for each day1 and he must beware of having the reading lesson become merely a formal analysis of sentence and paragraph structure1 for nothing more effectively kills the pupil's interest in reading than too much of this formal analytical drill on detail4 ,various methods may be used to assist the pupil in grasping the thought expressed in the literature4 ,in narration1 the retelling of the story1 paragraph by paragraph1 from memory1 will lead the pupils to get the details of the story in logical groups4 ,in description1 the pupils should be required to visualize the scene1 object1 or person portrayed in words4 ,boys and girls can readily be interested in exercises of this kind and will respond eagerly when asked to describe the mental pictures which they obtain from a given piece of description4 ,sketches on the blackboard to make clear the position of the details in the description and other devices tend to emphasize to the pupil the importance of reading carefully and accurately in order to get the whole thought of the author4 ,after the pupil has been taught to get the thought accurately1 the analysis may be extended to the forms of discourse and the qualities of style4 ,in short stories1 novels1 and dramas the analysis of plot1 the delineation of character1 and similar consideration of the principles of narration and description will naturally receive due attention4 ,in essays and orations the study of corresponding principles of exposition and argumentation gives the pupil a clearer conception and better appreciation of the writer's purpose and the means that he uses to accomplish it4 ,a study of metre and verse form is necessary for an appreciation of the poetry read and studied in class4 ,the study of all these details1 designed as it is to help the pupils to understand the author's thought1 part by part1 ought always to lead to a better understanding and appreciation of the meaning and purpose of the whole4 ,a study of literature that emphasizes details to such an extent that the theme and significance of the story1 the drama1 or the poem1 as a whole1 is neglected1 fails to bring out the vital element4 ,the value of the ideas and ideals which find expression in the literature must not be overlooked in planning the work in reading4 ,as a portrayal of life in its various activities1 literature presents to the pupil many types of character and action1 and thus gives the boys and girls a broader view of life than their own experience affords4 ,the analysis of character1 motives1 and actions forms an interesting and valuable part of the study of literature4 ,since good literature is also an interpretation or 8criticism0 of life1 it presents life in its true relations and shows their significance4 ,the author's interpretation of life1 his judgment upon its various phases1 and the emotional coloring which he gives it1 are all to be considered in a manner best adapted to the maturity and understanding of the pupils4 ,the formative influence exerted upon the character of the boys and girls by the characters and actions portrayed in their reading1 as well as by the emotional element of literature is undoubtedly of importance1 and by some teachers is emphasized in all their work4 ,the ideals of conduct presented in good literature1 and the close relation between conduct and the emotions aroused by the reading1 are often factors in the ethical training of the pupils1 but the indirect and unconscious influence of these elements is generally much more effective than many efforts to teach lessons in ethics based on literature4 ,since the study of literature involves the consideration of all these various elements1 the result accomplished in reading will depend largely upon the methods of the teacher in preparing his work for each day's reading4 ,before beginning the reading and study of a piece of literature with a class1 the teacher should make a careful study of the whole1 analyzing and outlining it1 so that the relation of each part to the expression and development of the theme may be clearly determined4 ,with this outline before him the teacher can plan each day's reading more readily and intelligently4 ,every recitation in reading should be carefully planned by the teacher in order that each part of the work may receive emphasis proportionate to its importance and that something definite may be accomplished toward a better appreciation of the whole4 ,owing to the fact that the study of literature is radically different from any other subject which the high school pupils pursue1 much attention must be given to teaching them how to read and study a piece of literature4 ,in assigning the lesson in reading1 the teacher should indicate clearly to the pupils what they are to do1 and as far as possible1 how they are to do it4 ,failure of the pupils to understand clearly what is desired of them1 is the cause of many a poorly prepared recitation in ,english4 ,a well planned outline with the important points to be considered in studying the day's lesson1 or a series of questions concerning these points1 will serve to give direction to the pupils' preparation from day to day1 and in the end will teach them how to read and study literature4 ,in connection with the reading1 pupils should be encouraged to memorize the whole or parts of many of the pieces of literature studied in class4 ,in every year of the course the teacher should select passages from the reading that are worth memorizing1 and should urge the pupils to learn them4 ,to make a task of this memorizing is not desirable1 nor is it at all necessary1 for pupils will usually respond willingly to the teacher's suggestion as to the value of learning choice selections of prose and poetry4 ,the value of knowing and being able to quote many of the finest passages in ,english and ,american literature cannot be overestimated4 #b4 ,reading ,aloud ,some attention should generally be given to reading aloud intelligently4 ,a part of each recitation may be devoted to giving the pupils practice in distinct1 accurate pronunciation1 and in reading with sufficient expression to interpret the meaning4 ,the teacher can do much toward showing the pupils how to read by reading to them from time to time1 and then having them read the same selection4 ,the frequent practice of devoting a considerable part of the recitation period to reading aloud in class by the pupils without individual correction or helpful suggestion by the teacher is a waste of time4 ,as few high school pupils1 particularly in the first two years of their course1 read sufficiently well to interpret a piece of literature for their classmates continued reading aloud in class by the pupils is an uninteresting exercise that is more likely to decrease than increase the pupils' interest1 pleasure1 or appreciation4 ,if the assignment has been read and studied carefully by the pupils in preparation for the recitation1 the only purpose of having any portion of it read aloud in class must be to give the pupils practice in reading clearly1 accurately1 and intelligently4 ,to be of value this practice must be systematic and must be regarded as an exercise in expression4 ,careful preparation by the pupils including practice in reading aloud at home1 and helpful criticism by the teacher1 are as essential for success in exercises in reading aloud as in other forms of expression4 ,since training in reading aloud is neither the primary nor the secondary aim of the study of literature1 the time to be devoted to these exercises in the class room must necessarily be very limited4 ,as the ability to read well depends in part upon the management of the voice1 some attention may be given from time to time to the fundamental principles of vocal expression4 ,occasional instruction in class in correct breathing1 the control of the voice1 the position of the vocal organs in the formation of the different sounds1 and the care of the voice1 supplemented by exercises for individual practice1 will aid materially in improving the character of the vocal expression not only in reading but also in recitation and conversation4 #c4 ,choice of ,reading ,to carry out effectively the plan for the correlation of the reading and composition work1 and to provide a well graded course of reading adapted to the maturity and ability of the pupils1 the greatest care must be exercised in the selection of masterpieces of literature to be read and studied in class4 ,beginning with the simple prose narrative in the form of short stories1 tales1 and sketches in the first year1 the work should proceed by regular gradations to more difficult types4 ,for the first two years of the course1 during which one-half of the time allotted to ,english is devoted to work in composition1 the reading should be chosen with regard to the principles of composition and forms of discourse that are to be considered1 so that a close correlation may be made between the two elements of the course4 ,in the third year the study of the history of ,english literature will determine the order in which the authors are to be taken up1 but the character and maturity of the pupils must be considered in the choice of authors and selections for reading and study in class4 ,again in the fourth year the same elements must determine the choice4 ,it is impossible to prescribe certain books to be read in each year1 since the character of the pupils in different schools and in different classes in the same school1 makes necessary a selection of reading adapted to local conditions4 ,although in the number and variety of the books the list of college entrance requirements in ,english is now sufficiently large to meet the needs of the average school1 it is not necessary to confine the selection of material for study in class to this list4 ,on page #ej of this bulletin is given a list of the selections adapted for reading and study1 together with suggestions as to the years in the course in which they can be read to the best advantage4 ,in selecting editions of the masterpieces for reading in class1 the purpose and methods of the reading should not be forgotten4 ,if the pupil is to be taught to work out the meaning of unfamiliar words1 figures1 and allusions1 it is undesirable to give him this information on every page in the form of foot-notes explanatory of many things that with a little effort he might find in reference books4 ,elaborate introductions in which the structure and style of the masterpiece are fully discussed are equally undesirable1 since they tend to make unnecessary any original thought or analysis on the part of the pupils4 ,the text of the masterpiece with a few notes explanatory of unusual difficulties is all that is necessary in order to carry on successfully the study of any selection4 #d4 ,library ,reading ,throughout the course in ,english1 the pupils ought to be urged1 if not actually required1 to read considerable good literature in addition to that read and studied in class4 ,a list of standard books as large and as wide in range of subjects as the library facilities of the school make possible1 should be prepared each year1 and the pupils should be encouraged to read as many of these books as their time permits4 ,reading that is done on the pupil's own initiative is many times more valuable than that which he does simply because of a formal requirement4 ,if the plan is followed of requiring that a certain number of books be read1 precaution must be taken against making the outside reading a formal task rather than a pleasure4 ,the teacher can do much toward interesting the pupils in the library reading4 ,by reading aloud to the class a chapter or two of a book1 he may lead many of the pupils to read the whole book4 ,by referring in the class work to the characters1 plots1 and other details of the books on the reading list1 or by quoting from them1 he will often arouse the pupils' curiosity and create a desire to read the books4 ,by considering the tastes and needs of the individual pupils1 he can suggest to each the books most likely to be of the greatest interest and value4 ,to create and develop the desire to read good literature outside of the class room1 is one of the greatest privileges of the teacher of ,english4 ,in general the plan of having a written review1 outline1 or summary of these books1 either as a part of the composition or the reading work1 is to be discouraged4 ,since the writing of a book review is a difficult task for a man or woman of broad education1 it is too much to expect that the immature high school pupil will be able to do it with any degree of intelligence or interest4 ,the fact constantly emphasized by such a method1 that every book which he reads must serve as material for a book review1 a summary1 or an examination1 often defeats the purpose of his outside reading1 since it tends to create a dislike rather than a love for reading4 ,the books read by pupils may sometimes be discussed in class1 however1 as a means of arousing interest in the outside reading1 and frequently pupils may be led to express their opinions freely1 and spontaneously concerning the books under discussion4 ,if the pupils can be turned from an oral to a written discussion of the book more or less spontaneously1 there is less danger in having an occasional written exercise based on the library reading4 ,v ,,first ,,year ,,english ,in outlining the work of the first year1 it is assumed that ,english will be pursued for five periods a week throughout the year4 ,of this time one-half should be devoted to composition1 and one-half to reading4 ,these two phases of the first year ,english1 as has already been indicated1 should be closely correlated1 and must1 of course1 be taught by the same teacher4 ,by suggesting that one-half of the time be devoted to each phase of the subject1 it is not intended1 as has already been said1 that the time should be formally divided4 ,instead of setting aside two or three periods a week for composition it is frequently more satisfactory to devote a portion of each period to a study of the principles of composition as exemplified in the reading or to a discussion of subjects for composition1 and thus not to interrupt the continuity of the reading4 ,in ,wisconsin high schools the present course of study for one course1 generally called the ,english course1 presents one serious difficulty in connection with first year ,english2 i4 e41 the arrangement by which grammar and composition for five periods a week and reading and composition for five periods a week are required of all pupils in this course4 ,it is manifestly undesirable for any pupils in the first year to pursue two courses in ,english for ten periods a week throughout the year4 ,this arrangement gives the pupils in this course seven and one-half periods of composition work during the second semester if the course in grammar and composition is divided so that grammar is required in the first semester and composition in the second4 ,it also divides the composition work between two separate classes1 part of the instruction in composition being given in the course in grammar and composition and part in the course in reading and composition4 ,since instruction in the principles of composition without practice is of little value especially for the immature pupils in the first year1 and since from five to seven and a half periods is too much time to devote to composition when the amount of practice that is possible or even desirable is necessarily limited1 the best solution of the problem seems to be to devote the time to additional reading and not to attempt to give more than two and a half periods1 the amount assigned for other courses1 to composition work4 ,the question of teaching grammar is considered on page #cb4 #a4 ,composition ,the object of the first year in composition should be to encourage pupils to express freely their own ideas and impressions4 ,fluency of expression is to be encouraged by every possible means4 ,the most effective method of developing this free and fluent expression is to have the pupils write on subjects in which they are most interested4 ,it is sometimes said that the difficulty in writing themes in the first year lies in the fact that the pupils have nothing to write about from their own experience1 and that therefore subjects must be drawn largely from the reading2 that is1 pupils must reproduce others' thoughts rather than express their own4 ,it seems doubtful whether this paucity of ideas really exists1 for it is indeed a stupid girl or boy in the first year at high school who is not interested in many things in active everyday life1 and who does not talk constantly of these things to schoolmates and friends4 ,it is doubtless true that the pupil often does not consider his simple experiences of sufficient importance to be the subjects of his compositions and must therefore be led by the teacher to see the possibilities which they contain4 ,it is the duty of the teacher of composition1 as has been said1 to familiarize himself with the surroundings of his pupils1 and to interest himself in their various activities in and out of school4 ,it is only by such sympathy and interest that he can get his pupils to express themselves freely in their themes4 ,experience has shown that the daily life of the individual pupil1 and the varied activities of the school can be made to furnish practically all of the theme subjects not only for first year composition1 but also for that of the other three years4 ,while fluency and spontaneity of expression should be encouraged in every way possible1 the teacher must also insist on accuracy in details of expression4 ,the common errors in grammar1 spelling1 capitalization1 punctuation1 and other matters of form should be corrected constantly1 and by the end of the first year all such mistakes should be fairly well eliminated from the average pupil's work4 ,in connection with the correction of errors in the themes1 the rules of spelling1 capitalization1 punctuation1 and grammar may be reviewed to advantage from time to time4 #b4 ,english ,grammar ,it is not desirable to take up formally the study of ,english1 grammar as a regular part of first year ,english4 ,whenever the plan of devoting a semester or a term to ,english grammar has been tried1 it has been conceded that the course has not been very successful4 ,the cause of this is not far to seek4 ,since the pupils have been drilled in grammar in the seventh and eighth grades1 a repetition of the subject at the beginning of the high school course invariably proves distasteful1 and it is extremely difficult if not practically impossible to arouse any interest in the subject4 ,high school pupils in the first year are too immature to take up the subject from a point of view materially different from that from which it was studied in the grades4 ,the work1 consequently1 is done in a perfunctory manner1 and seems to have little practical result in the pupils' written or spoken ,english4 ,it is the general experience1 nevertheless1 that a number of pupils entering the high school are deficient in their knowledge of the most elementary principles of ,english grammar1 and that they are therefore somewhat handicapped in taking up the study of composition4 ,if the present system of promotion permits some pupils to enter the high school without a sufficient knowledge of the elements of ,english grammar to make possible an intelligent study of high school ,english1 it seems very doubtful whether the high school course in ,english should be planned to provide for pupils whose preparation is deficient4 ,if provision must be made for the deficient ones1 a special class in grammar should be organized for their benefit1 and well-prepared pupils should not be compelled to repeat this grade work4 ,this special review of grammar for poorly prepared pupils should not form a part of the regular ,english work of the first year1 and it may be questioned whether it should be credited for graduation from high school4 ,for pupils of required preparation the only study of grammar necessary in the first year may be taken up in connection with the correction of errors made by the pupils in composition4 ,syntax must be studied in connection with the construction of sentences in composition work4 ,a consideration of the grammatical construction of sentences required for effective work in reading and composition1 with such review of grammar as is made necessary by the actual errors of the pupils1 will generally be sufficient training in grammar for the first year4 #c4 ,rhetorical ,principles ,the study of rhetorical principles in the first year should be confined to the consideration of the simpler principles of sentence and paragraph construction4 ,in connection with the study of grammatical construction of sentences1 the violation of the principles of sentence unity and sentence coherence in the pupils' written work will offer opportunity for enlarging upon the application of these principles4 ,if1 in the first year1 pupils can be taught to express simple ideas in sentences the parts of which are logically connected1 much will have been accomplished4 ,in paragraph construction unity and coherence must also be emphasized2 that is1 the pupils should be taught that the paragraph consists of a series of closely related sentences developing a single topic4 ,the unity of the paragraph as emphasized by the part of the definition referring to the single topic1 and the principle of coherence1 as brought out by the idea of a series of related sentences1 constitute the important points regarding paragraph construction to be developed in the first year4 ,the simplest principles of narration1 such as the choice1 order1 and connection of incidents1 may be emphasized and developed in the pupils' composition work4 ,examples of the application of these principles will be noted constantly in the short stories read in class4 ,during the second semester the elementary principles of description can be developed from the reading1 and pupils can be led to add a descriptive element to their narrative themes1 or even to write short descriptive themes4 ,after studying the descriptive methods used in the portrayal of a character or scene in the story read in class1 the pupils may very naturally be encouraged to write descriptions of persons or places with which they are familiar4 ,the knowledge and application of these principles of composition1 thoroughly mastered1 is all the rhetoric that is necessary for the first year4 #d4 ,theme ,writing ,in the first year one or two short themes a week will give sufficient practice in composition4 ,a short theme should consist of one well-rounded paragraph of about #aej words4 ,the one-paragraph theme of this length has several advantages4 ,first1 the pupil is taught from the beginning of his high school composition work to regard the paragraph as a unit of some length1 which may be complete in itself4 ,second1 the pupil usually has enough ideas for a short theme1 and can present them simply and directly without writing to fill space1 as he sometimes must do when longer themes are required4 ,third1 a teacher can correct these short single page themes in less time1 and yet see clearly the pupil's faults1 for he is likely to make the characteristic errors as evident in one page as in three or four4 ,if the teacher has time to correct carefully two short themes a week1 one of these may be prepared outside the class room1 and the other may be written during part of one of the recitation periods4 ,this plan gives the pupil practice in carefully prepared written work for the writing of which he has plenty of time1 and also in writing rapidly in class when he has time to prepare but a single draft of his theme4 ,as in all composition work1 these themes must be promptly and carefully corrected by the teacher2 and the errors1 as has already been pointed out1 should be indicated by signs and abbreviations so that the pupil may have the benefit of correcting his mistakes4 ,this correction by the pupil may be done either by rewriting the theme or by revising it and making corrections neatly between the lines1 or in some other convenient place4 ,in either case1 the work should be returned to the teacher so that he may glance over the original and rewritten forms1 or the original as revised1 and may see whether the errors have been corrected and the changes properly made4 ,in the first year the conferences of teacher and pupil on composition work are of great importance4 ,by talking over the work1 the teacher can do much towards encouraging a pupil who becomes disheartened because of the difficulties in expressing his ideas in writing4 ,in these conferences1 also1 the teacher can learn much concerning the pupil's interests and character1 and by sympathy and insight can be as helpful to the excellent pupil as to the mediocre or poor one4 #e4 ,reading ,the selection of suitable masterpieces for reading and study in the first year must be made with particular care1 since the pupils' attitude toward the reading and study of literature is often influenced for some time by their first impressions4 ,as the purpose of the reading is not only to have the pupils understand what they read by teaching them to read carefully and accurately1 but also to interest them in reading good literature1 it is desirable to begin on material that does not present too many difficulties4 ,the length of the selection is also an important element4 ,the piece of literature must not be so long that interest in it flags or that the pupil can not grasp it in its entirety and study it as a unit4 ,short stories1 tales1 and narrative and descriptive sketches combine more of the desired elements than other forms of literature4 ,prose narratives of this type also make possible the close and effective correlation of the reading and composition1 the importance of which has already been emphasized4 ,among the short stories and sketches that have been used successfully in the first year and that may be taken as typical are ,hawthorne's 8,twice ,told ,tales01 ,irving's 8,rip ,van ,winkle0 and 8,legend of ,sleepy ,hollow01 ,holmes' 8,my ,hunt ,after the ,captain01 ,warner's 8,a-,hunting of the ,deer01 ,dickens' 8,a ,christmas ,carol04 ,mythology and folk tales have also been tried with considerable success in the first semester of the first year2 the available selections include ,hawthorne's 8,wonder ,book01 ,church's 8,the ,story of the ,iliad0 and 8,the ,story of the ,odyssey01 ,peabody's 8,old ,greek ,folk ,stories01 ,bryant's translations of the 8,iliad0 and the 8,odyssey0 and ,palmer's translation of the 8,odyssey04 ,the advantages of using prose for reading and study in the first year in preference to poetry or the poetical drama1 are important ones4 ,in the first place since it is desirable to teach pupils to get the whole thought contained in what they read1 it is undoubtedly best to begin with those forms in which ideas are expressed in the usual order1 which1 of course1 is that of prose rather than that of poetry or the poetical drama4 ,the training in following and grasping in their entirety the expressed thoughts of others as they appear in the simplest logical order of prose should be one of the first aims of the first year reading4 ,in the second place poetic inversions and figurative expressions increase so greatly the pupils' difficulties in understanding what they read1 that at the beginning of the course it makes too great a task of that which should be a source of interest and pleasure4 ,to pass over these difficulties and emphasize simply the story or description in the study of poetry is to encourage the bad habit of careless1 inaccurate reading4 ,if the pupil is taught to understand fully the prose that he reads in the first year1 his progress in reading poetry in the following years will be much more rapid4 ,these advantages together with close correlation possible between the study of prose and the theory and practice of composition should determine the choice of reading for the first year4 ,what has already been said in regard to the reading in general 7p4 #bc7 applies particularly to the first year work4 ,,vi ,,second ,,year ,,english #a4 ,composition ,in the second year the composition and the reading which have been begun in the first year may be continued in about the same proportion1 that is1 about one-half of the five periods a week may be devoted to each4 ,the work should be largely a development and expansion of that of the first year4 ,in the study of the rhetorical principles the consideration of sentence construction should be continued1 and the principle of emphasis and its application should be studied4 ,the several types of sentences1 such as long1 short1 loose1 periodic1 and balanced1 and their uses should receive considerable attention1 and the importance of variety in sentence structure may be emphasized4 ,in the discussion of paragraph structure more study may be given to the details of its construction by developing the importance of the principles of emphasis1 as well as by considering again the principles of unity and coherence4 ,the methods of developing the paragraph topic will naturally form a part of the work of paragraph construction1 particularly in the second semester1 when the principles of exposition are studied4 ,the application of the same principles of unity1 emphasis1 and coherence to the whole theme1 where it consists of a number of paragraphs1 may also be developed1 for in the second year it is desirable to have the students write longer themes1 as well as the short ones4 ,the forms of discourse1 narration and description1 studied in the first year1 will also be developed and expanded during the second year1 and more emphasis can be placed upon the several forms of description4 ,from description the pupil can be led by gradual steps to the study of exposition1 and this subject may be developed as fully as the maturity of the pupils will permit4 ,it is also possible in some schools to undertake the elementary forms of argumentation toward the end of the second year1 particularly if there is considerable interest and activity in the school debating society1 but it is not desirable to undertake much of this work with immature pupils4 ,the reading of the second year will also furnish material for a study of words and figures of speech4 ,in the analysis and writing of description it is natural to note the effects of different kinds of words1 and to discriminate between the general1 colorless term and the specific1 picture-making expression4 ,in description1 likewise1 the effectiveness of contrast1 or of a comparison in the form of a simile or metaphor may be pointed out4 ,in exposition emphasis must be given to the importance of using the exact term to make clear the idea1 and to the dependence of clearness upon this accurate choice and use of words4 ,the use of comparisons1 contrast1 and other figures of speech1 may also be studied in relation to exposition4 ,in the second year1 as in the first1 the subjects for composition should be drawn largely if not entirely1 from the pupil's own experiences4 ,in narrative and descriptive themes the pupil1 after his practice in the first year1 will find little difficulty in choosing the right kind of subjects4 ,in exposition he can be encouraged to write explanations of those subjects with which he is thoroughly familiar4 ,simple manufacturing processes1 the operation of machinery or of mechanical devices generally1 methods of doing any kind of work1 directions for playing games1 and many other similar subjects that the pupil understands thoroughly1 furnish excellent material for simpler expository themes4 ,if argumentation is undertaken1 the pupil may be led to discuss questions constantly arising in connection with the life of the school and the community1 and thus he can obtain most of his material from his own experiences4 ,the plan of having one or two paragraph themes of from #aej to #bjj words each week should be continued throughout the second year4 ,every month or six weeks pupils should write a longer theme of from #fjj to #hjj words1 that is1 a theme of four or five paragraphs4 ,both the short and the long theme should be promptly and carefully corrected by the teacher and revised or rewritten by the pupil4 ,in the second year a careful revision of the corrected themes by the pupils is usually sufficient1 but all themes that can be sufficiently improved to make rewriting worth while1 should be rewritten4 #b4 ,reading ,the general purpose and the character of the reading in the second year are the same as in the first4 ,during the first part of the year narrative and descriptive material should be read1 and during the second semester some of the simpler types of essays may be used as a basis of a study of exposition4 ,as has already been indicated in connection with the composition1 the pupils' attention should be directed to the use of words and figures of speech in the masterpieces4 ,the plot and its development1 and the form in which the story is told can be studied in more detail than in the first year4 ,methods of describing persons and places and of delineating character1 taken up in connection with description1 will frequently be exemplified in the reading4 ,direction may be given to the study of essays by considering them as examples of exposition4 ,all this analytical work ought to be carried on with a view not only to developing inductively or illustrating the principles of composition which it is desired to have the pupils apply in their own writing1 but also to having the pupils understand the author's purpose and the methods which he uses to accomplish it2 that is1 to understand fully what they are reading4 ,the following may be taken as typical of the character of the reading best adapted for the purposes outlined3 ,irving's 8,sketch ,book0 and 8,tales of the ,alhambra01 ,poe's 8,gold ,bug01 ,thoreau's 8,the ,succession of ,forest ,trees01 ,burroughs' 8,birds and ,bees0 and 8,sharp ,eyes01 ,macaulay's 8,lord ,clive0 and 8,life of ,samuel ,johnson01 ,lincoln's 8,gettysburg ,speech40 ,if at the end of the first semester the pupils have learned to read prose of average difficulty1 it is often advantageous during the second semester to study a play of ,shakespeare's1 and 8,merchant of ,venice0 or 8,julius ,caesar0 is well adapted for this purpose4 ,narrative poetry such as ,tennyson's 8,idylls of the ,king01 ,arnold's 8,sohrab and ,rustum01 ,coleridge's 8,ancient ,mariner01 or ,scott's 8,lady of the ,lake0 may also be used successfully during the second semester4 ,,vii ,,third ,,year ,,english #a4 ,reading and ,history of ,literature ,the plan for the third year reading provides for a survey of ,english and ,american literature1 in which about three-fourths of the time is to be devoted to ,english literature1 and one-fourth to ,american literature4 ,in designating the reading as a study of ,english and ,american literature1 it is not intended that the history of literature1 as such1 should occupy any considerable portion of the time4 ,it is not desirable to devote more than one-tenth to one-fifth of the time1 that is1 from one-half to one period a week1 to text-book work in the history of literature4 ,the greater part of the time 7about four periods a week7 should be spent in the reading of selections from representative authors4 ,in the study of the history of literature1 emphasis should be placed upon general movements and tendencies in literature1 and their relation to national conditions and ideals4 ,in each period one or two typical authors should be selected whose works are to be studied in the class room4 ,selections from writers contemporary with these authors may be read by the pupils as library reading4 ,in a course of this kind it is much more important to have the pupils read the literature than to have them read about literature4 ,it is also much more important to lead the pupils to perceive the characteristics of the author in a selection read in or out of the class room than to have these characteristics called to their attention by the teacher or by reading criticism4 ,in connection with the course in the history of literature1 a list of books for outside reading should be prepared1 and the pupils should be encouraged to supplement the class room study by reading other works of the authors studied in class4 ,it seems desirable to follow as far as possible the chronological order in the reading done in and out of the class room so that the pupil may be led to see the development of ,english and ,american literature and the relation of the work of one author to that of those preceding and succeeding him4 ,the detailed study of selections from the most important ,english and ,american authors1 is a large task for one year's work1 but experience has shown that much can be accomplished toward widening the pupils' knowledge and appreciation of literature by a course of this kind4 ,after two years of intensive study of the elements of expression1 the average pupil will be able to comprehend more readily what he reads1 and less time will have to be spent on the details4 ,the selections studied may also be regarded from a somewhat different point of view from that taken during the first two years4 ,the piece of literature may be considered in relation to the author's personality and the age in which it was written1 as well as in comparison with other literature that has been read by the pupils4 ,in the history of ,english literature characteristic selections from most of the following authors should be studied in class3 ,chaucer1 ,shakespeare1 ,bacon1 ,milton1 ,pope1 ,addison1 ,goldsmith1 ,gray1 ,burns1 ,scott1 ,wordsworth1 ,coleridge1 ,keats1 ,shelley1 ,tennyson1 ,browning1 ,lamb1 ,george ,eliot1 ,dickens1 and ,thackeray4 ,in the survey of ,american literature the same general method should be followed4 ,as the pupils have generally read considerable of the poetry of ,longfellow1 ,whittier1 ,bryant1 and ,holmes1 as well as selections from the prose of ,irving1 ,hawthorne1 and ,thoreau1 a brief review of these will be sufficient4 ,the class work should therefore consist largely of the reading and study of works of authors not previously read in class1 such as the poems and short stories of ,poe1 essays of ,emerson1 ,lowell1 and ,holmes1 and novels of ,hawthorne and ,cooper4 #b4 ,composition ,during the third year about one-fifth of the time1 or one period a week1 should be devoted to ,english composition4 ,one short theme a week1 and one long composition once in six weeks will furnish the necessary practice in writing4 ,while the narrative and descriptive work of the first two years may be continued1 more emphasis should be placed upon expository composition1 in continuation of the study of exposition begun in the second semester of the second year4 ,besides explaining the various processes and simple mechanical devices with which he is familiar1 the pupil may be encouraged to express his own opinions in regard to what he reads in literature4 ,if the conditions are favorable1 the kind of elementary argumentation suggested for the second year1 may also be used in theme work4 ,,viii ,,fourth ,,year ,,english #a4 ,reading ,in the fourth year about four-fifths of the time should be allotted to reading and about one-fifth to composition4 ,the time assigned to the reading may most profitably be devoted to an extensive study of a few typical examples of the most important forms of literature4 ,the novel1 the drama1 the lyric1 and the essay1 may be taken as the types to be studied4 ,the maturity of the pupils in the fourth year will make possible a detailed analysis of the essential elements of these forms1 which cannot be undertaken earlier in the course4 ,by a careful study of a few of the best examples of each form to be found in ,english literature1 the pupils not only come to know and appreciate some of the best literature in our language but are given some canons by which to judge what they read independently after they leave school4 #b4 ,the ,novel ,the novel is a convenient form with which to begin the fourth year work4 ,george ,eliot's 8,silas ,marner0 is one of the novels which lends itself admirably to intensive study4 ,the kind of novel1 the theme1 the author's point of view1 the plot1 the characters1 the setting1 and other important elements are all to be carefully studied4 ,in the detailed analysis of plot1 the introduction1 the situation1 the development of the plot1 the secondary plots1 the interweaving of principal and subordinate plots1 the means of sustaining interest and suspense1 the climax of the action1 the unraveling1 the denouement and the probability and plausibility of action1 should receive consideration4 ,the study of character presented in the novel will include the interaction of plot and character1 the types of character1 the grouping of characters1 the methods of delineation1 the truth to life1 and similar points4 ,it is also important to consider the novel as the expression of the author's personality1 of his attitude toward life1 and of his interpretation1 or 8criticism10 of life4 ,since time will permit of the detailed analysis1 in class1 of but one novel1 use for comparison may be made of other novels which the pupils have read or are reading as a part of their library work4 ,novels of such different types as ,goldsmith's 8,vicar of ,wakefield10 ,dickens' 8,tale of ,two ,cities10 ,scott's 8,ivanhoe10 and 8,talisman10 ,thackeray's 8,henry ,esmond10 ,hawthorne's 8,house of ,seven ,gables10 and ,george ,eliot's 8,romola10 will furnish ample supplementary material4 #c4 ,the ,drama ,the consideration of plot1 character1 etc41 in the novel will prepare the way for a similar study of the drama4 ,shakespeare's 8,macbeth0 offers excellent opportunity for thoughtful study4 ,the important elements in the technique of dramatic construction may be brought out inductively in the course of the reading4 ,the indirect and suggestive method of describing character of the drama will give rise to much discussion1 for pupils will naturally differ in their estimates of the characters as a result of different interpretations which they give to the words and actions of the characters4 ,to give a better conception of the drama as it is to be acted1 important scenes may be presented in the class room by the pupils4 ,the greater appreciation of the drama and dramatic action which comes from the preparation for an informal presentation of this kind1 makes it well worth undertaking4 ,some attention should also be given to the style and the versification in so far as these are necessary for a better understanding of the author's methods4 #d4 ,the ,lyric ,the study of lyric poetry1 although often difficult alike to teacher and pupils1 should be undertaken during the second semester of the fourth year4 ,much of the success will depend upon the character of the lyrics selected for reading and study4 ,palgrave's 8,golden ,treasury of ,songs and ,lyrics10 containing as it does much of the best ,english poetry of this type1 is the most convenient book to use4 ,while interpretative reading and the memorizing of these poems often lead to a real appreciation of their music1 and the emotions which they express1 a judicious analysis of metrical structure and poetic expression will result in a better understanding of the essentials of good poetry4 #e4 ,the ,essay ,the expository essay1 as the most difficult form of literature for high school pupils1 may well be left until the last part of the fourth year4 ,the analysis of the logical development of the subject of the essay is of particular value at this stage of the course4 ,the outlining of the plan of the essay with its divisions into sections1 sub-sections1 topics1 subtopics1 and details is excellent practice4 ,macaulay's essays1 ,burke's 8,speech on ,conciliation10 and ,webster's 8,first ,bunker ,hill ,oration0 although1 of course1 the latter two are orations rather than essays1 afford material for this kind of study4 ,burke's 8,speech on ,conciliation10 although difficult for young pupils1 is particularly well adapted for analysis of logical structure1 and may be used to study methods of exposition and argumentation4 ,the elements and qualities of prose style illustrated in the essays should also be considered4 ,balance1 parallelism1 antithesis1 hyperbole1 climax1 terse and epigrammatic expression1 methods of transition and connection1 and similar elements of ,macaulay's style are sufficiently obvious to be readily recognized by the high school pupil after his attention has once been called to them4 ,the rhetorical qualities of ,burke's or ,webster's style are also evident enough to make possible the study of them by high school pupils4 #f4 ,library ,reading ,the library reading for the fourth year can be arranged to supplement the work done in class4 ,several standard novels1 two or three plays of ,shakespeare1 considerable lyric poetry1 and a number of essays may be assigned from time to time so that the library and class room reading will run parallel4 ,reference by teacher and pupils to these pieces of literature by way of comparison with those under consideration1 will lead to a close correlation of these two phases of the reading4 #g4 ,composition ,the fourth year is in some respects the most important for the work in composition4 ,the ability to write good ,english fluently1 acquired by most of the pupils from several years of constant practice2 the maturity of the pupils2 their larger stock of knowledge and wider experience2 and the possibility of making practical application of their ability to write in preparing orations and debates1 reporting for local newspapers1 or editing the school publications2 all tend to make composition a more attractive and significant subject in the fourth year than it seems to be at any other period of the course4 ,the emphasis will naturally be shifted from the mechanical details of expression which necessarily occupy the greater portion of the time in the earlier years of the course1 to the larger and more interesting problems of expression4 ,the study of the principles of exposition and argumentation1 and of the development of the theme1 as they appear in the plan and outline of the essay1 take on new significance when their application to the writing of a debate or a commencement oration is made clear4 ,the pupil discovers that the periodic sentence1 parallel construction1 climax1 and other rhetorical devices1 are effective means that he may use to accomplish his ends4 ,for those with literary inclinations the study of plot1 characterization1 and poetic form and expression furnishes new inspiration for their own work4 ,the teacher who fails to take advantage of this new interest in writing for practical purposes1 by correlating it closely with all the ,english work of the fourth year1 is losing the best opportunity of the course to teach the art of effective expression4 ,the amount of written work should be about the same as in the third year2 that is1 a weekly theme of about #bej words1 or a fortnightly one of from #djj to #ejj words2 and a long theme of from #hjj to #abjj words at intervals of six weeks4 ,the subjects chosen for both long and short themes1 in the course of the year should give practice in all the forms of discourse1 narration1 description1 exposition1 and argumentation1 especially in combinations as they are found in the literature that is read in and out of the class room4 ,the writing of a short story or of a chapter of a novel proves an interesting form of composition when fiction is being studied4 ,the consideration of problems of character in the novels and dramas read and studied1 permits pupils to express their opinions in essay form1 while debates on questions growing out of class room discussions will give practice in argumentation4 ,the preparation of commencement essays and orations1 as has already been suggested1 can readily be made a part of theme writing during the second semester4 #h4 ,writing of ,verse ,the writing of verse has frequently been tried in the fourth year1 and has generally proved an interesting and valuable exercise4 ,the reading of poetry in the third and fourth years makes necessary some study of metre and verse forms1 and with the information thus obtained as a basis1 many pupils1 it has been found1 can write creditable verse4 ,exercises beginning with blank verse1 octosyllabic and heroic couplets1 and continuing with the quatrain1 the triolet1 the rondeau1 the ,spenserian stanza1 and possibly the sonnet1 can be given from time to time in place of weekly themes and will usually arouse considerable interest4 ,efforts to write verse1 whether entirely successful or not1 give the pupils a keener feeling for rhyme and rhythm1 a better understanding of metrical forms1 and of the nature of poetical composition2 and to that extent should heighten their appreciation of poetry4 ,,ix ,,outline ,,of ,,high ,,school ,,course ,,in ,,english ,the following outline is designed to show in general the amount and character of each part of the ,english work to be considered in each year of the course4 ,the order in which the details are arranged in each year is not intended to be the order in which these parts of the subject are to be taken up in the class room4 ,first ,year ,a4 ,,composition 7one-half of the time74 ,i4 ,grammar1 ,punctuation1 ,capitalization4 #a4 ,work based on errors in pupils' written work4 #b4 ,occasional review of general principles4 ,,ii4 ,sentence4 #a4 ,grammatical construction4 #b4 ,unity4 #c4 ,coherence4 ,,iii4 ,paragraph4 #a4 ,length4 #b4 ,unity 7topic1 selection of material74 #c4 ,coherence 7order1 connection74 ,,iv4 ,forms of ,discourse4 #a4 ,narration4 #b4 ,description4 ,v4 ,theme ,writing4 ,at least one and not more than two1 one-paragraph themes of from #aej-bjj words1 every week2 to be carefully corrected by teacher and to be rewritten by pupil4 ,b4 ,,reading 7one-half of the time74 ,short stories and descriptive sketches4 ,second ,year ,a4 ,,composition 7one-half of the time74 ,i4 ,sentence4 #a4 ,length 7long1 medium1 short74 #b4 ,rhetorical form 7loose1 periodic1 balanced74 #c4 ,unity4 #d4 ,coherence4 #e4 ,emphasis4 ,,ii4 ,paragraph4 #a4 ,unity4 #b4 ,coherence 7subtopics1 order1 and connection74 #c4 ,emphasis 7selection1 proportion1 position74 #d4 ,methods of developing topic4 ,,iii4 ,whole ,composition--,unity1 ,coherence1 ,emphasis4 ,,iv4 ,words4 ,v4 ,figures of ,speech4 ,,vi4 ,forms of ,discourse4 #a4 ,narration4 #b4 ,description4 #c4 ,exposition4 ,,vii4 ,theme ,writing4 ,at least one and not more than two1 one-paragraph themes of from #aej-bjj words1 every week2 and one four or five paragraph theme of from #fjj-hjj words1 every six weeks2 both long and short themes to be carefully corrected by teacher and to be revised or rewritten by pupil4 ,b4 ,,reading 7one-half74 ,descriptive and expository essays4 ,third ,year ,a4 ,,reading 7four-fifths74 #a4 ,history of ,english ,literature 7one-fifth to one-tenth for of year74 #b4 ,history of ,american ,literature 7one-fifth to one-tenth for of year74 #c4 ,study of selections from representative ,english and ,american authors 7three-fifths to four-fifths74 ,b4 ,,composition 7one-fifth to one-tenth74 ,i4 ,exposition4 #a4 ,kinds4 #b4 ,methods4 ,,ii4 ,structure of ,whole ,composition4 #a4 ,unity4 #b4 ,coherence 7transition1 connection74 #c4 ,emphasis 7proportion1 position74 ,,iii4 ,words1 figures of speech1 sentences1 and paragraphs4 ,,iv4 ,theme ,writing4 ,one short theme not exceeding #ejj words every week2 and one long theme of from #gjj-ajjj words every six weeks2 to be carefully corrected by teacher and to be rewritten or revised by pupil4 ,fourth ,year ,a4 ,,reading 7four-fifths74 ,study of typical examples of the novel1 the drama1 the lyric1 and the essay4 ,b4 ,,composition 7one-fifth74 ,i4 ,narration1 ,description1 and ,exposition4 ,,ii4 ,argumentation4 ,methods4 ,,iii4 ,words1 figures of speech1 sentences1 paragraphs1 and whole composition4 ,,iv4 ,verse writing4 ,v4 ,theme writing4 ,one short theme not exceeding #ejj words1 every week2 and one long theme of from #hjj-abjj words every eight weeks2 to be carefully corrected by teacher and revised or rewritten by pupil4 ,x ,,list ,,of ,,readings ,,for ,,four ,,years ,the following list contains the college entrance requirements in ,english for the years #aijf to #aiaa1 and other selections adapted for reading and study in high school ,english classes4 ,the ,roman numerals following the titles indicate the year or years of the course herein outlined1 in which the books may most profitably be read3 ,addison's ,de ,coverley ,papers4 ,,ii1 ,,iii4 ,addison and ,steele's ,spectator4 ,,ii1 ,,iii4 ,arnold's ,sohrab and ,rustum4 ,,ii4 ,bacon's ,essays4 ,,iii4 ,blackmore's ,lorna ,doone4 ,,iv4 ,bunyan's ,the ,pilgrim's ,progress1 ,part ,one4 ,i1 ,,iii4 ,byron's ,the ,prisoner of ,chillon1 and ,mazeppa4 ,,iii4 ,browning's ,cavalier ,tunes1 ,the ,lost ,leader1 ,how ,they ,brought the ,good ,news from ,ghent to ,aix1 ,evelyn ,hope1 ,home ,thoughts ,from ,abroad1 ,home ,thoughts from the ,sea1 ,incident of the ,french ,camp1 ,the ,boy and the ,angel1 ,one ,word ,more1 ,herv ,riel1 ,pheidippides4 ,,iii4 ,bryant's ,translation of the ,iliad and ,odyssey 7selections74 ,i1 ,,ii4 ,burrough's ,birds and ,bees1 ,sharp ,eyes1 ,a ,bunch of ,herbs1 etc4 ,i1 ,,ii4 ,burke's ,conciliation ,with ,america4 ,,iv4 ,carlyle's ,essay on ,burns4 ,,iii1 ,,iv4 ,carlyle's ,heroes and ,hero ,worship4 ,,iii1 ,,iv4 ,chaucer's ,prologue4 ,,iii4 ,coleridge's ,ancient ,mariner4 ,,ii1 ,,iii4 ,cooper's ,last of the ,mohicans4 ,,ii1 ,,iii4 ,de ,quincey's ,joan of ,arc1 and ,the ,english ,mail ,coach4 ,,iii1 ,,iv4 ,dickens' ,tale of ,two ,cities4 ,,ii1 ,,iv4 ,dickens' ,christmas ,carol4 ,i4 ,emerson's ,essays 7selected74 ,,iii1 ,,iv4 ,franklin's ,autobiography4 ,i1 ,,ii1 ,,iii4 ,mrs4 ,gaskell's ,cranford4 ,,iii1 ,,iv4 ,george ,eliot's ,silas ,marner4 ,,iv4 ,goldsmith's ,the ,deserted ,village4 ,,ii1 ,,iii4 ,goldsmith's ,the ,vicar of ,wakefield4 ,,ii1 ,,iii4 ,hawthorne's ,house of the ,seven ,gables4 ,,ii1 ,,iii4 ,hawthorne's ,twice ,told ,tales4 ,i4 ,irving's ,life of ,goldsmith4 ,,ii1 ,,iii4 ,irving's ,tales of a ,traveler4 ,i1 ,,ii4 ,irving's ,alhambra4 ,,ii4 ,irving's ,sketch ,book4 ,i1 ,,ii4 ,lamb's ,essays of ,elia4 ,,ii1 ,,iii4 ,lincoln's ,gettysburg ,speech1 etc4 ,,ii1 ,,iv4 ,longfellow's ,the ,courtship of ,miles ,standish4 ,i1 ,,ii4 ,lowell's ,vision of ,sir ,launfal4 ,,ii4 ,macaulay's ,lays of ,ancient ,rome4 ,,ii4 ,macaulay's ,essay on ,addison4 ,,iii1 ,,iv4 ,macaulay's ,lord ,clive4 ,,ii1 ,,iv4 ,macaulay's ,life of ,johnson4 ,,ii1 ,,iv4 ,milton's ,lycidas1 ,comus1 ,l',allegro1 and ,,ii ,penseroso4 ,,iii1 ,,iv4 ,palgrave's ,golden ,treasury 7,first ,series7 ,books ,,ii and ,,iii with special attention to ,dryden1 ,collins1 ,gray1 ,cowper1 and ,burns4 ,,iii1 ,,iv4 ,palgrave's ,golden ,treasury 7,first ,series7 ,book ,,iv with special attention to ,wordsworth1 ,keats1 and ,shelley4 ,,iii1 ,,iv4 ,poe's ,poems4 ,,iii1 ,,iv4 ,poe's ,short ,stories4 ,,ii1 ,,iii4 ,pope's ,the ,rape of the ,lock4 ,,iii4 ,pope's ,essay on ,man and ,essay on ,criticism4 ,,iii4 ,ruskin's ,sesame and ,lilies4 ,,ii1 ,,iii4 ,scott's ,ivanhoe1 ,lady of the ,lake1 and ,quentin ,durward4 ,,ii1 ,,iii4 ,shakespere's ,julius ,caesar4 ,,ii1 ,,iii4 ,shakespere's ,macbeth4 ,,iv4 ,shakespere's ,as ,you ,like ,it1 ,henry ,v41 ,twelfth ,night1 and ,midsummer ,night's ,dream4 ,,iii4 ,shakespere's ,merchant of ,venice4 ,,ii1 ,,iii4 ,spenser's ,faerie ,queene 7selections74 ,,iii4 ,stevenson's ,treasure ,island4 ,i1 ,,ii4 ,thoreau's ,succession of ,forest ,trees4 ,i1 ,,ii4 ,tennyson's ,gareth and ,lynette1 ,lancelot and ,elaine1 ,the ,passing of ,arthur4 ,,ii1 ,,iii4 ,thackeray's ,henry ,esmond4 ,,iv4 ,warner's ,a-,hunting of the ,deer4 ,i4 ,washington's ,farewell ,address4 ,,ii1 ,,iv4 ,webster's ,first ,bunker ,hill ,oration4 ,,ii1 ,,iv4 ,,xi ,,outline ,,for ,,the ,,study ,,of ,,composition ,,and ,,style ,the following is a fairly complete outline of the essential elements of rhetorical theory as applied in composition work and in a study of structure and style4 ,as such1 it is designed primarily for the teacher who desires to review any part of the subject in preparation for teaching composition4 ,many portions may be used in the class room in a simplified form1 to supplement or summarize parts of the text-books in rhetoric and composition4 ,the books to which references are given are in general the most convenient and comprehensive manuals for the particular parts of the subject with which each deals4 ,the references as abbreviated in the outline are as follows3 7,p71 ,pearson1 ,principles of ,composition4 ,heath1 ,boston 74#ej74 7,w71 ,barrett ,wendell1 ,english ,composition4 ,scribner1 ,new ,york4 7#a4ej74 7,m71 ,minto1 ,manual of ,english ,prose ,literature4 ,ginn1 ,new ,york4 7#a4ej74 7,c71 ,cairns1 ,forms of ,discourse4 ,ginn1 ,new ,york4 7#a4ae74 7,,bi1 ,,bii71 ,bain1 ,english ,composition and ,rhetoric1 #b ,vols4 ,american ,book ,co41 ,new ,york4 7#a4bj a vol474 #a4 ,whole ,composition ,i4 ,,subject4 #a4 ,what is it8 #b4 ,is it indicated by title8 #c4 ,is it stated at the beginning8 #d4 ,is it proportionate to the length of the composition8 ,p4 #aa-ab4 ,,ii4 ,,purpose4 #a4 ,what is it8 #b4 ,is it stated8 #c4 ,is it accomplished8 ,,iii4 ,,interest4 #a4 ,is it an interesting subject8 #b4 ,is it made interesting8 #c4 ,how is it made interesting8 ,,iv4 ,,kind ,,of ,,composition4 #a4 ,narration1 ,description1 ,exposition1 ,argumentation1 or ,persuasion8 #b4 ,a combination of forms8 ,v4 ,,plan4 #a4 ,what are the main divisions of the composition8 #b4 ,how is the subject introduced8 #c4 ,what are the subdivisions in the body of the composition8 #d4 ,how is the composition concluded8 ,,vi4 ,,title4 #a4 ,accurate8 #b4 ,concise8 #c4 ,attractive8 ,p4 #ab-ac4 ,a4 ,,unity4 ,p4 #ae-be4 ,w4 #aee-afb4 #a4 ,selection of ,material4 a4 ,subject and ,purpose8 ,violations of unity of selection4 7#a7 ,false ,introduction4 ,p4 #ah4 7#b7 ,tag ,conclusion4 ,p4 #db4 7#c7 ,digressions4 ,p4 #bj4 #b4 ,unity of ,expression4 a4 ,point of ,view8 ,p4 #be4 a4 ,point of view evident8 ,p4 #be4 ,b4 ,,coherence4 ,p4 #bf-cc4 ,w4 #afb-agh4 #a4 ,arrangement4 ,w4 #afb-aff4 a4 ,order of parts of composition4 ,p4 #bf4 b4 ,arrangement evident8 ,p4 #bi4 c4 ,announcement4 ,p4 #ca4 d4 ,summary4 ,p4 #cj4 cf4 ,p4 #dd4 #b4 ,connection4 ,w4 #agc-agh4 a4 ,devices for ,transition and ,connection4 7#a7 ,transition words1 phrases1 and sentences4 7#b7 ,transition paragraphs4 ,p4 #cj4 7#c7 ,repetition4 7#d7 ,parallel construction4 ,w4 #agd4 7#e7 ,retrospective and prospective reference4 ,c4 ,,emphasis4 ,p4 #cd-de4 ,w4 #aff-agb4 #a4 ,selection of ,material4 ,p4 #cd4 a4 ,important details chosen8 #b4 ,proportion4 ,p4 #cd4 a4 ,parts given space proportionate to their importance8 #c4 ,arrangement4 ,p4 #ch-dc4 a4 ,important parts in emphatic positions8 a4 ,at end4 b4 ,at beginning4 c4 ,summary4 d4 ,climax4 e4 ,antithesis4 #b4 ,paragraphs ,p4 #ec-fj4 ,w4 #aad-adi4 ,m4 #aa2 #ec-ee2 #hi-ig2 #aeb4 ,,bi1 #ia-acd4 ,a4 ,,form4 #a4 ,related ,paragraph4 #b4 ,independent ,paragraph4 #c4 ,transition ,paragraph4 #d4 ,paragraph in ,conversation4 ,b4 ,,length4 ,w4 #aba-abf4 #a4 ,short--#ajj words or less4 #b4 ,medium--#ajj-cjj words4 #c4 ,long--#cjj words or more4 ,c4 ,,unity4 ,p4 #ec-fj4 ,w4 #abb-abf4 ,i4 ,topic4 #a4 ,definition of ,topic 7i4 e4 determination of its limits74 #b4 ,division of ,topic 7i4 e4 subtopics74 #c4 ,topic ,sentence4 ,p4 #eg4 ,w4 #abd4 #d4 ,do first and last sentences give substance of the paragraph8 ,p4 #ga-ge4 ,w4 #abh4 ,,ii4 ,selection of ,material4 #a4 ,topic and subtopics8 #b4 ,point of ,view8 ,violations of unity of selection4 7#a7 ,false ,beginning4 cf4 ,p4 #ah4 7#b7 ,tag ,conclusion4 cf4 ,p4 #db4 7#c7 ,digressions4 ,p4 #ef-eg4 ,,iii4 ,unity of ,expression 7cf4 ,paragraph ,coherence74 #a4 ,uniformity of ,construction4 ,violations4 7#a7 ,needless change of voice or tense of verbs4 7#b7 ,needless change of subject of sentences4 ,d4 ,,coherence4 ,p4 #fa-gj4 ,w4 #acc-adf4 ,i4 ,arrangement4 ,p4 #fa-fe4 ,,bi1 #aad-abj4 #a4 ,order of ,parts4 a4 ,related ideas brought together8 ,w4 #ace4 #b4 ,arrangement evident8 a4 ,subtopic and transition sentences4 ,,ii4 ,connection4 ,p4 #fe-gj4 ,w4 #adb-adf4 ,,bi1 #id-ajh4 #a4 ,devices for ,coherence4 a4 ,connective words1 phrases1 and clauses4 b4 ,transition sentences4 c4 ,repetition4 d4 ,parallel construction4 ,w4 #acg-adb4 e4 ,retrospective and prospective reference4 #b4 ,position of ,connectives4 ,w4 #add4 a4 ,at beginning of sentences4 b4 ,imbedded in midst of sentences4 ,e4 ,,emphasis4 ,p4 #ga4 ,w4 #abf-acc4 ,,bi1 #aba-acd4 ,i4 ,selection of ,material4 #a4 ,most important parts chosen8 cf4 ,p4 #cd4 ,,ii4 ,proportion4 ,w4 #aca4 cf4 ,p4 #cd4 #a4 ,parts given space proportionate to their importance8 ,,iii4 ,arrangement4 ,p4 #ga-gh4 ,w4 #abf-aca4 #a4 ,position of parts4 #b4 ,position of important parts4 a4 ,at end4 b4 ,at beginning4 c4 ,climax4 d4 ,summary4 e4 ,antithesis4 ,f4 ,,variety4 #a4 ,in sentence construction4 a4 ,grammatical4 b4 ,rhetorical4 #b4 ,in sentence beginnings4 #c4 ,in devices for coherence4 #d4 ,in devices for emphasis4 #c4 ,sentences ,p4 #hc-aaf4 ,w4 #gf-aac4 ,m4 #c-aa2 #ej-ec2 #hg-hi2 #adi-aeb4 ,,bi1 #ee-ij4 ,a4 ,,length4 ,w4 #hd2 #hi-id4 ,m4 #g4 ,,bi1 #hd-he4 ,i4 ,short ,sentence--#ae words or less4 #a4 ,use2 e4 g43-- a4 ,single short sentence4 a4 ,topic sentence4 b4 ,subtopic sentence4 c4 ,conclusion4 d4 ,transition sentence4 e4 ,for emphasis4 b4 ,series of short sentences2 e4 g43-- a4 ,rapidity4 b4 ,excitement and suspense4 c4 ,abruptness2 staccato effect4 ,,ii4 ,medium ,sentence--#ae-cj words4 ,,iii4 ,long ,sentence--#cj words or more4 #a4 ,use2 e4 g43-- a4 ,to group minor details4 b4 ,climax4 c4 ,rhythmical effect4 ,b4 ,,construction4 ,i4 ,grammatical4 #a4 ,simple4 #b4 ,complex4 #c4 ,compound4 ,,ii4 ,rhetorical4 #a4 ,loose ,sentence4 ,p4 #hf-hi4 ,w4 #hd-hi4 ,,bi1 #ee-fc4 a4 ,effect and use of loose sentence4 #b4 ,periodic ,sentence4 ,p4 #hf2 #ajf-aab4 ,w4 #hd-hi4 ,m4 #d4 a4 ,means for securing periodic effect4 a4 ,essential parts at end of sentence4 b4 ,phrases and dependent clauses at beginning4 c4 ,use of correlatives4 b4 ,effect and use of periodic sentences4 #c4 ,balanced ,sentence4 ,p4 #aab4 ,w4 #ie4 ,m4 #h4 ,,bi1 #ff-gd4 a4 ,means for securing balanced effect4 a4 ,parallelism4 b4 ,use of correlatives4 b4 ,effect and use of balanced sentences2 e4 g43-- a4 ,antithesis4 b4 ,epigrammatic expression4 ,c4 ,,unity4 ,p4 #hc-ic4 ,w4 #if-ii4 ,m4 #aj4 ,,bi1 #he-ij4 ,i4 ,unity of ,thought4 ,violations4 7#a7 ,digression4 7#b7 ,separation of parts of thought into independent sentences4 ,p4 #hi-ib4 ,,ii4 ,unity of ,expression4 7cf4 ,sentence ,coherence74 #a4 ,relation of ,parts4 a4 ,grammatical construction evident8 b4 ,parallelism of construction4 ,p4 #ajb-c4 c4 ,subordination in predication4 ,p4 #hf4 ,w4 #ajh-i4 d4 ,implied predicate 7no sentence74 ,d4 ,,coherence4 ,p4 #id-ajd4 ,w4 #aje-aaj4 ,i4 ,order4 ,w4 #aje-ajf4 #a4 ,collocation accurate8 7i4e4 words closely related in thought placed together74 a4 ,modifiers in accurate relation to modified elements8 ,violations4 7#a7 ,squinting construction4 7#b7 ,participle in false relation4 7#c7 ,misplaced adverbial modifier4 b4 ,reference exact8 ,p4 #id-if4 ,violations4 7#a7 ,ambiguous reference4 7#b7 ,no antecedent4 7#c7 ,disagreement4 c4 ,correlatives properly placed8 ,p4 #ajj-aja4 d4 ,collocation close8 ,violation4 7#a7 ,awkward separation of essential parts4 ,,ii4 ,construction 7i4 e4 elements similar in significance similar in form74 ,p4 #ajb-ajd4 a4 ,balance4 b4 ,parallel construction4 ,violations4 7#a7 ,needless change of voice or tense of verbs4 7#b7 ,needless change of grammatical subject4 ,,iii4 ,connection4 ,w4 #ajh-aaj4 a4 ,accurate expression of relation of parts by connectives4 7#a7 ,subordination indicated8 7cf4 subordination in predication under sentence unity4 ,p4 #hf74 7#b7 ,co-ordination accurately expressed8 ,e4 ,,emphasis4 ,p4 #aje-aae4 ,w4 #ii-ajc4 ,,bi1 #gd-hd4 ,i4 ,arrangement of ,parts4 #a4 ,important parts in emphatic positions8 a4 ,at beginning4 b4 ,at end4 c4 ,in other positions more emphatic4 #b4 ,suspense--periodic effect4 #c4 ,antithesis--balanced construction4 #d4 ,climax4 ,p4 #aac4 ,,ii4 ,subordination in ,predication1 7cf4 ,sentence ,unity4 ,p4 #hf47 #d4 ,words ,p4 #aai-abi4 ,w4 #ej-ge4 ,m4 #a-c2 #di-ej2 #hg2 #adg-adi4 ,,bi1 #bg-ed4 ,a4 ,,vocabulary4 ,i4 ,size4 #a4 ,actual8 #b4 ,relative8 ,w4 #ej-eb4 ,,ii4 ,range4 #a4 ,narrow or wide8 7cf4 ,kinds of words47 ,,iii4 ,character4 #a4 ,general classes of words4 a4 ,long or short8 ,w4 #eg-eh4 b4 ,anglo-,saxon or classical8 ,w4 #eb-eg4 c4 ,common or learned8 d4 ,general or specific8 ,p4 #aba-abi4 ,w4 #eh-fj4 e4 ,connotative or denotative8 ,w4 #ga-ge4 #b4 ,kinds of words4 a4 ,literary4 b4 ,scientific4 c4 ,technical4 d4 ,colloquial4 e4 ,cant4 f4 ,slang4 g4 ,coined4 h4 ,archaic4 i4 ,foreign4 #e4 ,figures of ,speech ,m4 #aa-ad2 #ee-fj2 #ig-ajd2 #aeb-aei4 ,,bi1 #ace-bcc4 7,see ,bradley1 ,classification of ,rhetorical ,figures1 ,modern ,language ,notes1 ,vol4 ,i1 pp4 #bhj-bhd47 ,a4 ,,term ,,figures 7accentuated designation of object of thought74 ,i4 ,figure of ,contrast4 #a4 ,antithesis4 ,,ii4 ,figures of ,resemblance4 #a4 ,simile 7resemblance affirmed74 #b4 ,metaphor 7resemblance assumed74 #c4 ,personification 7resemblance of inanimate to animate74 ,,iii4 ,figures of ,contiguity and ,association4 #a4 ,synecdoche 7part and whole1 genus and species74 #b4 ,antonomasia 7individual with type of its class74 #c4 ,metonymy 7sign or symbol1 cause and effect74 #d4 ,transferred epithet 7fancied sympathy or participation74 ,b4 ,,modal ,,figures 7accentuated statement of proposition74 ,i4 ,interrogation4 ,,ii4 ,exclamation4 ,,iii4 ,apostrophe 7absent addressed as if present74 ,,iv4 ,vision 7absent represented as if present74 ,v4 ,hyperbole 7statement stronger than intent74 ,,vi4 ,innuendo 7statement weaker than intent74 ,,vii4 ,irony 7statement negatory to intent74 ,c4 ,,sentence ,,and ,,paragraph ,,figures 7,co-ordination and gradation of terms or propositions73 ,i4 ,figures of ,co-ordination4 #a4 ,balance4 #b4 ,parallelism4 ,,ii4 ,figures of ,gradation4 #a4 ,climax 7ascending series74 #b4 ,anticlimax 7descending series74 #f4 ,qualities of ,style ,a4 ,,intellectual ,,qualities4 ,m4 #ae-ai2 #fj-fh2 #ajd-aji2 #aei-afa4 ,w4 #aic-bcc4 ,,bi1 #bcc-beg4 ,i4 ,simplicity4 ,relation to elements of style4 ,,ii4 ,clearness4 ,relation to elements of style4 #a4 ,perspicuity 7general clearness74 #b4 ,precision 7minute clearness74 ,b4 ,,emotional ,,qualities4 ,m4 #ai-bc2 #fd-ha2 #aji-aae2 #afb-afg4 ,w4 #bcd4 ,i4 ,strength4 ,relation to elements of style4 #a4 ,animation1 vivacity1 liveliness1 rapidity4 #b4 ,nerve1 vigor1 force1 energy1 fervor4 #c4 ,dignity1 stateliness1 splendor1 grandeur1 magnificence1 loftiness1 sublimity4 ,,ii4 ,pathos4 ,m4 #bj4 ,,iii4 ,the ,ludicrous4 ,m4 #bc4 ,,bii1 #bcf-bgi4 #a4 ,humor4 #b4 ,wit4 #c4 ,satire4 ,c4 ,,aesthetic ,,qualities4 ,m4 #bc-bf2 #ga-gb2 #aae2 #afg-afi4 ,,bii1 #bhj-bid4 ,w4 #bgb-cjg4 ,i4 ,melody 7sound or modulation74 ,,ii4 ,harmony 7sound expressive of sense74 ,,iii4 ,taste4 #g4 ,forms of ,discourse ,a4 ,,narration4 ,c4 #eh-aab4 ,i4 ,kind4 #a4 ,narration without plot4 ,c4 #eh-fg4 #b4 ,narration with plot4 ,c4 #fg-ic4 ,,ii4 ,form4 ,c4 #ei2 #gh-hh4 ,,iii4 ,purpose4 ,c4 #ei2 #fh4 ,,iv4 ,interest4 ,c4 #fe-fh2 #fi-ga4 ,v4 ,methods4 #a4 ,number and choice of details4 ,c4 #fc-fd2 #hi-ij4 #b4 ,order of details4 ,c4 #fe2 #hh-hi4 a4 ,beginning4 ,c4 #fe2 #hf-hh4 b4 ,development4 ,c4 #fe-ff2 #gd-gh4 c4 ,culmination4 ,c4 #fg4 #c4 ,diction4 ,c4 #ff-fg2 #ia4 ,b4 ,,description4 ,c4 #aac-afi4 ,i4 ,kind4 #a4 ,circumstantial4 ,c4 #adb4 #b4 ,dynamic4 ,c4 #adc4 #c4 ,suggestive4 ,c4 #add4 #d4 ,objective4 ,c4 #adh4 #e4 ,subjective4 ,c4 #adi4 ,,ii4 ,subject4 ,c4 #abc-adb4 ,,iii4 ,purpose4 ,c4 #aac2 #adg4 ,,iv4 ,methods4 #a4 ,point of view4 #b4 ,number and choice of details4 ,c4 #adg-adi4 #c4 ,arrangement of details4 ,c4 #aea4 #d4 ,diction4 ,c4 #aec4 ,c4 ,,exposition4 ,c4 #agj-bbf4 ,i4 ,kind4 #a4 ,subject4 a4 ,scientific or technical4 b4 ,popular4 #b4 ,treatment4 a4 ,scientific or technical4 b4 ,popular4 ,,ii4 ,form4 ,c4 #agj2 #aid-bjg4 ,,iii4 ,purpose4 ,c4 #agj-aga4 ,,iv4 ,methods for ,term4 ,c4 #agb4 #a4 ,definition4 ,c4 #agb-agd4 a4 ,logical definition4 ,c4 #agd-agh4 7#a7 ,complete logical definition4 7#b7 ,incomplete logical definition4 ,c4 #ahb4 b4 ,incomplete definition4 ,c4 #agh-ahf4 7#a7 ,repetition 7synonyms74 ,c4 #agi4 7#b7 ,exclusion 7what not74 7#c7 ,comparison4 ,c4 #ahj-ahb4 7#d7 ,contrast4 ,c4 #ahj-ahb4 7#e7 ,example4 ,c4 #agi4 7#f7 ,logical description 7particulars and details74 ,c4 #ahe-ahf4 #b4 ,division4 ,c4 #ahf-aia4 a4 ,classification4 ,c4 #ahg-aij4 b4 ,partition4 ,c4 #aij-aia4 ,v4 ,methods for ,proposition4 ,c4 #aia-aid4 #a4 ,exposition of terms 7cf4 ,methods for term74 #b4 ,repetition4 #c4 ,obverse4 #d4 ,example4 #e4 ,analogy4 ,,xii ,,bibliography #a4 ,the ,teaching of ,english ,a bibliography of some thirty pages consisting of all the important books1 pamphlets1 and magazine articles published before #aijc1 that treat of the different phases of ,english work in elementary and secondary schools is appended to ,carpenter1 ,baker1 and ,scott's 8,the ,teaching of ,english01 and will be of great assistance to those who desire material on any part of the work since the references are classified under such heads as1 rhetoric and composition1 literature1 grammar1 spelling1 college entrance requirements1 etc4 ,the volumes of the educational periodicals such as 8,education01 8,educational ,review01 8,school ,review01 etc41 that have appeared since #aijc1 also contain many articles on ,english work4 ,the following are the most important books on the teaching of ,english in the high school3 ,carpenter1 ,g4 ,r41 ,baker1 ,f4 ,t41 and ,scott1 ,f4 ,n4 ,the ,teaching of ,english1 ,longmans1 ,green and ,co41 ,new ,york1 #aijc4 7#a4ej74 ,the best discussion of every phase of ,english work in elementary and secondary schools1 with excellent bibliographies4 ,chubb1 ,percival4 ,the ,teaching of ,english1 ,macmillan1 ,new ,york1 #aijb4 7#a4jj74 ,a valuable discussion of the aims1 ideals1 and methods in teaching ,english in elementary and secondary schools4 ,hinsdale1 ,b4 ,a4 ,teaching the ,language-,arts3 ,speech1 ,reading1 ,composition4 ,appleton1 ,new ,york1 #ahif4 7#a4jj74 ,a comprehensive treatment of all the elements in the study of language4 ,laurie1 ,s4 ,s4 ,lectures on ,language and ,linguistic ,method in the ,school4 #b;d edition1 revised4 ,macmillan1 ,new ,york1 #ahic4 7#a4jj74 ,an excellent presentation of the value1 the purposes1 and the methods of language study4 ,report of ,committee on ,secondary ,school ,studies 7,the ,committee of ,ten7 ,u4 ,s4 ,bureau of ,education1 ,washington1 #ahic4 ,this report has been the basis of most of the present courses in ,english for secondary schools4 ,other books bearing more or less directly on the teaching of parts of the ,english work are3 ,bates1 ,arlo4 ,talks on ,teaching ,literature4 ,houghton1 ,mifflin ,co4 7#a4ej74 ,practical methods are given for teaching literature in the high school4 ,bates1 ,arlo4 ,talks on the ,study of ,literature4 ,houghton1 ,mifflin ,co4 7#a4ej74 ,bates1 ,arlo4 ,talks on ,writing ,english4 ,first and ,second ,series4 ,houghton1 ,mifflin ,co4 7#a4ej a vol474 ,corson1 ,h4 ,aims of ,literary ,study4 ,macmillan4 74#ge74 ,corson1 ,h4 ,voice and ,spiritual ,education4 ,macmillan4 74#ge74 ,copeland and ,rideout4 ,freshman ,english and ,theme ,correction at ,harvard ,college4 ,silver1 ,burdett ,co4 7#a4jj74 ,some of the suggestions for theme writing and theme correcting can be adapted to high school composition4 ,palmer1 ,g4 ,h4 ,self-cultivation in ,english4 ,crowell4 74#ce74 #b4 ,literature ,the following list contains the standard histories of ,english and ,american literature1 the biographical and critical works on some of the writers to whom especially attention is generally given1 and volumes on the history and development of the various types of literature4 ,brooke1 ,stopford4 ,english ,literature to the ,norman ,conquest4 ,macmillan4 7#a4ej74 ,a review of ,anglo-,saxon literature with translations of many ,anglo-,saxon poems4 ,cook1 ,a4 ,s4 and ,tinker1 ,c4 ,translations of ,old ,english ,poetry4 ,ginn4 7#a4jj74 ,translations of parts of ,beowulf and of all the important ,anglo-,saxon poems4 ,schofield1 ,w4 ,h4 ,english ,literature from the ,norman ,conquest to ,chaucer4 ,macmillan4 7#a4ej74 ,saintsbury1 ,g4 ,history of ,elizabethan ,literature4 7#aeeg-affj74 ,macmillan4 7#a4ej74 ,gosse1 ,e4 ,eighteenth ,century ,literature4 7#affj-aghj74 ,macmillan4 7#a4ej74 ,saintsbury1 ,g4 ,history of ,nineteenth ,century ,literature4 7#aghj-ahie74 ,macmillan4 7#a4ej74 ,ward1 ,h4 ,english ,poets1 #d vols4 ,macmillan4 7,students' edition #d4jj74 ,brief biographies1 good criticisms1 and representative selections of all the ,english poets from ,chaucer to ,tennyson4 ,bronson1 ,w4 ,c4 ,history of ,american ,literature4 ,heath4 74#ij74 ,a good handbook for ,american literature4 ,wendell1 ,b4 and ,greenough1 ,c4 ,n4 ,history of ,literature in ,america4 ,scribner4 7#a4dj47 ,a good short history of ,american literature4 ,pollard1 ,a4 ,w4 ,chaucer ,primer4 ,macmillan4 74#ce74 ,a convenient little handbook on ,chaucer's life and work4 ,sweet1 ,h4 ,second ,middle ,english ,primer4 ,oxford ,univ4 ,press4 74#ej74 ,a very good handbook for the pronunciation of ,chaucer with a phonetic transcription of the ,prologue to the ,canterbury ,tales4 ,dowden1 ,e4 ,shakespeare ,primer4 ,american ,book ,co4 74#ce74 ,a very useful little manual of ,shakespearean criticism4 ,lee1 ,sidney4 ,life of ,shakespeare4 ,macmillan4 7#a4ge74 ,an invaluable critical analysis of all biographical material relating to ,shakespeare4 ,moulton1 ,r4 ,g4 ,shakespeare as a ,dramatic ,artist4 ,oxford ,univ4 ,press4 7#a4ij74 ,a detailed consideration of the motives1 plots1 and characters of a number of ,shakespeare's plays4 ,symonds1 ,j4 ,a4 ,shakespeare's ,predecessors in the ,english ,drama4 ,scribner4 7#b4jj74 ,an excellent account of the origin and the development of the ,english drama4 ,baker1 ,g4 ,p4 ,the ,development of ,shakespeare as a ,dramatist4 ,macmillan4 7#a4ge74 ,a discussion of the ,elizabethan stage1 the public1 and other conditions in relation to the development of ,shakespeare's dramatic art4 ,freytag1 ,g4 ,the ,technique of the ,drama4 ,scott1 ,foresman ,co41 ,chicago4 7#a4ej74 ,a comparative study of drama as a literary form with considerable discussion of the plays of ,shakespeare4 ,raleigh1 ,w4 ,history of the ,english ,novel4 ,scribner4 7#a4be74 ,an interesting account of the development of the ,english novel to ,scott4 ,cross1 ,w4 ,l4 ,the ,development of the ,english ,novel4 ,macmillan4 7#a4ej47 ,a history of ,english fiction from the ,arthurian romance to ,stevenson4 ,perry1 ,bliss4 ,a ,study of ,prose ,fiction4 ,houghton1 ,mifflin ,co4 7#a4be74 ,a suggestive discussion of plot1 characters1 setting and other elements in the novel and short story1 with suggestions for original work in construction and analysis4 ,alden1 ,r4 ,m4 ,specimens of ,english verse4 ,holt4 7#a4be74 ,a practical handbook of poetics with numerous selections4 ,gayley1 ,c4 ,m4 ,classic ,myths in ,english ,literature4 ,ginn4 7#a4ej74 ,an excellent collection of ,greek1 ,roman1 ,norse1 and ,german mythological stories4 #c4 ,language and ,grammar ,sweet1 ,h4 ,new ,english ,grammar2 ,vol4 ,i41 ,phonology and ,accidence4 7#b4fj74 ,vol4 ,,ii4 ,syntax4 74#ij74 ,oxford ,univ4 ,press4 ,the most complete logical and historical grammar4 ,emerson1 ,o4 ,f4 ,history of the ,english ,language4 ,macmillan4 7#a4be74 ,greenough and ,kittredge4 ,words and their ,ways in ,english ,speech4 ,macmillan4 7#a4aj74 ,an interesting popular account of the origin and development of language and of changes in the meaning of words4 ,trench1 ,r4 ,c4 ,the ,study of ,words4 ,armstrong1 ,n4 ,y4 7#a4jj74 ,an excellent introduction to the study of the development of the meaning of words4 #d4 ,rhetoric and ,composition ,bain1 ,a4 ,english ,composition and ,rhetoric4 #b vols4 ,american ,book ,co4 7#a4bj a vol474 ,a discussion1 with numerous illustrations1 of all the elements and qualities of style in prose and poetry4 ,brewster1 ,w4 ,t4 ,studies in ,structure and ,style4 ,macmillan4 7#a4aj74 ,an analysis of the structure and style of seven modern ,english essays4 ,cairns1 ,w4 ,b4 ,forms of ,discourse4 ,ginn4 7#a4ae74 ,a consideration of the various forms of narration1 description1 exposition1 argumentation1 and persuasion4 ,genung1 ,j4 ,f4 ,working ,principles of ,rhetoric4 ,ginn4 7#a4dj74 ,a comprehensive discussion of rhetorical principles4 ,minto1 ,w4 ,manual of ,english ,prose ,literature4 ,ginn4 7#a4ej74 ,a detailed analysis of the styles of ,macaulay1 ,de ,quincey1 and ,carlyle1 with briefer discussions of the style of all ,english prose writers to the beginning of the nineteenth century4 ,scott1 ,f4 ,n4 and ,denney1 ,j4 ,v4 ,paragraph-,writing4 ,allyn and ,bacon4 7#a4jj47 ,an interesting discussion of paragraph structure with many examples4 ,wendell1 ,barrett4 ,english ,composition4 ,scribner4 7#a4ej74 ,a suggestive explanation of the principles of unity1 coherence1 and mass or emphasis4 ---------------------------------------- -------------------------------- ,,transcriber',s ,,notes #a4 ,silently corrected obvious typographical errors and variations in spelling4 #b4 ,retained archaic1 non-standard1 and uncertain spellings as printed4 #c4 ,enclosed italics font in underscores4