NO. TOO PR 5191 .PI 1904 Copy 1 Retail Price lO Cents w w v v> p u ? Sj? XT* xT* XT* ENGLISH READINGS for HIGH SCHOOLS %akcstt>€ Series xT* XT* XT* XT* XT* mi XT* XT- XT* "J? XT* *** xT* vT* Xt* #' # # ^ W xT* xr ' 5— t , ■ r rfri «£» r!r» rjj ^ r!-> Hfc «■£ & ^ <& -i" Hfc * <- * ■*> - '■• 'I- -!- rfj -*;> -'; --: - J? <;'? 4§» &5rO ^ . __ . _^_ ^ * *T* „£, #1 SELECTIONS FROM ADELAIDE A. PROCTER * Up Jp c;Z C$j fa £$. w t - jfi ^C JjL w^"-!- "v- '-I- $" w 7- ^ ^ <-5- 4^ ^ «v» ■£• tf* •¥• 4"' 4P 4P *V' ^ •& 4* 4* ^ 4 ' 4^ "*• 3P 4P 4* 4P ^ 4* 4* 4^ 4 xT. xT* xT* XT* XT* xT* xT* xT* <#> <^f> # # # S^ XT* XT* XT* ^ £* <^> (^). <*|> (^ XT* ^ XT* XT* XT* XT* XT* # <#> *§> XT* xT* XT* XT* «§§•> #» .CHICAGO... #> #> «?* H n7Y\l V xT* A A1NSWORTH & COMPANY *vp ! i yfa »t* *S« f f, f XT* X** XT* X^* # # # The kakestrie Classics Juries. With Portraits, Introductions, Notes, Historical and Biographical Sketches. 1. Selections from Plato. Edited by II. T. Nightingale; boards, 12rno., 154 pages- illustrated, containing "The Pha3do"and "The Apology of Socrates," 20 cents 2. Selections from Washington. Lincoln, and Bryant. By H. T. Nightingale; en- ameled covers, (52 pages, illustrated, containing five charming selections from Bryant; Washington's Rules of Conduct; The Farewell Address to the American People; and Lincoln's Gettysburg Address; also Lincoln's First Inaugural Address; 15 cents. 3. Selections from Essays by Lord Bacon. Enameled covers, 80 pages, illustrated, containing fifteen Essays, with introduction and notes by Henry Morley, LL.D., Professor of English Literature at University College, London; 15 cents. 4. The Princess. By Alfred Tennyson, enameled covers, 90 pages, illustrated; edited by H. T. Nightingale, contains a short sketch of the Life of Lord Tennyson, also an introduction and a list of the works of Tennyson and dates of publication, 15 cents. 5. Selections from Burns's Poems and Songs. 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In one volume, 78 pa^es. enameled covers, cloth back, with portraits, edited by Joseph Rushton, L. H. D., with an introduction and notes for schools and academies, 15 cents. 15. The Vision of Sir Launfai, Sir Galahad. Cloth bound, 20 cents. 16. flacaulay, nilton, Burke. Full cloth bound, side stamp, 400 pages, containing Macaulay's Essay on Milton, Macaulay's Essay on the Life and Letters of Addison, Milton's L'Allegro. II Penseroso, Comus, and Lycidas, Burke's Speech on Conciliation, 60 cents. 17. Macaulay, Milton, Burke, Macbeth. Full cloth binding, containing same selpc- tions as No. 16 and also Shakespeare's Macbeth, from the 20th Century Shake- speare, prepared by C. L. Hooper, 90 cents. 18. Milton's Minor Poems. Containing L'Allegro, II Penseroso, Comus, and Lyc- idas, 75 pages, enameled covers, cloth back with portrait, an introduction, and notes for use in schools; reviewed by Miss Peake and Miss Henderson, of the Osbkosh State Normal School, 15 cents. ADELAIDE A. PROCTER Wnz Hafcesitie %>zx\t* of ©ngli^t) Beaming* SELECTIONS From the Writings of ADELAIDE A. PROCTER 1! With Notes and Questions CHICAGO AINSWORTH & COMPANY 1904 Two Ocwies tfecstved SEP J6 1904 . Oooyrffht Errtry OLAS3 Ou XXo. Htx TP r\<0 .ft* \1* *r Copyright 1904 BY AINSWORTH & COMPANY L. O. 100. PREFACE It is a generally admitted fact that intellectual and moral culture, exclusive of the religious sentiment, is a failure. It is equally true that the world is now turning to the Catholic Church as to its bulwark against "the fierce on-coming and all-levelling powers of universal destruction;" therefore it becomes more and more imperative to muster the forces that society expects to find in the body to whose guardian- ship the faith has been confided. ■ Catholic educators have the responsibility. Their best weapon is literature. Though Catholic authors are not given the highest places in literary honors, they should not be denied worthy consideration. They give soulful expres- sion to the true and the beautiful, and by these the mind is captivated and the heart won. Other purpose than this, literature has none. To render this agency for ennobling thought more effectual by familiarizing young minds with pure and beautiful im- agery, these studies have been prepared; and a brief and simple form has been adopted that the wants of our Catholic preparatory schools may be supplied. Drawn from Catholic sources, the selections are pregnant with those supernatural motives that faith inspires, — motives discovering the joy in righteousness and unselfish aims, and realizing the Christian's obligation and destiny, as learned from the first page of the Catechism — " Man was created to reverence, adore, love, and serve God in this world and thus be happy with Him forever in the next." If their message be thus understood, the poet's art will have its recompense, the compiler's work its bountiful reward. The Compiler INTRODUCTION ADELAIDE A. PROCTER (1825-1864) The many messages of love and duty given to the English speaking world through the pen of Adelaide A. Procter were collected into one vol- ume and published in the year 1858. It speaks highly for these poems that the introduction was written by Charles Dickens, an intimate friend of the poet's father Bryan Waller Procter, (Barry Cornwall) , well known in literary and Life social circles. Miss Procter's poems received Dickens's unbiased appre- ciation as all her communication with him, as a writer, was carried on by letter under the assumed name of Miss Mary Berwick. From his introduction we take this short sketch of her life. "Miss Procter was born in Bedford Square, London, the 30th of October, 1825. Her love of poetry was conspicuous at a very early age, a tiny 8 ADELAIDE A. PROCTER album made of small note paper, into which her favorite passages were copied for her by her moth- er's hand before she herself could write, she carried about as another little girl would carry a doll. She soon displayed remarkable memory and great quickness of apprehension. As soon as she had completely vanquished the difficulties of any one branch of study she passed to another. It was not at all suspected in her family that she had any gift of authorship. Her father had no idea of her having ever attempted to turn a rhyme, until her first little poem saw the light in print/ ' She became a Catholic in 1851. Many of her poems portray the anxious desires of a soul seeking rest in the peace of God. When she had become famous, and opportunities were opening on every side, her health began to fail, and in 1862 she was seized by the malady which brought her short life to a close, Feb. 2, 1864. In 1858, Miss Procter's " Legends and Lyrics," in two series, and "A Chaplet of Verses/' num- bering about one hundred and seventy poems were published. Of these "A Lost Chord" is, perhaps, the best known, although the verses, "A Doubting Heart," have great merit and there is fine word-painting in "A Tomb in Ghent." Her INTRODUCTION 9 short poems, " One by One," " Our Titles," "The Tyrant and the Captive," and "The Angel's Story" are familiar to many. "The Works Legend of Provence" and "The Sailor Boy" are her longest poems, both of them characteristic and worthy. "There are two theories regarding poetry. One of these theories is that genius is rare, recondite, unusual; that its creations are, by the very nature of things, little likely to be appreciated. Another theory says genius is that which possesses the faculty of incarnating universal affections in a type readily and instinctively appropriated by the imagination. The poems we are now considering [Miss Procter's] which have won general admiration wherever they are known, belong to the latter class. Their simple, delicate beauty appeals alike to men and women, and to the soul of the young child; their transparent clearness is that of an unusually lucid intellect ; their profoundness is only that of a believing heart. They are popular Criticisms because they are instinct with dainty feminine genius, and reach the hearts of others with the sure, precise touch of slender fingers awakening the silver chords of a harp."— Catholic World, March, 1866. 10 ADELAIDE A. PROCTER Of Miss Procter, Charles Dickens wrote : "In the the spring of 1853 I observed a short poem among the proffered contributions, very different, as I thought, from the shoal of verse perpetually set- ting through the office, and possessing much more merit.' * Genius recognized genius. " ' A Lost Chord* " is one of the most character- istic of Miss Procter's poems; she need have written but these few lines to claim her place among the true poets, for in this sweet song we find the dis- tinguishing mark of every poetical soul — an ex- quisite perception of beauty and the sense of completeness which every true lover of the beauti- ful feels. There is a strong resemblance between Mrs. Hemans and Miss Procter, but Miss Procter's poems have a force and vigor that Mrs. Hemans 's have not. Miss Procter has strength in sweet- ness." — Champlain Educator. "Her [Miss Procter's] works will not suffer by comparison with E. B. Browning, or those of any other woman singer in the English language." — Dictionary of Catholic Authors. A LOST CHORD 11 A LOST CHORD "A Lost Chord" is a lyric, belonging to the class called reflective. It reveals the finite seek- ing the Infinite, the restless soul yearning for re- pose in the one source of true peace. Miss Procter has written many poems of the same tenor, — "Per Lucem ad Pacem," "A Shadow," "Phan- toms and the Golden Gate," "Golden Days," and others. Their sentiment forcibly Class reminds one of the saying of the great St. Augustine, "For Thyself, God, Thou hast made us, and our hearts will be restless till they rest in Thee." Those who read Miss Procter's poems should not suppose from their tone that her mind was of a gloomy or de- spondent cast. She was exceedingly humorous, and appreciated this quality in others, as may be seen from the letters she wrote to her family from Turin while visiting that city in 1853. Miss Procter's poems exemplify the mission of woman, namely, to make the world better, to realize the true, and to beautify the good. The 12 ADELAIDE A. PROCTER particular purpose of this poem, " A Lost Chord ," is to strengthen our hope in the Style expectation of Eternal Peace. The style is simple. The emotion de- scribed is expressed with a pleasing naturalness and originality in polished and harmonious diction. The poem contains seven four-line stanzas, with trimeter, hypermeter and trimeter Verse verses alternating. The meter is mixed iambic. A LOST CHORD 13 A LOST CHORD Seated one day at the organ, I was weary and ill at ease, And my fingers wandered idly Over the noisy keys. 5 I do not know what I was playing, Or what I was dreaming then; But I struck one chord of music, Like the sound of a great Amen. It flooded the crimson twilight, 10 Like the close of an Angel's Psalm, And it lay on my fevered spirit With a touch of infinite calm. It quieted pain and sorrow, Like love overcoming strife; 15 It seemed the harmonious echo From our discordant life. It linked all perplexed meanings Into one perfect peace, And trembled away into silence, 20 As if it were loth to cease. 14 ADELAIDE A. PROCTER I have sought, but I seek it vainly, That one lost chord divine, Which came from the soul of the Organ, And Entered into mine. 25 It may be that Death's bright angel Will speak in that chord again; It may be that only in Heaven I shall hear that grand Amen. NCOMPLETENESS 15 INCOMPLETENESS " Incompleteness" is one of Miss Procter's "beautiful lyrics, full of the melody of rhythm, and having its source in the fine instinct of the poet's ear." In this poem, with the far-reaching genius of the philosopher, she has grasped with power and handled with skill the idea of the finite reaching its perfection in the fulfilment of of its prototype in the Divine Mind. Classification As the smoothness of the diction attracts the ear, the truth and beauty of the thought captivate the heart, and this poem, like many of her other verses, "is des- tined to float on the surface of English literature with the same secure buoyancy as Herrick's Daffodils." The poet's lesson bears a message to every reflecting mind. The changes of the world of sense and soul, both are but the development of the power inherent in every phase of creation for a 16 ADELAIDE A. PROCTER 11 fuller, higher beauty than its own." The Divine Master made a formal statement of The Lesson this evident truth in those impressive words, " Unless the grain falling into the ground die, it of itself remaineth alone." The purpose then of the poet is to show the on- ward and upward working of all nature that " leads to further sweetness." The keynote of the poem lies in the lines: — "Learn the mystery of Progression duly: Do not call each glorious change, Decay; But know we only hold our treasures truly, When it seems as if they passed away." The rich undercurrent of thought in these stan- zas brings us in touch with the realities of life. We feel, instinctively, the truth of the lesson there conveyed in a clear, strong, and graceful style. It is one of those poems having "that Style short felicity of expression and that perfect finish in their parts, that cause such poems to abide in the memory." From beneath the verdure of Spring we anticipate with the poet the bright Summer's gorgeous flowers; or, in fancy we follow the falling blossom's fair promise of ripening fruit that Autumn's hand will yield. Again the poet leads us to the threshold of INCOMPLETENESS 17 day to watch the fair dawn develop into glo- rious sunlight, or in the dim twilight to witness the gathering gloom evolve into starry night. Higher still ascends our poet in the chain of In- completeness when she notes the mysterious con- trast between smile and frown, sorrow and joy in the progress of human life. Then soaring aloft to the source of the Infinite she links the human with the divine, where alone is found completeness. Incompleteness contains seven four line stanzas of mixed trochaic pentameter, rhym- Structure i n S alternately. The irregularities of Verse that occur do not detract from the music of the verse. 18 ADELAIDE A. PROCTER INCOMPLETENESS Nothing resting in its own completeness Can have worth or beauty; but alone Because it leads and tends to further sweetness, Fuller, higher, deeper than its own 5 Spring's real glory dwells not in the meaning, Gracious though it be, of her blue hours; But is hidden in her tender leaning To the Summer's richer wealth of flowers. Dawn is fai#, because the mists fade slowly 10 Into day, which floods the world with light; Twilight's mystery is so sweet and holy Just because it ends in starry Night. Childhood's smiles unconscious graces borrow From Strife, that in a far-off future lies; 15 And angel glances (veiled now by Life's sorrow) Draw our hearts to some beloved eyes. Life is only bright when it proceedeth Towards a truer, deeper Life above; Human Love is sweetest when it leadeth 20 To a more divine and perfect Love. INCOMPLETENESS 19 Learn the mystery of Progression duly; Do not call each glorious change, Decay; But know we only hold our treasures truly, When it seems as if they passed away. 25 Nor dare to blame God's gifts for incomplete- ness ; In that want their beauty lies; they roll Towards some infinite depth of love and sweet- ness, Bearing onward man's reluctant soul. 20 ADELAIDE A. PROCTER THE ANGEL'S STORY [" The Angel's Story " is a beautiful narrative of heaven- rewarded charity. The poor little urchin to whom a child of luxury had in pity given a bunch of "reddest roses," perished with the fading blossoms. Afterwards, he came as the "radiant angel" to visit his dying benefactor, and in gratitude bore him to heaven.] Through the blue and frosty heavens Christmas stars were shining bright ; Glistening lamps throughout the City Almost matched their gleaming light; While the winter snow was lying, And the winter winds were sighing, Long ago, one Christmas night. Yet one house was dim and darkened; Gloom, and sickness, and despair, Dwelling in the gilded chambers, Creeping up the marble stair, Even stilled the voice of mourning — For a child lay dying there. THE ANGEL'S STORY 21 The skill of that mighty City To save one little life was vain, — One little thread from being broken, One fatal word from being spoken; Nay, his very mother's pain, And the mighty love within her, Could not give him health again. Suddenly an unseen Presence Checked those constant moaning cries, Stilled the little heart's quick fluttering, Raised those blue and wondering eyes. Fixed on some mysterious vision, With a startled sweet surprise. For a radiant angel hovered, Smiling o'er the little bed; White his raiment; from his shoulders Snowy dove-like pinions spread, And a starlike light was shining In a Glory round his head. While with tender love, the angel, Leaning o'er the little nest, In his arms the sick child folding, Laid him gently on his breast, Sobs and wailings told the mother That her darling was at rest. 22 ADELAIDE A. PROCTER So the angel, slowly rising, Spread his wings and through the air Bore the child, and, while he held him To his heart with loving care Placed a branch of crimson roses Tenderly beside him there. While the child, thus clinging, floated Towards the mansions of the Blest, Gazing from his shining guardian To the flowers upon his breast, Thus the angel spake, still smiling On the little heavenly guest. "Know, dear little one, that Heaven Does no earthly thing disdain, Man's poor joys find there an echo Just as surely as his pain; Love, on earth so feebly striving, Lives divine in Heaven again! "Once in that great town below us, In a poor and narrow street, Dwelt a little sickly orphan; Gentle aid, or pity sweet, Never in life's rugged pathway Guided his poor tottering feet. THE ANGEL'S STORY 23 "All the striving anxious forethought That should onty come with age, Weighed upon his baby spirit, Showed him soon life's sternest page; Grim Want was his nurse, and Sorrow Was his only heritage. "One bright day, with feeble footsteps, Slowly forth he tried to crawl, Through the crowded city's pathways, Till he reached a garden-wall, Where 'mid princely halls and mansions Stood the lordliest of all. "He, against the gate of iron, Pressed his wan and wistful face, Gazing with an awe-struck pleasure At the glories of the place ; Never had his brightest day-dream Shone with half such wondrous grace. "You were playing in that garden, Throwing blossoms in the air, Laughing when the petals floated Downwards on your golden hair; And the fond eyes watching o'er you, And the splendor spread before you, Told a House's Hope was there. 24 ADELAIDE A. PROCTER "When your servants, tired of seeing Such a face of want and woe, Turning to the ragged orphan, Gave him coin, and bade him go, Down his cheeks, so thin and wasted, Bitter tears began to flow. "But that look of childish sorrow On your tender child-heart fell, And you plucked the reddest roses From the tree you loved so well, Passed them through the stern, cold grating Gently bidding him 'Farewell.' "Dazzled by the fragrant treasure And the gentle voice he heard, In the poor forlorn boy's spirit, Joy, the sleeping Seraph, stirred, In his hand he took the flowers, In his heart the loving word. "So he crept to his poor garret; Poor no more, but rich and bright, For the holy dreams of childhood — Love, and Rest, and Hope, and Light- Floated round the orphan's pillow Through the starry summer night. THE ANGEL'S STORY 25 Day dawned, yet the visions lasted; All too weak to rise he lay; Did he dream that none spake harshly, — All were strangely kind that day? Surely then his treasured roses Must have charmed all ills away "And he smiled, though they were fading* One by one their leaves were shed: 'Such bright things could never perish, They would bloom again/ he said. When the next day's sun had risen Child and flowers both were dead. "Know, dear little one! our Father Will no gentle deed disdain; Love on the cold earth beginning Lives divine in Heaven again, While the angel hearts that beat there Still all tender thoughts retain/ ' So the angel ceased, and gently O'er his little burden leant; While the child gazed from the shining, Loving eyes that o'er him bent, To the blooming roses by him, Wondering what that mystery meant. 26 ADELAIDE A. PROCTER Thus the radiant angel answered And with tender meaning smiled; "Ere your childlike, loving spirit, Sin and the dark world defiled, God has given me leave to seek you, — I was once that little child !" In the churchyard of that city Rose a tomb of marble rare, Decked, as soon as Spring awakened, With her buds and blossoms fair, — And a humble grave beside it, — No one knew who rested there. THE NAMES OF OUR LADY 27 THE NAMES OF OUR LADY [Like every true child of genius, Miss Procter finds her tenderest sentiments in religious expression. Her hymns and poems are the outpourings of the love of God and His holy Mother. With the true Faith she imbibed a tender love for Mary. Her lines on " The Names of Our Lady " show her heartfelt and varied devotion to our Immaculate Queen.] Through the wide world thy children raise Their prayers, and still we see Calm are the nights and bright the days Of those who trust in thee. Around thy starry crown are wreathed So many names divine; Which is the dearest to my heart, And the most worthy thine? Star of the Sea: we kneel and pray When tempests raise their voice; Star of the Sea! the haven reached, We call thee and rejoice. Help of the Christian: in our need Thy mighty aid we claim; If we are faint and weary, then We trust in that dear name. 28 ADELAIDE A. PROCTER Our Lady of the Rosary: What name can be so sweet As what we call thee when we place Our chaplets at thy feet. Bright Queen of Heaven: when we are sad r Best solace of our pain: — It tells us though on earth we toil, Our Mother lives and reigns. Our Lady of Mount Carmel: thus Sometimes thy name is known; It tells us of the badge we wear, To live and die thine own. Our Lady Dear of Victories: We see our faith oppressed, And, praying for our erring land, We love that name the best. Refuge of Sinners: many a soul, By guilt cast down, and sin, Has learned through this dear name of thine Pardon and peace to win. Health of the Sick: when anxious hearts Watch by the sufferer's bed, On this sweet name of thine they lean, Consoled and comforted, THE NAMES OF OUR LADY Mother of Sorrows: many a heart Half broken by despair Has laid its burden by the Cross And found a mother there. Queen of all Saints: the Church appeals For her loved dead to thee; She knows they wait in patient pain A bright eternity. Fair Queen of Virgins: thy pure band, The lilies round thy throne, Love the dear title which they bear Most that it is thine own. True Queen of Martyrs: if we shrink From want, or pain, or woe, We think of the sharp sword that pierced Thy heart, and call thee so. Mary: the dearest name of all, The holiest and the best; The first low word that Jesus lisped Laid on His Mother's breast. Mary: the name that Gabriel spoke, The name that conquers hell; Mary: the name that through high heaven The angels love so well. 30 ADELAIDE A. PROCTER Mary — our comfort and our hope, — O, may that word be given To be the last we sigh on earth, — The first we breathe in heaven. QUOTATIONS 31 QUOTATIONS FROM MISS PROCTER " Know, dear little one ! our Father Will no gentle deed disdain; Love on the cold earth beginning Lives divine in Heaven again, While the angel hearts that beat there Still all tender thoughts retain." — AngeVs Story. Judge not; the workings of his brain And of his heart thou canst not see; What looks to thy dim eyes a stain, In God's pure light may only be A scar, brought from some well-won field, Where thou wouldst only faint and yield. — Judge Not. One by one thy duties wait thee, Let thy whole strength go to each, Let no future dreams elate thee, Learn thou first what these can teach. — One by One. 32 ADELAIDE A. PROCTER Rise! for the day is passing, And you lie dreaming on; The others have buckled their armor, And forth to the fight are gone: A place in the ranks awaits you, Each man has some part to play; The Past and the Future are nothing; In the face of the stern to-day. — Now. Let thy gold be cast in the furnace, Thy red gold, precious and bright; Do not fear the hungry fire With its caverns of burning light; And thy gold shall return more precious, Free from every spot and stain; For gold must be tried by fire, As a heart must be tried by pain. — Cleansing Fires. Pray; though the gift you ask for May never comfort your fears, May never repay your pleading, Yet pray, and with hopeful tears; No real Poet ever wove in numbers All his dream; but the diviner part, Hidden from all the world, spake to him only In the voiceless silence of his heart. — Unexpressed. Great may he be who can command And rule with just and tender sway; Yet is diviner wisdom taught Better by him who can obey. — Maxims. QUOTATIONS 33 The prayer of those who suffer Has the strength of Love and Death. • — The Tyrant and the Captive. God's world has one great echo; Whether calm blue mists are curled, Or lingering dew-drops quiver, Or red storms are unfurled. The same deep love is throbbing Through the great heart of God's world An answer, not that you long for, But diviner, will come one day; Your eyes are too dim to see it, Yet strive, and wait, and pray. — Strive, Wait and Pray. O, these are voices of the Past, Links of a broken chain, Wings that can bear me back to times Which cannot come again; Yet God forbid that J should lose The echoes that remain! — Voices of tfie Past. Give thy heart's best treasures, From fair Nature learn; Give thy love — and ask not, Wait not a return! And the more thou spendest From thy little store, With a double bounty God will give thee more. — Give. LofC. 34 ADELAIDE A. PROCTER Learn the mystery of Progression duly; Do not call each glorious change, Decay; But know we only hold our treasures truly When it seems as if they passed away. — Incompleteness. Words are mighty, words are living; Serpents with their venomous stings, Or bright angels crowding round us, With heaven's light upon their wings: Every word has its own spirit, True or false, that never dies*, Every word man's lips have uttered Echoes in God's skies. — Words. A little longer still Patience, Beloved : A little longer still, ere Heaven unroll The Glory and the Brightness and the Wonder, Eternal and divine, that waits thy soul! — A Little Longer. QUESTIONS 35 QUESTIONS A Lost Chord 1 Who is the author of "A Lost Chord ?" 2 From what gifted pen have we a short sketch of her life? 3 Which are the best known of Miss Procter's poems? 4 What are the characteristics of her poems? 5 Why are they popular? 6 How does Charles Dickens first receive her poems? 7 How does "A Lost Chord" rank among her works? 8 To what class of poetry does it belong? 9 Which of her other poems are of the same tenor? 10 What is the purpose of "A Lost Chord?" 11 Describe the style of the poem. 12 What forms of stanza and rhyme are used? 13 Scan the second stanza. 14 Quote the lines from Lowell's "Vision of Sir Launfal " suggested by the first stanza. 15 Where does the poet carry you in thought when she speaks of being seated at the organ? 16 Why do we associate the organ with the church? 17 Could the organist have been playing for any service? 18 What lines in this poem recall the w r ords, "Music hath charms to soothe the savage breast?' ' 36 A DEL 'IDE A. PROCTER 19 At what hour oi the day was she playing? 20 What picture ri s before the mind with the words: "It lay on ii y fevered spirit With a touch of infinite calm?" 21 Explain the paradox in lines 15 and 16. 22 What is the " one lost chord divine " which the poet's soul is seeking?" 23 When does the poet hope to hear it again? 24 Give the origin of the word ''Amen." 25 What is a psalm? 26 Who is the Royal Psalmist? When did he live? 27 What is meant by an " Angel's Psalm?" 28 What is a chord? 29 Who only can give "infinite calm?" 30 Point out the figure in lines 23 and 25. 31 Why is the word Heaven capitalized? 32 Why are the organ keys called "noisy"? 33 What mention is made of the organ in history? 34 What pictures does this poem create in the imagination? 35 Give the keynote of the poem. QUESTIONS 37 QUESTIONS Incompleteness 1 To what class of poetry does " Incompleteness " belong? 2 What lesson does the poem give? 3 What is its keynote? 4 What is its style? 5 Give the structure of the verse. 6 In what does the poet say consists the worth and beauty of every created object? 7 What is the real glory of the Spring? 8 Give the development of the four Seasons. 9 In what sense is each year a new creation? 10 What hope enhances the beauty of the dawn? 11 Of what does the mysterious twilight give promise? 12 How do Childhood's smiles borrow unconscious graces from strife? 13 Why is it said "Men and women are children of a larger growth?" 14 Explain the contrast that lies between " Angel glances " and "Life's sorrow." 15 What meaning lies hidden in the 17th and 18th lines of this poem? 38 ADELAIDE A. PROCTER 16 What lines of Longfellow's "Psalm of Life" do they recall? 17 In what lines has the poet reached the climax? 18 What renders human love perfect? 19 By what great mystery of religion has human love be- come literally divine? 20 In what consists the mystery of Progression? 21 What figure predominates? 22 What beautiful antithesis in the third stanza? 23 What transformation does line 22 suggest? 24 What is the meaning of the last line? gnglish Vttblxzuiwm fnr SEtffndarg XXth CENTURY SHAKESPEARE SERIES: Edited by C. L. Hooper, of the North- West Division High School, Chicago, 111. Price 30 cents. Julius Caesar, 194 pages. Illustrated. Hamlet, 218 pages. Macbeth, 168 pages. King Lear, 201 pages . *As You Like It pages. (*In preparation. ) The editor of the XXth Century Series has kept in mind two distinct features :— FrRST: To avoid the mistake, in most school editions, of excessive annotation upon textual criticism, philology, and Shakespeare's grammar; because the pupil unconsciously recognizes that the study of such matters is not the study of the great poet, and what interests him is The Play, and he wants to study it as a play. Second: To give more aid in the forming of the stage pictures; the appearance, and the action of the characters. Accustom* d to the reading of novels, in which all scenes and persons are described, the pupil finds itdifficult to supply these matters or to see how they are suggested in the lines; and the editoT has endeavored to sug- gest to him what the scenery and the actors would present to his mind. Preceding the notes on each scene, is a description of a stage setting — a picture in which the characters live and move and influence each other for gooa or for evil. After the notes on each scene, is a list of questions concerning the purpose of the scene, the action, the causes of the dramatic effect, the characters, and the poetry. accounts ( an AristCM the poets' times; the other, into the life and manners of Cassar's Age. There is, too, a brief explanation of meter, and a chronology of Rome, from the Gracchi to the battle of Philippi; the last being for the use of those teachers who give a study of Uoman History along with the play. Fur First gear in Htgi? Srftrrnlg, (FOURTH EDITION) Studies in Literature and Composition: By W. H. Skinner. For High Schools, Normal Schools, and academies. Eight illustrations, 237 pages, full cloth, gilt stamp. Introduction price, 80 cents. This book is intended for the first year of high-school work — coming between grammar and rhetoric. It prepares the student for the advanced study of litera- ture and for rhetoric. It is used by many of the leading normal schools in the United States. It gives a great amount of practice in composition with a method that develops originality. Studies of pictures are introduced for the purpose of showing the broad applica- tion of certain principles of art and of suggesting the study of pictures for their own sake. The method of study is that of Dr. L. A. Sherman, The book is steadily growing in favor and increasing in sale. Sample copies will be forwarded for inspec- tion with view to introduction if found satisfactory. For sample copies and classified list of publications*. please address the pub- Ushers. AINSWORTH & COMPANY, 378-388 Wabash Avenue, CHICAGO, ILL. SEP 16 1904 SELECTIONS FROM LAKESIDE CLASSICS FOR GRAMMAR GRADES No. 2 Selections from Washington, Lincoln, Bryant, and McF nley. Nightingale. 78 pages, illustrated, 15 cents. 27 Selections from Lincoln, Hawthorne, Webster, Goldsmith, and Tennyson. Enameled covers, 15 cents. 38 The Deserted Village. Goldsmith. With a study by Miss Kavana. 24 pages, 5 cents. 39 Enoch Arden. Tennyson. With a study by Miss Kavana. 42 pages, 5 cents. 40 The Great Stone Face. Hawthorne. With illustrative ques- tions by Skinner. Price, 5 cents. 41 The Snow Image. Hawthorne. 48 pages, 5 cents. 42 The King of the Golden River. Ruskin. Price, 5 cents. 43 Pied Piper of Hamelin, and other Poems by Browning* 48 pages, 5 cents. 65 The Ugly Duckling. From Andersen's Fairy Tales. Grades 3-4, 5 cents. 67 Adventures of a Brownie. Part I. Grades 2-4, 5 cents. 70 Stories from Hiawatha. Chase. Grades 2-4, 5 cents. 77 Story of Lafayette. Grades 3-5, 5 cents. 78 Story of Abraham Lincoln. Grades 3-5, 5 cents. 79 Story of Washington. Grades 3-5, 5 cents. 70 Story of Longfellow. Grades 3-5, 5 cents. 83 Evangeline. By H. W. Longfellow. With notes and introduc- tion. Price.10 cents. 84 Vision of Sir Launfal and Other Poems. By James Russell Lowell. Price, 10 cents. 85 Julius Caesar. By Sh^.kesoeare. Price, 10 cents. 88 Living American Authors. By Mary Niver Van Vliet. A series of bright sketches with portraits of fifteen foremost present day authors. 98 pages. Price, 10 cents. 89 Legend of Sleepy Hollow, and Eip Van Winkle. By Wash- ington Irving. Price, 10 cents. 90 A Christmas Carol. Bv Charles Dickens. Price, 10 cents. 91 A Deserted Village, The Traveler. By Goldsmith. Price, 10 cents. 94 The Chambered Nautilus. Old Ironsides. The Last Leaf. Oliver Wendell Holmes. 11 pasres, with portrait, an illustration notes and introduction. Pric*, 2 nents. 95 To a Waterfowl. The Fringed Gentian. William Cullen Bryant. 8 pages, with portrait, notes, and introduction. Price, 2 cents. 96 The Corn Song. The Huskers. John Greenle* f Whittier. 11 pages, with portrait, an illustration, notes, and introduction. Price, 2 cents 97 The Reaper and the Flowers. The Builders. Henry Wads- worth Longfellow. 11 pages, with portrait, notes, an illustra- tion, and introduction. Price, 2 cents. 98 The First Snow-Fall. A Day in June. James Russell Lowell. 11 pages, with portrait, notes, an illustration, and introduction. Price, 2 cents. The publishers will be pleased to forward specimens for examination with view to purchase, and will quote discounts on application. Full descriptive catalogue on application. AINSWORTH & COMPANY, 378-338 Wabash Avenue. Chicage, 19. Milton's Poems. Full cloth bound, revised by Miss Clara Doolittle from the text of Edioburga edition of 1792, 20 cents. 20. Macaulay's Essay on Milton. With two portraits, enameled covers, cloth back. 78 pages, edited with sketch of Macaulay, chronological list of his works, and contemporary authors, also an introduction and sketch of Milton, with pref- atory note by Miss Clara Doolittle, of the South Division High School, Chicago, III., 15 cents. 21. Macaulay's Essay on Milton. Edited by Miss Doolittle, full cloth binding, 20 cents. 22. Macaulay's Essay on Addison. With two portraits, enameled covers, cloth back, 121 pages* edited with sketch of Macaulay, chronological list of his works and list of contemporary British and American autbors, by Miss Clara Doo- little of the South Division High School, Chicago, 111., also containing selections from Addison's papers, The Tory Fox-Hunter, and Thoughts in Westminster Abbey, 15 cents. 23- Macaulay's Essay on Addison and Selections from Addison's Papers. Full cloth bound, 20 cents.. 24 Lays of Ancient Rome. By MiCAULAY, containing Horatius, The Battle of Lake Regillus, Virginia, 106 pages, enameled covers, cloth back, with portrait of Macaulay, an introduction and preface condensed from the original intro- duction by Lord Macaulay, with introduction to each selection, and notes, 21 illustrations, 15 cents. 25. Lays of Ancient Rome. Full cloth bound, 20 cents. 26. Selections from Hawthorne and Browning. Enameled covers, cloth back, 144 pages with portraits, introduction, and an analysis or study on each selection, from the structural standpoint, prepared by Mrss Rose M. Kavana, of the Medill School, Chicago, III.; paragraphs numbered, adapted for supplemen- tary reading for sixth and seventh grades, 15 cents. 27. Selections from Lincoln, Hawthorne, Webster, Goldsmith, and Tennyson. Enam- eled covers, cloth back, 136 pages, with portraits, -introduction, and an analy- sis or study on each selection, from the structural standpoint, prepared by Miss Rose M. Kavana, of the Medill School, Chicago, 111. Paragraphs num- bered. A supplementary reader for seventh and eighth grades, or as a study of authors for first y^ar in High School, 15 cents. 29. The Merchant of Venice. Contains a biographical sketch of Shakespeare with a list of his works and date of publication, and a survey of English Literature of the Elizabethan period, with special reference to the drama, the home, and street life; also a short list of reference books for the study of Shakespeare and the English Drama. The text is supplied with notes at the bottom of the pa^es, very carefully edited, and only with such references as cannot be readily supplied by the scholars; 112 pages, illustrated with portrait of Shakespeare, enameled covers, cloth back, 15 cents; in boards, 20 cents. 30. Nine Selections from the Sketch Book. By Washington Irving, 160 pages, en- ameled covers, cloth back, with a portrait, and edited with an introduction and notes and a suggested outline of study of Rip Van Winkle, Legend of Sleepy Hollow, and Westminster Abbey; paragraphs numbered. A supple- mentary reader for eighth grade, or as a study of Irving for first year in High Schools, 15 cents. 31. Irving's Sketch Book. 160 pages, same as No. 30, boards, 20 cents. 32. Hawthorne and Browning. Same as No. 26, boards, 20 cents. 33. Milton and Addison. Full cloth bound, side stamp, 199 pages, containing Macau- lay's Essays on Milton and Addison, furnished in Lakeside Series Nos. 20 and 22. 30 cents. 34. Webster, Lincoln, Goldsmith, Tennyson, and Hawthorne, Same as No. 27, boards; 20 cents. 35 Macaulay's Essay and Milton's Poems. Full cloth bound, 144 pages, containing Macaulay's Essay on Milton, and Milton's Minor Poems, furnished in Lake- side Series Nos. 18 and 20, 30 cents. 36. King Lear. Enameled covers, cloth back, contains a sketch of Shakespeare, " His People. His Theater," with a description of the drama; also a short list of reference books, and the dates of the publication of Shakespeare's works. In the back, a series of character studies on the art of Shakespeare, with 28 pages of questions on the leading characters, prepared by Ella A. Shea, of the Covington, Ky., High School. The volume is illustrated, and con- tains references and notes, prepared by Mr. C. L. Hooper, of the North-West Division High School, Chicago, 111., price, 15 cents. 37. King Lear. Same as No. 36, cloth binding, 25 cents. LIBRARY OF CONGRESS IINIM •ait, I M. luc- dill 38 The Deserted Village, Goldsmith. 24 page; introduction, the poem, and a series < Kavana, Medill School, Chicago, 111. 39. Enoch Arden, Tennyson. 42 pages, price fr tion, the poem, and a series of studh School, Chicago. 111. 40. The Great Stone Face, Hawthorne. 48 page 014 528 498 3 •'ait, introduction, the story, and- a series of ^„«™. m « ... . .... ^,„ .^./.H. Skinner. 41. The Snow Image, Hawthorne. 48 pages, price five cents, containing portrait, in- troduction, the story, and a series of questions. 42. The King of the Golden River, Ruskin. Price five cents, containing introduction, and the story. 43. Pied Piper of K&melin. and other Poems by Browning. 48 pages, price five cents, containing portrait, introduction, several of the poems, and very carefully edited notes by C. W. French, Hyde Park High School, Chicago, 111. 44. The Great Carbuncle. 38 pages, price five cents, containing portrait, in trod uc- n, the story, and a series of studies and questions, arranged by Miss Kavana. 45. Evangeline, by Longfellow. 64 pages, portrait, introduction, sketch of American literature," biographical sketch of Longfellow, with chronological list of * leading poems, historical introduction upon Acadia. The poem is complete, annotated with such notes as seem necessary to aid the scholars in under- standing the text. The poem is followed by several pages of questions and suggestions for the study of the poem, with subjects for composition work, suggested readings from Longfellow's poems, and a topical outline of Evan- geline. Also several Biblical allusions with references to line numbers, and a series of questions upon the entire poem. Price 10 cents. 46. Selections from Hawthorne. The Snow Image, The Great Stone Face, The Great Carbuncle, enameJed covers, 110 pages, 15 cents. 47 Bunker Hill Oration, Webster. 42 pages, containing portrait, introduction, the- oration, and a series of studies and questions, paragraphs numbered, 5 cents. 48. Sir Roger de Covertey Papers, illustrated, with portrait, full cloth bound, con- taining papers from the Spectator, a number of illustrations, introduction, with notes in the back of the book, and an exhaustive series of questions and suggestive material prepared by Carrie E. T. Dracass, of Englewood High School, 25 cents. 49. SELECTIONS FROM ENGLISH POETS. Coleridge— The Ancient Hariner, Christabel. Kubla ICahn, France, An Ode. Shelley — Adonais, The Cloud, To a Skylark. Wordsworth — Ode to Immorta'ity* To a Skylark, Elegiac Stanzas, A Picture of Peel Cast'e in a Storm. Sonnets: t. 4i The world is too much with us." 2. " Earth has not anything to show more fair." 3 . To the Planet Venus. 4. To Sleep. Keats (with portrait)— Ode on a Grecian Urn, Ode to a Nightingale, Ode on Melanchoiy, To Autumn. Sonnets: l.On First Looking into Chapman's Homer. 2 . On the Grasshopper as?d Cricket. Byron — Childe Harold, II! . and IV. Cantos (abridged). 50. SELECTIONS FROM ENGLISH PROSE: Johnson's Journey to the Western Islands (abridged), with portrait. Lamb — Essays or Elia (Five). Landor — Imaginary Conversations (Five). Edited with portraits, preface and introduction with notes, intended for secondary schools; about 160 pages, full cloth, side stamp. Price 30 cents. 51. Midsummer Night's Dream. With portrait, introduction/brief sketch of Eliza- bethan England, glossary, and notes, 103 pages. Price 15 cents. 52. The Tempest. With portrait, introduction, brief sketch of Elizabethan Eng- land, glossary and notes, 106 pages. Price 15 cents. 53. The Winter's Tale. With portrait, introduction, brief sketch of Elizabethan England, glossary, and notes, 135 pages. Price 15 cents. 54. The Comedy of Errors. With portrait, introduction, brief sketch of Eliza- bethan England, glossary, and notes, 109 pages. Price 15 cents. Other numbers in preparation. The Publishers will be pleased to forward specimens for examination, and will quote terms for introduction and exchange. Full descriptive catalogue on appli- cation. AINSWORTH & COMPANY, 378-388 Wabash Avenue. CHICAGO, ILL.